Icapas 2016

Proceeding
The 4th International Conference for Asia Pacic Art Studies (ICAPAS)
Graduate School of Indonesia Institute of the Arts Yogyakarta
October 18th - 19 th , 2016
The 4th International Conference for Asia Pacific Arts Studies (ICAPAS)
Reconceptualizing Art Research

Proceeding of the 4th International Conference for Asia Pacific Arts
Editor
Retno Mustikawati
Invited Experts on Creative Arts
Professor Dr. M. Agus Burhan, M.Hum

Dr. Yoshie Itani
Dr. Sal Murgiyanto
Professor Barbara Bolt
Professor Earl Jackson
Administrator
Teguh Prastowo
Publishing Institute
Graduate School of Indonesia Institute of the Arts Yogyakarta Indonesia
Jalan Suryodiningratan No 8 Yogyakarta, Indonesia 55143
Telp/Fax +62 274 419791 http://www.pasca.isi.ac.id
ISBN 978-602-8820-28-8
@2016 Graduate School, Indonesia Institute of the Arts Yogyakarta
All rights reserved. No part of this publication may be reproduced without the prior written
permission of Graduate School Indonesia Institute of the Arts Yogyakarta
Printed in Yogyakarta
ii
Foreword
Dear Speakers, Presenters, and Participants of the 4th International Conference for Asia Pacific
Arts Studies 2016.
Welcome to Yogyakarta!
It is my honored to have all of you in this academic forum that is indeed an indispensable
activity for all art scholars.
Indonesia Institute of the Arts Yogyakarta (ISI Yogyakarta) would like to extend deepest
appreciation to welcome all participants of the 4th International Conference for Asia Pacific
Arts Studies (ICAPAS) 2016. As ISI Yogyakarta has initiated this seminar since 2013, this year
we are honored to present the 4th part with the theme of Reconceptualizing Research in the
Creative Arts.
The 4th ICAPAS 2016 focuses on the role of arts and artist in contributing their unique approach
to knowledge creation to the academic world, specifically in the practise of arts creation and
arts performance. Hence, the presentations and discussions through this acedemic forum should
be a great opportunity for all to share the present state of arts research in their field and present
how embodiments and medium of their arts can reveal a new type of knowledge distict from
the traditional research.
Finaly, I would like to express my special gratitude to the speakers, participants, staff and
faculty members, and the committee who have actively contributed their knowledges, skills,
and commitment to this program. Hopefully, the outcomes of this program will be beneficial
for all parties, and strengthen the mutual relationship years to come.
Thank you
Prof. Dr. Mukhamad Agus Burhan, M.Hum.
Rector of ISI Yogyakarta
iii
TABLE OF CONTENTS
Foreword from the Rektor
iii
Table Of Contents
iv
Oral Presentation
1
R.M Surtihadi
The Western music Acculturation in Keraton of

Yogyakarta: A Case Study of Bedhaya and Srimpi
Dance kapang-kapang accompaniment
1-17
Riana Diah Sitharesmi
Soliloquies: a movement-based approach towards

Beckett's Waiting for Godot
18-27
Asep Hidayat Wirayudha
The Secret of Brahms Cellos Sonata no. 1 op. 38 and

Shostakovich Cello Sonata op. 40
28-38
Emridawati
Learning Creativity Of Drum Set Music Into Drum

Band Music
39-52
Edzreen Syahira binti

Jamil
The Study Of Safety Backpacking In Penang Through

Mobile Application
53-60
Muhamad Nur Hafriz

Azizee Bin Abdul Halim
Promoting a Film by Using a Hologram With Kinect

Sensor as a Medium
61-64
Agustinus Dwi Nugroho
The Artist: The New Technique in Film Form
65-74
Giulia Panfili
Making Wayang Along Anthropology and Art
75-83
Waridah Muthi'ah
Study of Computerized-Batik Technique Using Batik

Kelowong Machine in Developing Batik Bekasi
Pattern
84-90
10 Rasa Suntrayuth
Collaborations and Design Development of Local Craft

Products:
Service Design For Creative Craft
Community
91-104
11 Natsuangphon Tongnuanual
Graphic Design Methods of a Science Museum

Exhibition for Children
105-116
12 Veerawat Sirivesmas
Malaysia-Thailand, Beyond The New Ornamentalism

In Contemporary Jewelry
117-129
13 Tawipas
Pichaichanarong
Visual research practices on Thai Lanna mural

painting: A case study of Wat Phumin, Nan province
130-141
iv
14 Renta Vulkanita Hasan
Television Drama and Audience Behaviour
142-147
15 Octalyna Puspa Wardany
Research in creating arts - Comparation of 3 case

studies in creating of fine artworks
148-160
16 Firmansyah
Musical Parody Of Acapella Mataraman : A Creativity

Compromise For The Performing Arts Market In
Yogyakarta
161-170
Poster Presentation
1
Probosiwi
The Braille Painting For Children Education:

Ecofeminism Studies
An
171-177
Andreas Slamet Widodo
Visual Aesthetics Branding Djarum Black In Urban

Lifestyle a Case Study (Methodology Visual Approach)
178-192
Jazuli Abdin Munib
Discourse Addicted Character "Pokemon Go" On Top

of Reality (Discourse Approach
193-203
Ercilia Rini Octavia
Paper Toys As A Media Of Introducing Pandawa

Character As Local Wisdom Value To PreKindergarten- And Kindergarten-Age Children In
Surakarta
204-219
Noni Sukmawati
Performance
Biography
(Pendendang)
220-224
Nor Idayu Binti Ibrahim
The Developement of Formal Ceremonial Cornation

Attire of Seri Paduka Baginda Yang Dipertuan Agong
and Seri Paduka Baginda Raja Seri Permaisuri Agong
From i-xiv Starting
225-230
Donna Carollina
Rejection of The Cigarettes Billboard Sampoerna

A Mild Mula Mula Malu-Malu, Lama Lama Mau
231-237
Nesyya Fitryona
Dialectics The Life Of Visual Arts In West Sumatra

1986 2003
238-248
Waiyawat Saitum
The Study of solar incident on Planar Surface for

Kinetic Art
249-264
10 Novia Murni SS.,M.Pd
Teaching Performance Art Based On Research Studies:

Review Of Needs And Needed In Teaching Traditional
Arts For Foreign Students
265-272
11 Kiki Rahmatika
Creativity on Consistency's Dance
273-288
Literature
in
Singer
12 Chanakarn Ruangnarong
13 Peeraya Sramala
14 Supamas Jiamrungsan
The Suitable Fabric for Thai art Folding of Banana

Leaves on Clothing
A study of Knitted Fabric from Thai Silk Waste Yarn
289-297
The Ancient Technique of Weaving with the

Contemporary Art
310-322
vi
298-309
Oral Presentation
The Western music Acculturation in Keraton of Yogyakarta:

A Case Study of Bedhaya and Srimpi Dance kapang-kapang Accompaniment
R.M. Surtihadi1
Graduate School , Indonesia Institute of the Arts Yogyakarta,
ABSTRACT
This study aims to determine the formation of Western music acculturation in female dance
accompagniment on the kapang-kapang of Bedhaya and Srimpi Keraton of Yogyakarta. In
addition, this study will address the endurance of the phenomenon of the Western Music
acculturation in female dance accompagniment until today. This case study focuses on the use
of multiple Western musical instruments, such as drums, drums (percussion section),
woodwinds (woodwind sections), brass (brass sections), and strings (string sections), in
accompanying the dances mentioned above. Qualitative methods of data analysis are used to
treat this subject. However, socio-political approach is also used in the reviewing related issues.
Based on this research, there are two main findings, namely, 1) the impact of the various
elements of the completeness of the kingdom of the Dutch East Indies government in the form
of elephants, horses of Persia, the trumpeters and a coach to the Sultan Palace at the time in
which this palace stands, is an early indication of the influence of Western culture into the life
of the palace; 2) the influence of European marching military music provided a stimulus for the
creation of Gendhing March that is used to accompany the motion of walking kapang-kapang
toward the stage and retreat kapang-kapang retreat leaving the scene on the female dance
bedhaya and srimpi accompanied by the ensemble of Javanese gamelan together with Western
musical ensembles (unisono).
Keywords: acculturation, Western musical instruments, palace dance accompaniment.
1Corespondensi
address: Graduate School , Indonesia Institute of the Arts Yogyakarta,

Suryodiningratan, Yogyakarta, email surtihadihadi@gmail.com, HP 08156883788.
Introduction
The presence of Western music (Europe) in the palaces of Central Java (Surakarta and
Yogyakarta) was begun by military music. The Dutch Trade Association or VOC (Vereenidge
Oost-Indische Compagnie) once became the first to introduce the music. A French trader named
Jean-Baptiste Tavernier told the existence of two trumpet instruments which were
accompanying him with the General Governer Van der Lijn when they had a vacation to Batavia
in 1648; the assumption is that the European military music has already been in Java since the
mid of 17th century (Sumarcham, 2003: 95).
The research on the blend of Western musical instruments and Javanese gamelan to the
accompaniment of dance has been done by the author in 1995, with the title of "The Western
Traditional Musical Instrument on the Dance Accompaniment and Protocol Ceremony of
Keraton of Yogyakarta (A Historical Review)" in the form of a thesis. The writing of this article
is intended to complement and enhance the above study because the author had a limitation on
the data sources and literature references when he was conducting the research. After
reviewing the above study, through the writing of this article the author then intends to correct
or add the missing information data extracted from primary sources such as the archives
belonging to the Sultan Palace and the results of related research on a cultural event at the Sultan
Palace in the past.
Keraton of Yogyakarta as a cultural center of Java has the historic significance as a
center of excellence which has a characteristic of a royal palace. The various activities to arts
and culture from the past to the present have been progressing. However, the development
occurred since the local cultural factors have been interacted with foreign cultures. For arts
particularly, Western music is originated from the military music. The military music in
Keraton of Yogyakarta emerged since the reign of Sultan Hamengku Buwana I (1755-1792),
as proposed by Ricklefs on the donations of Western musical instrument in the form of trumpet
instrument from the Dutch government to the Sultan Palace (Ricklefs, 1974: 87).
According to Dr. J. Groneman, at the end of the 19th century Sultan Palace Music Corps
consisted of three kinds of ensembles, (1) the Music Corps playing a mix of Javanese and
European instruments, (2) the Music Corps playing European musical instruments, (3) the
Music Corps playing the Javanese instruments only. For example, some groups of the Music
Corps played two European drums and a flute, while the other group consisted of European
metal trumpet players, Europe drum and flute which were played together with the Javanese
instruments, namely gong and bendhe: kcr (cymbal small), and kendhang ketipung.
Groneman also mentioned that all of the music players were Javanese musician soldiers
(Sultans servants of musician soldiers) who wore European military-style uniforms of 19th
century (Sumarcham, 2003: 96).
One of the troops of Keraton of Yogyakarta that is Jagakarya soldiers have a march song
called "March Pandebruk", a march with. of 4/4. The march was played with instruments
such as flute, trumpet and bendhe (Kunst, 1973: 294). The unique name was the Javanese
pronunciation of the word "March Van den Broek", which was most likely derived from the
name of the Dutch military commander. In its development, because of the socio-political
factors that occured in the palaces of Central Java (Surakarta and Yogyakarta), the activities of
Western music were increasingly frequent.
From several sources that the author has searched for, the Sultan of Yogyakarta has
already got a gift of musical instruments from Sultan of Turkish-Ottoman, but such instruments
are not explained for its kind whether they are in the form of Western musical instruments or
Turkish musical instruments (Researcher Team of Indonesia Academy of Music, 1982: 3). The
archive of Keraton of Yogyakarta which was once seized by the British armies when they
occupied the Sultan Palace (1812) provided interesting data. First, on the celebration of Grbg
Siyam in 1807 under the reign of Sultan Hamengku Buwana II (1792-1810), among the objects
2
carried on the celebration there were two drums. In military music corps which consist of ten
bregada, each of it has one or more drums. The total instruments are fifty-five drums and thirtynine flutes (Carey, Hoadley (ed.), 2000: 284). Second, in 1805 there was already known a
position of a palace servant for drums, flute, and salompret (Carey, Hoadley (ed.): 284).
Babad Ngayugyakarta volume III provides important information for historical study
of this writing. Babad Ngayugyakarta as a diary of a sultan who is on the throne, tells the
sultans activities and results of the works that have been performed during the reign. The
information obtained from this source is about the events of the cultural contacts which are
previously started from the protocol ceremony to the cultural arts activities.
Another source of the existence of Western musical instruments that is on one of
Keraton of Yogyakata archive documents entitled Ngayugyakarta Pagelaran, writen by RNG.
Kartahasmara translated by Wibatsu Harianto Soembogo (Yogyakarta: Soemadidjaja
Mahadeva, 1990) provides information about the data of Yasan Dalem of Sultan Hamengku
Buwana (HB) I to Sultan HB VIII. The specific information from this document that the use of
Western musical instruments combined with Javanese gamelan to accompany the dance is on
the data of Yasan Dalem of Sultan HB V (1923-1955) and Sultan HB VIII (1921-1939).
A blend of Western musical instruments with the Javanese gamelan performed by
musicians of Keraton of Yogyakarta and assisted by foreign musicians is an effort to create a
piece of gamelan composition called gendhing mares/march (Dutch) (Sumarcham, 2003: 113).
The creation and use of the gendhing mares according to musicologist Jaap Kunst refer to
"typically hybrid ensembles" (ensemble that is typically hybrid or "mulatto" (Kunst, 1973: 293294).
The blend of Western musical instruments with the Javanese gamelan to accompany the
female dance such as Bedhaya and Srimpi is on a part of kapang-kapang in the piece of march
accompaniment. Similarly, in the accompaniment of beksan Lawung Ageng performed by a
number of male dancers, almost the entire repertoire is accompanied by Javanese gamelan
simultaneously (Unisono) with western musical instruments such as trombone, trumpet,
clarinet, big drums and drums, except in war movement (sodoran). At first, this beksan Lawung
was accompanied by pelog special gamelan orchestra which is an inheritance gamelan of
Keraton of Yogyakarta named Kandjng Kyai Guntursari (Mardowo, 1981: 130). Although the
sound produced from the blend of gamelan instruments with a Western musical instrument
sounds a bit strange to the ears of Western musicians, but the tradition that has been presented
in this palace seems to be very graceful and regal for the ears of Javanese (Soedarsono, 2010:
62).
Based on the explanation above, the subject of this paper will be limited on historical
studies of musical events that occurred in Keraton of Yogyakarta which involves both the
Western musical instruments as the accompaniment of dance and of ceremonial and protocol
ceremonies during the reign of Sultan Hamengku Buwana V (1823- 1855) and Sultan
Hamengku Buwana VIII (1921-1939). However, this article will use a socio-political approach
in order to get a comprehensive answers.
Socio-Political Approach
This discussion of the socio-political approach would be limited to the political position
of Sultan as the main authority power. Thus, socially, the role has been embedded in the
decisions of a political nature. Nevertheless, the conception of the authority power will affect
the lives of other concepts including the concept of arts. Talking about the Sultan who holds
the main authority power, then the key factors have been put forward by Max Weber which are
relevantly expressed. It is said that the three types of authority are so encumbered by Sultans
characteristics, namely: (1) The charismatic authority, based on the influence and authority of
the person; (2) traditional authority, =owned by inheritance or hereditary; (3) rational legal
3
authority, which is owned by a persons position and its ability (Kartodirdjo, 1993: 150).
Observations which refer to the functions of the ceremony toward the use of Western musical
instruments and Javanese gamelan can be traced from the events that occurred in Keraton of
Yogyakarta either as the dance accompaniment and the music accompaniment of protocol and
ceremonial ceremonies.
Period of the reign of Sultan Hamengkubuwono V (1823-1855)
As what has been described in the Introduction above, in the reign period of Sultan
Hamengku Buwana V (1923-1955) there was a contact foreign culture which had settled into
Javanese culture (Kraton) with the blend of Western musical instruments in a musical
accompaniment of Javanese dance and protocol ceremony. If that statement is an indication of
the historical period, the sources of which can be referred as an event of cultural contacts are
more on limited nature of the relationship on the protocol ceremony and arts (Surtihadi, 1995:
54). This is due to the reason that the statement has been described in Babad Ngayugyakarta
about the cultural contacts events which were started from the protocol ceremony which soon
effected the arts as well. Here is an excerpt from Babad Ngayugyakarta which describes the
awards ceremony of Bintang Komandur to Sultan Hamengku Buwana V from the Dutch Indies
Government which was presented by Mr. Commissioner Resident, followed by a banquet at
Keraton and performances of bedhaya, srimpi dance and the ball dance:
54. Neng Mandungan kinurmat salompret tambur,
Sarawuhnja Sri Penganti,
kinurmat salompret tambur,
lumestari mandjing puri,
salompret musikan nyentor.
55. Barung lawan merdongga serakit umyung,
jata kang aneng Sitinggil,
duk gongsa munggang wus suwuk,
Dyan Patih lan wong rh djawi,
wangsul magelaran ngrandon.
56. Tan antara Djeng Residen kondur,
sakbangsanireng kumpeni,
kinurmat umyung gumuruh,
wus bubar sagung kang nangkil,
mangkana kang winirahos.
57. Karsa Dalem ngurmati bintang Komandur,
akasukan neng djro puri,
lan Tuwan Residen iku,
sakbangsanira kumpeni,
atenapi para Mitra.
58. Pra Pangeran dyan Patih sakondangipun,

mawanti bedhajan srimpi,
dedangsahan nginum-inum,
dhahar pista lan kundisi,
trusta manahing gunging wong.
4
59. Wektu iku kang sareng antuk komandur,

Djeng Sunan Surakarta-di,
kang antuk Riddr ing Ordu,
Djeng Pangeran Mangkunegari,
lan Djeng Paku Alam manggon.
(Babad Ngayugyakarta Vol. III. SB. Ms. Canto: 54-59, 73: Megatruh, p. 442).
The translation is the followings:
54. In Mandungan trumpet and drums are respected,
when they got into Sri Manganti,
trumpet and drums are respected,
continung to the palace,
the musicians trumpets sounded.
55. Along with two sets of gamelan sound,
which are in Sitinggil,
when Munggang gamelan stops,
the vice regent and external affairs officer,
come back to Pagelaran again.
56. Soon after the resident returns back,
and the other invanders,
honored with splendour,
after all finished appearing,
that is all told.
57. Sultan intends to honor the Commander,
to revel in the palace,
with the honored Resident,
together with the invanders,
so as the companions.
58. The Prince and the duke and guests,
Are waiting for bedhaya and srimpi dance,
While drinking and dancing,
a banquet of meal and a toast,
which makes all people happy,
59. At the time the one gets the Commander medal,
Sri Susuhunan in Surakarta,
who received Riddr ing Ordu,
Kangjeng Prince Mangkunagara,
and Kangjeng Paku Alam.
From the above description it can be determined that, the Commander medal award was not
only given to Sultan Hamengku Buwana V, but also given to Sri Susuhunan Surakarta, Prince
Mangkunegara, and Prince Paku Alam. Referring to this issue, some excerpts from Babad
Ngayugyakarta Volume III will be elaborated which refers to the protocol and ceremonial
events of cultural arts as follows:
5
52. Saurutirng prajurit,

tumekng Prawiratama,
ingkang sinambung wurine,
musikan gya upatjara,
myang antero bayongan,
tumuli jempana Agung,
tithane Djeng Dayinta.
53. Prajurit Nyutra angapit,
ing wuri Paneran werdah,
Mantri-muka sakantjane,
ingkang ngurung-urung lampah,
djadjaran wahos benang,
lan macanan selanipun,
sineling bendera cina.
54. Sakmarga prayitneng westi,
subamanggala gumentar,
salomprt tambur lan bndh,
musikan angantak-antak,
muryani kapirenan,
panjere urut lurung,
umbul-umbul pajeng krenda.
(Babad Ngayugyakarta Vol. III. SB. Ms. Canto: 52-54, Asmarandana: 73, pp. 381-82).
The translation is as follows:
52. The sequence lines of warriors,
Starting from soldiers of Prawiratama,
which are followed by,
musicians to accompany the ceremony,
and all the ceremonial paraphernalia,
then the great stretcher,
the queens vehicle.
53. Nyutra soldiers are flanking,
behind the old prince,
Prime Minister and staffs,
that accompanies a trip,
Jajar soldiers as the guide,
and macanan soldiers flank,
that carry the Chinese flag.
54. On the journey they are always vigilant,
The commander gives the command,
trumpet, drums and bendhe,
played by the musicians,
start sounding,
the sound heard to every corner of the street,
banners as the sign.
6
The above description describes the moment of the protocol ceremony involving the
Western musical instruments (trumpet and drums) as the completeness of the homage
ceremony. Observing the structure of the ceremony that is written in the above chronicle, it is
possible that, the description refers to the carnival procession of the marriage ceremony of
Sultan Hamengku Buwana V, of which it has been known as an official reference until the reign
of Sultan Hamengku Buwana VIII (1921-1939) (Sudarsono , 1983: pp. 162-'63). The
involvement of the musicians who played the trumpet and drum instruments has the assumption
that musical instruments were the heritage of Sultan Hamengku Buwana I who had ever
received a number of trumpet instruments from the Dutch Indies Government as proposed by
Ricklefs as follows:
Slowly the Sultans authority over his court and people, many of whom had so recently
renounced the undisciplined life of rebellion, was established. A number of rebels
submitted to him and were accepted as his subject. The form of kingship were
augmented by aquiring pusakas and by elaborating the Sultans visible status. In the
latter he was assisted by Dutch provision of trumpeters, elephants, Persian horses, and
a coach. The Dutch commented on Mangkubumis concern in all these things to follow
the example of the previous rulers of the Mataram empire (1974: 87).
From the above quotation it can be seen that the Dutch government is involved in
completing the establishment status of Keraton of Yogyakarta by providing a number of
trumpet players, elephants, horses from Persia and a coach. The other event that illustrates the
Western culture contact and the local culture are presented in the visiting ceremony of thSultan
Hamengku Buwana V to loji (Ceremony Tedhak Lodji).
Here is an excerpt from Babad Ngayogyakarta which describes the visiting exchange
ceremony of Sultan Hamengku Buwana V to loji (tedhak lodji), where the resident lives.
Instead, Mr. Resident also visits Keraton with the protocol homage ceremony of Keraton
followed by dances and dancing music:
50.
Wong kumpeni seketar kang baris,
drl sandjata angrok,
barung tambur lan musikane,
mawurahan gumentar nengkeri,
jata Sri Bupati,
miwah Djendral Agung.
51.
Wusnja mandjing dalem residensi,

anulja Sang Katong,
budhal kondur ingater Residen,
mungging rata Njai Djimat nguni,
sapraptaning puri,
Djeng Residen wangsul.
(Babad Ngayugyakarta Vol. III. SB. Ms. Canto: 50-51, Midjil : 65, p. 390).
50. The invander who are marching,
Set off the salvo shot,
together with the musicians play the
7
drums, blared presenting,

the arrival of the Regent,
and the the Great General.
51. After getting into the house of resident,
His Majesty then,
Leaving for home accompanied by Resident,
Taken to the carriage of Nyai Djimat,
Arriving at the palace,
Mr. Resident returned.
Based on the above quotation, the incident illustrates the ceremonial visit of Sultan Hamengku
Buwana V to the residents house (Tedhak Lodji) by driving a carriage of Nyai Djimat. The
military welcome ceremony with a salvo shot is in conjuction with the blared drums, it is
possible that these two ceremonial visits are conducted alternately. In each visiting event, there
is a banquet and wine party which are interspersed with the musical performances, dances, and
ball (Surtihadi, 1995: 63).
Babad Ngayogyakarta Volume III provides important information in the event of
protocol ceremonies which are in connection with the feasts either at Keraton or at residents
house as follows:
9.
Kendelnja musikan hurmat,
wedang madju kopi pohan myang hertih,
werata njamikanipun,
binarung lan musikan,
duk antara luwaring sewaka ladju,
main dansah lan kasukan,
larih mider wanti-wanti.
10.
Musikanira gumentar,
amurjani sadjaknja salin-salin,
antaranja wus nutug,
pahargyan dhahar pista,
sinelan myang kundisi nginum anggur,
ping sapta binarung surak,
musikanira nimbangi.
(Babad Ngayogyakarta Vol. III., SB. Ms. Canto : 9-10, Pangkur : 66 , p.397).
9. After the musicians stop saluting,
coffee, milk and tea,
along with the snack have been spread evenly,
along with the music,
when the banquet finished and followed by,
the ball, and fun,
drinks are served continuously.
10. The music is blaring,
adorn the atmosphere in turns,
seems to be enough,
8
the banquet,
interspersed with toasts and drinking wine,
seven times with cheers,
accompanied by music.
The above quotation explains that the ceremonial visits are a banquet of eating and drinking
between the Sultan anf the Resident, the noblemen, and the Dutch authorities. The use of
Western musical instruments in a banquet is to liven up the party. Heeding the functions and
roles of Western musical instruments found in the babad poetry, the Western musical instrument
has several functions, namely, to honor, to be used as musical interlude for eating and drinking
wine, even to accompany the ball dance.
Searching for the procession of protocol ceremonies involving the Western musical
instruments which is as a sign of homage as well as musical interludes of eating and drinking
banquet then performances of Bedhaya and Srimpi dance, accompanied by Western music is
clearly described in the text Babad Ngayugyakarta as follows.
Canto: 3-6, 67: Dhandhanggula:
3.
Musik barung merdng ngurmati,
para Ratu wus lenggah ing Bangsal,
Kentjana sami tur tabe,
kelawan Djendral Agung,
tata lenggah ing Bangsal Rukmi,
Sang Nata aneng kiwa,
dene kang sumambung,
bangsa kumpeni sedaya,
tengen Djendral pra njonjah lan pra putri,
tuwin para pangeran.
4.
Dene Raden Danuredja Patih,

sakondangja sumiwi neng tratag,
gya dhahar wedang sumahos,
lawan njamikanipun,
kang ngladeni para bupati,
dupi sampun werata,
gya lelangen madju,
Srimpi miwah Bedhaya,
nuli dansah larik mider wanti-wanti,
Sang Nata lawan Djendral.
5.
Akasukan aneng Gedhong Kuning,

Tuwan Djendral resep tyas katjarjan,
lumyat rakiting kedhaton,
gya dhahar pista kembul,
myang kundisi mawanti,
luwaring dhahar pista,
Djendral ladjeng kondur,
kekanthn lawan Sang Nata,
kandhg aneng pregolan Sri Penganti,
sawusnja tetabejan.
6.
Tuwan Djendral kondur marang Lodji,

9
nitih rata sakmarga kinurmat,

Sang Nata lan Djeng Residen,
kanthn asta ngedhaton,
tan antara Tuwan Residen,
kondur mring lodji bubar,
jata Djendral Agung,
lami dennja neng Ngajogja,
apepriksa ing rh lelangen Narpati,
dupi sampun palasta.
3. The music sounds with gamelan honoring,
palace officials who have been sitting in Bangsal Kencana,
shake hands to each other,
The Great General sitting in Bangsal Kencana,
The Majesty is on the left,
and who are behind,
are all the invaders,
on the right side of the General are the women,
the Dutch ladies and the princess,
and with the princes.
4. As the Vice Regent Danureja,
And others are standby on the terrace,
then meals and drink served,
along with snacks,
which are served by the regents,
after spreading,
the show begins,
Srimpi and Bedhaya,
Then dances and drink served continuously,
His Majesty and the General.
5. Have fun in Gedhong Kuning,
The General is happy,
with the buildings of the palace,
immediately have meals together,
and toast many times,
after finishing the banquet,
the General soon leaves for home,
hand in hand with the Sultan,
stop at the gate of Sri Manganti,
after shaking hands to each other.
6. The General returns to the lodge,
Riding a carriage and on the road being respected,
The Majesty and Mr. Resident,
hand in hand to the palace,
not so long Mr. Resident,
returns back to the lodge is completed,
as well as the Great General,
10
stay long in Yogyakarta,

see the palace cultures,
until finish.
The statement of the excerpt of Babad Ngayogyakarta above can be an indication of the
use of Western musical instruments in the protocol ceremony at the Palace of Yogyakarta.
However, it is possible that the use of Western musical instruments for the dance
accompaniment of Bedhaya and Srimpi dance is also originated from these events.
A source entitled Ngayugyakarta Pagelaran, outlines in details about the Yasan
Dalem data of the period of Sultan Hamengku Buwana I (1755-1792) until the period of Sultan
Hamengku Buwana VIII (1921-1939) (Kartahasmara, 1989: pp. 190-191). One of the Yasan
Dalem data which is interesting to explore in this paper is that Yasan Dalem data of the period
of Sultan Hamengku Buwana V (1823-1855) is about the blend between the palace gamelan
instruments, and the Western musical instruments such as trumpet, and drums for
accompanying some of the dances (beksan) kapang-kapang Bedhaya and Srimpi, and the
accompaniment of Trunajaya dance. From this source there is information obtained that the
ones who create the blend of two types for such instruments are two Dutch men named Van
Gought and Smith, based on the order of (Dhawuh Dalem) Sultan Hamengku Buwana V
(Kartahasmara, 1989: 191).
Here's an excerpt from Ngayogyakarta Pagelaran that describes the foregoing:
9.
Murjani Yasa Gendhing-gendhing sabrangan kanthi
Kairing ungeling musik trumpet, tambur, bedhug
lan sasaminipun. Kagem Nggangsani Kapang-kapang
Majenging/munduripun Lelangen Dalem Bedhaya,
Sarta Beksan Trunajaya. Ingkang nindakaken nggarap
Jumbuhing gangsa lawan musik tiyang Walandi
Inggih Van Gough sarta Smith. (Kartahasmara, 1989: 191).
Starting to create gendhing-gendhing sabrangan accompanied by the sound of trumpet
music, drums, bedhug, and other to accompany kapang-kapang and reciprocation of
Lelangen Dalem Bedhaya, and Trunajaya dance. The ones who are doing the blend of
gamelan with the music are the Dutch men named Van Gought and Smith.
In the above source of text it can be attributed to the position of the Sultan as the
authority power, the assumption is that the conception of the power of authority will affect the
concepts of another life included in the concept of arts (Soedarsono, 1989: 1-5). Thus it can be
stated that some terminology of languages such as Karsa Dalem, Dhawuh Dalem, Yasan Dalem,
Lelangen Dalem, and so forth, being valid when they are associated with the conception of the
Sultans authority, and its relation to the conception of art (Soedarsono, 1989: 1-5).
The Period of the Reign of Sultan Hamengkubuwono VIII (1921-1939)

The observation of the historical period of the performing arts in Keraton of Yogyakarta
becomes more attractive during the reign of Sultan Hamengku Buwana VIII (1921-1939); this
is because the Western culture had increasingly influenced the conception of arts in Keraton of
Yogyakarta. Ngayugyakarta Pagelaran illustrates more clearly on the influence of the
position in the Yasan Dalem data for the period of Sultan Hamengku Buwana VIII (1921-1939)
as follows:
7. Karsa Dalem njangkepi iringaning Kapang-kapang Bedhaya/Srimpi,
11
Beksan Trunajaya, Srimpi Pandelori miwah Srimpi Muncar, kanthi

tambahan musik gesek/biola (Kartahasmara, 1989 : 193).
Karsa Dalem completes the accompaniment of Kapang-kapang of Bedhaya / Srimpi,
Trunajaya dance, and Srimpi Pandelori and Srimpi Muncar, with the addition of stringed
musical instruments / violin.
In the excerpt taken from Ngayugyakarta Pagelaran above, it is clearly stated that the
addition of string instrument/violin in the dance accompaniment, as of the wishes of Sultan
Hamengku Buwana VIII. It is known that the period of Governance of Sultan Hamengku
Buwana VIII (1921-1939), Keraton of Yogyakarta had a Western musical orchestra that played
the Classical Western standard repertoires. At that time Sultan invited Walter Spies to lead his
orchestra as conductor and composer. During his tenure as the conductor of the Keraton of
Yogyakarta orchestra, Spies lived in nDalem Joyodipuran, he also took time to learn the
Javanese gamelan in Kadipaten Pakualaman (Rhodius, Darling, 1980: 21-27).
The growth of performing arts of Keraton Yogyakarta was very prominent in the period
of Sultan Hamengku Buwana VIII (1921-1939). Particularly in the accompaniment of dance,
gamelan was enhanced and many new Javanese music were created to accompany the dance or
wayang wong. Sultan Hamengku Buwana VIII fully encouraged the experts in the creative of
arts so that there were many works of dance accompaniment became more valuable and vibrant,
especially Sultan had figures who were experts in arts such as K.R.T. Wiroguno, K.R.T.
Purbaningrat, K.R.T. Madukusumo, R.W. Larassumbogo and so on, even the art of Western
music was also developed to accompany beksan. Two experts of Western music, Spies and
Gotsch were asked to train the musicians. (Suharto, 1981: pp.119-121).
A study of the existence of the Diatonic Music Corps of Keraton Yogyakarta by the
Research Team of Indonesia Academy of Music (AMI) in 1982 explains that, the needs of the
ceremony protocol did not only cover the use of oversized carriage of a king named Kyai
Garuda Yaksa and some other devices, but also on the establishment of a Western music corps
that could be claimed to be representative as the welcoming ceremony of the Governor General
of the Netherlands (AMI Research team, 1982: 14). AMI Research Team mentions that the
growth of the Western Musical Corps began with the presence of Walter Spies in early 1923,
but this data is not appropriate if it is matched with the biography of Spies because Hans
Rhodius was the one who wrote that the presence of Spies in Yogyakarta and started joining
the Diatonic Music Corps of Yogyakarta Keraton in 1924 (Rhodius, Darling, 1980: 21).
Spies served as the conductor of Kraton Orcest Djogja for three years (1924-1927).
With a heavy heart, Hamengku Buwana VIII granted the request of Spies resigned as the
conductor Kraton Orcest Djogja. As a multi-talented artist, before heading off to Bali in the
mid of 1927, he also studied Javanese gamelan with K.R.T. Djojodipuro and in Pakualaman,
then after that he moved to Bali to be a painter and choreographer (Rhodius, Darling, 1980: 21).
After Spies left his job at kraton, the conductor of Kraton Orcest Djogja was held by
Raden Lurah Regimentsdochter I. On August 5, 1931, Raden Lurah Regimentdochter I died,
then the head of Kraton Orcest Djogja was replaced by Raden Lurah Regimentsdochter II (also
known as Raden Riyo Suryowaditra, on January 11, 1950 who was granted a promotion as
called Raden Wedono Prodjowaditra (Surtihadi, 2007: 29).
12
The names and types of gendhing GATI who are used to accompany Kapang-kapang
Bedhaya and Srimpi:
1.
2.
3.
4.
5.
6.
Gendhing Gati Brongto

Gendhing Gati Raja
Gendhing Gati Mardawa
Gendhing Gati Padasih
Gendhing Gati Wiwaha
Gendhing Gati Sangaskara (Soerjadiningrat, 1980 : pp. 35-39)
In the notation reading of gendhing that has been transcribed into block notation
(especially in the accompaniment of kapang-kapang), the musicians should be able to
understand the sequence of sentences of gendhing phrase that is ended with the sound of a big
gong instrument. This leads to the cessation of the music which is not always at the end of the
sentence the music, the music cessation may occur in the middle or even at the front of a
sentence phrase of music that is always ended with the sound of a big gong. In accompanying
bedhaya dance or srimpi dance it must have to adjust the duration of kapang-kapang which is
always different. The size of the bangsal as a place to perform strongly influences the duration
of the musical accompaniment.
Conclusion
The presence of Western musical instruments in Yogyakarta since the reign of Sultan
Hamengku Buwana I (1755-1792) began with the donation of the Dutch trumpet instruments
to complement the needs of Keraton protocol. The existence of Western musical instruments
continued during the Sultan Hamengku Buwana II (1792-1810) with the additional positions of
salompret drums flute servants, this terminology refers to a trumpet player. The combination of
Western musical instruments (trumpet and drums) with Javanese gamelan was performed
during the Sultan Hamengku Buwana V (1823-1855) to accompany the dance of Kapangkapang, Srimpi and Bedhaya, as well as to accompany the dance of Lawung Ageng by two
Dutch men Van Gought and Smith based on the order of Sultan.
A blend of Western musical instruments with the Javanese gamelan reached its peak
during the Sultan Hamengku Buwana VIII (1921-1939) when the Sultan had a complete
Western diatonic musical corps with the conductor Walter Spies. The Bedhaya and Srimpi
kapang-kapang dance accompaniment with full orchestra included string instruments,
woodwind, brass and percussion instruments.
A particular uniqueness that Keraton of Yogyakarta has is becoming the center of
Javanese culture which contains of ceremonies of Javanese tradition, but the culture of the
Western (western music) is capable of being a part of a tradition of performing arts at Keraton.
The development of Western musical orchestra in Keraton Yogyakarta and the use of full
instruments of Western music which is combined with the accompaniment of dance have the
assumption that it is part of the "political culture" of Sultan Hamengku Buwana VIII who
wanted to show his greatness through cultural splendor.
13
Bibliography
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Yogyakarta.
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(ed.) Documents Relating to Economic and Agrarian Affairs. London: Oxford
University Press.
Djoko Sukiman, 2000. Kebudayaan Indis dan Gaya Hidup Masyarakat
Pendukungnya di Jawa (Abad XVIII Medio Abad XX) Yogyakarta: Bentang Budaya.
Kartahasmara, R.Ng. 1990. Ngayugyakarta Pagelaran. Transliterasi Wibatsu
Harianto Soembogo. Yogyakarta: Mahadewa.
Kunst, Jaap. 1973. Music in Java: Its History, Its Theory and Its Technique.
Third, Enlarged Edition. Edited by E.L. Heins. Vol. I, The Hague: Martinus Nijhoff.
Lindsay, Jennifer et al., 1994. Katalog Induk Naskah-naskah Nusantara, Jilid 2:
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(ed.). Mengenal Tari Klasik Gaya Yogyakarta. Yogyakarta: Dewan Kesenian Prop.
DIY.
Rhodius, Hans. Darling, John, 1980, Walter Spies and Balinese Art, Amsterdam:
Terra, Zutphen.
Ricklefs, M.C., 1974. Jogjakarta Under Sultan Mangkubumi (1749-1792), A
History of The Division of Java, London: Oxford University Press.
R.M. Soedarsono, 1989. Raja Jawa dan Seni: Sebuah Contoh Pengaruh Konsepsi
Seni Pertunjukan. Makalah Ceramah pada Proyek Penelitian dan Pengkajian
Kebudayaan Nusantara, Bagian Jawa, tanggal 25 September 1989.
______________, 2010. Seni Pertunjukan Indonesia di Era Globalisasi,
Yogyakarta: Gadjah Mada University Press.
R.M. Surtihadi. 1995. Instrumen Musik Tradisi Barat Dalam Iringan Tari dan
Upacara Protokoler Kraton Yogyakarta (Sebuah Tinjauan Historis). (Skripsi).
Yogyakarta: Fakultas Seni Pertunjukan, ISI Yogyakarta.
___________, 2007. Musik Orkestra Barat di Yogyakarta Masa Pra
Kemerdekaan dalam Resital, Jurnal Seni Pertunjukan . Volume 8 No.1 Juni.
Sartono Kartodirdjo, 1993. Pendekatan Ilmu Sosial Dalam Metodologi Sejarah.
Jakarta: Gramedia Pustaka Utama.
Sidharta, Amir. 1999 . Kabar dari Bali: Surat-surat Spies Kepada Pasangan
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Gotsch, MITRA: Jurnal Budaya dan Filsafat No. 3 - Desember.

Soerjodiningrat, Wasisto. 1980. Gendhing Beksan Mataraman, Yogyakarta:
Proyek Peningkatan Pengembangan Perguruan Tinggi, Sub Proyek Festival Seni
Budaya.
Suharto, Ben. 1981. Perkembangan Tari Klasik Gaya Yogyakarta dalam Fred
Wibowo (ed.). Mengenal Tari Klasik Gaya Yogyakarta. Yogyakarta: Dewan Kesenian
Prop. DIY.
Sumarsam, 2003. Gamelan, Interaksi Budaya dan Perkembangan Musikal di
Jawa, Yogyakarta: Pustaka Pelajar.
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Diatonik Kraton Kasultanan Yogyakarta, Yogyakarta: AMI.
15
Gamelan notation that has been transcripted for music orchestra notation.
16
17
Soliloquies:
A Movement-based Approach towards Becketts Waiting for Godot
Riana Diah Sitharesmi
Gadjah Mada University
Humans suffering is perpetuated for another indefinite period of life. Some of those are
compliant, some others keep questioning and searching, and the rest of them are ignorant. Life
just meets its meaningless inquiries as human being continue to suffer. Todays wars are even
worse than premillennial ones, as we live in a world that offers us a false peace. We have many
questions upon chaos without knowing whom should we trust. At the end of the day, we reflect
on our contribution to this universe. We question about the existence. But whose existence
actually is examined, as the human desperations continue? Samuel Beckett (1906-1989)
experienced the shock during and after World War II to witness physical humans wreckage of
war. The unspeakable horror of massive execution by a nation towards other nations brought
his concern of human life that was without meaning and absurd (Sternlicht 2005, p. 58). Beckett
wrote his script for the play Waiting for Godot (1953) within the deep concern towards his
own experience as a witness of worlds irony.
My research examines another understanding of Becketts Waiting for Godot (WfG),
which is manifested in the form of an essay as a writing component, and a dance piece as a
choreographic assessment. The conceptual foreground is drawn from the circumstantial
analysis of a duality of humans strategies confronting the difficult situation in their waits; in
this case is Vladimir and Estragon as archetypes of human character and condition. A dance
piece entitled Soliloquies, embraces choreographic manifestation to represent the essential
theme of human struggle through its studio process. An artistic-based research is the base line
throughout the process to put practical works as equal level as academic references. Within a
concern of human condition today, this project reflects parallel lines of work between my
personal enquiry and Becketts queries about the meaning of life. The quest is structured in
such way that questions and answers can be studied and analyzed, considering a dance piece
somehow meets insufficient device to present the abstract. Something more tactile should be
developed or reconstructed without necessarily losing its sense of abstract, in this case is the
meaning of life and the inquiries beyond.
The Soliloquies dramatic development refers to Samuel Beckets WfG both in its artistic
staging and in its content. It is for allowing the dance piece to represent an important
understanding towards humans daily waits that is embedded in the play. The play clearly
presents the absurdity through the irony of two archetypes (Vladimir and Estragon) who keep
their endless waits without assurance the expected ones arrival (Godot). There are counterparts
pulling to each other as if a conflict between faith and doubt, strength and weak, self-reflection
and impatience, and serenity and anxiety. The counterparts do not necessarily a rivalry, but to
be taken simultaneously as parts of humans manner to assimilate the difficult situation.
Soliloquies dramatic tension emerges from two protagonists dialogues and monologues,
through which I attempt to discover an alternative way bringing the abstract concept of human
condition into a tacit understanding.
18
The dramatic tension, which Soliloquies much aware to draw for, as in the play, is more
inclined to share the individual experiences and character developments during the process
rather than expressed through a formal vocabulary and complex dance technique. The prime
target is to reveal the unknown, through deconstructing dance routines. I use Balinese dance
elements to be explored along with Javanese shadow-puppet (wayang kulit), figural design of
The Thinker statue and slapstick gestures, to avoid finite forms of traditional spaces. Balinese
dances distinctive expressions are manifested in the trembling fingers (jeriring), the
astounding change of face expression (nelik and manis rengu), and the glancing eyes (seledht),
while the unity of legs, torso and arms embody the significant value of three bodily fractures as
a resemblance of Indians Tri Bangga. Antonin Artaud found that Balinese dance appearance
was like a three dimensional hieroglyph, woven with a number of certain gestures, which give
a mysterious sign correspond to the unknown, fabulous and obscure reality (in Watson et al,
2002, p. 65). This indirectly links to the idea of anything undefined in WfG, which allows a
sense of uncertainty to emerge. I deconstruct some elements to create something else out of
their routine, respectfully to not leaving behind their ontological value.
A recognizable static gesture of Augusto Rodins The Thinker has been universally used
to depict a man in a solemn figure. A powerful and provocative pose is ordinary, but the details
of hand position to the chin with the elbow to the opposite knee, and the crouching position of
the torso let the statue observing contemplative sphere in a very poetic way. This unique
gesture is beneficial to represent philosophical aspect of WfGs two protagonists. Vladimir and
Estragons persistence in their plight and without assurance of Godots arrival transcend all the
knowledge and intellectual consciousness, as Brater cited:
Their lines are nourished, too, by faint recollections of Dante, Shakespeare, Caldern, Shelley,
Dickens, Schopenhauer, Verlaine, Berkeley, Hlderlin, Joyce, and Yeats (the list is not
complete). It was just such an allusive texture that made the critic Vivian Mercier tells Beckett,
You make Didi and Gogo sound as though they have Ph.Ds. How do you know they
hadnt? was the playwrights prompt response (1989: 75).
The way Beckett creates intellectual prattles is to provoke his audiences to think. The
Thinker somehow becomes a tribute to Becketts intellect and his humanistic concern, while it
also emerges the embodiment of intellectual behavior for his two tramps being represented in a
dance piece.
WfG conveys the ironic through its prattles and actions, which actually embody the deep
meaning of both verbal and non-verbal communications. Accordingly, humor that Beckett uses
in his play challenges his audience to reveal the tragedy through transcendental ways. Humor
could convey the sense of tragedy in a play as well as the play shows the tragedy itself. It is a
method that Beckett chooses to present intelligence without tendency to fail the play become a
lecture exhibition. Slapstick mayhem and two protagonists prattles make the plights less
dramatic, which even easy to penetrate audiences concern. The lonely set, a country road and
a tree, intricately juxtapose the suicide provocation with the protagonists faith; it is an
amusement and a reflection of hopelessness at the same time.
Without tendency to make a comical performance, the Soliloquies conquers the slapstick
phrases to commence a little enjoyment amongst uncomforted situations. I observe Charlie
Chaplins silent movies; a lonely little tramp who endlessly experiences suffer, hunger, and
19
jobless, but he presents his sensibility of helping others and coping his unfortunates within
funny, sometimes silly actions. Chaplin brings his audiences into laugh and tear through his
cinematic slapstick motions. WfG achieves its irony through its characters that somehow
represent Chaplins tramp; a bowler hat, a pair of boots, and an icon, as Sternlicht (2005) agreed
that Vladimir and Estragon did not evolve far from Chaplins Little Tramp (p. 52).
Artistic process and Choreographic Orientation
1. The performers and dance techniques: Considering Individual Character

The movement is the prime device for Soliloquies to bring the dramatic structure in a dance
performance. To achieve the logical and significant movement development, choreographic
process is commenced through individual explorations, which most rely on dancers
characteristic. I refer to Pina Baucshs method of repetition and individual development which
is significantly helpful during the process. Bausch instructed her dancers to create any
movement as a respond towards their own memories of childhood or daily activities. Extensive
repetition, for Bausch, was one of the tools to reconstruct dancers past experiences that were
gradually shaped into aesthetic forms (Fernandes, 2005, p. 26). In Soliloquies rehearsals, this
method is employed to address each dancers character to emerge their on-stage
personifications. Their memory of being persons who are waiting is crucial. It is not very
surprised to see the differences of each dancers gesture as both have some contradictive
manners to each other. Above all, their distinctive gestures as the manifest of each owns manner
passaging the time create the monologues within the duality.
Bauschs repetition method is also applied to reach meaning for the whole dance structure
by repeating sequences or phrases. The sculptural gesture of The Thinker is developed through
repetition from the very simple one to its possibilities to grow in complex phrases. In some
sequences, there are tendencies to repeat several phrases. The repetition itself could be an
alternative way for Soliloquies to represent the absurd. Potential kinesthetic explorations of
dancers past experiences show its ridiculous senses and express the forms of absurd. Such a
technique is adequate indeed, by which my dancers achieve intense feeling within the forms.
We somehow get the atmosphere of anxiousness, annoyance, and chaos whereby I reconstruct
the dramatic structure of a whole.
As a non-verbal language of WfG, Soliloquies elaborates an intercultural sphere covering
the process of dialogue among difference individualities. Those I called individualities are
dance vocabularies, Becketts WfG, the two dancers, and my ideas. Dance vocabularies I drew
from specific Balinese dance elements are recognisable, so they might represent my identity as
an Indonesian contemporary dancer. Two dancers with different cultural perspectives express
the essential of WfG by articulating the choreographic idea through dramatic sequences; hence,
their embodiment in dance techniques and backgrounds are crucial. Analogically resemblance
to Vladimir and Estragon to represent the manner of waiting, each dancers persona is observed
accordingly. As an outcome of orientating Bauschs method, and exploring The Thinkers
figural space and Balinese dance during the choreographic process, the dancers personas
emerge their respective presence, which is somehow distinctive. Such engagement furthermore
can necessarily be an individual establishment to develop the choreographic structure. Their
20
respective cultural background might inform their characters. However, Soliloquies dramatic
structure less relies on it, and rather intends to emerge it from their personal characters.
Nefeli Tsiouti is a female dancer-choreographer who was born in Cyprus and has been
embodied to her contemporary culture. She has been learning basic ballet, modern dance and
hip hop by the time she participates in this project. As she is given the half-fixed dance
materials, she presents the movement phrase within her powerful energy. In the three first
sequences, Nefelis energy creates sharp direct movements that design short straight lines,
which could be associated to the strength, provocation, youth, and impatience. To represent
anxiety in fourth sequence, her persona is exposed further using the performance technique of
Javanese shadow puppet (wayang kulit). The two dimensional design of wayang kulit is
somehow having an intriguing appearance. Obviously, it is performed by dalang in the wide
white screen, so the audiences have the shadow to see. The body of the wayang faces forward
while its face and gaze are in profile either right or left side. I explore this unique appearance
to produce exaggerated looked angst body and gestures as a symbol of a bodily attitude in
anxiety. I encourage Nefeli to use her dance body to struggle in finding a way out from limited
space through physical enforcement. But the more movements she produces the less space
achieved. It triggers a comprehensive manifestation of a dance body that literally keep trying
to have more space, but would have less space instead because of its finite range of movement.
Martin (2001) corresponds such anxiety to an attitude of passive waiting; thus, it is a
confrontation against the action of time itself whenever we have to deal with any matter of waits
(p. 50).
Fumi Tomioka is a Japanese dancer-choreographer who experiences modern dance for
years and embodies the Pilates studies. Pilates has been giving her a kind of self-managing for
her limb flexibility and such technique of breathing. Fumi develops dance phrases and sets them
into half-fixed dance sequences. In the two first sequences of the dance, her movement
development is initiated with the exploration of both metaphysical and literal space.
Metaphysical space is conveyed through engagement of moving body with the sense of
movement itself, and through concentrating towards the logic of movements travel within
Pilates breathing technique. Literal space is achieved through exploring the stages space that
allows her to travel around within the movement and floor design. With the action above, Fumi
reaches somatic gestures. They are meant to give a sense of reflectivity of moving body, and
to explore her persona as a brainy movement to create contemplative atmosphere. Being
reflective, Fumi somehow represents Vladimirs questions and wisdom. Her energy is more
fluid and soft in communicating the sense of tiredness and age. Fumi experiences the active
waiting, thus she passes the time. In Martins term it is noted as human tendency to forget the
passage of time (2001: 50).
2. The philosophical query, interpreting the God in Waiting for Godot
Does God still exist in this modern society where the insurance system is treated as
God himself? Why does not man just commit suicide to be set free from suffering and
ridiculous poverty? What does man wait for? Is it something better to come that may fix the
worlds catastrophe? Or all just fall into a mere utopia, while most of the damages of this world
are the results of human behaviors? In all parts, humans tend to play the roles as lords of the
universe. Perhaps, this time is Gods turn to observe how human disentangle the universe
from suffering; He watches over whether people would help each other, or prefer to stand over
21
others plights instead. It is not our concern to ask whether God will help us or not. It might be
better if we previously examine our respective presence for others, and for the universe.
WfG does not explicitly define who or what Godot is and so do its reviews. Beckett himself,
whether his statement is true or political, says that if he means Godot is God, he would have
said so in the play. The existence of Godot even becomes paradox as the two protagonists find
that Godot hits the messenger boy; yet, they remain waiting for the arrival. As for how Vladimir
and Estragon deal with few information about Godots identity, their manner of waiting deserves
to be questioned: is it emerging from their faith towards Godots existence? Or is it departing
from their owns commitment? Both require strong will for them to keep waiting. Is it perhaps
because they instinctively know that Godot is the only one who have the answers for their
questions? Yet, Godot never comes, nothing changes to meet their expectations, and they keep
waiting. Is it absurd? Such religious ideas constitute often the base of human thinking, and they
provide the guidelines to follow a spiritual path. As Bryden (1998) said, perhaps we should not
too worry about seeking Him when there is no assurance of an answer upon every question.
We might commence all our odysseys to move toward any forms of kindness, and within our
patience and fortunes, we might achieve our expectations. But if searching Him is still very
crucial, a strong and consistent faith is required to keep all appointment are worthwhile (p. 130).
WfG treats the manner of waiting as the essence of the play. Martin (2001) assumed it is
not Godot the subject of the play but waiting, representing the essential manner of waiting and
human condition within the characteristic aspects. Waiting is the nature of all human being do
entire life, and Godot is the simple representation towards mans waiting. It could be a person,
a thing, an event or death (p. 50). Having undefined characters, an unending resolution,
exploring a static situation, and thus, inviting many interpretations and adaptations throughout
the world, WfG becomes a credible example of what Martin claims the theatre of the absurd.
The play does not tell a story. The sequences suggest the audience to feel the dramatic tension
upon the words and the gestures of its characters. The meaning does not necessarily emerge
from every single sentence or gesture, but it is drawn holistically through the whole structure,
the atmosphere of artistic development and its conceptual content. It is obvious that Beckett
wanted his audience to consider the value of life through the play. Sternlicht ( 2005) pointed
out that Waiting for Godot is a philosophical play.intangible values, such as belief in the
existence of the Deity, patriotism, truth, love, friendship, honor, power, and even intellectual
accomplishment.Beckett wants us to contemplate the smallness of our lives (p. 56).
The manner of waiting that Vladimir and Estragon show in the play represent a
philosophical query in their individual existences. In their waits for Godots arrival, they are
actually waiting for their owns existence to appear. Vladimir is symbolized being more
thoughtful and having more awareness of his place in the world, while Estragon is more
responsive towards his own needs and necessarily having more complain upon his misfortunes.
Estragon has more bodily interaction with physical things. He complains his boots, experiences
pain so much, eats carrot and turnip his friend gives to him, picks up leftover chicken bones,
sleeps well and dreams. Estragon is likely a skeptical type and pragmatic. Vladimir appears in
contrast to Estragon, with all his curiosity. He doubts and disagrees. He sings and lullabies
Estragon to sleep. He has speeches and he draws conclusion of events. Vladimir represents a
confident and affirmative attitude. Although they have same prime cause of anxiety, Vladimir
and Estragon develop different strategies to confront reality. Things happened, passed by and
flowed within the time they have, Vladimir and Estragon keep doing the routine; meeting others,
helping others and serving social contacts. Mayhems of Pozzo and Lucky have to be served as
22
well as their waits, so time allows them to go forward to the changes. They, like all humans,
continue to wait, to hope, and to expect while trying to maintain some semblance of dignity,
some communication with others, and some concern for those with whom their lives are linked
And when all is said and done, we hope we shall be able to say, like Vladimir, that at least
we have kept our appointments (Sternlicht, 2005, p. 49).
Godot is a metaphysical concept of an expected savior to whom Vladimir and Estragon
could ask for helps. But the absence of Godot is profoundly repeated and the protagonists remain
waiting. It is inevitably absurd, so that Martin (2001) analyzed waiting is just a constant change
that flows through action of time. The change is merely an illusion if nothing real happens, but
the routines bring an unending activity of time; a purposeless, null, and void self-defeating. The
world meets its terrible stability by changing things that are actually same (p. 67). I argue there
is nothing purposeless for every single action of waiting. Vladimir and Estragon experience the
constant change of time through every single self-defeating that is not empty, nor meaningless.
If waiting for something indefinitely takes them into the territory of the absurd, Vladimir and
Estragons unsolved problems might be looked at as a reflection upon different kinds of faith.
WfGs last scene allows indefinite protagonists decision to choose whether they prefer to be
drown in desperation (considering Estragons suggestions of committing suicide) or to keep
waiting and hoping. Afterwards, that is not other existences WfG wants to talk about except its
protagonists journeys. It is an ontological query about how we, within the absurd worlds
utopian state, reconstruct our self-existence to finally meet our Being, and that by doing so, we
will meet some achievements at a later stages.
3. Soliloquies Dramatic Sphere
There are many aspects, in addition to the humanistic terms embodied in WfG, that open
plenty of possibilities to bring the play to become an icon for other related subjects beyond the
theatre itself. My version of the play might have a quality as a more subjective interpretation
considering I often work intuitively. This creates conflicts among ambiguous ideas that
somehow restrict my perspective for being logic. However, I believe of metaphysical meaning
addressed through absurd communications and actions, while there is also real situation
suggested by the whole structure of the play. Sternlicht (2005, p. 57) noted that WfG is both
abstract and sensual because of the blends between natural and unnatural, the real and the
absurd, the poetic and dramatic that Beckett elaborated with the verbal economy of a modern
poem. I do not use a pure logical and exact approach, as it is not enough to understand the
richness of Becketts mind in WfG. Rather, I trust my intuitive choreographic knowledge to
commence the work. I consent furthermore, that Soliloquies achieves its artistic manifestation
through dialogues between primal aesthetic experiences and theoretical investigation, which
counterbalance to each other.
The humane circumstances, the faith, the doubt, the twilight scene of set, the tree, the
country road, and the timeless wait, develop dramatic spaces to meet the absurd. Soliloquies
movement development intends to focus on protagonists coping strategy in constructing
dramatic structure into four sequences. The introduction scene initiates distinctive manners of
the characters through juxtaposing Fumi and Nefeli in visual figures, movements, properties,
shape of the boxes, and the spotlight. Dressing in black housemaid uniforms, the two dancers
represent the female workers generally. The green kitchen apron highlights an aging thoughtful
23
figure, while red kitchen apron translates impatience, youth, and desire. The stage is warmed
up by a nuance of contemporary Bali from Mc. Phees Nocturno.
The first sequence talks about counting; it could be counting the days that have been
passed during the waits, or contemplating the present and the future time. Elaborate the
differences, Fumi brings her motion out of the spot and explores the whole stage in circular.
Nefeli on the contrary is barely outs of her spot, moves frontally and explores the box instead.
An irregular rhythm of Paradise Regained by I Wayan Gde Yudane helps the second sequences
to intensify contradictive movement qualities. The elements of slapstick dominate third
sequence to represent the consciousness of friendship and the effort of being playful, which
somehow creates an ironic mayhem covered by Strauss Blue Danube.
Although the piece does not intend to build the battle between those two the body and the
mind , the movement development within dynamic differences characterises body and minds
monologues, which analogically resemblance of Vladimir and Estragons different strategies
confronting helplessness and hopelessness. To refer to how the protagonists build their faith in
Godots arrival, the Soliloquies brings the optimistic attitude to consider their waits for the sake
of their respective existence. The body and mind are crucial parts of human beings existence.
They are not supposed to be separated, nor exist on their own. This concept frames the idea of
creating a duality based on each characters individuality, and it helps to develop the
simultaneous monologues into a dialogue. A dialogue itself does not necessarily imply
questions and answers, although these might often appear. For example, if ones speak about the
hat and the other one speaks about the boot, the dialogue seems broken. They do not seem to
connect, and they never meet. But at the same time they are connected; they simultaneously
share time and space. Ones sceptical presumption juxtaposes with others strong faith. Such
juxtaposition brings a mirroring experience, which is reversing the roles.
This moment of reversal is conveyed in the fourth sequence, which is the last sequence,
towards the end. It is manifested through merging the two contradictive energies of Nefelis
anxious gestures and Fumis contemplative journey. There is a moment for the specific gestural
icon is transformed into that of its counterpart. At one point, as Nefeli is compliant to deal with
the limit, she has space, which is inner space that produces the fluidity of movement. Fumis
fluidity, however still exist, is less obvious as she tends to occupy Nefelis space. Then, their
monologues blend: naive within contemplation, impatience within nurturance, faith within
hopelessness, and unawareness within self-reflection. At the end of the phrase, Fumi has less
space, stuck on the up right in a puppet-like, but maintaining her tenderness, as if the occupation
of her mind can limit the motions. Nefeli becomes fluid, has a soft and tender spinning motion
as if she compliantly surrenders to the limit, to show the freedom of the body and therefore it
can feel and invigorates the mind. The reversal is the moment in which everything seems
meaningless; it is null and absurd. Having the limit is not necessarily negative. Fumi learns to
feel the anxious body without the absence of mind, while Nefeli acknowledges how to think
within the limited space. This moment is a transcendence of knowledge to find the equilibrial
existence of the body and mind.
The richness of Becketts WfG lies not only in its meaning but also the stage actions, which
somehow creates unclearness direction of representing it into another form of performance. As
Brater (1989) observed, Becketts actors in WfG convey the dramatic through both their
acting and repertoire of spontaneities; they do pantomime, crazy pratfalls, prattles, sight
gags, songs, dances, and they think, take off the shoes, try on the hats, fall asleep, and dream.
24
These complex on-stage daily actions make Becketts set speak a complete vocabulary of stage
business (p. 73). Accordingly, Soliloquies uses vocabularies that are not necessarily stylish or
being virtually spectacle. The simple, clear gestures and movements within straightforward
and modest designs may lead the sequences to reach a matter of complexity.
Conclusion
This artistic work of choreography undergoes delicate challenges during its whole process.
The tri bangga fails to appear as expected, although I could not say that it is unsuccessfully
explored. This three dimension hieroglyph of Balinese figure tends to require the detail of
gestures in which my two Western dance trained-dancers hard to master. However, within the
efforts and comprehensive discussion, my dancers finally well attached to Balinese energy and
its unique. To bring wayang kulit be more familiar to Nefeli, I apply similar reference that
indigenously lives in Greek culture, the karagiozis. Karagiozis is a Greek shadow theatre that
plays satire themes representing social injustice and common folk. Its main character,
Karagiozis, is a man who wears ragged clothes, walks barefoot, has no proper job, but always
want to struggle to get one for supporting his family. He does anything either helps or fools
others mischievously and often ends up being beaten or whipped. Karagiozis could respectfully
be associated to WfGs vaudevilles archetypes, who also experience of being jobless, hungry,
beaten and painful. This form of shadow theatre is apparently suitable for Nefeli to explore the
anxious body. Her familiarity towards karagiozis assists her to range the movements within
individual energy and style.
The reversal of movement characters represents the effort of finding the balance between
mind and body activity to encounter difficult situation during the daily waits. The presence of
Javanese shadow puppet needs to dominate the scene of reversal. Unfortunately, towards the
ends of our last rehearsals, the puppet-looked gestures and movement seem to less appear.
Timing problems in some rehearsals somehow challenge the artistic process to be compressed
and for not too ambitious to convey the uniqueness. But new vocabularies are embedded inside
the phrases to reach the dramatic tension from one sequence to another. The climax is not
sharp, as I establish a modest form of summary of what have been said previously in the last
scene of the piece. This meant to represent the cycle of life itself that everything in the past is
somehow repeated either in the similar appearance or being manifested into another shape in
present. Nevertheless, the similar re-appearance of so-called the past might not be absolute;
it comes to the present together with the experiences of how it was encountered. It brings the
knowledge in which human may learn to make the right decisions either for herself or other
peoples around. Soliloquies last scene imbues each characters decision to place her selfexistence at the more suitable position and condition.
My decision to work with two dancers is not intentionally because they both are so much
different to each other. That is primarily encouraged by their personalities to whom I could feel
comfortable expressing my ideas. Realizing that I myself is also much different from them both,
as a matter of fact provides me the challenge to look more widely into any possibilities
happened at the process. The strain between what we are agree or disagree often highlights our
dialogues. But many solutions bring us more to find forms of understanding each other rather
than mastering others. This hermeneutic sphere brings my choreographic experiences to the
next phase of artistic-based research as a part of philosophical reflection. Above of all, the
hermeneutic aura of two dancers elaborated through dialogues with each other, with the theme
25
underlines, with their respective dance technique, with my ideas and with new dance
vocabularies provides a whole creative process a new color and to merits further artistic
investigation.
Overall, the research works somehow include the deep personal involvement. It leads to
some spectacles to articulate the concept. The cycle of time brings human into daily repetitions;
many things happen are for passing the time, and at least some of them are precious enough to
be recognised as parts of the voyage. Since my Soliloquies represents inexplicit final decision,
it allows the essence of Waiting for Godot to be captured with varied interpretations. There
never be a definite truth, as the final is only the departure of another query.
References
Banes, Sally. (1987). Terpsichore In Sneakers: Post Modern Dance. Middletown: Wesleyan
University Press.
Barrett, Estelle & Bolt, Barbara (eds.). (2010). Practice as Research: Approaches to Creative
Arts Enquiry. London & New York: I.B Tauris & Co Ltd.
Beja, Morris, with S.E Gontarski and Pierre Astier (eds.). (1983). Samuel Beckett: Humanistic
Perspectives. Columbus, Ohio: Ohio State University Press.
Blom, Lynne Ann & L. Tarin Chaplin. (1989). The Intimate Act of Choreography. London:
University of Pittsburgh Press.
Brater, Enoch. (1989). Why Beckett. London: Thames and Hudson.
Brooker, Peter. (2003). A Glossary of Cultural Theory. London & New York: Oxford
University Press.
Bryden, Mary. (1998). Samuel Beckett and the Idea of God. Hampshire & London: MacMillan
Press LTD
Burkman, Katherine H. (1984). The Arrival of Godot: Ritual Patterns in Modern Drama.
London & Toronto: Associated University Presses.
Chaplin, Charles. (1964). My Autobiography. London: Penguin Book.
Essif, Les. (2001). Empty Figure on an Empty Stage: The Theatre of Samuel Beckett and His
Generation. Bloomington & Indianapolis: Indiana University Press.
Fernandes, Cianes. (2005). Pina Bausch and the Wuppertal Dance Theatre: The Aesthetics of
Repetition and Transformation. New York, Washington, D.C./Baltimore, Bern, Frankfurt am
Main, Berlin, Brussels, Vienna, Oxford: Peter Lang.
Fletcher, John. (2000). A Faber Critical Guide: Samuel Beckett. London: Faber and Faber
Limited.
26
George, David E.R. (1991). Theatre in Focus: Balinese Ritual Theatre. Cambridge &
Alexandria: Chadwyck-Healey Inc.
Gordon, Lois. (2002). Reading Godot. New Haven and London: Yale University Press.
Karic, Pol Popovic. (2007). Ironic Samuel Beckett, Samuel Becketts Life and Drama: Waiting
for Godot, Endgame, and Happy Days. Lanham, Boulder, New York, Toronto, and Oxford:
University Press of America Inc.
Martin, Esslin. (1980). The Theatre of the Absurd. Harmondsworth: Penguin.
Plunka, Gene A. (ed.). (1994). Antonin Artaud and the Modern Theatre. London and Toronto:
Associated University Press.
Prasad, V.R.N et.al. (1995). Understanding Absurd Drama. Aurangabad: Kirti Prakashan
Sternlicht, Sanford. (2005). Masterpieces of Modern British and Irish Drama. Connecticut &
London: Greenwood Press.
27
THE SECRET OF BRAHMS CELLOS SONATA NO. 1 OP. 38

AND
SHOSTAKOVICH CELLO SONATA OP. 40
Asep Hidayat Wirayudha
Abtract
This study aims to find a technique solution behind the Far interval and Octave interval in
Brahms Cello sonata no.1 opus 38 and Shostakovich cello sonata op. 40 through literature and
Discography approach. The fingering problems may poses special difficulties to any cellists.
According to the authors assessment, there are two problems that warrant special attentions of
the cellist. Both intervals may cause serious problems on the performance of short fingers
cellists. The size of the fingerboard on the cello as compared to other string instruments are
longer, resulting in harder difficulties regarding obtaining tone (Stowell, 1999). From the results
of the Far Interval and Octave Interval and active involvement of the researchers, the results
show that, what is shown that every cellist are anatomically different. The fingers of the cellists
are naturally very flexible. It can not be converted to another cellists. so flexibly that it is
possible to overcome the problem in a simple and convenient.
Keyword : Brahms Sonata cello No.1 opus 38,Shostakovich, octave ,Interval
Introduction
The principles of neck-positions fingerings on cello have been evolved since the cellist of
eighteenth-century extended their range beyond the first position. The principles have greatly
improved the skill of cellists to performs musical composition. However, by its nature, fingering
is a personal matter. What is regard as suitable principles or rules to one hand will not always
suit another. Therefore, one can not lay down any strict rules of fingerings although there are
certain general principles that can be followed. Among many factors determines the suitability
of any principles of cello fingering, the size of cellists fingers is one factor that seemingly out
of notice. The available cello fingering methods generally suitable for cellist having relatively
long fingers. Those having relatively short fingers may find many difficulties to apply the
principles. The aforementioned condition, which may cause serious problems on the
performance of short-fingers cellists, warrants new methods or approaches to improve their
skills. It is in this contexts the author process modifications of the available octave and far
interval etudes in order to improve the performance of cellist. The Brahms cello sonata cello
No. 1 op. 38 and the Shostakovich cello sonata op. 40 are used as cases of point.
Within the context of Brahms Sonata cello No. 1 opus 38, and the Shostakovich cello sonata
opus 40, the author divides the problem into two types. They are : (1) octave interval and (2)
far interval problem. In order to make the problems clear, it is imperative to define first the
octave and far intervals. Octave interval are intervals where cellist have to play two musical
notes from the necessity to place the fingers in two far-separated positions. Such a necessity
may cause the short-finger cellists pain and discomfort. Some cellists moreover may not reach
the proper position at all.
Far interval are intervals where cellists have to move from one note to another that at least one
octave higher or lower in a short time. Far intervals, especially those required cellists to change
position, are classic problem for virtually any cellists. The following passages describe the
28
octave interval in the Brahms cello sonata No. 1 opus 38 , and Shostakovich cello sonata opus
40 which according to the authors assessments, may become serious problems to any shortfingers cellist. There for, those intervals were selected from the point of view of the relatively
short-finger cellists. It followed then by the expositions of far intervals, from the same sonatas
that may become problem for many cellist.
Octave Interval Problems
There are seven octave intervals of Brahms cellos sonata No.1 opus 38 that present special
difficulties for the short-fingers cellists. The first difficulty is located at the first movement,
measure (figure 2-1)
The difficulty to perform this interval come from the fact that it requires the first and the fourth
fingering to spread on two relatively far-separated notes, especially on the lower note. The
second difficulty is located at the first movement measure 130 (figure 2-2)
This interval became difficult to be performed since it compels two far-separated notes-the B
and F to be played at the same time in the context of fortissimo. The similar difficulties are
found at the third movement, measure 13,35 and 45 (see figure 2-3 to 2-5).
29
The sixth and relatively difficult octave interval situated at the second movement, measure 49
(figure 2-6)
The problem on this octave interval occurs from the difficulty to use the first and the fourth
finger in order to exploit optimally lower notes in the contact of fortissimo. The seventh point
of difficulty is found at the third movement, measure 31 (figure 2-7)
The difficulty to play the aforementioned interval come from the necessity to play the nearscroll interval atfast tempo and the dynamics of fortissimo.In the Shostakovich cello sonata
Opus 40, the author finds four octave intervals that may become problem to the short-fingers
cellist. The first interval is located at the first movement, measure 71 (figure 2-8).
The difficulty to perform this interval occurs from the necessity to move the lower F to upper
F at short time under the legatissimoexpressivo. Other point of difficulty is located at the first
movement, measure 149 (figure 2-9). This interval in figure 2-9 become difficult to be
performed since it requires twofar-separated notes-the lower E and upper E to be played in
the context of fortissimo. The similar difficulty are found at the first movement, measure 130,
in the Brahms cello sonata No.1,Opus 38, (see figure 2-2)
30
The fourth point is situated at the third movement,measure 74 (see figure2-11)
The interval above may become a problem since it necessitates the cellists to play the interval
in the dynamics of piano phrase. Such a necessity may cause the phrase unclear.
The Far Interval Problem
There are four far intervals of the Brahms cello sonata No. 1 Opus 38. They are located at
the first movement, measure 26-29 and 110-112 and at the third movement, measure 115 and
166-169. The difficulty to play the first point (figure 2-12) occurs from the fact that, firstly (at
measure 26), it compels the cellist to move from the first to the fifth position and, secondly (at
measure 28), from the fourth to the sixth position.
The second point of difficulty (figure 2-13) necessitates the cellist to move, in a short time,
from the D in the fourth beat of the measure 110 to the same note situated one octave higher.
Moreover, such a movement is followed by the shifting, also in a short time, from the lower F
of measure 112 to the upper Fthat is two octave higher.
31
The far interval at the third movement, measure 115 (figure 2-14) presents the optimality
problem of the sound quality since it necessitates the cellists making a relatively far shifts.
The last far intervals that difficult to be performed, located at the third movement, measure 166169 (figure 2-15). They compel the cellist to move from the noteB to the note C that is threeoctave higher. This is difficult to be played (it is the farthest interval in the Brahms cellos sonata
No. 1 opus 38). Moreover, this may become a problem since it is located at the third movement.
At that moment, the fingers may have already exhausted from the previous movement.
According to the authors assessments, there are two far interval problems in the Shostakovich
cello sonata Opus 40. They are located at the first movement, measure 33 and 42.
The first difficulty (figure 2-16) present a classic intonation problem. It compels the cellists to
move from F in the fourth position to D in the fifth position.
The second point of difficulty (figure 2-17) present a specific difficulty to short-finger cellists
since they would find a constrain in order to spread their fingers properly on the note C and F
in the seventh position.
Solution to the Octave Interval Problem

Fingers, by theirs nature, are flexible since they are built mainly by soft tissues and muscles.
The flexibility of fingers is one main factor responsibility theirspreadability. Considering the
cello playing, the spreadability of cellists fingers is very important since it has a direct
correlation to their ability to play the octave interval. The short- fingers cellists would find
difficulties to play the octave intervals at the first,second, third, and fourth position.
Nevertheless, short-fingers are not dead-end for cellist. The spreadability of finger, up to some
32
extend, might be increase through practice and exercises. It is with this spirit the author
proposes some stratagems, which may be used to increase the spreadability of a cellists fingers
in this section, using the octave interval problems as case of pint. The discussion on the types
and styles of problem show that even though the octave intervals in Brahms cellos sonata No.
1 opus 38, and Shostakovich cello sonata opus 40 are different in details, but fundamentally
they are the same : the problems came from the difficulty of the first and the fourth fingers to
reach the proper note when the size and length of the fingers are limited. The difficulty may be
solved through the exercises depicted in figure 3-1. The authors proposes six of exercises that
may be used to increase the spreadability of short-fingers cellist. The exercises are directed to
the G string. All of the excercises, however may be applied and modified to other strings,
fingers, and rhythms according to the personal need.
Solution to the Far Interval Problems
Solution to the Problem at the First Movement, Measure 26-29 of the Brahms cellos sonata No.
1 opus 38
The fingers shifting always become problems. In the case of the movement 1, measure 26-29
of the Brahms cellos sonata No. 1 opus 38 (figure 2-12), the requirement of fingers to shift from
E (first position) to B(fifth position) may result the discordant tone of the B . To solve this
problem, the author proposes the following exercise (figure 3-2). It consist of the playing of the
E and G (open string) in slow tempo, to make sure that the intonation are concordant, following
by the sifting from the E to A (open string) in slow tempo and glissando using the second finger.
Such a position would make the B could be reached easily using the third finger. The
repeatation of this exercise using the E-A-B, B-A-E, and their variations would give a better
results.
33
Solution to the Problem at the First Movement, Measure 110-112 of the Brahms cello sonata
No. 1 Opus. 38
To solve the problem at the case of the movement 1, measure 110 of the Brahms cellos sonata
No.1 Opus 38, (see figure 2-13), the author proposes the following exercise (figure 3-3). Firstly,
play of the lower D, and approaching the fifth position ,its role is changed by the second
fingers. The pressing of the D string (flageolet) by the third finger should be used as an
intonation controller.
The solution to the problem at the movement 1, measure 112 of the Brahms cellos sonata No.1
Opus 38, (figure 2-13) is basically the same as those for the measure 110. There are two
alternatives to shift from the lower F to the upper F notes. The first alternative is pressing the
lower F note that is located at A string using the second finger (four position). Consequently,
the D note that should be play at the first beat of the measure 111 is located relatively far from
the F note and may not be reached properly. The possibility to use this alternative successfully
would be increase through the following exercise (figure 3-4). Firstly, play the F note using the
second finger in the slow tempo. Secondly, shift to the fifth position. By the end of this motion,
the D major scale is established which, in turn, making the D note reachable.
The second alternative (figure 3-5) is started by pressing the lower F note that is located at
the D string using the first finger (fifth position). The pressing of the D string (flageolet) by the
34
thumb should be used as an intonation controller. In such a configuration, the upper F note may
be then reached by the second finger at the A string (fifth position).
From the aforementioned explanation, it is clear two alternative are similar the main difference
in the string used to define the lower F notes.
Solution to the Problem at the Third Movement, Measure 115 of the Brahms sonata No.1 opus
38.
To solve the problem at the third movement, measure 115 of the Brahms cellos sonata No. 1
opus 38, (see figure 2-14), the author proposes the following exercise (figure 3-6). Firstly, press
the D note using the third finger. Secondly, shift to find and reachable easily using the third
finger. Pressing the A string (flageolet), before shifting from D to C, may be done control the
intonation.
35
Solution to the Problem at the Third Movement measure 169 of the Brahms Cello sonata No. 1
opus 38.
To solve the problem at the third movement, measure 169 of the Brahms cello sonata No. 1
opus 38, (see figure (2-15, the author propose the following exercise (figure 3-7). In essence,
the exercise is similar to those for the third movement, measure 115 of the Brahms cello sonata
No.1 opus 38, explained above.
Firstly, press the B note using the third finger. Secondly, shift to find and press the A note
using the thumb in glissando. By controlling the flageolet, to make the fifth position, then the
C would be reached easily.
Solution to Problem at the First Movement, Measure 33 of the Shostakkovich Cellos sonata.
Opus 40
One alternative solution for the problem of the first movement, measure 33 of the Shostakovich
cello sonata opus 40 (see figure 2-16) is depicted in figure 3-8.
Firstly, play the F note in the fourth position using the second finger. Secondly, shift to the D
note in the fifth position using the third finger. Control the last note using the open string D.
The next exercise in to shift from the F-G to D notes, and conversely. Repeatation of the
aforementioned exercise to make the stratagem second mature and, in turn, make the shifting
from the F to C notes could be done directly.
Solution to the problem at the First Movement, Measure 42 of the Shostakovich Cello sonata
opus 40
36
The following exercise (figure 3-9) might be used to solve the problem of the first movement,
measure 42 of the Shostakovich cello sonata opus 40 (see figure 2-17).
Firstly, play the C-E-F notes using the first, second, and third fingers, respectively. This
exercise should be done repeatedly and the C note should be controlled using the open string
C. All notes
might be varied as depicted in figure 3-9. To minimize the strain during this exercise should be
stopped when the cellists feel pain in any part of the body.
Conclusion
The fingering problems may poses special difficulties to any cellists. According to the authors
assessment, there are two problems that warrant special attentions of the cellist. They are the
octave and far intervals. The octave intervals may cause serious problems on the performance
of short-fingers cellists. The problem occur mainly from the limitation of the spreadability of
the short-finger cellists. Nevertheless, the author believes that the inherent short finger are not
dead- end. The proposes simple stratagems explored in details in this thesis show that there are
many ways to compensate such limitation. More importantly, the author believes that there are
still many stratagems to be explored. The far intervals, that become serious problem for any
cellists, may also be mastered through some simple stratagems. As we can see many far
intervals that may previously be seen difficult problems may not be difficult in their self. The
problem may actually come from our limitation to find many side track. Such side-tracks, that
may not follow the traditional principles or rules of fingering, should not be regarded as a kind
of desertion. They should be regards as products of creative minds, instead. The results show
that, what is shown that every cellist are anatomically different. The fingers of the cellists are
naturally very flexible. It can not be converted to another cellists. so flexibly that it is possible
to overcome the problem in a simple and convenient.
37
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Cograss, Ulla. 2001. For The Love of Music. Mcmillan Ltd, New York
Eisenberg, Maurice 1957.Cello Playing Today. London. Lavender Publication LTD. 147
G, Verlag Henle. 1977.Brahms Sonata Klavier und Violoncello No.1 op, 38 Munchen.
Leonard Rose. 2000 Shostakovich Cello Sonata International Music Company no. 2087 New
York
Stowell, Robin. 1999. Enjoyment of The Cello. United Kingdom. Cambride University Press.
Stowell, Robin. 2000 String Quartet. Sage, London
Pleasant, Hendry. 1990. Music Criticsms, Sage, London
Welden, V. 1999.The Cambride Companion To The Cello. Cambride University Press.269
Zen-On. 2000. Shostakovich Sonata Cello and Piano opus 40, Tokyo.
38
TOPIC
ART PROCESS AS RESEARCH
TITLE
LEARNING CREATIVITY OF DRUM SET MUSIC INTO DRUM BAND MUSIC
By
EMRIDAWATI
(Magister of Music Study)
Lecturer of Music Department of ISI Padangpanjang, West Sumatera
watiemrida @gmail.com
Hp. 085263632765
ABSTRACT
Music learning creativity applied in SMAN (public high school) 3 Padangpanjang aims
at covering the lack of students and teachers abilities in fulfilling the need of art internally and
externally. In this high school, it was applied a new learning system that was different from
previous learning system namely transforming the pattern of rhythm of drum set music into the
drum band music. Method used was qualitative method with the approach of case study or
action research. The techniques of data collection were library research, observation, interview,
and documentation. Data analysis was conducted based on questions asked to interviewees
theoretically and practically and then classified according to the needs. If there was lack of data,
they could be recollected to research location. The collected data were interpreted, assessed for
their validities, and then triangulated based on source, method, and time. Learning process used
several steps namely the explanation about drum set and drum band and the transfer of drum
set technique drum band as an experiment. Proponent material of this learning was the song of
Pergi Pagi Pulang Pagi composed and written by Aslama Nanda Rizal and performed by
Armada Band. Research results are: students receive knowledge and skill about the creativity
of drum set music into drum band music and perform it on the stage. This kind of learning can
give special additional values in the field of art creativity. And finally, music education is able
to have important role in facing social problematic at school such as: participating in school
farewell party and the competition of music creativity among schools.
Key words: Drum set music, drum band, creativity, and learning
39
A. Introduction
The progress of music learning activity especially drum band music in SMAN 3
Padangpanjang, West Sumatra has run successfully and happily. It can be seen from the
participation of this high school on parade or 17 August events in Padangpanjang city. Drum
band music is also used for participating in high school competition and having good
achievement. This learning of drum band music learning is greatly enthused by students and
fully supported by school party that can be seen from the availability of adequate facility of
drum band music.
Although the activity of drum band music playing in SMAN 3 Padangpanjang has run
well and happily, there are still several lacks such as complying other schools invitation in the
field of music creativity and filling in school farewell party with music performance. According
to music teacher in that school, whenever school farewell party has music event, school party
brings in teacher from outside of this school and rents drum set equipment from the nearest
music studio. Meanwhile, school party is not able to buy this equipment because of fund
limitation. Therefore, drum set music activity on the farewell party of SMAN 3 Padangpanjang
is only active when its time for it to be performed. Besides, school is not able to complying
other schools invitation of their music creativity activities (Titin, interview with music teacher
of SMAN 3 Padangpanjang on 18 December 2015). On the other hand, teachers and students
do not have ability to create something new from music at hand to solve their problems and
they cannot utilize music thats already available in that school.
Hence it needs research that produces new ideas with creative ways from music at hand.
According to Getallt in Mackler & Sontz (1970), it can be done holistically through insight
process toward environment. Djojonegoro also said that creative is redefinition. Redefinition is
problem reviewing ability based on perspectives that are different from what people have been
known previously (1994: 7). That creativity has new, unique, useful, right, or valuable
characteristics seen from certain needs and more heuristic characteristic namely performing
method thats never or rarely performed by other people (Amabile, 1989: 33). Therefore, to
work creatively means that something new needs to be added to the previous work or different
object needs to be created. Agus Sachari said that through creative power/ability, human is able
to do restructuration and evolution in his/her culture (2002: 150).
Based on researched phenomenon and experts arguments above, its important to make
innovation toward music thats available in SMAN 3 Padangpanjang such as drum band music,
so this music instrument can be utilized and used for certain needs. Learning system applied is
transferring the rhythm pattern of drum set music into drum band music. This system gives
good solution for problem that arises whenever school farewell party and need of music
creativity exist.
This kind of learning is motivated from the history of drum set first appearance in 1800s
in United States of America. At that time, there were many music ensembles that used marching
band and military bands. Each of these bands had two or more person who played snare drum,
bass drum, and cymbal. These bands usually performed and played at stage in every city.
Besides playing in the outside, these bands also played in a room for social events, entertaining
people, and picnic. When there was request to perform and play in a limited room and its not
possible to play a lot of instruments; its need other way to overcome this difficulty so that drum
band elements can be played on the stage. Finally, they set drum band in order to be played as
drum set and its arranged on the stage in order to be played by one person. In accordance with
the development of era, drum band can be performed and played by single person and its called
as drum set instrument (Burns, 2004: 20).
40
B. Discussion
Learning system applied in SMAN 3 Padangpanjang is very useful to be applied in
music related event such as school farewell party, high school music competition, and etc and
to be used for the need of music creativity. Music instruments used are music instruments that
are already available in this school because school is not able to buy new ones. Besides, teachers
and students do not have ability to create something new in music area and they cannot utilize
available music to solve their problem.
Therefore, it is important to create new learning system in music area, namely by
transferring the rhythm pattern of drum set music into drum band music. And this transfer is an
experiment. To understand this learning system, there are several things that need to be
understood first related to this learning system.
1. Definition of Drum Band Music
Music is a kind of art that uses tones produced into a creation or music piece such as
rhythm, melody, and harmony supported by nature, idea and color of music like drum band.
Drum band is music performance done while walking. The form of compactness in the playing
of drum band includes several percussion instruments that play rhythm pattern such as snare
drum,
tenor
drum
(small
tom-tom),
tritom,
bass
drum,
and
cymbal
(https://id.wikipedia.org/wiki/Orkes_barisan). Besides those instruments, the performance of
drum band music also has supporting music that plays melody such as lyre and pianika. In drum
band, one instrument is played by one person. Therefore drum band music is also called as field
music and this can be seen in the following picture (see picture 1).
Picture 1.
Drum Band Music
The performance of drum band music usually has one until three field commanders and
its performed in the open area or close area. Drum band players make formation with
changeable patterns that are in accordance with the choreography plot of song played and they
are accompanied by dance performed by a number of flag players. Drum band players usually
41
wear same costume, except for the majorettes and flag players. However, there is drum band
group that the majorettes and flag players costumes are the same with drum band players
costumes. It depends on this group ability (whether the group can afford it or not).
2. Definition of Drum Set Music
Drum set is the group of percussion instruments that consists of stretched membrane and
these instruments are hit by hand or a rod called as stick (Denny AJD, 2004: 7). The equipment
of drum set music consists of snare drum, small tom-tom (tenor drum), lart tom-tom, bass drum,
cymbal, and hi-hat. The equipment of drum set music can be seen in the next picture (see
picture 2).
Cymbal
Smal Tom-tom
Hi-hat
Lart Tom-tom
Snare Drum
Bass Drum
Picture 2.
Equipment of Drum Set Music
Each of this drum set music equipment has its own function and use in every group
within. Drum set music is played by one person who plays various kinds of instruments and
various patterns of rhythm according to the needs. Drum set music is used for accompanying
melody instruments and song sung by human voice.
3. Learning of Drum Set Music into Drum Band Music Playing
The use of drum set music and drum band music are different. Drum set is often used as
song accompaniment of band group and tempo keeper in music playing, while drum band is
often used as field music to participate or fill in the events of parade, carnival, and ceremony.
There are several learning stages applied to transfer drum set rhythm in drum band music
playing namely:
a. Design of Music Learning
Music learning needs to be designed in order to make the activity of music learning can
run smoothly namely various steps done as anticipation in learning activity in order to achieve
desired objectives. Learning design of drum set music into drum band music playing is used as
the solution of problem existed in SMAN 3 Padangpanjang. Therefore, the learning material of
trained music instruments must be adjusted to the needs of this school. Besides, other designs
are needed, so that the learning can run successfully. Other designs are:
1.
The Determination of Learning Material

The determination of material must be adjusted to its use namely participating in
school farewell party and music creativity. Song chosen is song liked by students in that
school namely Pergi Pagi Pulang Pagi written and composed by Aslama Nanda Rizal
42
and performed by Armada band. This song is arranged, and then several rhythm patterns
of drum set are prepared as its accompaniment rhythm.
2. The Selection of Time and Place

Time chosen for this learning is extracurricular time that is 14.30 (West Indonesia
Time) after the completion of co-curricular activity in the morning. The objective of this
time selection is in order not to disturb co-curricular activity. While school hall is chosen
as the place of training session because its wide and activity free.
3. The Selection of Students as The Supporter of Learning Activity
Students are chosen in order to assist learning. Students chosen as the supporter of
this learning are those who are obedient and able to play music instrument and also have
talent, high musicality, volition, and time to practice;
4. The Selection of Music Instrument and Vocal
Music instruments used as the proponent of learning material are music instruments
that are available in SMAN 3 Padangpanjang namely drum band music. This music is
appropriate for drum set music activity because does not have budget to buy new music
instruments. Besides that, instrument selection is done because not all of drum band music
instruments can be used for playing the rhythm pattern of drum set music. This is adjusted
to the need or arranged song. The instruments of drum band music chosen are instruments
that have good sound colors. The instruments are non melodious instruments such as snare
drum, tenor drum, bass drum, tritom, and cymbal. While melodious percussions are lyre,
pianika, and vocal.
5. The Selection of Rhythm Pattern
The learning of special rhythm pattern for percussion section uses Latin rhythms as
the accompaniment of song material and these rhythms are played on certain parts namely
the parts of intro, song, and bridge. Rhythms used are cha-cha rhythm and bossanova
rhythm. Besides those two rhythms, dangdut rhythm is used in the part of song chorus. The
following examples are the examples of drum set rhythm played on drum band music
playing.
a. Rhythm of Cha Cha
Cymbal
Snare Drum
Snare Drum
Bass Drum
Notation 1.
Rhythm of Cha Cha
Rhythm of cha cha drum set for the playing of drum band can be seen at the
piece of song melody arranged below.
43
Tenor Drum
Cymbal
Snare Drum
Bass Drum
Tritom
Notation 2.
Rhythm of Cha Cha on The Playing of Drum Band
b. Rhythm of Bossanova
Notation 3.
Rhythm of Bossanova
Rhythm of Bossanova drum set for the playing of drum band can be seen at the
Tenor Drum
Cymbal
Snare Drum
Bass Drum
Tritom
Notation 4.
Rhythm of Bossanova on The Playing of Drum Band
c. Rhythm of Dangdut
Notation 5.
Rhythm of Dangdut
Rhythm of Dangdut drum set for the playing of drum band can be seen at the
44
Tenor Drum
Cymbal
Snare Drum
Bass Drum
Tritom
Notation 6.
Rhythm of Dangdut on The Playing of Drum Band
B. Learning Creativity of Drum Set Music into Drum Band Music Playing
Creativity is someones ability to produce something new, whether its in the form of
ideas or concrete works that are relatively different from previous works (Dedi Supriadi, 1994:
7). Therefore, basic principle of creativity is similar to innovation namely giving additional
value to a product in order to stimulate the appearance of new products that are better than
previous ones (Nooryan Bahari, 2008: 23). This creativity is closely related to personal style
because the process of creation of art work is the fusion of internal and external factors (ibid,
24). Therefore the learning of drum set music for drum band music playing is a creativity of
music area namely transferring the pattern of drum set music into drum band music playing and
it is related to personal style. In this learning, researcher gives the arrangement material of song
Pergi Pagi Pulang Pagi performed and published by Armada Band. This arrangement can be
seen at the piece of full score below.
Notation 7.
The Melody Piece of Armada Song Arrangement of Pergi Pagi Pulang Pagi
In the implementation of this learning, percussion section is divided into 2 big parts
namely non melodious percussion (music instrument that uses rhythmic element) and
melodious percussion (music instrument that has melodious element). Melody is a series of up
and down notation arranged orderly and beautifully so it becomes a song (Hendro, 2004: 3).
The separation of this percussion section is based on rhythm and melody that will be played.
45
1. Non Melodious Percussion

a. Snare Drum
In this learning, in drum band music playing, snare drum is played on the parts of intro,
song, bridge, chorus, and coda as seen in the below.
Notation 8.
Rhythm Pattern of Snare Drum of Intro Part in Drum Band Playing
Notation 9.
Rhythm Pattern of Snare Drum of Song Part in Drum Band Playing
Notation 10.
Rhythm pattern of Snare Drum of Bridge Part in Drum Band Playing
Notation 11.
Rhythm Pattern of Snare Drum of Chorus Part in Drum Band Playing
Notation 12.
Rhythm Pattern of Snare Drum of Coda Part in Drum Band Playing
b. Tenor Drum
In this learning, in drum band music playing, tenor drum is played on the parts of intro,
chorus and coda as seen in the below.
Notation 13.
Rhythm Pattern of Tenor Drum of Intro Part in Drum Band Playing
In the bridge part, tenor drum is in the state of intermission, while in the chorus part, tenor
drum plays again as seen in the below.
Notation 14.
Rhythm Pattern of Tenor Drum of Chorus Part in Drum Band Playing
46
Notation 15.
Rhythm Pattern of Tenor Drum of Coda Part in Drum Band Playing
c. Bass Drum
In this learning, in drum band music playing, bass drum is played on the parts of intro,
song, bridge, chorus and coda as seen in the below.
Notation 16.
Rhythm Pattern of Bass Drum of Intro Part in Drum Band Playing
Notation 17.
Rhythm Pattern of Bass Drum of Song Part in Drum Band Playing
Notation 18.
Rhythm Pattern of Bass Drum of Bridge Part in Drum Band Playing
Notation 19.
Rhythm Pattern of Bass Drum of Chorus Part in Drum Band Playing
Notation 20.
Rhythm Pattern of Bass Drum of Coda Part in Drum Band Playing
d. Tritom
In this learning, in drum band music playing, tritom is played on the parts of fill in 1, fill
in 2, and coda as seen in the below.
Notation 21.
The form of Tritom Rhythm Pattern in Fill in 1 Part in Drum Band Playing
Notation 22.
Rhythm Pattern of Tritom of Fill in 2 Part in Drum Band Playing
47
Notation 23.
Rhythm Pattern of Tritom of Coda Part in Drum Band Playing
e. Cymbal
In this learning, in drum band music playing, cymbal is played on the parts of intro, song,
bridge, chorus, and coda as seen in the below.
Notation 24.
Rhythm Pattern of Cymbal of Intro Part in Drum Band Playing
Notation 25.
Rhythm Pattern of cymbal of Song Part in Drum Band Playing
Notation 26.
Rhythm Pattern of Cymbal of Bridge Part in Drum Band Playing
Notation 27.
Rhythm Pattern of Cymbal of Chorus Part in Drum Band Playing
Notation 28.
Rhythm Pattern of Cymbal of Coda Part in Drum Band Playing
2. Melodious Percussion
a. Lyre
Lyre melody, in this learning, in drum band music playing, is played on the parts of intro,
Notation 32.
Rhythm Pattern of Lyre of Intro Part in the Song of Pergi Pagi Pulang Pagi
Notation 33.
48
Rhythm Pattern of Lyre of Song Part in the Song of Pergi Pagi Pulang Pagi
Notation 34.
Rhythm Pattern of Lyre of Bridge Part in the Song of Pergi Pagi Pulang Pagi
Notation 35.
Rhythm Pattern of Lyre of Chorus Part in the Song of Pergi Pagi Pulang Pagi
Notation 36.
Rhythm Pattern of Lyre of Coda Part in the Song of Pergi Pagi Pulang Pagi
b. Pianika and Vocal
1) Pianika
Pianika melody, in this learning, in drum band music playing, is played on the parts
of intro, song, bridge, chorus, and coda as seen in the below.
Notation 37.
Melodious Pattern of Pianika of Intro Part in the Song of Pergi Pagi Pulang Pagi
Notation 38.
Melodious Pattern of Pianika of Song Part in the Song of Pergi Pagi Pulang Pagi
Notation 39.
Melodious Pattern of Pianika of Bridge Part in the Song of Pergi Pagi Pulang Pagi
Notation 40.
Melodious Pattern of Pianika of Chorus Part in the Song of Pergi Pagi Pulang Pagi
49
Notation 41.
Melodious Pattern of Pianika of Coda Part in the Song of Pergi Pagi Pulang Pagi
2). Vocal
Vocal melody, in this learning, in drum band music playing, is played on the parts of
Notation 42.
Melodious Pattern of Vocal of Song Part in the Song of Pergi Pagi Pulang Pagi
Notation 43.
Melodious Pattern of Vocal of Bridge Part in the Song of Pergi Pagi Pulang Pagi
Notation 44.
Melodious Pattern of Vocal of Chorus Part in the Song of Pergi Pagi Pulang Pagi
Notation 45.
Melodious Pattern of Vocal of Coda Part in the Song of Pergi Pagi Pulang Pagi
In the learning process of drum set music into drum band music, there are several stages
conducted in learning strategy. Learning strategy is an activity of learning that must be
conducted by teachers and students so the objectives of learning can be achieved effectively
and efficiently (Warsita, 2000: 126). These stages are conducted in the practice. Practice is a
media for improving artistic ability in the form of repertoire enrichment, skills, and creativities
that finally produce work of art (Pande Mande Sukerta. 2009:105). Proposed practices in this
research are:
1. Stage one, rhythm pattern of drum set is transferred into the format of drum band and the
giving of direct tempo at practice time.
2. Stage two, the practices of melodious instruments and arranged song melody are conducted.
3. Stage three, the fusion of all instruments whether its non melodious instrument or melodious
one.
4. Stage four, the fusion of all instruments namely non melodious instruments, melodious
instruments, and vocal.
5. Stage five, the performance of drum band music that applies the rhythm pattern of drum set.
The transfer of drum set rhythm pattern into drum band music playing is a creativity of music
learning. This practice is categorized as an experiment that uses the fusion of drum band
50
music and duo vocals by using the pattern of drum set. The use of vocal in the making of
this drum band music aims at participating in school entertainment event (farewell party).
The following picture is the picture of performance of drum band music that applies the
rhythm pattern of drum set and is accompanied by duo vocals.
Picture 2.
The Performance of Learning Creativity of Drum Set Music into Drum Band Music Playing
C. Conclusion
Learning of drum band creativity in SMAN 3 Padangpanjang is an experiment of drum
set rhythm pattern transferred into the playing of drum band. This is useful for solving problems
in this school particularly music related problem such as music event in farewell party and
creativity in music area. The final results of this learning are: students of SMAN 3
Padangpanjang are able to do a real performance and students and students get knowledge about
the benchmark of music performances such as for entertainment performance and creativity
performance.
51
Reference
Amabile, T.M. 1983. The Social Psychology of Creativity. New York: Springer-Verlag.
Denny AJD. 2004. Panduan Praktis Bermain Drum. Jakarta: Grasindo
Djojonegoro, Wardiman. 1994. Kretifitas, Kebudayaan dan Perkembangan IPTEK. Bandung:
Alfabet.
Bahari, Nooryan. 2008. Kritik Seni. Yogyakarta: Pustaka Pelajar.
Burns, Roy. 2004. Mau Jadi Drummer Profesional? Ini Panduannya, Jakarta: PT. Gramedia
Pustaka Utama.
Hendro S.D. 2004. Cara Praktis Berinprovisasi. Jakarta: Puspa Swara.
Sachari, Agus. 2002. Estetika. Bandung: ITB.
Sukerta, Pande Mande. 2009. Gong Kepyar Buleleng, Perubahan dan Keberlanjutan Tradisi
Gong Kepyar. PT. Program Pascasarjana Bekerjasama Dengan ISI Press Surakarta.
Supriadi, Dedi. 1994. Kreativitas, Kebudayaan & Perkembangan Iptek. Bandung: Alfabeta.
Warsita. 2000. Istrategi Pembelajaran Berorientasi Standar Proses Pendidikan. Jakarta: PT
Gramedia.
https://id.wikipedia.org/wiki/Orkes_barisan
52
THE STUDY OF SAFETY BACKPACKING IN PENANG THROUGH MOBILE

APPLICATION
Edzreen Syahira binti Jamil
Faculty of Art and Design,
Universiti Teknologi MARA(UiTM),
40450 Shah Alam, Selangor
Malaysia
e-mail: 2015458932@isiswa.uitm.edu.my
telephone: +6012 435 6931
Abstract
The purpose of this paper is to innovate and persuade the mobile application for backpackers
during travelling. Nowadays, interaction by mobile phone is a part of daily human behavior and
activity, which involves speaking, listening, touching and performing other tasks, in order to
communicate. At the present of time, most of the people have their easy access to the source of
information. The aim of this research is to convince the backpackers to use the mobile app as a
safety platform and guide them to prevent and minimize unexpected accidents and medical
emergencies especially for those who plan to travel in Penang. By taking advantage on the
advancement of technology, an application was invented to meet peoples requirement whereby
they can have all the information through one click away. In the same time, it can help to solve
a backpackers problem in term of finding accommodation, searching for places to eat and even
to share photos and moments on social media, however, there are backpackers who have
concerns about their personal safety. For this study, the researcher chose to use the qualitative
and quantitative method in order to achieve the research objective. The proposed research
method is first to collect data and information on the level of safety for backpack travelling
followed by the content based on safety related issues and guidelines that will be used and
implemented into the mobile app. With this study, the researcher hopes this study will motivate
the society, especially for those who want to start their backpacking journey mentally and
physically prepared.
Keywords: Mobile Application; Technology; Backpacking; Facility; Safety
53
1.
INTRODUCTION
At present time, most people have easy access to source for information. By taking
advantage on the advancement of technology, an application was invented to meet peoples
requirement whereby they can have all the information from just one click away. Based on May
(2005), mobile software is designed to run on handheld computers, personal digital assistant
(PDAs), enterprise digital assistant (EDAs), smartphones and cellphones. Since the first
handheld computer from the 1980s, the popularity of these platforms has risen considerably.
Many cellphone models of the late 2000s include the ability to run user-installed software.
While technology has helped solve a backpackers problem in terms of finding accommodation,
searching for places to eat and even to share photos and moments on social media, however,
there are backpackers who have concerns about their personal safety. In this writing, the
researcher focuses on the problems that occur when backpackers go travelling, especially for
those who love travelling to remote islands. The first problem is on health issues that probably
happen due to climate change, where some people are susceptible to fever or cold flu outbreaks
due to weak antibodies. Another problem pertaining to that is when backpackers have asthma,
migraines or other permanent illnesses; in general, it is recommended if backpackers carry a
basic first-aid kit for use in cases of emergencies.
Backpackers should avoid going to locations with harsh weathers if they do not like dealing
with unexpected issues in an area they are unfamiliar with. Based on Rodgers (2002), she has
stated an advice to backpackers who want to plan their travel agenda:
The best way to stay safe in a foreign country is to find out as much as you can before
travelling. You are less likely to become a target of crime if you understand the local culture
and dont draw attention to yourself.
Strategic locations that are close to the city center and equally close to public transport stations
are the ideal criteria for most backpackers. Emergency location points such as police stations,
hospitals, clinics and pharmacies should be easy to find in the event of an injury, robbery or
even shortage of medical supplies. In these problem identifications, the researcher focuses on
using mobile apps that can help make the journey for backpackers become smoother. Now that
people can use smartphones during takeoff and landing, there is no other opportune time like
the present to utilize their devices into becoming their own personal travel assistant.
1.1
1.2
THE STATISTIC OF TOTAL BACKPACKERS

What are most challenges of being backpackers?
Regarding the chart below, it shows that 64% are the most challenges of being a
backpacker is dealing with unexpected. 24% of respondent facing living on a strict budget and
4% of them are being separated from close friends and family. Other than that, 8% have stated
that difficulty to communicate with the local people who cannot speak English. Finding a good
food, and friends punctuality makes the backpacking tour distracted.
54
0%
20%
40%
60%
80%
100%
Being separated from close friends and family

Dealing with unexpected
Living on a strict budget
Other
Chart 1: Challenges of being backpackers (%)
2.
RESEARCH BACKGROUND
Many travel apps, while excellent in principle, are too complicated, wonky or simply
not practical enough to earn a spot on your smartphone home screen. Some, however, can make
travelling easier. The researcher has met the executive creative director of MotioFixo Sdn. Bhd,
Mr. Fariz Hanapiah, who has stated that it is a relevant idea to create a mobile app for
backpackers. He added:
I really need an apps for guide me when Im travelling. I have downloaded a few apps for
search a place, an accommodation; communicate with dealer and other important things. I like
something that manageable content to make me easy to use them.
Mobile phone interaction is nowadays part of daily human behavior and activity, which
involves speaking, listening, touching and performing other tasks, in order to communicate. A
good interface on a mobile app is proven when consumers interact with the page with ease. This
is related to, One of the main goals of a mobile phone interface is to relate phone functions
and operations to elements of interaction that are performed well (Banga, 2014).
According to the writings of Essential Mobile Interaction Design e-book, Weinhold (2014),
a great visual design is a very important component of interaction design; if a designer cannot
fully represent how to interact with apps via simple text, iconography, and interactive features
users would not be able to understand the software, and in turn, the app would not see much
success.
Chosen as the No.2 must-visit destination for 2009 by The New York Times readers, Penang
also known as one of the heritage city was actually long regarded as the food capital of
Malaysia. These are reflected with Penang induces visitors with its stunning coasts and
mouthwatering cuisines. The most unique thing is where Penang include tradition and
modernity while retaining its old world charm through its harmonious multiracial populace and
well-preserved heritage buildings, which led to George Town being accorded a listing as a
UNESCO World Cultural Heritage Sit.
55
3.
AIM AND OBJECTIVES

This research aims to convince backpackers to use the mobile application as a safety
platform to guide them to prevent and minimize unexpected accidents and medical emergencies
especially for those who plan to travel to Malaysias islands.
Therefore, there are the main objectives as below:
a) To identify the potential problems that they need to overcome when backpackers travel to
islands in Malaysia.
b) To educate backpackers about the importance of protecting themselves from unexpected
incidents during traveling.
c) To source for information on safety issues, preventions and guidelines deemed necessary
towards building an effective interface for mobile apps.
4.
RESEARCH QUESTIONS
From the specified research objectives, the researcher has identified the research
questions, which are:
a)
b)
How does a mobile app help backpackers stay safe whilst travelling on the islands in
Malaysia?
What elements and formatting are included for the interface design on a backpackers
mobile app?
5.
METHODOLOGY
The proposed research method is firstly to collect data and information on the level of
safety for backpack travelling followed by the content based on safety related issues and
guidelines that will be used and implemented into the mobile app. Information is used to
discover problems and guidance for backpackers. Other than that, it would help to create a
structured process to designing mobile apps. According to Rodgers (2002), by reading a book,
people will gain-self confidence and knowledge that they can share with friends and family.
Then many people can make the world a safer place in which to live.
Besides being on the island, the researcher will also contact some backpackers who had been
backpacking before by utilizing the social network on Facebook. This tool proves to be very
well structured in connecting people.
5.1
Qualitative Research: Interviews
A Conduction of several interviews with the Admin of Malaysia Backpacker Club,
Nazri Arshad and Fariz Hanapiah, the Executive Creative Director of MotioFixo Sdn Bhd. This
is to respectively get an idea on the backpacking expedition experience and opinion regarding
the interface design insights on mobile apps. The researcher will find more respondents to gain
the theory of this study.
5.2
Qualitative Research: Observations
A visual observation is to be held at Penang, Malaysia as well as self-observation with
other backpackers to get the travel experience to be recorded that will help in producing good
data collection.
5.3
Qualitative Research: Survey of Respondent
This survey method usually comes in the form of distributing questionnaires to the
subject of study for data collection. The researcher will use the website as a part of the online
survey and the printed copy to get the result statistics.
56
5.4
Research Diagram
Sample is selected from the
population
Baseline data are collected
Subjects are randomized
Experimental group
Control group
Post-test data are collected
Post-test data are collected
Diagram 1: Research diagram process by Malins, J. and Gray, C.
5.5
Prototype Development
Analysis
Design
Develop
Pre-test
Diagram 2: Mobile application prototype developments flow
6.
DELIMITATION
A backpacker should come prepared for any situation. Keep up-to-date with the latest
technologies and current issues. When travelling abroad, do research, and never assume that
what is legal at home will be legal elsewhere.
The scope of this study is focused on the development of a one-stop mobile application, which
provides the guidance and tools a backpacker needs to have a manageable and safe travel
experience.
57
7.
SIGNIFICANT CONTRIBUTION TO A NEW KNOWLEDGE
a)
The research outcome will encourage backpackers to download and use the mobile app
when they are travelling to give them an added advantage towards understanding their
destination so that they are well prepared.
The backpacking mobile app can be one of the Malaysian applications that offer an allin-one source of information, an integrated travel plan and potentially valuable new
travel experiences.
New media companies could gain more on this study on the effectiveness of an interface
design on a mobile app by incorporating an acceptable approach in visual research.
b)
c)
8.
BENEFITS TO COUNTRY/SOCIETY/ORGANIZATIONS
a)
This study will motivate the society, especially for those who want to start their
backpacking journey mentally and physically prepared.
Malaysia will remain as a favorite holiday destination; especially chosen by
backpackers who are looking for serenity in our beautiful islands, at the same time
feeling reassured for their safety.
Certain organizations, for example the government & tourism organized community
groups will also offer support and encouragement for backpackers to have a happier and
healthier lifestyle, so that they can fully enjoy their stay here in Malaysia.
b)
c)
9.
VISUAL ANALYSIS
For this mobile application, the researcher has chosen one of the famous travel apps,
which is Airbnb.
Figure 1: Airbnb mobile apps

58
a)
Design: Image of view that can attract users to view the contents of this mobile
application.
b)
Icon: The icon that been used look attractive and seems to be a difference between icon
and background before users login their account.
c)
Image: Image of woman showing a happy expression. It represents the pleasure of using
mobile application when travel.
d)
Typography: The use of simple typography makes this application looks neat and
manageable.
e)
Color: Limitations on the use of color in illustrations are easier for users to understand
the section of the content. There are no unattractive colors.
10.
CONCLUSION
As a conclusion, Malaysian needs to create and produce mobile apps that can attract
backpackers to download and have benefits for them. With modern technologies nowadays, it
is one of the best solution for backpackers for them to find sources of information for travel
related planning and discovery. For advance research is to develop functionality in a mobile
app with the additional of new features and enhancement of interface design, which manage
new interactive service that needed to attract consumers to download and they can have this all
in one app directly in their hand. Furthermore, the purpose of this study is to educate backpacker
about the importance of their safety against unfortunate event and so that they prepare themself
and at the same time it can help them facilitate while backpacking in Malaysia.
59
REFERENCES
Rodgers, J. (2002). Safe At All Times. London: Carroll & Brown Publishers Limited.
Malins, J. & Gray, C. (1992). Appropriate Research Methodologies for Artists, Designers &
Craftspersons: Research as a Learning Process.
Weinhold, J. & Banga, C. (2014). Perfecting Interface Design in Mobile Apps: Essential Mobile
Interaction Design. United States: Pearson Education, Inc.
Nazri Arshad (2014). Interview Session With Admin of Malaysia Backpacker Club. Facebook:
Malaysia Backpacker Club Fan Page.
Fariz Hanafiah (2014). Interview Session With Executive Creative Director of MotioFixo Sdn
Bhd. Kuala Lumpur Motiofixo SDN BHD.
Backpacking Matt: 7 Challenges of Being a Backpackers. Retrieved from June 17, 2010 from
http://www.backpackingmatt.com/7-tips-for-successful-long-term-travel/
Sarfati, P. and Martinez, A. Bamba Experience: Backpacking in Malaysia. Retrieved 2005 from
http://www.bambaexperience.com/-c137i0.html#
Mashable:
Mobile
Apps.
Retrieved
http://mashable.com/category/mobile-apps/
October
24,
2006
from
Aldridge: 12 Tips For Backpacking Through Europe. Retrieved from February 16, 2015 from
http://www.roughguides.com/article/backpacking-through-europe/
60
PROMOTING CHARACTER AND A FILM IN CINEMA BY USING

HOLOGRAM AS A MEDIUM
Muhamad Nur Hafriz Azizee bin Abdul Halim,
Mohd. Fadhil bin Kamarudin, Adzrool Idzwan Hj. Ismail,
Faculty of Arts & Design,
Universiti Teknologi MARA, Shah Alam,
Selangor, Malaysia
Abstract
Hologram is a 3D image that created from the diffracted light. That hologram is a medium that
projecting what visual that has been created. The images change according to the position and
orientation of the system changes the view in the same way as when the object was still there,
so the recorded image will appear three-dimensional (3D) commonly called the hologram.
Today we can see posters placed in cinemas have become a common. This research purpose is
to make some changes in a cinema to attract film lovers in Malaysia. This research is about to
use a new medium as promoting a film character, to save the use of space in cinema to save the
cost of printing and to propose the new way as a medium to attract film lovers in Malaysia
which is hologram medium. A questionnaire and interviews were used to collect data about the
important of using hologram medium in cinema to promoting a film and character as well. The
preliminary results of the research show that film lover from every genre of film have different
level of knowledge about the hologram but majority of them love to explore about the aesthetic
of hologram in film promotions. The conclusion can also be drawn that film lover among
Malaysian to be attract to a new entertainment ideology or medium that can entertain them in
the cinema. Following an in-depth multi-dimensional analysis of preliminary research results,
some recommendations for writing instruction will also be presented.
Keywords: hologram, 3D image, film promotion, cinema
61
I. INTRODUCTION
The research is aimed to explore the use of hologram medium as an advertising tool on
promoting film and introducing film character. By understanding the use of hologram in
promoting or advertise a film and character as well will going to increase the level of attraction
in cinema. This medium also can be use as a promoting tools in advertise product or anything
for commercial purposes. As an additional part of this research, a few selected ways of making
hologram tips and tricks are put up to the test and being explored. The usability of these
techniques will be discussed and verified through this research.
This research was conducted to make some changes in a cinema to attract film lovers in
Malaysia. This research will help film makers to promote their film in cinema by using
hologram as medium.This research also help promoting character in a film in cinema as well.
The objective of this research is to use a new medium as introduction of film character. This
research also focusing on to save the use of space in cinema and also save the cost of printing.
This research also to propose the new way as a medium to attract film lovers in Malaysia as
well.
II. LITERATURE REVIEW
A. The rise of the Malaysia industry today have been increasingly moving towards Vision 2020.
More and more new objects that have been created by certain parties and more people are
venturing into fields of art. However, such efforts should be channeled to effective methods so
that the target audience can accept and interested in what they want to be served by individual
narrators. Moreover, people are begin to tire of the same media often served to them.
With all these factor being a big opportunity, this research on Introducing Character In A Film
By Using Hologram As A Medium is most relevant. Firstly, this study will look at whether
the public that moviegoers are interested or not with the use of hologram as a medium to
promote a film and also to introduces a film character with this different medium and way.
Secondly, it is important to know that this is a very effective way as with the hologram on the
entrance cinema will help promotion to be more effective.
Thirdly, with the use of this hologram as a medium to long-term cost savings. The cinema no
longer need to spend money to print. With the use of this hologram as a medium to long-term
cost savings, the cinema just need a soft copy for transmitting and promoting a new film through
holographic media. Fourthly, through this study holography are capable to attracting
moviegoers to come and see the advertising through the holography medium. There are many
strength in advertising by using hologram as a medium. Moviegoers will feel more appreciated
and feel more recognizing the character before go to watch the movie by themselves.
B. Holography is a technique that allows the light scattered from and object that was recorded
and later reconstructed so that the object as if it were in the same relative position to the
recording media recorded. The images change according to the position and orientation of the
system changes the view in the same way as when the object was still there, so the recorded
image will appear three-dimensional (3D) commonly called the hologram. Recording
technology uses a three-dimensional image of pure light (such as laser) (Dorling, K, 1997, pp.
56)
There are a lot of ways to advertise a product, no matter with physically or digital medias. It
has been for centuries, advertising has become a major way for businesses to promote and sell
their products. The whole concept of advertising has changed in the last 3-4 decades, it has
62
become a most vital force that forms & changes opinions of millions (Kaptan, 2002).
Advertising using hologram is not widely used until recently. Hologram such as Luna 180,
Luna 180 XL, Aurora 360, Aurora 360 XXL, One Cube and Trasparente has made it possible
to use hologram as a medium to promote and advertise product or non-product. These services
are used to impress guests with these ideal for holographic systems exhibitions, conferences,
events and product presentations. This is also an innovative way to give message and interact
with client.
III. METHODOLOGY
The main idea is to collect as much information as possible. This information will be used as a
catalyst of ideas that can help to identify, a better understand and also to resolve the lack of
attractiveness in the cinema as well. This is also to solve these problems more effectively and
give an impact towards the country.
Qualitative methods base on observation of focus group [24](Barrios et al.,2008), or using in
depth interviews, which have exploratory nature. They generate oral descriptive, non-numerical
information, and are usually used with smaller population groups.
This study will use the interview sessions to get the right information as the primary data. The
interview session will also be made to the parties concerned.
Observations on this issue will be continued to identify problems and issues contained in the
case.
IV. SUMMARY
This research is a new studies that will improve promoting techniques. This research also made
the promoting style more attractive. Even though this research is still new and hard to find a
references but this research manage to find a similarity that related to this topic. As hologram
it self will bring more changes in our industry. There is a lot of cinema that need this style of
promoting in type of advertising.
63
REFERENCES
Dorling, K, Cahaya Laser, Jendela IPTEK Cahaya ,1997; 56.
Gerson, R. F. (1994). Marketing Strategies for Small Businesses: Thomson Crisp
Learning.
Kaptan, S. S. (2002), Advertising, New Concepts: Sarup & Sons.
Mohamad, N. (2008). An Interview with the Director of Zoo Negara (Director: Zoo
Negara ed.).
Stafford, M.R, & Faber, R.J. (2005). Advertising, Promotion and New Media: M.E.
Sharpe, Inc.
Thomas J. Kuegler, J. (2000). Web Advertising and marketing: Make the Web Work
for You!
(3rd ed.): Prima Tech, Prima Publication.
64
The Artist: The New Technique in Film Form

Agustinus Dwi Nugroho
Indonesian Institute Of Art Yogyakarta
dwinugr@yahoo.com
Film Studies
August 8, 2016
ABSTRAK
The Artist is a film that uses the silent era techniques to visualize the film. This study sought to
uncover what the motivation behind the use of techniques to the silent era films with his
observation of the text of both aspects of the narrative as well as aspects of the technique. The
findings of the observation process could be the basis of analysis. The Artist makes this silent
era technology into a cinematic technique to visualize the film. This has become a strong
motivation and able to demonstrate the strength of the story as a whole that tells about the silent
era transition process from the perspective of the player. The silent era techniques were used to
make this technique as a force in the film. This study focuses on how the technique of the silent
era emerged as a new technique in the world of film and brings new perspective in film studies.
This new technique emerged because it was never used fully in the present.
Keyword: Silent era, Narrative, Technique.
A. INTRODUCTION.
The Artist movie is a phenomenon in the film industry. The Artist released in 2011. The film
uses a technique of classic Hollywood films in the silent era in visualizing this film. On the
whole this technique has not been used before. The silent era classic Hollywood movie itself
exists as a period of development of world cinema in 1908 until 1927. The period of the silent
movie era when it is a manifestation of a period, which has not been able to find a sound
technology. The Artist makes this silent era technology into a cinematic technique to visualize
the film. The importance and novelty of this study lies in how to uncover the silent era
technology that could be a movie cinematic techniques in the present era. As well as revealing
about the motivation why the silent era technology was used as a cinematic technique in
visualizing this film.
The film is very different from mainstream films in general. The film gives a critical view of
the international film industry that a good film and exciting technology can use silent era
techniques, although silent film technology no longer exists. With the technique offered in the
silent era, The Artist earned trophy oscar in the Academy Award event for Best Picture and
other prestigious categories. The film offers a critical perspective on the world film industry
anywhere to return attention to aspects of the content and techniques that are the essence of a
film.
65
The film became a phenomenon and a valuable lesson that we can use as a reference application
era silent film techniques which can later become a force. This phenomenon brings a research
question of the presence of new techniques to be studied and assessed in order to provide new
insights into the world of film. This study sought to formulate this new technique into new
knowledge to film studies.
B. LITERATURE.
The literature review serves to obtain an overview of the research that has been done with
regards to the era of silent film techniques in journal articles. By searching for journal articles
in the data base we will find out about the position of our study compared with studies that had
been there before, to seek a theoretical emptiness. Here are the articles that I got at the base of
the data.
The emergence of staining in silent movies at the beginning of cinema is discussed in the article
The Temporalities of Intermediality: Colour in Cinema and the Arts of the 1920s written by
Sarah Street and Joshua Yumibe. This becomes an interesting discussion because discourse
staining manually films have been applied, although in a very simple form, by coloring the film
(celluloid) with a uniform color and limited. Sarah Street and Joshua Yumibe say "From a
technical perspective, a number of firms Began to specialize specifically in coloring films in the
early 1900s". (Street and Joshua, 2013). Technical exploration firms bring movies in
Hollywood at that time conducting experiments on the use of color in the film (celluloid).
The discussion in the journal article about the typical technique silent era also discussed in the
article Those Funny intertitles Subtitles: Silent Film Intertitles In Exhibition And Discourse.
Katherine Nagels in his article saying, "Intertitles are a complex and understudied component
of the film." (Nagels, 2013). Intertitles an important part in the film, especially in the silent era.
Nagels added "This article investigates two aspects of intertitles: their role in exhibition
practice in the 1900s, and the discourse around them during the silent era." (Nagels, 2013).
The focus of the discussion of this article is to investigate how the use and presentation of
intertitles in silent films and discussion on the intertitles during the silent era.
Aspects of silent film techniques in reflected in how the acting of the players. Chaplin and
Keaton is one of the silent film character has a distinctive character. Articles The Sound Of
Silence, The Space Of Time: Monsieur Hulot, Comedy, And The naural-Visual Cinema Of
Jacques Tati (An Essay And An Interview) written by Robert Cardullo describing Jacques Tati
that resembles Chaplin and Keaton. He said,
"Also like Chaplin and Keaton, Tati played Essentially the same character in each of his
pictures. That character is inevitably a loner, an outsider, a charming fool Whose human
incompetence is preferable to the Inhuman competence of the life around him ". (Cardullo,
2013).
This article discusses the characterization of the acting player Tati which is a technique that has
similarities with the acting player of the silent era films which Chaplin and Keaton. In addition
66
to articles that discuss how visualization acting who resembles a silent era is the article also
discusses about the actor's own Chaplin silent associated with key scene in the City Light. The
article titled City Light: Five Scene. In this article discussed about the actor who face certain
situations in locations that symbolize a particular story.
Discussion of the silent era film maker became a topic in research on the silent era. Articles
'Turn Again, Tourneur': Maurice Tourneur between France and Hollywood demonstrated how
the director Maurice Tourneur Silent Era discussed relation to the participation of his works in
Hollywood before he moved to France, and the influence of Hollywood style he brought to
France. People tend to forget as cinematographer silent era, Suchenski said that,
"Although he was regarded by many of his contemporaries as the greatest visual stylists of the
1910s, Tourneur occupies an Increasingly marginalized position within the film history, barely
figuring as more than a footnote in recent scholarship on silent cinema." (Suchenski, 2011).
This study focuses on how the process of a silent filmmaker in the world of work and Problems
in the Hollywood film industry. In this study also mentioned about the techniques he used to
work in that era, which eventually inspired him to work later in France.
From the overview article about a silent movie era findings article concept that became the
focus of discussion can be concluded that the object of his research have a different focus but
still within the same theme, namely about the silent era classic Hollywood. Discussion about
staining techniques, the techniques of storytelling in intertitles, and acting techniques player
whose character resembles the character actor silent era, the discussion of the key scenes in City
Light movie case studies, as well as a discussion of the silent era filmmakers. Problems of
articles that appeared not discussed how technology and techniques of the silent era into a
cinematic technique in visualizing the movie in the present era.
Discussion dwell on the techniques used in the movie itself and the silent era nostalgia to the
times of the silent era both in the film and its characters. Emptiness theory lies in the lack of
discussion on how technology is used as a silent movie technique in visualizing today. This is
what will be the new knowledge if the film The Artist who uses the technique investigated using
research methods to obtain formulas and concepts of knowledge about the concept of the silent
era techniques.
C. METHOD
1. Method of Collecting Data.
Method of collecting data conducted to examine The Artist is using observational techniques.
The first step to do is to make observation instruments that contain aspects of the film is
primarily associated with silent film techniques. The aspects in the film that became the object
of observation is the aspect of content (narrative) divided into sequences and scenes and aspects
of his own technique, covering the aspects of acting player with regard to mimic the expression
of a silent movie, aspects of cinematography seen from the type of shot that is dominant in the
film, aspects of editing transitions typical silent film, as well as their Intertitles who become
67
guides the story is very typical of the silent movie era. Data retrieved by observing the film
itself, by watching the film several times and the data collection is rotated slowly in a way to
pause technique described in written form in the table will be an observation data.
2. Data Analysis Method.
The raw data generated in the form of sampling collection narrative aspects and technical
aspects that are ready to be analyzed. The steps to analyze is to do the coding. The purpose of
coding is the process of data reduction. Not all of the data generated will be used for analysis,
for it needs to be reduced. In the reduction process itself is also the process of analysis. Encoding
itself has three phases, each of which has a process of analysis with different levels of depth of
analysis. As for the encoding through the first stage is the stage of descriptive code, interpretive
code, and subsequently generate the code pattern. Pattern code that is the basis for describing
the findings in the discussion.
D. RESULT AND DISCUSSION
From the result of the encoding process has been done in the process of data analysis is produced
findings that could answer the research question. Then the following discussion will describe
the findings. The following is a discussion section that will explain how the consistent use of
the technique in the silent era in The Artist. And more important to explain inconsistencies in
the silent era techniques in several scenes. But that's where the real key that could explain the
motivation of the use of techniques throughout the silent era films associated with aspects of
the narrative. Then, in the third section will discuss the relationship of narrative and technical
aspects of the silent era itself in The Artist. In the last two sub-chapter will discuss how the
emergence of new techniques and applications in film form style.
1. The Consistency of the Silent Era Technique in The Artist.
To demonstrate of the silent era technique we have to see how the use of techniques throughout
the film packaging in both the visual and sound elements. From the technical aspect we can see
a pattern of consistency to show the image aspect both technical and engineering techniques
that show the silent era. The technical aspects throughout The Artist who uses black and white
and the aspect ratio of 4: 3 is strongly associated with a new technology that silent era reached
technologies black and white and fullscreen aspect ratio.
From the aspect of visual technique appears there are some that are typical of the silent movie
era that is acting players, type of shot, editing transitions, intertitles and sound techniques such
as the use of music throughout the film. From the aspect of visual techniques such as expression
of his players demonstrated consistency expression and gestures same with the players in the
silent era. The actors and actresses such as dialogue through expressions mimic as exaggerated
and with the motion of non-verbal body language. From the aspect of cinematoghrapy the type
of shots taken also looks very dominant use of medium shot for example Medium Close Up
(MCU), Medium Shot (MS), Medium Long Shot (MLS) and very rarely use the wide shot. It is
associated with the era of silent films who at that time using a shot which tend medium.
From the aspect of editing is consistently using editing techniques Fade transition style (round
68
/ circle) either fade out (black circles are enlarged into the next scene) and fade in (the circle is
reduced to a black screen). Wipe transition is also commonly worn with style clockwise. The
use of techniques Fade or Wipe transition is associated with the technique of film editing
transitions in silent era who also uses the technique of editing Fade and Wipe transition. Another
typical thing is intertitles were also consistently used. Intertiles is guiding the story in the form
of a black screen containing the text in the middle of the player are in dialogue. The contents of
the text is a dialogue form of dialogue between the players.
From the aspect of sound consistently in all the dominant movie without sound elements. In the
silent film screenings at the time, the cinema screen playing a movie and immediately
accompanied by the orchestra. In The Artist is as reconstruct the event by placing music
throughout the film. Although in certain sequences and the scene will appear sound elements.
This is what will be our next discussion. Although it is predominantly the film is said to be
"silent" but there are in the some scene using sound. It was to indicate the specific motif in the
narrative film.
2. "Sound" Sequences in the The Artist.

Of the code pattern that has been done there is the most interesting findings clearly that although
the techniques used in The Artist predominantly use the techniques of the silent movie era in
visualizing the movie, but there are four scene and a sequence in the film that uses sound
technique. Four of this scene is the scene of "Dream" in a sequence of four (The coming of
sound), the simulation dancing scene, "filmed dancing George and Miller scene," and "cut
scene" in the sequence of eleven (Dancing). The sequence that uses existing sound on sequences
of seven: a montage sequence of Peppy Miller on the rise.
Four scene using technique sound aspects. Sound techniques used there that use sound effects,
songs and dialogue. In the "Dream" scene in a sequence of four (The coming of sound) using
the technique of sound effects in using a scene like the sound of glass, the sound of the comb,
the sound of atmospheric environment, a chair shifted and fell, the sound of a dog barking, the
sound of the phone ringing, the beating of the feet, the sound of the opening the door, the sound
of people laughing, and thump. In the "simulation dancing" scene the beating sound of dancing
feet with the movement on the floor using the technique of sound effects. Similarly, in the scene
"filmed dancing George and Miller" also uses pulse patterned legs. At the "cut" scene using
sound technique with dialogue in the movie ending. We've heard the voices of George Valentin
as the main actor in the ending. In a sequence of seven: A montage sequences of Peppy Miller
rose leaves using techniques songs with shrill voice. Here's the explanation of each scene and
sequences that have sound elements.
a. "Dream" scene (sequences of four)
In the "Dream" scene (the sequence of four) refers to the point in time where the sound
technique appeared in 1929. We were taken from the viewpoint of George as a man who felt
the presence of the silent era technologically sound and feel disturbed by the presence of these
69
technologies, because he is a silent actor who is not accustomed to dialogue. It makes sense
why all the films made with pictures and sound technique silent era. This is to show the
atmosphere and the transition process in the silent era and follow what happens to the main
character is George.
b. Sequence 7 (montage sequences Peppy Miller Rising)
In a sequence of seven serving with the song sequence "ride leaves Peppy Miller" using sound
techniques that appear in the song. It appears likely to show how the development of the sound
era in the period was marked by the appearance of the song. The song is sung by the "shrill"
voice as the silent era reminiscent of the problematic transition that many actors / actresses who
voiced shrill difficult to adjust or even no longer used during the sound era.
c. Simulation Dancing Scene, Dancing Filming Scene and Cut Scene. (Sequence 11)
At the end of the sequence of sounds again raised in the form of sound effects and dialogue (on
sequences eleven: Dancing) visible from three scenenya namely simulation dancing scene,
filming a dancing scene, and the cut scene. These sequences show the sound effects of dance
shoes sound as a form of compromise actor to play the movie again. It shows George has
received sound technology and willing to compromise with these technologies with the filming
of the movie Sparkle of Love.
From these findings it is concluded that throughout the film is not entirely by voice. But here is
a key point in the film answers about why the predominant use techniques silent era. From the
findings of the scene and the sequence above, then associated with the context and scenesequences which uses sound technique. And consider the narrative structure is built, then we
will know that sound techniques that are put in specific scene that has a particular motive.
Motive associated with narrative or story associated with the actor (George) facing a transition
process silent era. In principle, these findings seen from the pattern of sound technique used in
a specific sequence and also pay attention to the silent era in technique throughout the film are
also used. In the following sub-chapters will be explained about the relationship of narrative
and technique in The Artist.
3. Relationship of Narrative and Cinematic technique in The Artist.

Film form a union aspects and elements that build up a film. There are two important aspects
in the film, namely the aspect of content and technique. Aspects of content are often called
narrative and technical aspects are often called cinematic. In the book The film's introduction
Art said that "In a narrative film techniques can function to advance the cause-effect chain,
create parrallels, manipulate story-plot relations, or sustain the narration's flow of information"
(Brodwell and Thompson, 2004: 175 ). The relation between the two aspects of the film was
very close and mutually influential. The unity of the two films that form a style in the film.
Aspects of forming the film that became the focus of a study to examine how the style of the
silent era in all its aspects can be used as a technique in The Artist.
70
In the context of narrative The Artist in essence, is to follow the main character (George Valentin)
who is an actor Silent Era undergoing the process of transition in Hollywood from the era of
silent to sound technology, then from the point of view that we can see that the technical aspects
of silent is a cinematic techniques most appropriate to describe and visualize the story, which
is entered in the world of George as the main character. Silent era techniques to visualize the
life of the silent era actor who experienced the rise and fall up.
From these findings we get a final conclusion or final findings could answer research questions,
namely causality appears from technical aspects and aspects of the story in the film. His findings
were silent era technical aspects used as a medium to visualize the film is due to reinforce the
narrative aspect, which is directly related to the plot of the silent era at that time.
Narrati
Techniq
ve
ue
Aspect
Aspect
Silent technique is very effective to explain how the feel and atmosphere of the silent era, there
were experienced by the audience. Thus these findings it can be visualized as follows:
Visualization of the above can be explained that the first ring is an aspect of the narrative and
the second circle is a cinematic aspect. Both of these aspects indicate causality answer research
questions about why The Artist using silent era. Narrative aspects affect the use or selection of
proper technique to visualize the film. Judging from these findings it can be concluded that the
analytical technique selected aspects in a film to visualize the film becomes important for
strengthening the film. Aspects of the techniques used to visualize the film should have a strong
motive associated with aspects of the narrative.
Silent techniques in a style that can be used to visualize the film with highly precise and strong.
Because of the techniques used is a representation of the story of the film. There are some films
that the theme of the story about the silent era to the era of transition for example voice Sunset
Boulevard but the cinematic approach used different characters with The Artist which directly
uses cinematic techniques silent era itself. The Artist with a story theme silent era actors in the
transition process and the sound era with a cinematic approach technique silent era shows that
the theme of the film is directly related to techniques stlye. The film became extremely unique.
Because the techniques used reflect the theme of the story that is being built.
4. Silent Era Techniques.

Cinematic aspect in film studies very interesting discussion that produces theories unresolved
discussed. Similarly, the discussion of cinematic techniques in silent films. In the world of film
knowledge has been much discussed all aspects of the cinematic approach in silent movies such
as research in scientific articles I have mentioned in the literature review. In accordance with
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the literature review and the results of the discussion of the previous section let us see the
position of the findings regarding the silent era techniques are fully used in The Artist as
compared to scientific articles that address what silent films in the past.
Staining technique in the article The Temporalities of Intermediality: Colour in Cinema and the
Arts of the 1920s discussing the coloring of the film in the 1900s into a discourse on the typical
coloring techniques performed in silent movies. Street and Joshua in his article,
"... D.W. Griffith, for example, describedhis tinting and toning of Intolerance (1916) as Carried
out with the care of an'impressionist painter'in order to'suggest the mood of the scene ', rather
than to dominate the story' ( 'Written on the Screen'1916). (Street and Joshua, 2013).
Silent film identical to the color film was black and white, but with the development and
innovation to do the coloring manually in the film in the early 1900s, making his film into a
slightly different shades. Color techniques to work to build the atmosphere and tone of the
movie. Staining in the film should be also the aesthetic aspect in times of silent era. In addition
to color techniques in the silent movie era, intertitles technique has also become one of the
studies are also interesting because this technique is a typical in the silent era.
Intertitles into research on typical technique in silent films studied in depth to show how the
technique of "dialogue" with the audience using text. In the article, titled Those Funny Subtitles:
Silent Film Intertitles In Exhibition And Discourse Nagels quoting Nebesio said:
"Similar to Expository intertitles, informational inserts served a key role, but were actually part
of the diegesis: the textual element was integrated into the narrative as something being written,
looked at, or received by a movie character ... (Nebesio 1996 694) "(Nagels, 2013).
The role of the text that appears as a media narrative in the silent movie era to be the key to
building a narrative film. In the present era intertitles text that appears the same as movie
dialogue today. In addition to being a key role in a silent movie, the placement of the text in
between scenes required separate consideration in order to provide information to the audience.
Not all the dialogue scenes in the film will be intertitles. By relying on body language, the
audience will understand what is being talked about. Discussion of the intertitles be associated
with the interesting aspects of the film narrative.
The Sound Of Silence, The Space Of Time: Monsieur Hulot, Comedy, And The naural-Visual
Cinema Of Jacques Tati (An Essay And An Interview) written by Robert Cardullo discuss about
the figure of Jacques Tati with his characters' distinctive and linked to silent era actor. Cardullo
said:
"Again like Chaplin and Keaton, Tati's Hulot Neither looks nor moves like anyone else in the
universe. He leans forward at an oblique angle-battered hat atop his head, pipe thrusting from
his mouth, umbrella dangling at his side, trouser cuffs hanging two inches above his shoes-an
odd human construction of impossible angles, off-center and off-kilter . "(Cardullo, 2013)
Jacques Tati into character compared to the silent era actors Charlie Chaplin and Buster Keaton
because his character is almost like the two figures. Characterization of players acting in a silent
film is important because without dialogue the body language that will speak.
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Acting players who rely on non-verbal language such as body language gestures and
expressions as well as the expression of costumes and props used will tell you about the movie.
Article entitled City Light: Five Scene also discussed relation to key scenes depicting the
relationship scene by setting the location of a key symbolizing the story. In the article City Light:
Five Scene is divided into five main scene is "Scene One: A city intersection, Scene Two: A city
street, Scene Three: A city corner, Scene Four: Evening, a dark river embankment, Scene Five:
A city street. (Miller, 2015). The scenes that is to be a portrait of how the scenes with interrelated
key setting.
Visualization in The Artist who used to see in black and white and the aspect ratio of 4: 3 and
predominantly using techniques such as acting player who acted with body language and
expressions exaggerated, and the techniques of cinematography which uses the type of shot that
tend medium, the transition editing fade and wipe very distinctive associated with silent film,
as well as the use of music in the whole film as reconstructing orkrestra played in the theater in
time silent movie to exist, as well as the use of intertitles it can be concluded that The Artist as
a whole using the techniques of the silent era in throughout the film, then the integrity of the
techniques used can we call the "silent era cinematic technique". Thus let us position this
research to study the articles above.
Of the discussion on the articles of the above can be concluded that the discussion of these
articles refer to a discussion of the techniques in the silent films of the era. The discussion of
the techniques formulate theory about the techniques formulate used in the era of silent films
in the 1900s. The uniqueness of the technique is used as study materials for researchers.
Whereas if such research compared with research on "technique Silent Era" used in The Artist,
the techniques of the era of silent discussed in the article only discusses the peculiarities only,
while the discussion of The Artist discusses the integrity and unity of these techniques
throughout the film eventually called the "silent era of cinematic technique".
Discussion about The Artist becomes new as well as a discussion of the "silent era techniques"
that could be a whole new cinematic techniques appear as emerging film The Artist. The use of
"techniques silent era" into a new discussion because of the articles of the silent movie era film
techniques discussed in the silent era itself and not the technique that is used in the films of
today. This new technique in the perspective of knowledge is a new finding that could
eventually become a force in producing a film. Not only as a reference for the production of a
movie, this new cinematic techniques into a cinematic study of world knowledge in the realm
of discussion of the film.
5. "Silent Era Techniques" and Style Application in film form.

This silent technique can be a force that is used to visualize themed films either silent or other
subjects that might be appropriate to use force techniques silent. Silent Era which is a form of
technological achievements before the invention of sound into a new cinematic techniques used
in The Artist. The style is very possible the silent era was applied again in a movie. Approaches
aspects of picture and sound that no technique has become a reference for filmmakers to use
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this technique as a way to visualize the film.

In the development of the history of film there are several cinema movement that occurs in
many countries such as German Expressionism, Soviet Montage, French New Wave and others.
Styles of films from the cinema movement into an approach for filmmakers today. Examples
Tim Burton with his films often use cinematic approach of German Expressionism. Quentin
Tarantino with the approach of the French New Wave. The approach of the present director be
a force in making the film. If the technique of cinema movement in films that particular cinema
movement will be applied to its own style. However, this is not the silent movie era cinema
movement but the period by the achievements of technology at the time. The applicability of
the technique in the era of silent film The Artist becomes the first milestone of the first of style
with silent era technique that the future they can be used as a movie style.
E.CONCLUSION
In the research on The Artist who uses the silent era techniques Classical Hollywood, it was
found that the existence of a causal link between the technical aspects and narrative aspects
have a strong relationship, the main aspects of the silent era techniques which have very
effectively visualize and strengthen aspects of the narrative. This has become a strong
motivation and able to demonstrate the strength of the story as a whole that tells about the silent
era transition process from the perspective of the player. This study focuses on how the
technique of the silent era emerged as a new technique film studies.
F. REFERENCE.
Bordwell, David dan Kristin Thompson. 2004. Film Art an Introduction. Seventh Edition. US:
McGraw Hill.
Cardullo, Robert. 2013. The Sound Of Silence, The Space Of Time: Monsieur Hulot, Comedy,
And The Naural-Visual Cinema Of Jacques Tati (An Essay And An
Interview).Contemporary French and Francophone Studies. Vol. 17, No. 3, 357369.
Miller, Andrew H. 2015. City Lights: Five Scenes.Raritan Summer. Vol. 35 Issue 1, p34-44.
11p.
Nagels, Katherine.2012.Those Funny Subtitles: Silent Film Intertitles In Exhibition And
Discourse.Early Popular Visual Culture. Vol. 10, No. 4, November 2012, 367382.
Streeta, Sarah and Joshua Yumibeb. 2013.The Temporalities of Intermediality: Colour in
cinema and the arts of the 1920s.Early Popular Visual Culture. Vol. 11, No. 2, 140
157.
Suchenski, Richard.2011.Turn Again, Tourneur: Maurice Tourneur Between France And
Hollywood.Studies in French Cinema. Volume 11 Number 2.
74
Making wayang along anthropology and art

by Giulia Panfili
giupanfili@hotmail.it
FCSH-Universidade Nova de Lisboa
ISCTE-University Institute of Lisbon
Centro em Rede de Investigao em Antropologia (CRIA)
ISI Yogyakarta
Abstract
Practices of art and anthropology are interlacing a dynamic dialog especially for the methodology
of research, the process for awakening knowledge. Historically anthropology treated art in its
various expressions as privileged field of study for being in a certain way caught up in social and
cultural relations. Nowadays more and more the both practices share ways of thinking through
making and making through thinking in processes of active going along, engagement with the
surroundings and self-discovery. In researching how wayang kulit is being alive in Yogyakarta at
the present on going time, art to be intended as creative doing and practical understanding became
all in one object, subject and process of the research. Learning by making and performing wayang
kulit as well as observing, sharing and discussing with people gives path to experience and
question some issues about ways of knowledge and skill transmission; practices of growing
between forces, materials and gestures; borders of completion of never-finished objects and
practices; relations between practitioners, materials and surroundings; projections of imaginative
design between local and global dynamics.
Keywords: anthropology and art, making, wayang kulit, liveness
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Introduction
In this paper I intend to explore the traces that the fieldwork research is leaving along its creative
process. This fieldwork experience is part of a PhD research project that carries the working title
Making wayang in between. Performing cultures with rasa, komunitas, Nusantara and
UNESCO. Its utopian aim is to draw/portrait how wayang kulit practices are being alive - in the
continuous tension between changing and permanence - at the contemporary on going time in
Yogyakarta, and to which extent its practices are being shaped by 2003 UNESCO designation of
Indonesian Wayang Puppet Theatre as Masterpiece of Humanity and by related Intangible
Cultural Heritage discourses. Similarly Sarah Anas Andrieu studied for her doctoral degree the
political anthropology of the Sundanese (West Java) wayang golek and its process of
patrimonialization, questioning the present and contemporary appropriation of wayang golek
(Andrieu 2009).
As several scholars especially in the field of heritage studies widely demonstrated, heritage as
well tradition is being made, invented. The heritage formation indeed is a dynamic field of social
action with power relations, involving different actors at local, national and global levels (Smith
2006). In her doctoral dissertation Sadiah Boonstra also illustrates the dynamics of heritage
formation such as standardization, codification and institutionalization from the colonial to the
postcolonial era, at national and global levels, as well as the political dynamics at play on wayang
(Boonstra 2014). It is to explore anyway how people engage with society, its politics and
economy, so how people perform culture and address issues of inclusion and exclusion, in a kind
of linkage between the past and the future. In another way and in this specific case, it is to disclose
how in the life/alive experiences, multidimensional relations between puppets, people, stories and
places make wayang alive. A concert of many voices, opinions, methods, subjects, perspectives
and processes are being taken into account.
For the sake of time and space in this paper I only try to express some resonances of my research.
In that intention particularly enlightening has been the reading of Tim Ingolds Making (2013)
whose argument is that anthropology, archaeology, art and architecture are ways of thinking
through making since making is a correspondence between maker and material. Said another way
all four disciplines are linked by the practices of knowing is movement, an incessant
correspondence with the world. It definitely helped to handle with the unavoidable and
nevertheless not less unbearable fragmentations of experiences, reflections, sensations, actions
and the mores of life, showing a possible way to correspond with it, proposing me one of the
threads to pull for untangling the previously created and amassed skein.
Art and anthropology interaction along history
The relationship between anthropology and art is old. The early anthropologists for long time
have investigated and collected together with private collectors and museums the artefacts of
often small-scale non-western societies, represented in the western myth of the noble savage.
Those far away ethnic groups objects were referred as primitive art, a controversial term that
later was criticized for being based on ethnocentric criteria, therefore replaced by tribal, folk,
ethnic and adjectives the more. This previous remoteness between the scholars and their object
of study was then shortened at the end of the 19th century-beginning of the 20th by the new
anthropologist now an individual fieldwork researcher which marked the modern phase of the
discipline. The encounter with the other and its intensity opened up wider methodological and
epistemological issues to discuss. Anthropology have revealed the plurality of cultures and strove
to interpret other societies in its own terms and values, distancing evaluative judgements. In the
analysis of other cultures works of art, an ethnographic approach seeking to relate them to their
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context of cultural meanings and values prevailed. In so doing, the same art definition criteria
were challenged.
During the second half of the 20th century the anthropology of art treated art in its various
expressions as a privileged field of study for being in a certain way embedded into sociocultural
relations and related processes of shaping identity, to be observed and interpreted (Gell 1998). It
came that the works of art were mostly treated as finished objects, so analysed in a reverse
attribution of meanings and intentions. Similar approach can be found in the fields of material
and visual culture that mainly focused on the dynamics and interactions that create, use, make
circulate and confer values to the objects and images (Appadurai 1986). Notwithstanding the
creative, direct, practical and sensuous processes that give rise to art were not contemplated.
In the wake of postmodernity and the writing culture critique in the 1980s reflexive or critical
anthropology, however, new theoretical frames emerged. The ethnographer authority as well the
observer neutrality was criticized for a new understanding of ethnography: no more a ready-made
and neutral knowledge rather a creative process that is inescapably based on the experiences of
the subject, therefore partial, being one perspective among potentially many (Clifford 1988). That
is that the third-person writing was gradually replaced by the first-person. This new theoretical
frames were not only auto-reflexive, anthropologists navel-oriented, it goes that in parallel
anthropologists redesign the position and approach with the object of study, if of the object of
study it is still possible to talk. The growing and renewed attention paid to the subjective
dimension in the engagement with the surroundings paved the way for a kind of reawaken of
senses as is reflected in the contemporary anthropology of emotions. The relative dimension of
the experience highlighted the importance to be aware of the particular space and time in which
the experience itself happens. Its dynamicity and in a certain way its elusiveness for being in
constant changes are now highlighted. Cultural processes, practices, actions and changes are
questioned in the field of anthropology of performance (Schechner 2002) and in the wake of autocriticism the definition of the other itself were questioned. The fieldwork was redesigned to
include together with the classical small-scale non-western societies also metropolis, urban
communities, the researcher him/herself. New disciplines such as anthropology of complexity and
urban anthropology arose and what was until now considered objects and subjects blurred.
Back to the art, keeping in mind what has been shortly described above, it can be understandable
in which directions can be recently traced a dynamic dialog between art and anthropology.
Increased attention is paid to individual artists and their processes of creativity. New life is
conferred to the previous dead-objects through the movements of nouvelle museology and critical
museology. Anthropologists are exploring new forms of research and representation beyond
written texts: the so-called visual anthropology offers some examples of the wide possibility to
link research methods and visual representation between anthropology and art through drawing,
photography, video, digital media and so on (Banks and Morphy 1997; MacDougall 1998;
Grimshaw 2001; Pink 2004). Since early the drawings, then the photographs and later the videos,
were first used for illustrative purposes as accompaniment of the words, then - given the
reconfiguration of ethnographic strategies - take a role no longer merely auxiliary but as one of
the research and questioning media of anthropology, as illustrated by the pioneering work of
Margareth Mead and Gregory Bateson in Bali on 1942.
On the other hand, following the so-called ethnographic turn, contemporary artists have
adopted an anthropological gaze and methodologies such as fieldwork and observant
participation or appropriation of the archive of the memory (Enwezor 2008).
Collaborations between anthropologists and artists have been few (Schneider and Wright 2006,
2010) nevertheless art and anthropology nowadays more and more share their practices, their
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ways of thinking through making and making through thinking in processes of active going along,
engagement with the surroundings and self-discovery.
Most illustrative examples however are found in the field of art. Born into brothels: Calcuttas
Red Light Kids (2004) an Indian-American documentary film about the children of prostitutes
in Sonagachi, Kolkatas red light district directed by Zana Briski is based on the increasingly
common technique in visual anthropology to give informants cameras. In so doing photography
and video are both recording device and research tool. In 2014 a young Argentinian-born artist
called Amalia Ulman used her Instagram and Facebook profile for staging a five months elaborate
online performance called Excellences & Perfections. Selfies taken on her iPhone became one of
the most original artworks of the digital era, shown in Tate Moderns Performing for the
Camera, which examine the relationship between art performance and photography, and at the
same time it could be perfectly an ethnography.
Finally, another type of collaboration can make us reflect in general on disciplines and fields of
knowledge as well as on art as a catalyst for investment today: the European Organization for
Nuclear Research CERN provides artist residencies and research at its laboratory with the
conviction that particle physics and the arts are inextricably linked: both are ways to explore our
existence, what it is to be human and our place in the universe. The two fields are natural creative
partners for innovation, research and development (http://arts.cern/home).
Fieldworking
Remind, this is a PhD in anthropology not in art - my lecturers advice is still resonating in me.
At that time, sitting in the seminar room at the university, although surprised by the direct
recommendation to respect the boundaries between disciplines, I felt prepared to receive it being
in a certain way already aware of the institutional codes and pretending to know where those
moreover fictitious margins resides. Anyway once in the fieldwork it happened the inevitable: art
and anthropology correspond to each other and blurred. Its unavoidability was due to the
encounter itself between the student carrying on this PhD research project a not irrelevant aspect
if considering the reflexive turn in anthropology and the fieldwork. She is a nearly 30 years old
Italian, cultural anthropology student, traveller and art practitioner. The field of research is
wayang kulit liveness in Yogyakarta and despite its polysemy does not leave to be stressed, in
several situations wayang is considered seni (art) as well as its performers seniman (artists).
Along the encounter or the negotiation that as anthropology student I was expected to pretend, I
realized the difficulties to fully explain or be understood, depending on the angle the reasons
for my presence or rather the research objectives. It seemed as if on one side each one of my
interlocutors pulled toward his or her nearest conceivable experience the reasons for me to be
there and as though on the other side I feed these understandings since my actions imitate their
own. After some attempts I went to the game, so the chameleon performance has begun. As I am
learning in practice how to make and perform wayang kulit, suddenly I became an aspiring
puppeteer or possibly a singer in the midst of puppetry students Mau jadi apa? Dalang atau
sinden? and an artist or artisan even with some previous mastery as already at the doctorate
sudah S3! in the middle of puppet-makers students.
Since my arrival in Indonesia on July 2015 I was told that for being a dalang take much
imagination, for that art especially if heart and mind are not fused it would be difficult. On the
contrary if heart and mind are already merged and pleased observing continuously and
practicing, after time you will be able to (from a short talk with Bapak Sumardi, coordinator of
Museum Wayang at Jakarta and also dalang, puppeteer).
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Key words such as menyatu (becoming one) and pake rasa, senang dulu (with feelings, enjoy it
first) are repeated several times and actually they are practiced too. Observing, listening, feeling
and doing became mainly the learning process. That is for learning both how to make and perform
wayang kulit puppets, after a brief demonstration if any, I was soon sat up in front of the leather,
tools in the hands.
I had the privilege to attend carving and coloring (tatah sungging) class from the State Academy
of Art and Culture Community Yogyakarta (Akademi Komunitas Negeri Seni Budaya Yogyakarta
AKNSBY) held at Mr. Sagio studio (Griya Bapak Sagio), in Gendeng village, Bantul. These
weekly three days classes are part of the one year Experts Primary Education Program, a joint
program between the Yogyakarta Regional Government (Daerah Istimewa Yogyakarta DIY) and
Institut Seni Indonesia ISI. Already at its second edition, this program is funded by the Yogyakarta
Regional Government and can be only attended by Yogyakarta residents. Its purpose is to train
puppet makers as well as dancers and gamelan players who once passed the final exam according
to the contract should work for Desa Budaya (Culture) or Wisata (Tourism), villages in DIY.
For learning how to perform wayang kulit, I have followed the first semester of theoretical and
practical course of puppetry (pedalangan) at Institut Seni Indonesia ISI Yogyakarta University.
After that, I enrolled in the puppetry evening course at the sultan palace (kraton) traditional school
(sanggar) named Habirandha. As the performance involves music, vocal technique, Javanese
language and the more, I am joining the basic singing and vocal technique (macapat) course at
sanggar Hadiningrat, another traditional school of the kraton and I am having private lessons of
Javanese language.
With time, making and performing wayang kulit as well as observing, sharing and discussing with
people gives path to a personal deeper understanding of Javanese wayang kulit. By Makings
revelatory reading I realized that my fieldwork could correspond with what Tim Ingold
experienced at his early career and later stressed, namely that the only way one can really know
things that is, from the very inside of ones being is through a process of self-discovery. To
know things you have to grow into them, and let them grow in you, so that they become a part of
who you are (Ingold 2013: 1). Studying with people, being involved in their activities, learning
by doing lately reconfigured the fieldwork or rather the researching process. Learning revealed
itself to be a personal inner understanding in practice, not an already made package of knowledge
to acquire.
In his thesis that making is a correspondence between maker and material Ingold argued that
the material is alive and that the maker intervenes in worldly processes that are already going on.
That is making is a practice of growing between forces, materials and gestures. Working with
leather it is vividly confirmed. Leather from goat, cow and buffalo in order from the least to the
highest quality is used for making wayang kulit. Therefore as part of animals, the leather
undergoes a particular process for being transformed into parchment. The parchment should not
take neither light nor water the man who treat and prepare the raw leather ready to be cut and
curved, advised me. I was probably not yet aware of tropical weather consequences and part of
the leather I bought for making wayang became an abstract painting while I was away for a while
for the Christmas holiday. Visibly other forces such as humidity, fungi and insects preceded me
into the process of giving form to leather to become possibly wayang.
Making, giving form to things, arises through movement, the dynamic properties of materials and
the balance of the forces at work. Indeed the leather is carefully carved with wood gavel beating
metal spikes whose ends are previously sharpened against a whetstone (batu asah). To avoid that
the spikes ends are broken the leather is leaned on a log of sawo wood (manilkara zapota,
commonly known as sapodilla) the consistency of which dampens the hits. At the same time the
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leather remains stable thanks to a weight whose top moreover is covered by wax in which
systematically the spikes ends are rubbed in order to impart more slipperiness. The puppet maker
sat at the table, the right hand rhythmically hit with the gavel while the left hand guides the spikes
on the leather. In act there is a mutual correspondence between the maker and the material. In this
kind of empathy the maker mood is especially involved in the creation of the puppet character.
The master maker Bapak Sagio revealed that he used to spend one week for his own preparation
for making a new character. He needs to feel and behave as the puppet would feel and behave.
Nowadays a drawing photocopy or another existing puppet is used as pattern for new creations.
Anyway each one is still different, reflecting the mood and temperament of its maker as well as
the surroundings circumstances.
In practice together with my companions I learned that the leather is not all of the same thickness,
therefore the more the puppets are small and graceful more the leather should be thinner, vice
versa the more the puppets are big in size more the leather is thick. It happened to me to make a
seemingly graceful and delicate female puppet, that however once removed from the flat surface
it bent, it could not stand. So I realized that also the single puppet requires the thickest part of the
leather to its base at the foot and the thinnest at the head. I could realize that only performing and
manipulating the puppets. Once again only performing I could understand the importance of the
puppets sizes as they seem to be reached and established for a comfortable handling.
In this progression of making and learning another issue was opened up that is if there is any point
of completion establishing when the puppets is finished. Ie making the puppets corresponds to
what will be their function and somehow it is uncertain to affirm when the process is complete.
Nevertheless of course takes a different direction, different performative ways, this problematic
exists even in the case of puppets made for decoration, collection or touristic souvenirs to be
exhibited on the wall or in any other way. In fact puppets made for these purposes require attention
and care for their maintenance such as for example the white gloves of the museum conservator
or the ritual pusaka (heirloom) cleansing at the kraton (sultan palace). It seems to be puppets are
rather never-finished objects, continuously in movement, alive. According to Jan Mrazk it is
fruitful to discuss visual and performing arts together because in Indonesia they are indivisible in
their world (Mrazk 2008: 292-293). Objects are practices.
The coloration given to the puppets allows and helps the puppeteer to empathize more with the
character that he or she is performing moving, giving voice and making alive. Performing we
look at the puppets, especially the face, and when there is action especially battle which is rapid
the colours help to quickly identify the key parts of the body. That is a reason for reading from
book is not so helpful. Other reason is that do not train memory for memorize the stories and the
dialogues, so even the improvisation becomes more difficult
Finally as can be seen learning in practice and sharing activities allow me not only to know
wayang kulit from the inside but also to experience and question how wayang knowledge and
skills are transmitted. Actually its transmission can occur through family tradition and
inheritance, informal learning at local sanggar (studio), governmental initiatives namely
vocational high schools, graduate programs and specific courses and also as autodidact mostly
with the help of video recordings. As earlier pointed out the first appreciated approach to wayang
is a full involvement by feelings (rasa), to be interpreted however not only literally and innocently
inasmuch patterns to follow are provided. Indeed these models are a source of discussion for the
next generations since both in making and performing wayang by some is considered to affect the
dimension of improvisation and creativity while by some others is highly recommended in order
to secure the local style.
80
Taking part of the wayang kulit liveness at Yogyakarta, it was possible to meet and share with
people differently related to it: lecturers and teachers, students and lovers, puppeteers and
scholars, artisans and artists, association members and politic representatives. In the middle of
those relations (or lack of relations) and their discourses became evident what anthropologists
and other social scientists remarked that culture is also politics.
Despite the research inevitably has led to other regions as well, Daerah Istimewa Yogyakarta DIY
constitutes the main place where the until now one year fieldwork focused. Its scenario shows
itself to be particularly challenging in order to question and open up how the interactions between
diverse individuals, groups and organizations evolve and shape wayang kulit for international
appreciation and local tasks. Wayang kulit is performed in the court, in rural areas and in museum
for tourism promotion, it is used for business and political purposes while its aesthetic is borrowed
by visual and performance artists. This makes the boundaries between what can be considered
traditional and contemporary wayang continuously blurred; the same can be argued in relation to
the global and the local dynamics of art and heritage formation that are also continuously blurred.
The peculiarity of DIY as the designation itself suggests is in term of its decisional autonomy e
authority, a separate administrative entity as recently the law reaffirmed through Undang-Undang
N 13/2012, concerning the privilege of Yogyakarta (Keistimewaan Daerah Istimewa
Yogyakarta) and reinforced by the Regulation of the Special Region of Yogyakarta (Peraturan
Daerah Istimewa Yogyakarta) N 1/2013, on the Authority in Privileged Affairs (Kewenangan
Dalam Urusan Keistimewaan). Its distinctiveness is also known for the Special Region of
Yogyakarta being a center of classical Javanese fine art and culture. It is reflected in cultural
realities and politics, aiming for a dynamic and creative region especially for what concern
culture, education and tourism. However its transisi situation and multidimensi character is also
often stressed as at the meeting Peran Komunitas Budaya di Era Keistimewaan DIY (Role of
Community Culture in the Age of the privilege of Yogyakarta) held on August 2-3, 2016 at
Yogyakarta.
Places and ways of living are continuously shaped and affected by politics as it is tangible with
Desa Budaya and Desa Wisata national program. So far, there are 42 cultural villages across
the four regencies (kabupaten Bantul, Gunung Kidul, Kulon Progo and Sleman) and the city
(kota Yogyakarta) that constitute DIY. DIY and Bali were appointed by the Indonesian Ministry
of Foreign Affairs as ambassadors for cultural diplomacy thus the cultural village as the front
guard and the cutting edge in preserving the culture
(http://nasional.republika.co.id/berita/nasional/daerah/16/04/05/o55zc5382-kulon-progo-dangunung-kidul-jadi-pusat-percontohan-desa-budaya).
Despite being emphasized a synergy with the local community, most of the initiatives for
developing the cultural villages came from dinas, the local governmental department, as well the
funding. In some cases what is called gotong royong mutual assistance between villagers play an
important role too. Anyway the law Undang-Undang N 23/2014 requires the grantee for tourist
village shall be a legal entity. Almost all of the initiatives in tourist village in the province of DIY
have not legal status. Some have the status of village-owned enterprises, Badan Usaha Milik
Desa (BUMDes), but the status BUMDes still unable to receive the grant because the Ministerial
Regulation N 4/2015 on the establishment, management and dissolution of BUMDes failed to
provide clear and specific guidelines regarding the ownership and management of village assets.
These cultural initiatives and politics reflect dynamics between local, national and global
dimension. In a certain way they are indicative of an imaginary design for the future.
To think about how life is in specific times and places, how might or could be like, is or ideally
should be the aim of doing anthropology and therefore the utopic aim to strive for in each meeting
and discussion along this research.
81
Trying to do so I use the drawing as also a learning practice. Drawing has all to do with the way
one observe and imply a real and deep engagement with the surroundings. In a certain way the
practice is also transformational, it changes the way to look at so the way to be in relation with it,
to correspond to the world.
Drawing as ethnographic instrument however occupied various roles in the history of
anthropological methods. For some authors it was indispensable for thinking and describing
sociocultural realities, especially the invisible one. For some others drawing was ignored or
relegated to a minor or subsidiary role in the fieldwork, if compared with other methods based on
writings or words such as interviews, questionnaires, family stories, biographies and so on.
Recently anyway drawings regained a certain prominence in the ethnographic practices (Afonso
2004), as for example in urban contexts (Kuschnir 2011) and in the imaginative logic of discovery
(Taussig 2011).
In my experience turned out to be not entirely compatible the idea to draw at the same time of
conversations. Probably it can sound trivial, but apparently it wasnt at least for me at the time I
was projecting myself in the fieldwork. I imagined myself talking to people and at the same time
to draw their portrait. With time and some initial frustration I realized it was not possible in the
way I want it. Drawing and discussing, both practices each in its own way, are engagement with,
correspondence, sharing and cannot be done at the same time or better said I am not able to. I
need to halt one of the activities to be fully committed to the other as also my interlocutor often
stops his or her activity for corresponding.
Anyway I appreciated that you were learning making wayang, instead of just reading about
it one of my puppet maker colleagues with a master degree in forestry said to me at the closing
ceremony. Finally someone revealed to me to be aware of my approach with wayang. With
hand into the mass along the research I realized that the process of the research itself
constitutes a creative doing and practical understanding where object, subject and process
became all in one. Borrowing a performance studies expression, it is a kind of performing
fieldwork, a dialog between anthropology and art in which objects are subjects are practices
and in which learning is transforming the way to be in life.
82
References
AFONSO, Ana Isabel (2004), New graphics for old stories. Representation of local memories
through drawings (with drawings by Manuel Joo Ramos) in PINK, Sarah, Kurti LSZL and
Ana Isabel AFONSO (eds.), Working Images. Visual Research and Representation in
Ethnography, pp. 72-89, New York, Routledge.
ANDRIEU, Sarah Anas (2009), Heritage and Paradox, Inside Indonesia, n 97, Jul-Sep, in
<http://www.insideindonesia.org/weekly-articles/heritage-and-paradox>
(consulted
on
November 14, 2014).
APPADURAI, Arjun (1986), The social life of things: Commodities in cultural perspective,
Cambridge, Cambridge University Press.
BANKS, Marcus and Howard MORPHY, eds. (1997), Rethinking Visual Anthropology, New
Haven, Yale University Press.
BATESON, Gregory and Margaret MEAD (1942), Balinese Character: A Photographic
Analysis, New York, New York Academy of Science.
BOONSTRA, Sadiah (2014), Changing Wayang Scenes: Heritage Formation and Wayang
Performance Practice in Colonial and Postcolonial Indonesia, Amsterdam, VU University.
CLIFFORD, James (1988), On Ethnographic Authority in The Predicament of Culture.
Twentieth Century Ethnography, Literature and Art, pp. 21-54, Cambridge, MA.
ENWEZOR, Okwui (2008), Archive Fever: uses of Document in Contemporary Art, Gottingen,
Steidl, New York, International Center of Photography.
FOSTER, H., 1996, The Artist as Ethnographer, The return of the real: The Avant-Garde at the
end of the century, Cambridge, MIT Press.
GELL, Alfred (1998), Art and Agency: an Anthropological Theory, Oxford, Clarendon Press.
GRIMSHAW, Anna (2001), The Ethnographer's Eye: Ways of Seeing in Modern Anthropology,
Cambridge, Cambridge University Press.
INGOLD, Tim (2011), Being Alive: Essays on Movement, Knowledge and Description, London
and New York, Routledge.
INGOLD, Tim (2013), Making. Anthropology, archaeology, art and architecture, London and
New York, Routledge.
KUSCHNIR. K., 2011, Drawing the City. A Proposal for an Ethnographic Study in Rio de
Janeiro, Vibrant, V.8 N..2, pp. 609-642.
MacDOUGALL, David (1998), Transcultural Cinema, Princeton University Press.
MORPHY, H.; PERKINS, M. (eds.), 2006, Anthropology of art: a reader, Oxford, Blackwell.
MRAZK, Jan (2008), Ways of Experiencing Art: Art History, Television, and Javanese
Wayang in MRAZK, Jan and PITELKA, Morgan (eds.), Whats the Use of Art?, pp. 272-304,
Honolulu, University of Hawaii Press.
PINK, Sarah (2004), Situating visual research in PINK, Sarah, Kurti LSZL and Ana Isabel
AFONSO (eds.), Working Images. Visual Research and Representation in Ethnography, New
York, Routledge.
SCHECHNER, Richard (2002), Performance Studies: An introduction, London, New York,
Routledge.
SCHNEIDER, Arnd and Christopher WRIGHT, eds. (2006), Contemporary Art and
Anthropology, Oxford, Berg.
SCHNEIDER, Arnd and Christopher WRIGHT, eds. (2010), Between Art and Anthropology:
Contemporary Ethnographic Practice, Oxford, Berg.
SMITH, Laurajane (2006), Uses of Heritage, London, New York, routledge.
TAUSSIG, Michael (2011), I Swear I Saw This: Drawings In Fieldwork Notebooks, Namely My
Own, Chicago, University of Chicago Press.
83
Study of Computerized-Batik Technique Using Batik Kelowong

Machine
in Developing Batik Bekasi Pattern
Waridah Muthiah
Universitas Mercu Buana
ABSTRACT
Implementations of technology in batik processing have been done in numerous innovations;
one of them was made by Agus Martoyo in 2010 and currently used at Adelia Workshop,
Bekasi. Differs from other tools that still relied on artisans craftsmanship, this machine worked
full-automatic by integrating Computer Aided Manufacturing system. This machine was
adopting CNC (Computer Numeric System) technology formerly used in metal and wood
engraving into the process of writing the outline or klowongan in batik, hence the name,
which means a machine to make the main pattern.
This research aimed to study the linkages between machines capabilities with characterization
of patterns produced, specifically the character of design elements such as dots, lines, and
shapes. This preliminary research was the first part of three consecutive stages initially planned
to study and improve this technique in batik production. First stage was the identification of
design elements characters made by computerized-batik technique, conducted by studying
patterns formerly made in Batik Adelia using qualitative-descriptive methods. Second stage
was aimed to formulate design specifications, conducted by making experiments with various
designs and measuring the data using quantitative approach. The results will be used as
background data in third stage, which aims to develop Batik Bekasis pattern designs.
It was concluded that by using this machine, effectiveness and efficiencies in the process have
been increased. The workshop doesnt have to rely on pattern and klowongan makers, thus cut
off some expenses and time. By using vector-based software in design stage, designer can
experiment with various techniques digitally, such as repetition and mirroring, thus affecting
batiks design. Using the machine also enhances precision, neatness, and exactness of the
patterns. But since it can only be used in the making of main outline, not for isen-isen (detail of
an ornament) or tembokan (blocking the patterns with malam), batik artisans still be needed to
complete the projects.
Keywords: Batik Bekasi, pattern design, technology, computerized batik technique
84
A. Introduction
Although considered as ancient traditional technique, the process required in the making of a
sheet of batik has been developed through centuries. Started with proto-batik technique using
kwas, the era of classical batik had reached the peak of writing technique using manual tools
like tjanting, that gave ways to the development of manual-printing technique using tjap in the
era of 19th centurys industrialization. Those two techniques, also known as traditional and
real batiks, are still widely-practiced nowadays. In the era of modern technology, in the name
of wide-range production, some developments have been made in batik processing, but only a
few selected techniques have been considered as batik. Batik, not only as specific patterns or
fabrics but also as a technique, must obey one principle: the using of malam as resistant medium
in its resist-dye technique.
Implementations of technology in batik processing have been done in numerous ways, for
example electrical tjanting with integrated thermostat (P.A. Surahmat, 2009; Toto Sukatma,
2013; S.D. Tyasputri, 2013) and mechanical batik-table (Surya Utama Teknika SMA
Muhammadiyah Pekalongan, 2014). One of those innovations was made by Agus Martoyo
(2010) and developed by SMK 4 Jakarta, currently used at Batik Adelia, Bekasi. Differs from
other tools that still relied on the artisans craftsmanships, this machine worked full-automatic
thanks to its Computer Aided Manufacturing system. This machine was adopting CNC
(Computer Numeric System) technology, which formerly used in metal and wood engraving,
into the process of writing the outline or klowongan in batik. Hence it made the name, which
literally means a machine to make the main pattern.
The study in this topic had been previously conducted by another researchers, such as
B. Purposes and Aims
The aim of this research was to study the linkages between machines capabilities with
characterization of patterns produced, specifically in the character of design elements such as
dots, lines, and shapes.
C. Methods
This research was the first part of continuous research initially divided into three stages. First
stage was the identification of design elements characters made by computerized batik
technique, conducted by studying patterns formerly made in Batik Adelia using qualitativedescriptive methods. Second stage was aimed to formulate design specifications, conducted by
making experiments with various designs and measuring the data using quantitative approach.
The results will be used as background data in third stage, which aims to develop pattern design
of Batik Bekasi.
In conducting this research, data have been collected mainly by observation to Adelia
Workshop, located in Jl. Perwira VIII no. 33 RT 004 RW 05 Kaliabang Nangka, North Bekasi,
City of Bekasi, to watch the process and find the samples. Direct interview has also been held
to Fauzi, technician of Batik Adelia, to find reliable data concerning the mechanical aspects of
said technique. Characters of lines and shapes made by this technique were formulated by
analizing 16 batik samples produced in the span time of three years, between 2013 2016.
85
D. Results
Picture 1. Kelowong Batik Machine

(Dokumentasi pribadi, 2016)
Kelowong-batik machine had been developed by Agus Martoyo in 2010, by integrating CNC
system to the mechanization of automatic-batik writing. The tip of CNC-head, which usually
made by metal to engrave patterns into wood or metal, was replaced with tube-heater consisted
of wax used in batik, completed with copper tip that could flow the liquid wax into the fabric,
mimicking the tip of a tjanting. These head was attached to a flat bed, where a sheet of was
spread horizontally. Controlled by a mechanism that moved and stirred this head in its axis, this
mechanization translated batik pattern into the movement of its tip in x (horizontal, parallel
with warp thread), y (vertical, parallel with weft thread), and z (up and down) coded-numbers,
resulted in the drawing of a line of wax following the pattern.
Specification details of this machine can be seen in the table below.
Tabel V.1. Specification of Batik Kelowong Machine, Batik Adelia

Specification
Tube Heater
- Tube
Metal alloy
Material
- Tjantings tip copper
Material
- Wax
Kelowong
wax
Gambar
Picture 5. Tube heater and tjantings tip

(Muthiah, 2016)
86
- Maximum
axis speed
3000
mm/minutes
Picture 6. Tube heater dan motor

(Muthiah, 2016)
Power Source
and Motor
- Power
Source
- Motor Drive
- Power
Consumption
Design Software
Program
- Design
- CAD
- CAM
- CNC
Controller
PC Based
Dimension
220
VAC/50 Hz
Precision
Stepping
Motor max.
4 Nm
500
Watt
Picture 7. Main circuit

(Muthiah, 2016)
Vectorbased
Software
(CorelDraw)
3-D
Software
(Autocad)
Picture 8. CNC numerical models as showed in
Vcarve Pro
main monitor during process
V5 / Mach 3
(Muthiah, 2016)
- Length
3000 mm
- Wide
1750 mm
87
Main Shaft
- Length
3000 m
- Wide
1500 mm
- Linear
Motor
Guide
- Industrial
Standard
Picture V.9. Vertical shaft (lungsi)

(Muthiah, 2016)
Working area
- Length
2600 mm
- Wide
1100 mm
Fabric types used - Katun

mori
- Sutra
Gambar V.10. Horizontal shaft (pakan)

(Dokumentasi pribadi, 2016)
Brosur Mesin Tulis Batik Indonesia, 2015
The process of batik-making in Adelia Workshop, Bekasi, was conducted through several
stages. Generally, it can be divided into four stages, i.e. Designing (digitally using design and
computer-aided software), Automatic-Batik Writing (using klowongan-batik machine),
Manual-Batik Writing (using manual technique with tjanting), and Finishing (coloring the
fabric and removing malam part from the fabric). Design stage was the part which really
differentiated this technique from traditional batik, since the initial pattern must be translated
into CNC numerical models used in directing the movements of tjanting tip on later
automatic-writing process.
88
Batik Process in Adelia Workshop, Bekasi

(Muthiah, 2016)
89
E. Conclusions
The practice of computerized-batik technique by using batik-kelowong machine in batik
production, as conducted in Adelia Workshop, Bekasi, has increased effectiveness and
efficiencies during the process. A batik workshop doesnt have to rely on pattern makers and
klowongan makers, thus cut off some expenses and time. Other than the line of process, it also
affects batik designs. By using vector-based software in designing process, designer can
experiment with various techniques digitally, such as repetition and mirroring. Using the
machine also enhances precision, neatness, and exactness of the patterns. But the recent
development of this machine can only be used in the making of main outline, not for isen-isen
(detail of an ornament) or tembokan (blocking the pattern with malam), thus batik artisans were
still needed to complete the project.
90
Collaborations and Design Development of Local Craft Products:

Service Design For Creative Craft Community
Rasa Suntrayuth/Silpakorn University
ABSTRACT
Local craft product is one of the key elements in expressing different identities of local culture
in different countries. Local craft communities in Thailand have quite unique skills in producing
different craft using local materials and techniques. However, the craft production is later facing
the problem of missing their own identity. The products are also unable fit to the demand of
international market.
This research is a result of the co - creation project on developing local craft products which is
a part of the research on a service design for creative craft community: A case study of
Phanusnikom district, Chonburi province, Thailand. The benefits of this study will stimulate
the development and preservation of local craft products and communities in a more sustainable
way. This study aims to explore the possible methods of how designers, local craftsmen,
academic institutions and local business clusters can collaborate and raise new opportunities
for the communities to become a creative craft space. The study has concentrated on a case
study of Phanusnikom District, Chonburi Province, Thailand where most of the people are
creating wickerwork from bamboo.
The data collected within the research come from ethnographic fieldwork, which consists of
basic methods such as site visits and interviews. The research also includes the concept of
Service design thinking and tools, which can help to analyze the data into different sets of
relationship between service users, service providers, and environment. Groups of product
design students, local craftsmen, local business clusters, professional designers, and artists are
co creating new craft products. The results express throughout the process which emphasize
on presenting the ability of local craftsmen beyond what they are expected; exchanging
knowledge; creating a more comfortable collaboration between the stakeholders; and
strengthen the local craft community for more future sustainable developments.
Keywords: Product Design, Service Design, Local Craft Community, Craft Development
93
INTRODUCTION
Craft usually refers to products, which are produced either completely by hand or with the help
of tools. Mechanical tools may be used as long as the direct manual contribution of the artisan
remains the most substantial component of the finished product. They are made from raw
materials and can be produced in unlimited numbers. Such products can be utilitarian, aesthetic,
artistic, creative, culturally attached, decorative, functional, traditional, religiously and socially
symbolic and significant (UNESCO, 2009). Craft products are the community and the country
pride as they are the trace of cultures, intellectuals, wisdoms, and aesthetics. They reflect ways
of life of people who are living in the areas. Each local area in Thailand, people are creating
unique craft products. They started from realizing of how abundant of raw materials they have
which can create products that distinctive from other areas, from only a household product to
be a national identity product. Local craft communities in Thailand are vast and diverse. Craft
productions can provide opportunities for employment and lead to Thailand economic growth
(Lisuwan, 1986).
Craft practices can be found in every part of Thailand. Many provinces have communities that
are capable of making very outstanding and unique crafts. The majority of the craftspeople are
working at home. When a community becomes a craft community, it contains with a lot of
houses in the community that are working in the same craft productions. People get together
into small groups and designate a leader who has more connections outside the community, in
order to build up strength and get large orders. The leader works quite different roles, for
instances, as a group manager; a product designer and a developer; and even a marketer who
plans out marketing strategies to achieve their business success. The management of the local
craft communities in many areas is quite similar. The leader of the group manages to get order
from outside the community or even outside the country. The leader can also control the design
as well as how the work should be done. The Government organizations come to help to
promote and to support the communities but might not meet what the communities really need.
There are some attempts to improve craft productions and local craft communities in Thailand.
Many districts are trying to create their own distinctive craft traditions. One Tambon (Subdistrict) One Product program (OTOP) has started by the government in 2001. The OTOP
program was inspired by a Japanese regional development program - The One Village One
Product Movement (OVOP) which began in Oita Prefecture in 1979 (Natsuda et. al., 2015). It
was intending to support local products in each sub-district in Thailand. Different levels of
product qualities receive different number of stars. It starts from one star to five stars for
superior products. Consumers can be sure of the quality of anything awarded this level. The
principles of OVOP as well as the OTOP are 1) Elevating local products to a global standard;
2) Providing self-reliance and creativity for people in the local communities; and 3) Developing
human resources. However, the Thai OTOP program has unfortunately not been successful in
a long run as it was one the political ploys in order to gain popularity from grass-root people
(Chotiratanapinun, 2015). There were also so many corruptions going on at that time. The
programs name is later changed but the OTOP brand was kept and used until now.
Phanusnikom district is the main focus of this research. It is in Chonburi province, which is
located in the Eastern region of Thailand. It is famous for their bamboo wickerwork. The craft
production of Phanusnikom started at the same time as when the community started to settle in
the area. The original populace of Phanusnikom was mostly from The Laos Kingdom once it
was governed by the monarchy (Phanusnikom Municipal, 2012). In the past, craft products
were made to use within the household, for examples, a rice container, a fishing equipment, or
94
a hat. They made them when they had a free time after harvesting rice. The knowledge has
inherited from their ancestors along with their profession of agriculture. The craft products are
later created for a more commercial activity. They are made to sell within the community, as
the occupations of local people are now various. They also sell their craft products outside the
communities and even outside the country. They have products from normal household objects
to very delicate, luxury expensive products, such as, handbags and furniture. Another reason
why Phanusnikom has became quite well known is how during the mid-year season, they have
a festival called Boon Klang Ban. The festival is basically made to respect to the nature for
giving the locals opportunities to grow better crops with enough water and sunlight. This
festival does not only appear in Phanusnikom but also in many communities in the Eastern and
Central region of Thailand. However, Phanusnikom creates quite a unique festival by putting
up a contest on the most beautiful and the biggest bamboo wickerwork. That was why
Phanusnikom has got the name The Biggest Bamboo Wickerwork Community (Phanusnikom
Municipal, 2009). Phanusnikom bamboo wickerwork used to have quite a unique identity.
They were trying to design weave patterns of their own. The patterns represent the outstanding
features, which connect to people way of life and the culture of the community. The raw
material was abundantly found within the community itself. Local people lived absolutely a
self- sufficient life.
Figure 1: Images show Phanusnikom bamboo wickerwork.

Source: http://nwnt.prd.go.th/
However, the way Phanusnikom community does their business has changed according to the
global economic current. Local people started to produce fast and easy to sell products. It makes
every shop and every sub-community in Phanusnikom district to sell products that look exactly
the same. This problem is one of the main problems that other craft communities are having as
well. When travelling to the craft community, there is no excitement going from one shop to
another due to the lack of variety in the design of their products. The craft products are missing
their own identity and also unable fit to the demand of international market, as well as, the
demand of the modern life style. Moreover, the number of Phanusnikom craftsmen had
gradually decreased. The knowledge is not easily transfer to people who want to learn. The
knowledge of making craft is view as tacit knowledge, where specialized skills are embedded
in a person or within a local community. The tacit knowledge possessed by the local artisans is
acquired through extensive experience of working with materials and processes and it can
primarily be acquired by practical and personal contact between master and apprentice (Polanyi,
1997)(Fang, 2012). Local people in Phanusnikom community form small groups in order to
produce and to sell their products themselves as mention before. Every group is able to create
almost every part of the products but one thing they cannot do well enough to export their
bamboo baskets outside the country is the basket rim. Only one person in Phanusnikom
community is able to do it well. Though, he is trying to transfer his knowledge to the younger
generation but it is not a very easy thing to do. Learning craft needs a lot of attentions and it is
quite time consuming to practice. Due to the modernization phenomenon, younger generation
95
tends to move and work outside the community. As a result, the transmission of knowledge on
craft is not as good as it should be.
RESEARCH OBJECTIVES
This research is a result of the co - creation project on developing local craft products which is
a part of the research on a service design for creative craft community: A case study of
Phanusnikom district, Chonburi Province, Thailand. It is an example case that further develops
from the result of the previous research. This study is a practice-led research and it aims 1) to
investigate the characteristics and relationship between different groups of stakeholders; 2) to
explore methods in collaborating and developing new products in the most comfortable and
sustainable ways for local craftsmen and stakeholders; and 3) to strengthen local craft
community for a craft knowledge conservation and lead to the possibilities of being developed
to a creative craft space.
RESEARCH PROCESS
As mention before, this research is a result of co-creation project represents a part of a research
on a service design for creative craft community: A case study of Phanusnikom district,
Chonburi province, Thailand. The main research is created to find out the potentials of local
craft communities in Thailand and the possibilities for them to be developed in different facets.
The research is based on an ethnographic approach and qualitative data collection. The
ethnographic approach to qualitative research comes largely from the field of anthropology.
The emphasis in ethnography is on studying an entire culture (William, 2006). It is the
systematic study of people and cultures and designed to explore cultural phenomena where the
researcher observes society from the point of view of the subject of the study. (Fetterman, 2009)
The ethnographers rely on participant observation to gather data. As a participant observer, the
ethnographer is socially and physically immersed in the case to accumulate local knowledge.
(Parthasarathy, 2008) The research also includes the concept of service design thinking and
tools, which can help to analyze the data into different sets of relationship between service
users, service provides, and environment. Service design is an interdisciplinary approach that
combines different methods and tools from various disciplines. It is a new way of thinking as
opposed to a new stand-alone academic discipline. Service design is an evolving approach, this
is particularly apparent in the fact that, as yet, there is no common definition or clearly
articulated language of service design. (Stickdorn and Schneider, 2011)
Within this study, the process is separated into five phases as following; 1) Contextual
Understanding phase is the starting of the whole process. The main idea of this step is to
understand the context of the subject and other subjects that related. The methods used in this
step are observation, literature review, case studies, trend studies, and semi-structure interview
which is a bit more open and allow problems and new ideas to be brought up during the
interview; 2) Field Research phase is how the researcher initiates field research and gather all
the information. Field research step consist of different service design techniques, for instances,
service safari and semi-structure interview. The interviews in this step consist with open-ended
questions within the space and see what happen and how the interviewees react during the
interview. The questions are also focusing on getting into users insights (five whys). After
having all the data needed, the stakeholder maps, persona, and user journey maps are created to
represent the relationship within the service; 3) Competitive Analysis phase is how the
researcher identifies problems and sets up hypothesis for the solutions. The methods used within
this step is focusing on idea generations, for instances, Brain storming, storytelling, case
96
examples, and S.W.O.T analysis. After information is gathered, Kano analysis techniques is
used to classify attributes based on how they are perceived by users and their effect on user
satisfaction; 4) Design Development phase is how the information is analyzed and turned into
different design developments, design concepts, service design blueprint, and strategic
opportunities for the local craft communities to be developed to creative craft spaces; and lastly
5) Design Implementation phase is how to implement the concepts into a guideline for service
design for local creative craft community. This paper is a part where the guideline is tested
which concentrates on a small part within the human development on their design capability,
particularly on craft product design and development.
Figure 2: The diagram shows the five-research process phases and the pink color overlay
represents the phase that this paper is on.
Source: Rasa Suntrayuth
In Thailand, local craft community is one of the very important communities in the country in
term of economics, which can create profits from the local craft products and creative tourism.
Creative tourism program is also one of projects that Thai government found it has such an
impact on economic and social development, as tourism is always a major economic factor in
Thailand. In accordance with the definition given by the United Nations Educational, Scientific
and Cultural Organization (UNESCO), Creative Tourism is a tourism related to community
development for a sustainable way of life. The activities provided had to be harmonious and
connected to history, culture and way of life in terms of learning and experience. Tourists gain
experience and knowledge from the real life of the communities they visit. Additionally,
communities had to set creative tourism as a tool for maintaining innovations for in-house
tourism and benefits to communities in terms of economy and sustainable development. (Dasta,
2013). In consequence to the new tourism project that is made to reignite the growth of
Thailands tourist industry in a more profound way, local craft community becomes a place
where people come and experience indigenous knowledge and local wisdom. Currently, a lot
of people have realized the importance of knowledge and skills that are hidden in each local
97
area. They are interested in the know-how and want use them in the creation of their own art
and product design. Thus, there are quite often when artists, designers, and academic
institutions around the area collaboratively work with the craftsmen within the local craft
community.
With the initiated concept of preserving and developing craft product of Phanusnikom craft
community, the information gathered within the phase two field research provided a map
called stakeholder map. A stakeholder map is a visual or physical representation of the
various groups involved with a particular service. The interplay between these various groups
can be charted and analyzed. (Stickdorn and Schneider, 2011) It is for the research team in
planning for user research activities, and guiding appropriate communication with stakeholders
throughout the project development process. (Martin and Hanington, 2012) It can also present
the characteristics and relationship between different groups of stakeholders, which can answer
the first objective of this paper.
Figure 3: The diagram shows a stakeholder map of Phanusnikom craft community.

From Figure 3, the diagram explains the relationship between three groups of stakeholders. The
first group is between Phanusnikom craft community and academic institution around the area.
Their relationship goes quite well according to the activities they have together. Phanusnikom
craft community, as mention before is an excellent place for students to come and learn from
real experiences in many ways. They can provide wickerwork knowledge, techniques, and local
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materials. On the same hand, the academic institutions can also provide the local community
knowledge on management, business, community development, and design thinking depend on
the field they specialize at. The second group is Phanunikom craft community and customers
(service users). Customers or service users which basically are separated into five groups which
are 1) local users are people who live within the community and buy craft products and use
them within their households; 2) business people who buy big bulks of craft products and sell
them agian at their stores or export the products to other countries; 3) general tourists who travel
to the local community for leisure purposes and happen to be interested into craft products or
just buy them as souvenirs; 4) creative tourists who come to the local craft communities to learn
and use the knowledge of craft making for their own creation. They usaully are designers,
artists, and anyone who interested in taking craft product further; and 5) other local business
clusters which are local people who do other businesses within the area, for instances,
restuarents, coffee shops, spa products, and etc.. They sometimes use craft products to add more
cultural values to their own products and make them more unqiue and interesting. Customers
or service users are not expected much from the local community, they only want to experience
the culture and buy the craft products. Thus, their relationship is quite settled. The last group
is between Phanusnikom craft community and government organizations. The government
organizations are not fully understand what the local craft community really needs. Therefore,
the supports they have for the communities are not exactly help them in a long run.
According to the information from the stakeholder map, researcher is able to set up four
different product design and development group projects. Each group is working within their
own group to create new craft products by concerning about traditional craft techniques,
sustainable and self-sufficient approaches for the locals. They are allowed to create their own
design briefs and concepts according to the information they have. The four groups are 1) a
group of third year product design students and local craftsmen; 2) a group of third year product
design students and local business cluster which is Baan Ngam bath and spa products; 3) a
group of third year product design students, a group of third year community development
students and local young generations (with the age between 18 20 years old, university
education) within the community; and 4) professional designers, researchers, and artists. The
product design students, community development students, and local young generations are
from the universities around the area of Phanusnikom community, which are Burapha
University, and Rajabhat Rajanagarindra University. Therefore, they are quite familiar with the
community itself.
Before the design and development projects started, the participants got to visit the local craft
community, learned about their products and history, and had a small workshop of basic
bamboo weaving. The first group of product design students spent more time visiting the craft
community, interviewing craftsmen and retailers, observing the craft production process,
conducting a bamboo wickerwork workshop, and visiting the bamboo fields to see how the raw
material is processed. The second group of product design students spent a bit more time
working with Baan Ngam bath and spa products. They had an extra task to understand Baan
Ngam products and their markets in order to pick out suitable products and design new
packaging for them. The third group of product design students joined up with community
development students and local students. Their mission is to find a more fun and excitement
point of view from people in younger generation. And lastly, the fourth group consisted with
professional designers, researchers, and artists from different backgrounds. They spent different
among of time in the community but likely to be less then other groups due to the limit of their
time. The local craft community culture and style also have less influence over their designs.
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Figure 4: Images show local craft community study field trips and workshops
PRODUCT DESIGN OUTCOMES
To create new products for the local craft community, home dcor, personal accessory products,
and packaging were proposed. The outcomes are quite varied due to their different design
intentions and approaches. The first group of product design students and local craftsmen were
working together in order to exchange new knowledge. Local craftsmen introduced the
information on the material, weaving techniques, and local traditional wickerwork that they
have been producing for many decades. Product design students introduced design thinking and
new perspectives to the local craftsmen. They came up with the idea of creating home
decoration products that adapted their forms from the traditional wickerwork they used to use
in their everyday life, such as, rice and dried food containers, fishing traps and equipment. They
wanted to preserve the traditional forms and styles and at the same time, to add new functions
to the new products. For the production process, these designs are created to be easy to produce
in order to capture the attention of the new generation craftsmen who think that working with
craft is too difficult to start. The new products are simple but can represent the craftsmanship
and cultural wisdom of Phanusnikom community.
The design outcomes from the second group of product design students and local business of
Baan Ngam bath and spa products are quite different from the first group. As mention before,
the young designers were not only explore the Phanusnikom craft products but also need to
understand very well about the products of Baan Ngam bath and spa. They had to be able to
design and apply wickerwork into packaging that suitable for the physical and the emotional of
Baan Ngam bath and spa products. The bath and spa products that were selected to be
redesigned were best seller products of Bann Ngam brand, such as, a bergamot shampoo, some
herb soap, oil and incent burner set, and product gift set. The design brief was also to create
more cultural uniqueness and add more value to the products. The outcomes were quite easy to
produce. The new packaging designs brought up the dominant features of both Baan Ngam
products and the wickerwork of Phanusnikom community. It was an interesting way to bring
all the local businesses within the community together and that can lead to a more development
in a bigger picture as a creative craft community in the future.
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The third group of product design students, community development students, and the local
young generations were working to create new lines of fashion and home accessories. Apart
from learning and experiencing the local ways of life and how they create their craft products,
this group of students was working together and presented their perspective about product
design and development to the group. The product design students presented their idea in terms
of design. The community development students presented their idea of producing products in
the way to help develop the community in a more sustainable way. The students who lives
within the local community presented the perspective of a user and how they familiar with
seeing their parents making craft products since they were little. The activity was mainly story
telling and listing what their ideas were. The product design students took all the idea and
designed products according to the information they have. As they are all new generation, their
design brief was more to change up the group of target audience to be a little bit younger than
it used to be.
Lastly, the groups of designers and artists from different backgrounds were working on their
personal interests and specialty. Local craftsmen were only producing what designers and artists
planned for them to do. Local craftsmen did not exactly affect the designers and artists in terms
of their opinions. However, the concept of culture and how the locals work with material can
inspired them in some ways. The outcomes from this group are totally varied. The shapes, forms
and functions are somewhat different from what the local craftsmen have done before. The local
craftsmen were not familiar with the designs they had to produce, which make it a little confuse
and difficult for them to do at first. Nonetheless, it was an opportunity for them to learn and
experience new things, which can actually remind them of the potential they have.
Figure 5: Images show product outcomes from different design groups.

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DESIGN DIRECTIONS AND COLLABORATIONS

Working in a local craft community and understanding the local setting, skills, materials, and
products are somewhat very important. It is one of the main activities in the collaboration
process. This understanding would help designers to get information in order to identify main
problems and explore for more opportunities. During the collaboration process, designers can
act as connectors and facilitators to connect and transfer ideas, knowledge, and skills into
products. The project was quite challenge to the stakeholders in many ways. Students and
academic institutions get to have opportunities to learn from the real experience. At the same
time, local craftsmen and the community get to explore design knowledge during the project.
Moreover, as the other local businesses like Baan Ngam get to participate in one of the design
projects, apart from the new packaging designs that they get, they also gets a chance to interact
to each other within the community, create a good vibe and relationships which can benefit to
everyone. It can also strengthen the local community for more future sustainable developments.
This similar strategy also has happened in some other local craft communities. One of the very
famous pottery communities of Thailand is in Ratchaburi province. Their handmade ceramic
water jars with dragon patterns have been using in Thai household for so long. Rachaburi has a
very nice consistency of soil that can create a very durable ceramic. Wasinburee
Supanichvoraparch is a fourth generation of his family business from China - Tao Hong Tai
ceramic factory. He was educated in Germany for his master's degree in fine arts and returned
to his hometown- Ratchaburi Province after he graduated. He realized that water jar production
know-how was not a family secret any more. The whole community in Ratchaburi is making
the same exact products. (Chinmaneevong, 2013) The factory under the management of
Wasinburee is opened for trainees and designers to use the studio and display their works at its
showroom. With the idea of bringing designers and artists to the local community, can actually
open the local craftsmen to some new perspective on design and lead them to shift from the
conventional ceramics model of copying popular products to focus on original designs.
Moreover, with different activities he creates for the local community, it can pull the people
together and push forward Ratchaburi province to be an art city in the future.
Figure 6: Wasinburee Supanichvoraparch,Tao Hong Tai Ceramics Factory and d Kunst Gallery
- the first contemporary art gallery in Ratchaburi province.
Source: www.tcdc.co.th, www.drphot.com, www.tatnews.org
CONCLUSION
As mention before, local craft communities in Thailand are playing as an important role in terms
of economic and cultural representative of the country. However, they recently have been facing
different problems of losing the interestedness and excitement in their products and tourism.
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Local people are moving out of the community to do something else rather then making craft
products. The methodologies used within this project can bring people back to the community
to work together. The collaboration provided local craftsmen and their stakeholders with an
opportunity to learn and gain new experiences, which can lead them to become a creative craft
center as mention earlier in the article. The knowledge and experiences gained from this study
can be as a model, which can be applied by other practitioners for further research developments
as well.
REFERENCES
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http://www.bangkokpost.com/print/337696/
Chotiratanapinun, T. (n.d.). The emergence and existence of sustainable craft practices: Case
studies from Indonesia and Thailanders. Retrieved May 1, 2015, from
http://mfarchive.plymouthart.ac.uk/journalvol1/papers.php
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http://www.dasta.or.th/creativetourism/attachments/article/112/20_9271 .pdf
Fang, W. (2012). Weaving with Rush: Exploring Craft-Design Collaborations in Revitalizing
a Local Craft. Retrieved July 12, 2016, from
http://www.ijdesign.org/ojs/index.php/IJDesign/article/view/1077
Fetterman, D. (2009). Ethnography: Step by Step, Third edition, Thousand Oaks CA, Sage.
Lisuwan, Viboon. (1986). Thai Folk Crafts. Office of the National Cultural Commission,
Thailand.
Martin, B. & Hanington, B. (2012) Universal Methods of Design. Massachusetts: Rockport
Publishers.
Natsuda, K., Wiboonoingse, A., Igusa, K., Cheamugphan, A., Shingkharat, S., & Thoburn, J.
(n.d.). One Village One Product - Rural Development Strategy In Asia: The Case
of OTOP In Thailand. Retrieved May 1, 2015, from http://www.apu.ac.jp/
Parthasarathy, B. (2008). The ethnographic case study approach | The Global Impact Study.
Retrieved July 12, 2016, from http://www.globalimpactstudy.org/2008/07/theethnographic-case-study-approach/
Phanusnikom Municipal (2009). Sub-Community 1: The biggest Wickerwork in The world
Publications. Chonburi: Ngan Chang Print and Media Company.
Phanusnikom Municipal (2012). History of Phanusnikom Wickerwork : Phanusnikom
Municipal Publications. Chonburi: Ngan Chang Print and Media Company.
Polanyi, M. (1997). The Tacit Dimension. In L. Prusak (Ed.), Knowledge in Organizations
(pp. 135-146). Newton, MA: Butterworth-Heinemann.
Stickdorn, M. & Schneider, J. (2011). This is Service Design Thinking: Basics, Tools, Cases.
New Jersey: John Wiley & Sons, Inc.
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UNESCO. (2009). Building confidence: Crafts for development. Retrieved July 12, 2016,
from http://portal.unesco.org/culture/en/ev.phpURL_ID=35418&URL_DO=DO_TOPIC&URL_SECTION=201.html
William, M. K. (2006). Qualitative Approaches. Retrieved July 12, 2016, from
http://www.socialresearchmethods.net/kb/qualapp.php
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Graphic Design Methods of a Science Museum Exhibition for Children

Natsuangphon Tongnua-nual
Graduate School, Doctor of Philosophy Program in Design Arts (International Program),
Silpakorn University, Bangkok, Thailand. Email: tongnuanual_n@silpakorn.edu; natsuant@gmail.com
Asst. Prof. Namfon Laistrooglai, Ph.D. (1 st Supervisor), Yodkwan Sawatdee, D.F.A. (2 nd Supervisor)
ABSTRACT
A science museum exhibition is designed to give children the opportunity to learn and
discover a new science experience apart from learning within the school. The graphic design
is important for the exhibition affecting the perception and motivation of children. The
graphics are always used in the exhibition to communicate the visual to visitors by
synthesising images and complex texts that visitors can quickly recognise, understand easily,
and have also worked with other elements to draw a child attention to focus on various objects
in the exhibition. This study observes the graphic design methods of a science museum
exhibition for children. The researcher used fieldwork case study analysing of literature by
selected 27 exhibitions from 3 countries in different regions and cultures include the United
Kingdom, Japan, and Thailand to compare in 11 topics are 1) site and space 2) image 3) text
4) layout 5) colour 6) lighting 7) material 8) interactive 9) model 10) sensory perception and
11) mood and tone. The analysis methods have been clarified in the table, and descriptive
summary already was given. And also interviews the experts in three fields include the
science museum, exhibition production, and children learning. The study result indicated that
the graphic design of the exhibition in all countries with the consistent in several items such
as illustration styles, visual symbols, gestalt, graphic layouts, character types, and graphic
colours. Among various parameters discussed, the mood and tone vary depending on the
exhibit presented, and the role of the graphic is different because of the socio-cultural context
of each country. The conclusion can be drawn that the study result can be the guide or sources
inspiration of further artistic creation and design that is attracting children further stage of
development.
Keywords: graphic design, science museum exhibition, children
INTRODUCTION
A science museum exhibition is designed to give children the opportunity to learn and to
discover a new science experience apart from learning within the school. The graphic design
is important for the exhibition affecting the perception and motivation of children. The
graphics are always used in the exhibition to communicate the visual to visitors by
synthesizing images and complex texts that visitors can quickly recognize, understand easily,
and have also worked with other elements to draw a child attention to focus on various objects
in the exhibition.
The case of an exhibition, the designer must consider both visual images and texts in the area
that the visitor stood to watch. All elements which in the large area of the exhibition have
affected recognition and reading whether models, VDO, diorama, distances of panels or
graphic boards, movement of multimedia, lighting, etc.
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In the same way, the ability of the graphics has affected to the visitor recognition. For
example, "Eat and Be Eaten" the exhibition of Liberty Science Center, the United States of
America. The Jury of Society for Experiential Graphic Design (SEGD, 2006) commented "A
wonderful exhibit of live animals housed in hexagonal structures with large-scale interpretive
graphics allows the visitors to engage fully with the animals and their habitats. Visitors can
navigate by the four different colors used within the signage and graphic displays. The use of
large-scale photography and up-close shots of the animals engages the visitor." Another
example is "What is in Sneeze?" the exhibition of Science Museum of Minnesota, the United
States of America. The graphic lures visitors to open a small door over the young girl's face.
When they do, a sound and a spritz cause them to jump back as they get sprayed. This an
experiential, interactive graphic that is funny, surprising and causes a physical response (Polly
McKenna-Cress and Janet A. Kamien, 2013: 96).
Figure 1. Eat and Be Eaten exhibition of Liberty Science Center, New Jersey, USA.
(Source: https://segd.org/content/eat-and-be-eaten downloaded 29 March 2015)
Figure 2. What is in Sneeze? exhibition of Science Museum of Minnesota, USA.

(Source: Polly McKenna-Cress and Janet A. Kamien. (2013). Creating Exhibition: Collaboration in the Planning,
Development, and Design of Innovative Experiences. New Jersey: Wiley & Sons, p 96.)
When referring to the children visitors who are just starting to a school-age, they will have the
opportunity to acquire knowledge and experience from the exhibition in the science museum.
However, children are thinking and experience to recognize different from adults. Even
between young children and older children, their ideas are not the same. George E. Hein
(1998: 143) states that to classify all young visitors simply as children, meaning the
glossing over vast developmental differences as Jean Piagets major stages of development all
occur within the population labeled as children. Obviously, the youngest visitors still unable
to read are developmentally different than older, elementary school visitors. But these latter,
in turn, are quite different from teenagers.
Also, Pam Locker (2011: 47, 121) suggested that children will require a hierarchy of
information that is of interest to a range of age groups and learning abilities. Their exhibitions
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will require specialist design decisions regarding height, size, colour, and use of materials.
The age group will dictate their literacy levels and will influence how they engage
intellectually. Children require the use of appropriate language, font choices, and images, and
tend to respond positively to interactive environments. Similarly, the use of graphics in
children's exhibitions, including interactive and object labels, will need to consider literacy
level, child-friendly typefaces, and content as well as engaging imagery.
With the background and significance of the preceding, the researcher has the objective to
study the graphic design that encapsulating the content to communicate the visitors to interact
with space and also allow visitors to learn and experience something back. So, this study
observes the graphic design methods of a science museum exhibition for children, serving as
guide or sources inspiration of further artistic creation and design that attracting children
further stage of development.
METHODS
The conceptual research framework involved three main issues, including graphic design,
exhibition design, and children learning.
As a qualitative research, this research is going to observe directly to obtain accurate
information and reliability. The researcher involved in some events and activities to test the
presentation and explained certain behaviors manually, along with in-depth interviewed with
experts who are the key informants and stakeholder in this research by using the interview
schedule, documents, field notes, and taking photos.
Figure 3. Diagram of the research methodology.
1. Criteria
The selection criteria of the science museum exhibitions as follows: first, the researcher
analysed to classify the categories of the science learning course for Thai students in the
elementary school grade one, two, and three according to the Basic Education Core
Curriculum A.D. 2008 (Bureau of Academic Affairs and Educational Standards, 2008). As
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the result, the science learning is divided into five categories including Animal & Plant Life,
Earth & Environment, Human Life, Science & Technology, and Space & Universe.
After that, the researcher used fieldwork case study analysing of literature by selected twentyseven exhibitions from three countries in different regions and cultures include the United
Kingdom, Japan, and Thailand both a permanent exhibition and a temporary exhibition that
are exhibited during the years 2015-2016. Those are an exhibition for education about science
and nature for children and people. The following is a list of science museum exhibitions:
1. Natural History Museum, London, the United Kingdom; 4 exhibitions are as follows:
1) Dinosaurs, 2) Ecology, 3) Human Biology, and 4) Sensational Butterflies
2. Science Museum London, the United Kingdom; 6 exhibitions are as follows:
1) Atmosphere, 2) Cravings: Can your food control you?, 3) Exploring Space, 4)
Launchpad, 5) Pattern Pod, and 6) Who am I?
3. National Museum of Nature and Science (Kahaku), Tokyo, Japan; 4 exhibitions are as
follows:
1) ComPaSS, 2) Investigation Technology for the Earth, 3) Navigators on the History
of Earth, and 4) Origins of Biodiversity
4. National Museum of Emerging Science and Innovation (Miraikan), Tokyo, Japan; 5
exhibitions are as follows:
1) Curiosity Field, 2) Earth Environment and Me, 3) Songs of Anagura, 4) Stories of
One, Everyone, and You, and 5) This is ISS, go ahead
5. Childrens Discovery Museum, Bangkok, Thailand; 4 exhibitions are as follows:
1) Creative Science, 2) Dino Detective, 3) Incredible Me, and 4) Miracle of Life
6. Science Center for Education, Bangkok, Thailand; 4 exhibitions are as follows:
1) The Blue Planet, 2) Inspired by Astronomy, 3) Kid City, 4) The Secret of Life
The selection of exhibitions is consistent with the categories of the science learning that used
the selecting specific methods. Selected exhibition is designed to young visitors can visit and
also be a popular exhibit for children. The information is provided by the curators and
studying the documents.
2. Analysis
Review of twenty-seven selected exhibitions into five science learning content categories
classified as follows:
1. Animal & Plant Life: 1) Dinosaurs, 2) Sensational Butterflies, 3) Pattern Pod, 4)
ComPaSS, 5) Origins of Biodiversity, 6) Dino Detective, 7) The Secret of Life
2. Earth & Environment: 8) Ecology, 9) Atmosphere, 10) Navigators on the History of
Earth, 11) Earth Environment and Me, 12) The Blue Planet, 13) Kid City
3. Human Life: 14) Human Biology, 15) Cravings: Can your food control you?, 16)
Who am I?, 17) Curiosity Field, 18) Stories of One, Everyone, and You, 19)
Incredible Me, 20) Miracle of Life
4. Science & Technology: 21) Launchpad, 22) Investigation Technology for the Earth,
23) Songs of Anagura, 24) Creative Science
5. Space & Universe: 25) Exploring Space, 26) This is ISS, go ahead, and 27) Inspired
by Astronomy
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Figure 4. Analysis of the selected exhibitions into five science learning content categories.
The research was conducted by studying the graphic design principles and exhibition design
approach to compare in eleven topics: 1) site and space 2) visual image 3) text 4) layout 5)
colour 6) lighting 7) material 8) interactive 9) model 10) sensory perception and 11) mood
and tone. The analysis methods have been clarified in the table, and descriptive summary
already was given.
3. Interview
Furthermore, the researcher interviews the experts in three fields namely science museum,
exhibition production, and children learning. Everyone is a stakeholder with this research. The
total number of seven people from three organizations including Science Center for
Education, Children Discovery Museum, and National Science Museum, Thailand.
RESULTS
The research results can be concluded as follows:
1. Site and space
The exhibition separated into three sizes, namely a small-size is less than 200 square metres, a
medium-size is 201-500 square metres, and a large-size is more than 500 square metres. The
exhibition spaces are in various forms. They are exhibited in rectangular area shape and may
be constructed in different ways depending on the exhibits presented. In the same way, they
used various devising paths, mostly the areas of affinity that allow visitors to make immediate
visual connections between exhibits, compare them directly and follow a thread of exploration
from one artefact to another, and secondary is star exhibits that visitors enliven the areas
around them, and also tend to draw visitors through a gallery and create a sense of expectation
throughout the journey (Philip Hughes, 2010: 76, 77).
2. Visual image
The stroke and style of visual images or illustrations; all exhibitions usually used an image
representation, a silhouette and contour drawing comes as the second. However, a pictograph,
exhibitions of the United Kingdom and Japan more used than Thailand. Experts agreed that a
representation image should be applied to children while some experts thought different that a
silhouette is suitable for children because it helps them to build imagination and creativity.
Moreover, mostly exhibitions used cartoons and diagrams to be the visual symbols, consistent
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with the opinion of experts that a cartoon will be able to attract children attention and a
diagram should be the picture chart more than showing only text.
The gestalt principle, mostly exhibitions used the similarity rule that meaning is a similar
colour, shape, or size for grouping images. It is consistent with Amy E. Arntson (2007: 80-84)
states that When people see things that are similar, they naturally group them. Grouping by
similarity occurs when they see a similar shape, size, colour, spatial location (proximity),
angle, or value. All things are in some respects and different in others. In a group of similar
shapes and angles, they will notice a dissimilar shape or angle. Also, Rudolf Arnheim (2004:
79) cites that The same sensible attitude prevails in perception. Comparisons, connections,
and separations will not be made between unrelated things, but only when the setup as a
whole suggests a sufficient basis. The similarity is a prerequisite for the noticing of
differences.
Besides, the core of the image transformation of three countries is the cropping especially a
photo. The difference between the British and Thai exhibitions used the image exaggeration.
In the Japanese case, they did not use the same technique.
3. Text
The result of using text, all exhibitions used the sans-serif typeface with the English language.
In the case that English is not the national language, they will use the bilingual both the
national language and English. In the case of Thailand, exhibitions mainly used Thai language
and the serif typeface with headlines and body texts. The experts agreed that friendly fonts to
Thai children should be serif typefaces. Conventionally correct Thai character writing is
required have a head, and then children are familiar with the character's head when they
learned in the school. Besides, the exhibition for children is popularity to use handwriting
fonts for the title and section or zone that will make for young sense and casual.
Figure 5. The example of the correct Thai characters writing.
Types of character, all exhibitions used a regular and bold character, while some of them also
used an extra bold character to highlight the distinct texts on the title label and section or
group label. Moreover, the British and Japanese exhibitions mainly used one or two typefaces
In the case of the Thai exhibitions, and several typefaces are usage. The issue typeface
structure, exhibitions mostly arranged horizontally, but the Japanese exhibitions arranged
their quote text vertically.
4. Layout
Labels, panels, and signs; all exhibitions have installed the title label and mainly have had the
introductory or orientation label and caption text. In the case that the exhibition separated the
section or zone, the section or group label will be used. The difference is several Thai
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exhibitions have installed prohibitive signs and some temporary prohibitive signs made by
curators, while the other countries are quite less to appear. Experts are the further opinion that
Thai children behaviors especially young children who visited with their parents. Some
hands-on objects in the exhibition were damaged quickly as the result of their parents did not
provide them with cognitive before to play objects. So, it was the cause that museum stuck
prohibitive signs at various points. It became to the echoes of some parents that the museum
blocked their children's learning.
The observation of text levels referred to the principle of Jacqueline Tang (cited in Barry Lord
and Maria Piacente, 2014: 317) explains that In general, there are four levels of text a
graphic designer considers in a hierarchy. The characteristics of each are project-specific, but
here is how they used: Level 1 is used for first levels exhibition content such as titles,
headlines, quotations, and introductory text to the whole exhibition. Level 2 is secondary to
Level 1 and is used for general overviews on introduction panels to specific themes or
sections of the exhibition and primary introduction or information panels on a tertiary level.
Level 3 is used for most general exhibit content as well as primary text on labels and
multimedia or interactive devices where necessary, and Level 4 is used for the lowest level of
exhibition content label and caption text. It is detailed and explanatory and pertains to
specific artefacts, works of art, or specimens, and to images reproduced in the exhibition.
The study found that exhibitions mainly used four levels of text hierarchically, and the
exhibition for children used two levels of text. In spite of the Thai exhibitions used four levels
of text, but each level used many typefaces and font sizes. However, the exhibition that
designed primarily for children still used two or three levels of text and did not be several
fonts. The experts' opinion is that the text for children should limit to two to three levels and
should have it on title and section or group label only because children do not read any
message.
About the graphic layouts, Alex W. White (2011: 81) states that the asymmetrical or informal,
balance attracts attention and is dynamic. Thus, all exhibitions usually used the asymmetry
composition similarly because this method makes them look casual. Also, the scale
relationships between text and images on a label and a panel found that the proportional of
images rather than text, but it depends on the amount of content.
5. Colour
The colour of the graphic elements namely a text, image, background, and pattern; the study
found that the text in the exhibition was mainly in light or dark colour but images were in
vivid colour. Backgrounds were in light, dark, and vivid colour and they also were in contrast
to the text. Each exhibition used the different colour of patterns but rather less to appear.
According to the experts' opinion, a visual image is suitable for children should have with
vivid colour. The exhibition needs the light text colour in dark or vivid background or
reversal.
6. Lighting
All closed exhibition spaces installed lightings including the spotlight, wall-wash lighting,
contour spotlight, and ambient lighting that to build an atmosphere and illuminated an object,
label, and panel, some of them installed the coloured lighting. In contrast, open exhibition
space is used a natural lighting.
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7. Material
All exhibitions used the graphics on ink-jet printed to mount on panels and labels are made of
the plastic, acrylic, plywood, and fibreboard. Experts stated that due to the cost of ink-jet
printed is the lowest other materials and can be easily adjusted, suitable especially for the
temporary exhibition. In the Thai case, permanent exhibitions mainly used the ink-jet printed
mounted on plywoods or fibreboards but several damaged. The original idea exhibition is
supported to be temporary because budget limited and new coming exhibition is not possible.
And another one, the material qualities have a new coming because of the budget was the
problems. The other one of the problem, material deteriorated. So exhibitions were necessary
to extend the exhibit indefinitely became to be the permanent exhibition finally. It has
defected because of the long term use.
8. Interactive
All exhibitions are a hands-on type; visitors could explore experience by touching and used
the interactive media namely touch-screen computer, VDO, and electro-mechanical to interact
with them. It is consistent with the experts' opinion the exhibitions are designed for children
mainly to encourage children the new experiment. And also they used the device function as
the instruction media replacing the static text on panels because children need not read the
message but those media will cause to gain knowledge and fun at the same time.
9. Model
Touchable model is the most popular be usage in exhibitions, and the naturalistic model
comes as the second. The current experts' opinion is that a visitor can touch on explores the
model closely, the old fashion of "please don't touch" is outdated. This method is effective for
children that can attract the attention of children as well because they like to touch objects.
The significant, safety precaution for visitors must be considered whether the objects on
display, experimental player, interactive media, interior design, and decoration, etc. These
must be safe and do not any harm to visitors.
10. Sensory perception
The perceptions of visitors to the exhibition, the visual, hearing, and touching senses were
usage, some case a visitor could use the smell sense to perceive but the taste sense did not be
usage. Also, the experts' opinion is that the exhibition would avoid the exposure of children to
taste because to the concern health problem possible impression.
11. Mood and tone
Referring to the Colour Image Scale theory of Shigenobu Kobayashi (1990: 2, 12) that The
classification of colours based on images is the key to understanding the way in which colour
combinations are perceived, a common feeling runs through the images that people hold of
colours. By research linking adjectives associated with these images and colour, he has
developed the Key Word Image Scale. The keywords in the warm-soft area of the scale have
an intimate feeling, and convey a casual image, while those in the warm-hard section have a
dynamic character. The keywords in the cool-soft section have a clear feeling and suggest a
good sense of colour, while those in the cool-hard section conveys an image of reliability and
formality.
Thus, this theory can be applied to classify overall mood and tone of the exhibition. The result
found that each exhibition had been the different mood and tone depending on its content. The
British exhibitions mainly have been warm-soft mood and tone to make an enjoyable casual
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image. The Japanese exhibitions used several mood and tone such as warm-soft to make an
enjoyable casual image, cool-soft to make a youthful cool-casual image, and cool-soft to
make an artistic-tasteful chic image. While the Thai exhibitions mainly have been warm-hard
to make a vigorous dynamic image, and warm-soft to make an enjoyable casual image comes
as the second. In the case of the exhibitions were designed for children only found that the
core of mood and tone have been warm-soft to make an enjoyable casual image
corresponding all countries and according to the experts' opinion as well.
Figure 6. Analyse overall mood and tone of the exhibitions.
DISCUSSION
The researcher analysed more than some of the issues below:
The role of graphics for the exhibition in the case of the United Kingdom, graphics are served
as the information to communicate the content of the object to display such as a history, a
scientific principle, etc. On the other hand, in the case of Japan, graphics are served as the
narrative and the exhibition would have a story theme. Graphics would be use as a media to
visualise the story and to build the atmosphere which surrounded visitors. Nonetheless, in the
case of Thailand, graphics are also served as the information, but they could not communicate
well enough because of a lot of contents on the panel.
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Figure 7. A role of graphics for the exhibition.
The experts' opinion is that contents of the exhibition would be defined by the scholar which
to be a lot of data normally that is consistent with the Thai education culture. Kritsada
Reungareerath (cited to Arphawan Sopontammarak, 2015) agreed that the Thai education
system forced many academic contents to children. Moreover, Thai children have lacked the
freedom to learn because the education system has emphasized memorization rather than
critical thinking and creativity. Preecha Methawasspark (cited to ASTV Manager Online,
2014) agreed that teaching of the Thai education system nowadays, the courses focused on
contents and theories rather than to apply knowledge to everyday life. Thus, the Thai
exhibition presented has been full of academic contents likely due to the primary education of
Thailand highlighted with the knowledge memorization.
The result of the study found the difference between British and Japanese children that are
freedom to learn more than Thai children. The British education system is designed to support
children learning freely such as a course has the homeroom class offered to them that need to
learn anything. Meanwhile, the Japanese education system has focused on the creative
learning such as a folding art is called "Origami" to be a subject in the course that children
required learning, it has pushed them can be analysed brilliantly, intelligent and creative. So,
both the British and Japanese exhibitions are designed to encourage children learning
independently, and they have the learning media stimulate a child's creativity.
The issue of the art and design culture, the United Kingdom is a country with the concept of
modern art. The exhibition designer focuses on design regard to the corporate identity. Notice
the use of typefaces in the exhibition is consistent with the organization's logo. The mention
of Japan, a country with a highly nationalistic and also highly progress in science and
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technology. Various designs have reflected the Japanese style. They are proficient in creating
that conscious about saving space. Thus, the exhibition is organized mainly in a small-size
and medium-size space used the creativity to present the content to quickly understanding in a
short time and could maintain their Japanese style as well which is evident from the Japanese
is the primary language in the presentation of the exhibition.
The contrast, Thailand has given the cultural influence of Western countries and international
cultural leaders of Asia such as Japan and Korea. The graphic design of the exhibition usually
uses a cute cartoon character and internationalization could appeal to children better.
Simultaneously, showing the national identity could be done because the Thai language is the
national language which Thai people use essentially, so the exhibition is also required to
present the contents in Thai. In term of the exhibition for Thai children should design such as
a title label and section or group label with a few texts in large-size typeface and may show
description with a cartoon character and picture diagram on the advice of experts.
The study found that the science museum exhibitions mainly have been focusing on the
school-age target. However, their purposes allow children to experience by playing, while
adults such as teacher and parent still need to read messages on the label and panel for
suggesting children to learn and know how to play. Children are not interested in the detail of
contents on the label and panel. They are only interested in playing everything which can be
touch.
The design concept of the exhibition for children is touching and safety. The exhibition
should be installed with the object, mechanic, and interactive media that focusing on the
visitors experience and also be considered the safety. Graphics for the exhibition served as
the information and narrative. Especially, the graphic design should make visitors perceive
the sense of touch and safety feel such as use the bright and vivid colour visual to stimulate
imagination and creativity, the rounded typeface to make the safety feel, etc. At the same
time, graphics should be able to create a learning atmosphere with mood and tone to illustrate
comfortable, informal, and colourful images to motivate imagination and creativity to
children.
CONCLUSION
The study result indicated that the graphic design of the exhibition in all countries with the
consistent in several items such as illustration styles, visual symbols, gestalt, graphic layouts,
character types, and graphic colours. Among various parameters discussed, the mood and tone
vary depending on the exhibit presented, and the role of the graphic is different because of the
socio-cultural context of each country.
The good exhibition design that includes: The content is appropriate for visitors learning
ability. Learning materials such as real model, simulated model, and interactive media for the
visitor can learn from exposure experiments. Beautiful graphics and engaging content to help
viewers get to know and understand quickly. The text is a concise thematic material with the
national language by the character and placement of the correct language. Construction and
decoration exhibition tones create an atmosphere to the material presented. The objects
positioning and devising paths viewers learn the content in its entirety and meet the objective
of the presentation. Inclusive lighting lit with a message on the panel and backlight to create
an atmosphere to the place.
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The graphic design of an exhibition for children, the designer, needs to know what the
different artistic style between children and adults, studies the physical and intellectual
development of children, learning behaviour, and their satisfaction. The designer must act to
transform these data into easily visual communication to make children understanding and
motivating them to learn.
The conclusion could be drawn that the study result is serving as guide or sources inspiration
of further artistic creation and design that attracting children further stage of development.
Finally, if further studies on the theme of children's favourite, it will benefit to create a
prototype of the graphic design for an exhibition that the most efficient.
REFERENCES
Arnheim, Rudolf. (2004). Art and Visual Perception: A Psychology of the Creative Eye.
Second Edition, Fiftieth Anniversary Printing edition (November 8, 2004). USA:
University of California Press.
ASTV Manager Online. (23 April 2014). Survey results indicate that children study hard in
the world, but the truth is not use, have the special classes, need to reform.
http://www.manager.co.th/QOL/ViewNews.aspx?NewsID=9570000045187 downloaded
21 November 2015.
Bureau of Academic Affairs and Educational Standards. The Ministry of Education Thailand.
(2008).
The
Basic
Education
Core
Curriculum
A.D.
2008.
http://www.curriculum51.net/viewpage.php?t_id=95 downloaded 19 May 2015.
E. Arnston, Amy. (2007). Graphic Design Basics. Fifth edition. USA: Thomson Wadsworth.
Hein, George E. (1998). Learning in the museum. New York: Routledge.
Hughes, Philip. (2010). Exhibition Design. United Kingdom: Laurence King.
Kobayashi, Shigenobu. (1990). Color Image Scale. Tokyo: Kodansha International.
Locker, Pam. (2011). Basics Interior Design 2: Exhibition Design. Switzerland: AVA.
McKenna-Cress, Polly and Kamien, Janet A. (2013). Creating Exhibition: Collaboration in
the Planning, Development, and Design of Innovative Experiences. New Jersey: Wiley &
Sons.
MGR Online. (17 February 2016). 20 Best Education Systems in the World: Year 2015/16.
http://www.manager.co.th/Campus/ViewNews.aspx?NewsID=9590000017503
downloaded 20 March 2016.
Mooney, Carol Garhart. (2013). Theories of Childhood: an introduction to Dewey,
Montessori, Erickson, Piaget, and Vygotsky. Second edition. USA: Redleaf Press.
Society for Experiential Graphic Design (SEGD 2006). Eat and Be Eaten.
https://segd.org/content/eat-and-be-eaten downloaded 20 March 2015.
Sopontammarak, Arphawan. (7 September 2015). Support to solve problems the new learning
of Thai children. http://www.thaihealth.or.th/ downloaded 21 November 2015.
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MALAYSIA-THAILAND, BEYOND THE NEW ORNAMENTALISM IN

CONTEMPORARY JEWELRY
1.
2.
Asst. Prof. Dr. Veerawat Sirivesmas. Department of Jewelry Design, Faculty of Decorative Arts,
Silpakorn University. Bangkok, Thailand. Veerawatsi@gmail.com
Assoc. Prof. Alias Yussof. Department of Contemporary Metal Design, Universiti Teknologi MARA
(UiTM) Shah Alam. Malaysia. Abybga14@yahoo.com
Towards a new perspective of constructive development, the investigation is focusing on

Malaysia-Thailand contemporary art & craft jewelry. From the tradition of national craft
heritage, almost lost in conservation, the jewelry, silverware and metalwork. The Jewelry is
representative of national artifact of high crafting. It passes through now a day where number
of contemporary art objects and design pieces already introduced to society. From this
perspective, the different between lifestyle and culture can shape up concept and identity of
contemporary jewelry. Where the traditional elements can still remain in somewhere of the
object!
Many academicians, designer makers are working and try to modernize these national
prides which obtained the traditional implicit knowledge and local wisdoms. The art and design
education also concerns this matter by raising many cultural topics involved into curriculum. It
becomes a subject that students can reflect their role of preservation or expression on their
cultural contents. It begins in 2008 by the Department of Fine Metal, Universiti Teknologi
MARA (UiTM) Malaysia, invited a staff (author) of Department of Jewelry Design, Silpakorn
Unversity Thailand, as external assessor for final year students assessment. The participatory
research occasionally began from that point. Observation, interview both of students and staff
also applied according to the process of assessment. Absolutely, the differentiation between the
students outcome product of jewelry in Malaysia and Thailand are obviously divergence.
However, the traditional ornament of each country and culture also be noticed that have been
frequently applied in students work. The constructive criticism always the core discussed
during the students assessment and exit meeting with department members. Many
improvements can be noticed not only students works but also the academic relationship
through collaboration activities create among two institutions.
Key words: Ornamental, Metalwork, Jewelry,
Introduction
Thailand and Malaysia, the metalwork and jewelry perspectives
It may have different craft organizations among two countries
In Thailand, many craftsmen and craft products are supported by many government
organizations eg: Bangsai Royal Folk Arts and Crafts Center. The Support Art and Craft
International of Thailand (Public Organization), (SACICT) and many government divisions
that support and improve the arts and crafts and some aspects it across toward design such as
Thailand Creative Design Center (TCDC). There are also others organizations in Thailand such
as, the ministry of Commerce, the ministry of Industry and the ministry of Culture for examples.
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In Malaysia there are also many private and government support organizations such as: Institut
kraf Negara, National Crafts Institute. Malaysian Handicraft Development (MHDC), Yayasan
Nur Zahirah (The Royal Terenganu Songket) The Tuanku Nur Zahirah Foundation (YTNZ),
Malaysia Craft Center. Perbadanan Kemajuan Kraftangan, Malaysia Kuala Lumpur Craft
Complex. Yayasan Diraja Sultan Mizan, Sultan Mizan Royal Foundation(YDZM).These
government organizations also have connection among local craftsmen and institutions as
networking in crafts. However, the UiTM itself also found its own business unit calls Segaris
Art Center where art works and design objects of alumni and post-grade students can be
promoted and commercialized to the public.
National Craft Heritage to Modern appreciation.
Thus, the objectives of these organizations function are to support and promote the crafts
heritage into modern market. The understanding of local people about craft product may have
various approaches. Some may see as the tradition products that might not be suitable for
nowadays lifestyle. The evidence of national crafts heritage has seen as collective artifacts.
Some may see as a very high value of craftsmanship quality that is very distinct from industrial
product. Some may see as national or even individual identity in global market. It is the hard
work to highlight the arts and crafts for local people to perceive as national appreciation. That
is the reason why many state and government organizations are emphasized on their cultural
heritage. It is the national property.
Figure 1. The nielloware with gold inlayed surface technique. Nakorn Si Thammaraj.
Museum of Sociology and Anthopology, Thammasat University. Bangkok Thailand.
Metalwork and Jewelry, also categorized as one kind of tradition craft heritage. It can
be referred to many craft objects that found in archeological sites in many territories in the
country. The evidences also showed as artifacts in national museum of each country. Even now
a day, some of tradition metal work and jewelry craft objects are still be found in many
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households. Some keep them as collective family objects. Many still occasionally uses as
tradition and cultural functions for example, a set of silver tray groom, embossed silver bowl
for merit or homage, a set of betel box or condiments. Some of tradition silverware or brassware
have also found in common in the southern of Thailand and Northern part of Malaysia.
Certainly, it can refer to some of cultural context relevance in some territory along boarder of
Thailand and Malaysia that can be influenced.
The transferring of Crafts from local wisdoms to academic institution
The scenario of arts and crafts in Thailand and Malaysia, in another perspective, there
are not only arts and crafts training just in the local area by local wisdoms as the time before.
Many of them are now supported by state, government organizations. However, many other
countries also have this kind of organized their arts and crafts by the government in similar
ways. These are the reasons of conservation and prolong the circle life of craft products in to
the national and tourist market. There is another national strategy of conserving and applying
the crafts into the young generation appreciation and one of the most effective tools is to register
into the education system. The early stage may be training in vocational schools as
apprenticeship for craft career. Some have been repositioned into the level of university. Now
a day, many art and design universities around the world provide arts and crafts disciplines in
their regularly programs and curriculums.
Department of Contemporary Metal Design, Faculty of Art and Design, UiTM, Shah
Alam, Malaysia. Originally named of the department could refer to the Fine Metal department.
It was established in 1967 and it is one among few pioneer of art departments when Institute
Teknologi MARA was found on that time. Now a day, the Metalwork and jewelry become a
discipline that not many number of students applied. However, it becomes one of crafts
discipline that other institutions in Malaysia want to open the program.
Department of Jewelry Design, Faculty of Decorative Arts, Silpakorn University.
Bangkok, Thailand has been established in 1995 according to the high demanded of jewelry
industry in Thailand. Along the twenty years of department. The number of students in take is
slightly grown up. Thanks to the various inputs of team teaching, the working system that
creates good academic networking from traditions to industrialize. The strong objective of
institution that aims to study the history of Thais arts and crafts, and the study of present day
design theories. The factor of the art and craft appreciations in young generation certainly it
influences by studying that functions to connect the traditional wisdom and heritage to
contemporary contextualization.
A step of Collaboration
In the field of Metal work and jewelry, these two institutions might not have
coincidently working together until the UITM invited Dr. Veerawat Sirivesmas, (One of
researcher and co-author of this article) to be external examiner. That should refer into 2006.
As the regular assignment is to assess the final year students projects, It has been continuing
this assignment until now 2016. Therefore, the notice of Malaysian Metal work and jewelry
under the expression of students of UiTM has been capture year by year. It is not only one way
observation. The collaboration is gradually growing up of both sides. Many collaboration
activities has been created and exchanged by both institutions on the first decade of
collaboration such as exchanging exhibition, academic visiting, exchanging lecture and
workshop.
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Above the views of being external examiner becomes internal data collector
In the view of external examiner, according to the assignment, there are specific criterias that
external has to investigate though out the assessment processes, such as students learning
opportunities where do the project briefs provided enough opportunities to students to convey
their learning process. Attainment of academic standard where the student processes and
outcome are contained a certain level of quality. Along the process of assessment brings the
researchers to involve with interview with student individually.
However, not just only the duty of assessment framework the view of researchers also
seen the environmental and circumstance of pedagogic approach in art and design practice
based process also showed as evidences. The important is the opportunity to share opinion and
experience with staff and lecturers of the department and faculty in order to improve the
academic circumstance. This could be affected in both sides of institutions. The different
experiences you gained is the different angles to share. This approach of over viewing is
constructed the data collection and analysis process of the research.
Materials & Methods

According to the circumstance of assessment environment, and during year by year that
the authors participated and being a role part of the process. Observation and investigation on
all of learning evidences are become the fundamental research method. It is good opportunities
to look at the final product in very close up, in every piece and details. The outcome of
assessment delivered to the department as a report form and grading.
During the assessment process, It can be noticed the independent variable and controlled
variable factors. Therefore, the primary content is the assessment report of the students
performance as mentioned. Secondary content is somehow formulated during the tetari
session It is a casual tea and coffee time moment after assignment work among assessor and
hosts (Team teaching involved). The atmosphere is allowed to talk and discuss about the subject
beyond the assessment. Therefore the moment of flow happened (Mihaly Csikszenmihalyi
2002). It is not just the moment of happiness flow but it is also the moment of creativity
flows to and the pre-discussion was happened from there constructively before formally
addressed on the meeting room on the day after.
New perspective of constructive development in teaching and learning process in
Metalwork and Jewelry
It might not be claimed that it was a new formular of planning the learning environment
and preparing the teaching strategy. However, the tetari session has somehow formulated the
new idea that assessor has experiencing in his teaching and learning circumstance before and
sees the new contextualization with the new environments and factors. Therefore, the new
opportunities and new solutions in order to improve the students performance and outcome
that should be tried to share.
As the perspective of External Assessor, there is certain academic assessment criteria to
follow. It seems to be widely and broadly scope that allowed assessor to investigate in various
aspects of student works. For example, the attainment of academic standard, this criteria the
assessor firstly focused on the student learning activities during the semester project. Most of
the information came from interview to students. It should be proportional correspondent
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between learning activities and scope of project lead-time according to the other related
evidences such as report, sketch book etc. Then it can summarized that how students spent (or
controlled to spent) time on their project. It is about the time-based with project management.
It focused on the process and quality of the process that students spent rather than the others.
External Assessor
Academic Assessment Criterias
Outside in
Outside in
Attainment of
Learning
Academic Standard Opportunities
Interview students
Objects evidences
Comments and
Reccommendation
Outside in
Figure 2: A model showed the role of external assessor from the point of view of author
(Veerwat Sirivesmas)
The learning opportunities, it can be highlight in to the subject matter that students
selected or choose to study. Then investigated into how students open their opportunities to
explore their possible of ideas. This process is in the stage of concept and contextualize of their
work based on getting the project briefing. The choices of materials applied into the fabricating
process are also countable.
In the perspective of curriculum

It is inevitable that when the evidences of output showed. The questions of input were
raised. What was the brief of the final project(s). What is the objective of the project. How were
teachers, lecturers created project. What kind of references beyond. Certainly, there were also
questions to understand the course syllabus and the program curriculum. The academic
objective of curriculum has ambitious and positive aims. To discuss about the improvement of
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curriculum may be too large scope. That take years to improve and implement that. However,
understanding the curriculum and students circumstances is very important. The experimental
work that can be done among the assessor and team teaching becomes the brief of the project.
Beyond the brief
Final year students have to deal with three projects and they have to be completed in 15
weeks time or one semester. The three difference brief might be slightly varies during years.
However, mostly the briefs can be categorized ad one specific project such as microscopic
elements that encourage students to explore into differences dimension of form, which becomes
subject matter of students work. Second project is dealing with cultural approach. References
to ASEAN cultures and countries are main focus to students. The final project is dealing with
professional award that inspired into the students project. The highlight is focused on the
cultural inspiration whereas students explored and experimented a lot on their works.
Each project could divide into 4-6 weeks of lead-time. Almost of them were overlapping
to each other project. Its inevitable that some of project was well treated than another.
Depended on students interested too, this matter will be discussed later about the number of
the projects and how it can be arranged.
According to the project brief, students have to define their own subject matter under
the brief. The subject matter somehow might not be different from the others because of the
theme of the project for example, microscopic elements, many students end up with few subject
matters and some of them used the same subject matter (chromosome form, DNA spiral form,
multi dots form). On the other hands, the ASEAN culture project, teacher tried to arrange
students when selected countries (there are 10 countries in ASEAN community). Therefore,
not many students use the same subject matter. That is the cause of repetition of subject matter.
Design Direction
Once the students got their subject matter and started to do some context and visual
research. The early stage of key visual collected might not differ. The question was started again
on design development, where it can convey student to may be different design direction or
even the similar way of direction. This matter of how to guide students to explore their design
direction might be focused on the teacher or instructor. Many design process of student went
distortion during design development process. Somehow the drawing or sketch design could
not be lead in design development. The experimental of three dimension prototyping should be
the good solution.
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External
Assessor
Academic Circumstance
Inside out
Teaching& Learning
inside out
environment
Project Planning
Corse outline
External
Assessor
As
Internal
Researcher
Project Briefing
Lecturer
Performance
Individual&Team
Creative stimulation Creative Stimulator
Planning
Professional Simulation
Figure 3: The model explained the how external assessor becomes internal researcher the
inside out arrows indicated the interchanging data and constructive discussion are played role.
(Veerawat Sirivesmas)
The figure 3 described the angle when the external assessor becomes the internal
observer or researcher. Based on the assessment criteria which looked like to be the framework
to evaluate students, on the other hands, it returned and reflected back to investigate the
academic circumstances, teaching team strategy and also project curriculum. The outer and
greater perspective of this model can help to look through every single element in teaching and
learning process not only students and teacher but also the academic circumstance and its
contextualization.
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Experimental prototyping, another approach of design development

Beyond the brief, curriculum planning, and design direction many topics have been
raised during the assessment and discussion. As it has been mentioned that the sketching
process is not only way of design development, to encourage students to do more experimental
work it needed to discuss with the team. Pro-Con, Weakness and strengthen approach of each
design process has been discussed. The three dimensional experiment can help student to
explore their out-line sketch drawing into actual form. It was the first time that students can
meet their object in realization. The appropriate dimension of the product should be considered.
Students also knew how to plan and manage their fabrication process based on time
management. The further materials experiment and technique could be help student to define
more right things. How students can manage if their fabrication process would be engaged with
forming, raising, forging, piecing, chasing, or etching, patinationg.
The mock up model making is an important process that supported students to clarify
their works. It is a crafting process that could enhance into pre-industrial fabrication.
Figure 4: The evidences of experimental mock up model, pre-prototyping from students of

UiTM Shah Alam, Malaysia.
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Figure 5: The close up of surface treatment by hammering to create form and texture on metal.
The green color effected by oxidizing chemical to patinate the metal surface. (Work of student,
UiTM Shah Alam. Malaysia) source by author
Results
The evidences of the result, firstly, it can be noticed as the art work objects. Secondly,
the result of the improvement of course out-line and teaching method. As the artworks
evidence. The figure 6 showed the outstanding of student work. One came from the microscopic
elements where students can describe the subject matter (a selective of microscopic creature)
and interpreted it into metalwork made from copper sheet. The student worked on the surface
and texture creation. The outcome contained standard quality of craftsmanship and the form
that simply connect audience to understand the subject matter.
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Figure 6: The image showed the completed work that student used the subject matter of
microscopic element. It showed the multi-layer surfaces with various dimension of texture. (
Final year students UiTM, Shah Alam, Malaysia.) source by author
The figure 6 showed the two notorious artworks of students. These two artworks were
inspired by the ASEAN culture. This subject matter can lead students to explore more history
of the culture that he or she interested in. The study of ornaments and patterned also showed on
the research and sketch books. The evidence showed how students applied their craftsmanship
qualities into their fabricating process. The objects contained multi metal work techniques such
as piercing, etching, forming, and patina. Students also applied appropriated usage function that
suitable to the form and ornament creation. The lighting unit is very good example of
understanding the direction of the light. The metal sheet bened and composed over-layering
created nice and meaning shape. The indirect lighting effect is nicely shading to notice the
texture and surface, the ornament that student created.
On the other hand, another metal work container inspired by Thai ornament. Student
studied the pattern and ornaments in various form. The function that student created were also
unique that enhance the important of the form. The patina technique color came on the right
feeling.
The collaboration among team teaching to work on the brief that inspired students to
work on their process along the semester was very important. On the other hand, the effort of
students that contributed on their project was also admired. Being encouraged and being
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inspired to students by team teaching is beyond expectation. Finally, the effort of students that
dedicated to their final project can obviously show on the final work as evidences.
Figure 7: Another images of the final project done by students. The objects showed clearly
evidence of cultural ornaments that become main eye focused of the object. It can lead the
audience to understand the context of the project involving with cultural matters.
The adjustment of course outline and teaching process

There was no document of syllabus to show the evidence how team teaching improved
their course out-line. One of the comments was the time management of each project. Teacher
should strategically help their students to arrange their studio time by indicating different deadline of each project. That would avoid the overlap traffic of project in the workplace. The results
was quite satisfied.
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Uncontrolled factors
Certainly, many research project, there should have some of uncontrolled factors
happened. In this case the Dependent factor that has been discussed was about the brief planning
and the team teaching strategy. However, Students learning behavior was become major factor
of excuse. Due to the UiTM allows to have two time in take students per year. One might be
recruited the standard quality of students. Another semester the program could collect the intake students that might not have passion on their study. The problem could be solve
strategically by teaching method. This might be further study.
Discussion & Conclusion

As the topic addressed above Malaysia-Thailand, beyond the new ornamentalism in
contemporary Jewelry, the result of investigation by interviewed and observation scoped can
be depicted by its outcomes. The strategic planning of lecturers and instructors were aimed on
the important of its cultural heritage in their national crafts, in particular metalwork and jewelry.
Therefore one of the Projects was driven in that direction. It opened opportunities to students
to approach and explore creativity in cultural scope. Many of final projects came out with
inspiration from the various traditional patterns and ornaments. The ornamentalism was named
after the outcome appeared and it gradually clear year by year that many students were
highlighted on the visualized of their cultural representations. The cultural ornaments become
the majority surfaces of metalwork outcomes. The resulted was evaluated in the scope of
academic framework. The improvement of learning outcome, many of student works can show
their enthusiastic during fabrication thought out the quality of product. It is very good initiative
point to create the good design brief under the scope of academic circumstance to encourage
the seeking of cultural Identity through art, craft and design objects.
A stimulation of Creativity
Another important factor is the discussion among lecturers and external examiner, the
open mind during the discussion to see the weakness and strong points. Some aspects should
be improved; some should be emphasized for examples, the content of the project brief, and the
lead-time of each project. Even the detail of teaching process of design development and the
important of mock up prototyping should be showed as students experimental process. The
revision of lesson planning or even teaching method has been collaborated. It is the important
of strategic planning of course syllabus and the significant of teaching methods. The senses of
Malaysian contemporary metal design seen by students outcomes are relatively connected with
cultural identity. This process is a kind of course outline adjustment (might be easier than
curriculum improvement, author) It works among team teaching and certainly above the brief
before comes to students. This is a strategic planning for stimulation and inspiration of
creativity. That is the process whereas students could be implemented along the program. The
process of learning and outcome are evidences.
Therefore, this research is about the perspective of Thai researcher in collaboration with
Malaysian team teaching (Contemporary Metal Design, UiTM Malaysia). On the other hands,
another perspective from Malaysian team to view Thai contemporary jewelry and metal design
should be reviewed in near future. It is not a comparative study. It is about collaboration and
the creation of constructive critique among two institutions. In order to review and see each
other to improve not just teaching and learning method and outcome, but also to strengthen the
128
academic collaboration. Moreover, further collaboration program and activities for those two
universities and our academic networking should be expanded. The project among the
department of contemporary metal design UiTM Shah Alam Malaysia and Department of
Jewelry Silpakorn University, Thailand, should be referred as evidence to develop more
academic activities of future project.
Acknowledgements
Department of Contemporary Metal Design, Faculty of Art and Design. Universiti Teknologi
MARA. UiTM Shah Alam. Malaysia
Associate Prof. Alias Yussof: Former Head Department, Deputy Dean
Dr. Haniff Khairi : Head Department of Contemporary Metal Design.
Department of Jewelry Design, Faculty of Decorative Arts, Silapkorn University. Thailand.
Ms. Tataroschong Srikulakorn : Head Department of Jewelry Design.
References
Bangkok Fashion City. (2005). Stone on Jewelry. Bangkok Fashion now & tomorrow. Volume.
Three. Department of Industrial Promotion, Ministry of Industry. Thailand.
E. De Bono (1990) Lateral Thinking Creativity Step by sStep. Harper Perennial.
E. De Bono (1999) Six thinking hats Little Brown and Company.
M.Csikszentmihalyi (2002) Flow The Psychology of Optimal Experience. Harper Perennial
Modern Classics. California.
O, Untrach. (1998) Jewelry Concept and Technology. The Crowood Press Ltd. London, United
Kingdom.
A, Young. (2008). The Jewelers Techniques Bible. Asia: Published by Page One Publishing
Pte Ltd.
129
Visual methods in social research on Lanna mural painting:

A case study of Wat Phumin, Nan province
Tawipas Pichaichanarong
Silpakorn University
Running head: VISUAL METHODS IN SOCIAL RESEARCH ON LANNA MURAL
PAINTING: A CASE STUDY OF WAT PHUMIN, NAN PROVINCE
Corresponding author:
Tawipas Pichaichanarong
Graduate Student
Faculty of Decorative Arts
Silpakorn University
Bangkok, Thailand
email : tawipas.p@gmail.com
130
Abstract
According to most of tourists who have visited Thai temples and have seen Thai mural
paintings with untrained eyes, they might not understand a story on walls at first sight. It may
be because Thai mural paintings look confusing, crowded with colorful figures that appears
similar in detail and character, leaving no place to focus ones attention (David K. Wyatt,
2004). Thai mural painting is a disparate of the visual arts because of conventions that are
entirely its own.
This research is designed to study the capability of Thai and Foreign tourists in order
to apprehend Lanna mural painting through visual methods in social research. For
Methodology, questionnaires were used by collecting the data from the total of 411 Thai and
foreign tourists who have been visited Wat Phumin, Nan province. At the same time,
qualitative method was used by collecting the data form tourists who have been visited Wat
Phumin, Nan province. The data then were analyzed using mean, descriptive statistics, and
qualitative data.
This study concludes that the comprehension of Lanna mural painting at first sight
from Thai and foreign tourists at Wat Phumin, Nan province are not positive. In addition, the
results reported that our respondents have verified that there is no direction in order to
understand stories on Lanna mural painting from the beginning.
Furthermore, the results reported that our respondents have established visual methods
in social research in order to discover more effective solutions to facilitate Thai and foreign
tourists to obtain the information of the storytelling in Lanna mural painting at first sight as
possible.
Key words: Visual Methods, Social research, Lanna mural painting, Nan province
131
Introduction
In his Study of Thai Traditional Architecture, Wattana Boonjub (2009) describes that
Mural paintings recreate the walls consists of ordination and visual images with some texts
which designed for spiritual instruction. He points out that Mural painting are used in order to
teach Thai people dates back before the 20th century. At that time the majority of Thai
population were illiterate, only Buddhist monks were educated in the temple, which to study
the ancient scriptural language Pali. As a result, murals were used to represent the teachings
of Buddha because they were easy to understand and remember.
As times went by for many centuries, Thailands heritages become the tourists
attraction for tourists all around the world. More research supports Thailands tourism,
Mingsarn Kaosa-ard (2002) found that the composition of tourism consists of three
characteristics; there are 1. The product is composed of natural resources which are public
goods: beaches, waterfalls, mountain, and the general environment. 2. Safety and
infrastructure are also important elements of the product. 3. A nation's people and their
culture, and visitors' access to both are important components of any tourism product or
package.
One of Thailands cultural heritages is mural painting. The problems emerged from
tourists experiences. Another study (Hacker, 2008) explained about experience for the first
time to look at Thai mural painting, the author was fascinated by exuberant painting on the
wall, and felt impossible to decide where to start to look.
Literature review
Lanna mural painting at Wat Phumin, Nan Province
In this study, the researcher determines to select Lanna mural painting at Wat Phumin,
Nan province as a case study to be the scope of study. According to Lanna mural paintings,
Nan province has unique characteristics that can reflect Lanna arts and cultures more
precisely.
Much of the content inside these works is from Wat Phumin in Nan Province. Nan
mural paintings consider as Lanna Art, which represents the northern part of Thailand, known
as the Kingdom of Lanna. As the matter of fact, this study will focus on the governments
region that represents the Kingdom of Lanna, consisting of 8 provinces (Chiang Mai,
Chiang Rai, Lampang, Lamphun, Phayao, Phrae, Mae Hong Son and Nan).
Nan province, located in the most eastern part of Northern Thailand and at the border
with Laos, is a sparsely populated part of the country. Only about 500,000 people live in the
valley along the Nan river and in the mountain ranges on both sides of the river. This
geography is reflected in the ethnic make-up (Amalia Rossi, 2012), they are made up of
various different ethnic or language groups such as the Mon-Khmer speaking minorities Lua,
Htin, Khamu, Mlabri, and the Hmong and Mien groups (Davis, 1984; Delcore, 2008; Rossi,
2012).
132
In addition, Nawit Ongsavangchai (2013) points out that Nan has been ranked
Thailands top five most livable cities for many years. It is well known among tourists as a
living old town and becomes a famous destination for Thai tourists who love living heritage.
The rich culture of Nan city and abundant nature of Nan province have attracted many tourists
to make a visit. The numbers of them have increased every year; nonetheless most of them
pay a visit to only some famous places. Especially, in the city such as, Muang district, the city
centre where many famous temples and noble familys houses are located. For this reason,
Wat Phumin, Nan province will suitable to be a focus place in this study.
Visual methods
The definition of visual methods (Hine, 2005) or digital methods (Rogers, 2009)
explains these methods include the adjustment and transformation of conventional research
techniques such as participant observation, interview, focus groups and surveys, as well as
innovative proposals.
The use of visual methods to resolve interactions and build understandings within
social science research. For example, this research will focus on visual materials such as
Lanna mural painting and the processes associated with the audiences.
As a result, this research aims to enhance visual methods and build spread across the
social science research in effective ways.
Methodology
Questionnaires were used by collecting the data from the total of 411 Thai and foreign
tourists who have been visited Wat Phumin, Nan province. At the same time, qualitative
method was used by collecting the data from tourists who have been visited Wat Phumin, Nan
province. The data then were analyzed using mean, descriptive statistics, and qualitative data.
In addition, qualitative data were arising from questionnaire and in-depth interview.
Tool of Measurement
The participants responses were measured by scales adapted from Barbara Sommer
(2011). The five-point differential scale asked respondents to rate whether storytelling on
Lanna mural painting from tourists standpoint that there were a lot of information to obtain at
first sight while they were at Wat Phumin, Nan Province. In addition the question was asked a
tourist to rate whether is there a starting point in Lanna mural painting at Wat Phumin, Nan
province.
Procedures
To test the hypothesis, information was gathered by a questionnaire with the approval
of the tourists. To ensure instrument reliability and to prevent respondent sensitization,
respondents were instructed to answer the questionnaire with conditions of storytelling of
Lanna mural paintings at Wat Phumin, Nan province, storytelling of Lanna mural paintings in
general, and storytelling of Thai mural paintings in general.
133
Results
For the questionnaire, there're 411 representative samples by random sampling. There
are 161 male (39.2%) and 250 female (60.8%) which is accidentally equal. For the status
issue, there are 12 persons (2.9%) for young tourists, 388 persons (94.4%) for Thai tourists,
11 persons (2.7%) for foreign tourists. For the education level, there're 22 persons (5.4%)
have primary school education, 48 persons (11.7%) have secondary school education, 15
persons (3.6%) have vacation school education, 249 persons (3.6%) have bachelor degree
education, 70 persons (17%) have master degree education, and 7 persons (1.7%) have Ph.D.
degree education.
Test of Hypothesis
To test the hypotheses were used range of means from the measured scale. The
intervals of measured; there are four intervals, which are 1- 1.8 refers to very little, 1.8 2.6
refers to little, 2.6 - 3.4 refers to somewhat, 3.4- 4.2 refers to very, and 4.2 5 refers to very
much.
This study tests the comprehension from Thai tourists and foreign tourists;
H-1 predicted storytelling on Lanna mural paintings contain a lot of information, which was
overwhelming for tourists to obtain at first sight.
To test H-1, Q 4.1, Q5.1 and Q 6.1 refers to storytelling of mural paintings in different setting;
Table 1
Questions for storytelling of mural paintings in
different setting
Mean
Q 4.1 predicted storytelling on Lanna mural

paintings at Wat Phumin, Nan province contain 3.65
a lot of information, which was overwhelming
for tourists to obtain at first sight.
Q 5.1 predicted storytelling on Lanna mural 3.26
paintings in general contain a lot of information,
which was overwhelming for tourists to obtain
at first sight.
Q 6.1 predicted storytelling on Thai mural 3.16
paintings in general contain a lot of information,
which was overwhelming for tourists to obtain
at first sight
Finally, the result of Mean scores (3.65) from Q 4.1 determined that most tourists agree that
storytelling on Lanna mural paintings at Wat Phumin, Nan province contain a lot of
information, which was overwhelming for tourists to obtain at first sight places in the
measured scale 3.4 -4.2 which refers to very agree.
134
H-2 predicted most of tourists do not know there is a starting point for looking at Lanna
mural paintings at Wat Phumin, Nan province.
To test H-2, Q 4.2, Q5.2 and Q 6.2 refers to mural paintings in different setting;
Table 2
Questions for refers to mural paintings in
different setting
Mean
Q 4.2 predicted most of tourists do not know 4.08

there is a starting point for looking at Lanna
mural paintings at Wat Phumin, Nan province.

there is a starting point for looking at Lanna
mural paintings in general.

there is a starting point for looking at Thai mural
paintings in general.
Finally, the result of Mean scores (4.08) from Q 4.2 determined that most of tourists do not
know there is a starting point for looking at Lanna mural paintings at Wat Phumin, Nan
province places in the measured scale 3.4- 4.2 which refers to very agree.
Reliability
Tavakol and Dennick (2011), both professors, have pointed out that reliability is
concerned with the ability of an instrument to measure typically. In fact, the reliability of an
instrument is cooperative with validity. In general, there is a widely use Cronbach's alpha to
measure of reliability.
To test the reliability of this questionnaire, this research use Cronbach's alpha to find
the reliability of Q 4 (4.1 and 4.2), Q 5 (5.1 and 5.2), and Q 6 (6.1 and 6.2).
Table 3
Questions
Cronbachs Alpha
Number of items
Q 4 (4.1 and 4.2)
.629
Q 5 (5.1 and 5.2)
.673
Q 6 (6.1 and 6.2)
.775
2
135
Kanlaya Vanichbuncha (2002) explains for most widely use Cronbach's alpha to
validate the reliability of items, they have accepted the value of Cronbach's alpha at 0.7.
However, if the value of Cronbach's alpha is less than 0.7 but exceed 0.6. It also considers the
value of Cronbach's alpha > 0.6 is trustworthy (Peterson, 1994; Chen et al., 2007).
In sum, the evaluations of the questionnaire were acceptable from the results in Table
3.
In addition, the findings from in-depth interview from Thai and foreign tourists, we
can finish that there is a problem to obtain arts and information from Lanna mural paintings at
Wat Phumin, Nan province at first sight and we also can confirm that most tourists do not
know where to start to look at Lanna mural painting inside Wat Phumin, Nan province.
Qualitative methods: an example from some tourists at Wat Phumin, Nan province.
Research Question
What are the personal experiences from tourists who have been seen Lanna mural
paintings at Wat Phumin, Nan province?
Are they any problems to obtain information from Lanna mural painting at Wat
Phumin, Nan province?
Theories integrated
The framework used was the process-context approach to demographic behavior
(Willekens, 1990; De Bruijn, 1999). Leo J.G. and Van Wissen (1999) added the processcontext approach in demographic research has got momentum in recent years. This
development is emulated not only in theoretical developments but also in an alteration in the
methodological at the center of the field.
Fieldwork approach
Focus group discussions were used to identify the broad range of opinions on
storytelling of Lanna mural painting among tourists who have been visit Wat Phumin, Nan
province (Figure 1). Focus group discussions were conducted with both women and men, who
were older and younger with average ages between 23-40 years old, and from urban and rural
areas.
In order to learn about personal experiences about looking at Lanna mural painting,
the researcher then conducted in-depth interviews with individuals who were selected from
the focus group discussions. The fieldwork lasted for one day. When developing the study,
the researcher was uncertain whether it would be possible to collect information on subjective
issues from tourists. In fact, the researcher founded that some of tourists came to Wat Phumin
136
only to see a renowned painting 'Poo Marn Yar Marn' ('Whispering of Love') (figure 2), it was
famous internationally.
Indeed, most of tourists do not know the storytelling from the painting on the wall
entriely. When the researcher told the tourists the right ways to look at storytelling on Lanna
mural painting. All tourists felt appreciating more about the storytelling on Lanna mural
painting. There are three categories for storytelling on Lanna mural paintings at Wat Phumin,
Nan province; First: Story of the Buddha, Second: Previous Life Stories of the Buddha,
and Third The ordinary life of local people. According the amount of storytelling on Lanna
mural painting are in great numbers. The researcher asked individual tourists to place in order
of importance, which storytelling from the wall they would to see in moving images; First:
The ordinary life of local people, Second: Previous Life Stories of the Buddha, and Third:
Story of the Buddha.
However, some tourists said they don't have time to watch the moving images. It
should be short and interesting instead of making longer and have too much information.
The conclusion from in-depth interview from tourists, we can conclude that the
tourists personal experiences came to be important role in order to develop proper solutions
to facilitate tourists to obtain information from Lanna mural paintings at Wat Phumin, Nan
province for this study.
Figure1
Wat Phumin, Nan province
137
Figure 2
'Poo Marn Yar Marn' ('Whispering of Love')
Quantitative vs. Qualitative
In this research, the researcher used both Quantitative and Qualitative to test
hypotheses. Due to the nature of their differences, Christian Rohrer (2014) suggested that
quantitative methods has a better explanation about the events, it is dealing with how many
and how much types of questions. Whereas qualitative methods are more suitable for
answering questions about why or how to fix a problem,. The following figure (Figure 3)
illustrates how two methods affect the types of questions that can be asked.
Figure 3
138
Discussion
The results support the mentioned hypotheses. This study concludes that the
comprehension of Lanna mural painting at first sight from Thai and foreign tourists at Wat
Phumin, Nan province are not positive.
Furthermore, the results report that our respondents have verified that there is no
direction in order to understand stories on Lanna mural painting from the beginning.
In addition, the results report that our respondents have established visual methods in
social research in order to discover more effective solutions to facilitate Thai and foreign
tourists to obtain the information of the storytelling in Lanna mural painting at first sight as
possible.
As a result, this study can use personal experiences from tourists in order to design a
preliminary item or new knowledge in order to solve the problem of this study effectively and
usefully.
139
References
Boonjub, W. (2009). The study of Thai traditional architecture as a resource for
contemporary building design in Thailand. Bangkok: Graduate School, Silpakorn
University.
Chen, C. & Tsai, D. (2007). How destination image and evaluative factors affect behavioral
intentions?. Tourism Management, 28, 1115-1122.
Davis, R. (1984). Muang metaphysics. A study on Northern Thai myth and ritual. Bangkok,
Thailand: Pandora
De Bruijn, B.J. (1999) Foundations of Demographic Theory. Choice, process, context.
Amsterdam: Thela Publishers.
Delcore, H. (2003). Non-Governmental Organizations (NGOs) and Development in Nan
Province, Northern Thailand. American Ethnologist, 30(1), 61-84.
doi:10.1525/ae.2003.30.1.61
Hine, C. (2005). Virtual Methods: Issues in Social Research on the Internet. Oxford: Berg.
Hacker, T. (2009). Of muscular gods and tattooed men:Transformations in Thai Mural
Painting. Singapore: Department of Southeast Asian studies, National University of
Singapore.
Kaosa-ard, M. (2016). Development and Management of Tourism Products: The Thai
Experience. Chiang Mai: Social Research Institute, Chiang Mai University.
Ongsavangchai, N. (2013). The Study of Architectural and Cultural Resources in Nan
Municipality Area for Encouraging Community Based Tourism. International Critical
Tourism Studies Conference V. Bosnia and Herzegovina, 358-373
Peterson, R. (1994). A Meta-Analysis of Cronbach's Coefficient Alpha. Journal Of Consumer
Research, 21(2), 381-391. Retrieved from http://www.jstor.org/stable/2489828
Rohrer, C. (2014). When to Use Which User-Experience Research Methods. Nngroup.com.
Retrieved 8 August 2016, from
https://www.nngroup.com/articles/which-ux-research- methods/
Rogers, R. (2009). The End of the Virtual: Digital Methods. Amsterdam: Amsterdam
University Press.
Rossi, A. (2012). Turning Red Rural Landscapes Yellow? Suffi ciency Economy and Royal
Projects in the Hills of Nan Province, Northern Thailand. Austrian Journal of SouthEast Asian Studies, 5(2), 275-291.DOI:http://dx.doi.org/10.4232/10.ASEAS-5.2-6
Sommer, B. (2016). Scaling: Semantic differential. Psc.dss.ucdavis.edu. Retrieved 4 August
2016, from http://psc.dss.ucdavis.edu/sommerb/sommerdemo/scaling/semdiff.htm
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Tavakol, M. & Dennick, R. (2011). Making sense of Cranachs alpha. International Journal
Of
Medical Education, 2, 53-55.
Vanichbuncha, K. (2002). The statistical analysis: Statistics. For administration and research
(6th ed.). Bangkok: Chulalongkorn University Press.
Willekens,F.J. (1990) Beweging in de Demografie [Movement in demography].Inaugural
lecture, Rijksuniversiteit Groningen (in Dutch).
Wissen, L. & Dykstra, P. (1999). Population issues. New York: Kluwer Academic/Plenum
Publishers.
Wyatt, D. (2004). Reading Thai murals. Chiang Mai, Thailand: Silkworm Books
141
TELEVISION DRAMA AND AUDIENCE BEHAVIOR

by:
Hasan, Renta Vulkanita
email: voelca@gmail.com
Abstract
Phenomenon of television drama has its own charm when correlated with some of audience
behavior who have a tendency same behavior patterns. This was evident at a position that
shows the impression of a television drama with the presentation of certain behavior a person
through fiction packaging. While at the opposite positions appear audience who represents
some of the behaviors on television dramas they watch. Discourse that developed during this
explains that there is a shift in lifestyle patterns audience, which tends to duplicate everything
like they are watching on the television drama. This discourse formulated that the relationship
between the television audience is considered as power relations. This discourse of power
relations in trying to show the symptoms of self-actualization audience that is grounded in the
character of a television drama. That is the position of popularity and quality of selfactualization are determined entirely by television. However, in reality the researchers
discovered recently, the relationship between television and the audience is not entirely in the
form of power relations. The tendency of a television drama that presented the story of
everyday life, as well as the tendency of viewers who presented a drama in their lives
phenomena are causative relationship. Audience behavioral approach in this study is
considered relevant enough to the conceptualization of alternative perspectives. Alternative
perspective to the position relationship between television and the audience as the two texts
are the causes and relational. Through this study, the results obtained in the form of the view
that the relationship between television and the audience has a term called "causality".
Causality is a term that is defined as a counter to the requirements of "power relations" are
often echoed far by some researchers who say that the television is to have control over the
relationship with the audience.
Keywords: Television, Drama, Behavior, Audience, Lifestyle
142
A. INTRODUCTION
This study is an initial review of the possible emergence of an alternative position in
view of the relationship between television with the audience. Since the researchers observed
the events spectators who adopts a television drama in lifestyle and behavior patterns that they
can be, there is an interesting phenomenon that appears in these symptoms. This phenomenon
shows the tendency lifestyle similarities between the "watch" and "viewed". The similarity
can be seen as an example of the behavior patterns of dress and how to communicate the style
of the clothes. Clothes or "dress" is one element that is always involved in any television
drama production. In addition to so-called artistic elements, clothing, inside of involvement
with the television drama and the audience, also referred to as prototype and representation
lifestyle.1
In view of the prototype, the researchers noticed that the audience tend to notice
patterns of fashion that the average information about the product they receive through
television, especially in the midst of them watched television drama. They observed what was
worn by their favorite artists, further justification subjectively invoked to obtain the standard
notion of fashion. While the television drama show itself includes matters related to the
process of engaging the audience to observe what happens in the whole plot, including artistic
elements, such as clothing worn.2
In view of the representations, a television drama presented today may be said to have
accommodate the needs of the audience will be the popularity of the individual through a
standard analogy lifestyle and behavior patterns. 3 The existence of television drama is not
just creating a prototype, but also "take" some real-life audience to show where the audience
position in the socio-cultural environment. Representation has created the researchers
assumption that what is presented in the show turned into a television drama consumer choice,
which means that the audience does not have to watch, and if they are forced to watch, they
can choose impression that they enjoy. When viewers turn to watch the action as a consumer,
then there is institutional and policy coherence textual construction, which affects the process
of viewing, and the response during the watch itself (Burton, 2011).
Through these two viewpoints, the researchers noticed that the prototype and
representations that arise from the relationship television drama and viewing behavior are the
two positions that are causative. That is, the prototype is the result of the creation of meaning
(making-meaning) created by the audience, through observation lifestyle audience to
representation on the television drama drawn from behavioral patterns audience itself.
B. DISCUSSION
1. Causative Relationship and Active Negotiation.
Before discussing the causative relationship between the audience and the television
drama, the researchers first talked about how the audience is positioned as a result of the
construction of the television industry. It is helpful to see the difference in the relation of both,
1
Lifestyle is the hallmark of a modern world, or commonly also called modernity. This means anyone
who lives in modern society will use the idea of the lifestyle to describe his own actions and others (Chaney,
2006).
2
Barrie Gunter (1988) identified two most important factors of the involvement of the audience in
determining how they interpret television content, namely: (1) how the real-life experiences than the depiction in
television and (2) how the audience has the 'ability to' identify and connect different plot elements together to
form a coherent story (Gunter, 1988: 37).
3
John Tulloch (1990) says that this is the custom of the television industry that have commercial
purposes, namely television there (standing) not to deliver television programming itself to the audience, but
rather send audiences to advertisers (Tulloch, 1990: 193).
143
where the relationship is going active negotiations were placed on three major sites: the
strength of competition, trends, and interests (Glynn & Cupples, 2015: 277). According to
these relationships, spectators scattered in various parts of the country and the world can be
regarded as construction of the television industry (Burton, 2011). This occurs as a result of
acts presence in front of the screen, which is then used by industry to find a way to get their
interest by placing them seems to be the subjects are located within the television screen. This
is what ultimately makes a trend that creates attachment viewers with television dramas
becoming something called lifestyle.
Lifestyle, in this case can also be regarded as an active negotiation that has an interest
to describe the television audience by their habit of filling his spare time, which is about how
their habits spare time, how they spend their income, ownership of consumer that they value,
the amount of income they are discharged for consumption, what they enjoy, and how they
spend their time. This description, which also involves the categorization of culture in the
form of an imaginary grouping of the community in an effort to achieve a correlation between
the programs they watch where they spend money.
During the negotiation process, there is an active mental process undertaken by the
audience when watching. These processes include decodes the television, read the text, up to
involve the understanding of the code that is diverse in diverse mediums. Uses and
gratification theory is often used to understand this type of activity is internalized. Use the
television audience in order to satisfy an inner need to connect with the social self and selfimage. These needs can be summarized as follows: (a) The need for information; (b) The need
for identity; (c) The need for social interaction; and (d) The need for diversion of attention.
Television has been considered to have a huge impact on the culture and the people who live
in it (Danesi, 2011). Television broadcast programs that affirm the lifestyle trend that has
been printed in the past, especially when these impressions form television drama featuring
the ideal figures are adopting a variety of characters and lifestyles as the picture of perfection.
Meanwhile, in relation causative researchers believe that the nature of pleasure for the
television audience depends on what is diverted by the audience itself. Pleasure is not
something that can be controlled by the manufacturers or can be limited in the form and
context of the program. It can be said that the pleasure arises as a result of unmet needs,
perhaps as a diversion from the activities that have caused tensions. Based on the cultural
analysis, even when someone initially viewed the program as a commodity for consumption,
the view that the audience seized control of the manufacturer to create meaning and
enjoyment of their own means that the pleasure of being part of the cultural economy.
2. Clothing: Causative Relationhip Between Drama Television and Audience
Behavior.
Clothes can be interpreted as a sign that represent things like personality, social status,
and the overall character of the wearer. Similarly such as clothing, which is usually presented
in television drama. In television drama, clothing is one part of the required artistic as it
relates as supporting characters. While in reality audience, clothing is a sign system
interrelated with other sign systems in the community such as attitudes, social status, and
political views. Through the construction of fashion in television drama, consciously or not,
people assume that the clothes they watch every day to build a subjective argument about how
they should dress.
Must actually exist and may even be agreed upon in the reality of audience. Reality
has built a mindset about what the ideal fashion in general, the clothing worn and recognized
by the public. For example, a crook, usually synonymous with casual clothing and accessories
excess, with a shape that tends unnatural pattern. For example: jeans torn at the knees and use
asessoris as chain necklace and stud earrings are striking. Another example of the style of
dress in a bourgeois inclined synonymous with luxury attribute to indicate social status.
144
Indicator that can include the quantity and quality of the material that is worn, such as certain
branded watches, clothing materials specific immateriality, jewelry with certain models of
more than 1, and other supporting material.
Figure 1. Pieces picture of television drama Tukang Bubur Naik Haji ". Two types of
clothing to support characters (source: http://www.seputar-indonesia.com/publics)
Still in audience life, clothes outstanding as reality finally have a relationship with the
television drama. This is evidenced by the existence of outlets that sell clothes exactly the
same as that worn by characters in a television drama. For example, one of the famous
boutiques in its promotional poster featuring models of television drama figures dressed in
fashion design. This is an increasingly shows that the relationship between television drama
and the audience be causative.
Fig.2. Muslim fashion products that sponsor the clothes on one of the television drama.
(Source: http://www.search.google/zoya)
The analysis showed that the causative relationship between audiences and television drama
lies in the identity of each show that: (1) The television drama created a specific prototype for
the audience to be adopted in their lifestyle, for example: how to dress; (2) Spectator is a
reality that existed before the television drama itself, so that when the television drama exists,
then its existence can not be separated from his attempt to represent reality itself.
The reality of everyday life sometimes is a reflection of the pattern of behavior found
in television drama. Although it was once, a television drama that is a reflection on the life of
the community. At the societal level, this transformation resulted in what was then called as of
today's society, which in the language of Baudrillard, is a bunch of people in relatively large
quantities ready to absorb all the signs are propagated by the mass media (Budiman, 2006).
At the end of the 20th century, the historical shift happening in the configuration of
social organization. Statism and capitalism redefined through the development of information
technology. This makes the definition of a new social landscape as a network society
145
(network society). (Castells in Hartley: 2010). Networking is an interconnected system and

exchange data selectively and with a purpose. The network is a centralized authority and
hierarchy dissolve institutionalized. Models of social organization or capitalist industrial
society in the early to late 20th century has a special character that contains the individual
strengths of a fragmented and isolated without the traditional ties of kinship or locality
(Hartley, 2010).
Such individuals are entirely under: (a) The ideology and totalitarian propaganda; (B)
The influence of the mass media (in this period was the press, cinema, and radio). Theory of
mass society has been active in a broad range in media studies in which this theory has a
tendency to produce an apocalyptic vision of what to do television and cinema to the masses.
So every time the speculation on what effect the media have on society, it would appear
perception of the link between the behavior of the audience with one of the television drama
figure figures. For example: someone reliability standards demonstrated by ownership of
luxury cars, luxury homes, work with strategic position and high level of education abroad,
lifestyle depicted in the construction of the characters in television drama. Similarly, figures
reflection school students who frequent exposure in television drama, describe the pattern
sigfnifikan, among others, on the pattern of dressing.
Fig.3. Patterns dressed in school uniforms in television drama "Cinta Cenat Cenut" (source:
http://edukasi.kompasiana.com/2012/05/02/pencitraan-remaja-dan-realitas-pendidikanindonesia-454321.html)
C. CONCLUSION
Television and the audience is no longer tied up in relationships that encourage the
interest of either party. Relationships that originally made the one hand the object of another
party, now it has a reciprocal relationship (causative). This study at least be an initial review
of the offer alternative positions, namely the causative relationship between television and the
audience. However, further research be carried out to reveal the relationships causative work
provides a new understanding to the relationship between the television drama as text and
viewing behavior as a disposition that would create a sense of connection with the text.
146
BIBLIOGRAPHY
Budiman, Hikmat. 2006. Lubang Hitam Kebudayaan. Yogyakarta: Kanisius
Burton, Braeme. 2011. Membincangkan Televisi: Sebuah Kajian Pengantar Televisi.
Yogyakarta: Jalasutra.
Cassirer, Ernst. 1987. Manusia dan Kebudayaan: Sebuah Esei Tentang Manusia. Jakarta: PT.
Gramedia
Chaney, David. 2006. Lifestyle: Sebuah Pengantar Komprehensif. Yogyakarta: Jalasutra.
Danesi, Marcel. 2011. Pesan, Tanda, dan Makna. Yogyakarta: Jalasutra.
Davis, Howard. 2010. Bahasa, Citra, Media. Yogyakarta: Jalasutra.
Gunter, B. (1988) The Perceptive Audience, pp. 2250 in J.A. Anderson (ed.)
Communication Yearbook 11. Newbury Park, CA: Sage
Glynn, Kevin and Julie Cupples. Negotiating and Queering US Hegemony in TV Drama:
Popular Geopolitics and Cultural Studies. Gender, Place and Culture, 2015. Vol.
22, No. 2, 271287
Hartley, John. 2010. Communication, Cultural, & Media Studies: Konsep Kunci. Yogyakarta:
Jalasutra.
Kim, Do Kyun, et al. Television Drama, Narrative Engagement and Audience Buying
Behavior: The Effects of Winter Sonata in Japan. the International Communication
Gazette, 1748-0485; Vol. 71(7): 595611.
Tulloch, John. 1990. Television Drama: Agency, Audience, and Myth. London&New York:
Routledge.
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: Research in creating artworks Comparison 3 case studies of fine art creative

process
Author
: Octalyna Puspa Wardany
Affiliation : Graduate School of Indonesia Institute of the Arts Yogyakarta
Contact
: opuspad@gmail.com
Topic
: Creating arts using research
Title
Abstract
In fine arts, there are experiment and exploration in creating artworks as the process of
actualization certain idea. This process implementing observation, interpretation, training,
analysis the sources which become the object of the artworks. Those activities are usually
implemented in research. This study examines the research in creating artworks, the research
types, and as an effort to find out a certain formulation of the research in creating artworks by
comparison of 3 case studies of fine art exhibitions; (1) the creative process of water colour
painting exhibition Climen by Surya Wirawan in 2012 which the process held for 4 years (20082012), (2) the painting exhibition Melupa by Ugo Untoro in 2013 which the process held for
13 years (2000-2013), (3) the art project Tentang Hutan by gerimisUngu Production 2014
which the process held for 4 years (2011-2014). Each of those 3 creative process has different
type of research, methods, and period, artworks as the output, experience of the artist whom get
involved, and certain location in Indonesia.
Through 3 case studies describe that the research in creating artworks can be scientific with
fully consideration, or semi-scientific in consideration, or unscientific between consideration
and inconsideration. And, the certain research implemented in creating artworks is related to
the artist (individual and cultural), purpose of the artworks and exhibition, and content of the
artworks which appointed.
Keywords: artworks, art research, creating artworks.
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: Research in creating artworks Comparison 3 case studies of fine art creative

process
Author
: Octalyna Puspa Wardany
Affiliation : Graduate School of Indonesia Institute of the Arts Yogyakarta
Title
Background
In fine arts, creating artworks always begin by certain idea which then actualized by various
activities and involving other people to become the artworks. In that actualization, there are
exploration and experiment in processing the idea, exercise the materials of artworks, execution
process, and finally displaying the artworks in exhibition. These things involves the whole
intellectuality of artists mind and feeling. Also, the artists social environment and culture give
the influence and have the mutual contribution for the artists and their artworks.
Then, is there the research in creating artworks? If there is, what kind and type of research? Is
there any exact formulation of the research in creating artworks? Through comparing 3 case
studies, this study try to find out those questions in order to understand the research, creating
artworks, and its relation so it is possible to open up the other possibilities in advance the
knowledge. The data of this research are obtained by implementing the ethnography method.
While analysis is implemented the artistic research theory and supported with practice-led
research theory.
Case 1: Surya Wirawans Solo Exhibition
In December 2012, Surya Wirawan, one painter of Indonesia, held a solo exhibition in
Yogyakarta which showed comic paintings using water colour on paper. There were 5 strip
comics consist of 5-7 pictures, 7 single paintings on paper seized 18cm x 15cm, and 2 comics
based from Kiswondos short stories which are one consist of 20 pictures and the other 30
pictures.
Climen, the title of the exhibition, is from abbreviation of Javanese Cilik-cilik yo Men or Little
Things are No Matter in English. The relation of the title can be showed directly from the size
which not even get 50cm x 50cm for each painting and the media which used paper and water
colour. Considering the condition in that year which was still in fine arts booming so the trading
of the artworks is very high; in price and quantity; there was a common agreed that only the big
paintings and good media of painting (such as canvas, oil and acrylic paint) which can be sold.
So, the Climen exhibition was such the speech from Surya Wirawan to criticize the market
condition which then directing the artists in creating artworks for selling purposed.
Topi Boleh Miring, Kendil Tetap Tegak
Watercolor on paper, 18cm x 15cm, 2011
Source: catalogue of Climen, pp. 39
Figure 1: Surya Wirawan
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Figure 2: Surya Wirawan

Katanya Hidup Sepi Tanpa Musik
Beside the physical artworks, the contents of all Surya Wirawans paintings are told about the
life of the ordinary people. There are the cassette seller that is not famous anymore in recent
digital era, the retail petroleum seller, the seller of lighter gas refill as the content of the single
paintings. While in his 4 strip comics, he told about arts activities in booming condition that the
artists main orientation were not communicate and share their ideas by the artworks in
exhibition, but selling the artworks. And, in his two comics based on Kiswondos short stories
that ever published in the newspaper, the stories are about the struggle of the family of labour
and farmer to solve their live problems related with their fund limitedness. All the artworks
which tell about the little things actually happened in our daily lives and slipped away from our
concerns.
Figure 3: Surya Wirawan, Maniak

Watercolor on paper, @28cm x 20cm (2 pieces), 2011
Source: catalogue of Climen, pp. 34-35
He needed 4 years to prepare all artworks for this solo exhibition. The idea for his 7 single
paintings and 5 strip comics came from his daily live that experienced by himself and other
people in his social environment. He took the activity that interesting, arranged the object and
the speech of each picture, made the sketch on paper and then copy it to transparant paper (see
figure 4). Afterward, the sketch on transparant paper is traced to the painting paper, and finally
coloured the pictures. For the strip comics, the story was breakdown to some main ideas (see
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figure 6). Then, composed the main ideas and the pictures including the conversations to the
columns of sketch. Especially for 2 comics based on Kiswondos short stories, he made several
meetings with the author to discuss the content of the story, the transcription of each story to
the comics, the plot story arrangement in the comic which do not exactly the same as
Kiswondos until the comics were realized as the artworks.
Sketch on paper
Sketch on
transparant paper
Figure 4: Surya Wirawan, Sketch of Kowe Telungatus Aku Pitungatus

Pencil on paper
Source: Surya Wirawan archives
Figure 5: Surya Wirawan, Kowe Telungatus Aku Pitungatus

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Figure 6: Surya Wirawan, The Design Short Story Breakdown of Kalender

Pencil on paper
Source: Surya Wirawan archives
He was exploring special technique in colouring his artworks. He was using two steps painting
for each colour. Firstly, he brushed the water colour in certain area. Then, he brushed the water
in that area by different paintbrush. He had been explored this technique since 1994 using
acrylic and canvas media at that time. He felt that getting successful in implementing this
technique by water colour in this exhibition. Though, in his solo exhibition in 2008, he had
presented this technique using the same media, but he did not satisfied yet. In Climen, the colour
in his artworks are looked very soft and transparent so many people did not believe that those
artworks are using water colour. An artist of fine art even presumed that Surya Wirawan was
using pencil colour then brushed with water in colouring his artworks.
The Sketch
Pencil on paper
Source: Surya Wirawans archives
The painting
Water colour on paper, 17cm x 10cm
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Figure 7: Surya Wirawan, Ketika Pohon Kopi Tak Berbuah Lagi
To draw the painting objects as real as it looked, he was doing observation of the real objects.
For drawing the coffee leaves of the comic Ketika Pohon Kopi Tak Lagi Berbuah (When Coffee
Trees Have No Bear Fruit Anymore) which is not common for him, he observed the coffee tree
and its leaves in his neighbour. So, there were the study process in drawing the objects by
sketching which was documented neatly.
Figure 8: Surya Wirawan, Banyak Jalan Menuju Rumah Sakit

His paintings which tell about the live of lower class people and daily common activities
showed his alignments that is for little people. It is parallel with his way of life that is very
modest and ordinary. However, he kept criticizing the habit of common people that danger other
people and themselves in driving (see figure 8). Overall, his artworks and choice of his way of
life are showed his ideology about social live of common people. His ideology in this exhibition
did not appear explicitly as his previous artworks; painting and printmaking in his beginning
period as the painter. The implicitly appearance of his ideology that can be detected by content,
materials, and objects of his artworks penetrated through his long journey in creating artworks
since 1991.
Case 2: Ugo Untoros Solo Exhibition
The solo exhibition by Ugo Untoro in 2013 which showed literature painting; poems and fiction
short story or unfinished short stories; was needing 13 years intensive process which were
shown by Ugos artworks documentation. He started by painting any words and sentences in
2000. In the beginning of his experiment (2000 2001 and 2004), he combined the literature
text, numbers, figures, and object on canvas. After vacuum for 2 years (2002 2003), he was
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doing the experiment by sketches. He studied the placement of the text, the composition, and
the shaped that was arranged by the text, the colour, the image area through sketches. This study
happened for 2 years (2005-2006).
Afterward, he started the experiment using canvas. In 2007, he explored technique, text size
and length, and background colour of the canvas. In 2008, he explored painting short text which
are gave certain information. In 2009, he explored focus of interest by painting tiny texts on big
canvas. In 2010, he already painted the scribbled text on the canvas freely and combining the
different materials as the media (paper and canvas). Since 2011, he created artworks for his solo
exhibition titled Melupa which presented all his experimentation and exploration in materials,
technique, and aesthetic elements.
Figure 9: Ugo Untoro, Object#1, ballpoint on book, life-size book, 2013

Source: catalogue of Melupa, pg. 4
Figure 10: Ugo Untoro, Departure, wax on fabric, 105cm x 250cm, 2013
Source: catalogue of Melupa, pg. 30-31
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Figure 11: Ugo Untoro, Departure (detail), wax on fabric, 105cm x 250cm, 2013
Source: catalogue of Melupa, pg. 30-31
Figure 12: Ugo Untoro, Regasa, marker on canvas, 250cm x 180cm, 2013
Source: catalogue of Melupa, pg. 21.
Poems and fiction as the format of the texts in his paintings are influenced by the books he read
since he was a child which literature has a big portion of his interest beside the book of fine arts
and comic. Comic then became one of his narrative styles in his text paintings. While the
content of his paintings tell about social relationship of the human being in build up the live.
His text paintings mention about power, chance, potentiality, the harmony with nature, beliefs,
economic benefits, dreams, love to explain his concerns. All the content materials are cached
from his personal experiences, the live in his neighbourhood, and combining with his
imagination and fantasy which get from his adventure in various fictions. Thus, there is the
literature study in creating his artworks. Though he doesnt intend the specific literature study
to create certain artwork (painting and exhibition) and reading become as his habit, he has the
consideration to involve what he has gotten from the literature to create his artworks.
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The study in this exhibition is also implemented in creating his literature paintings. In 2007, he
ever watched the text painting exhibition in Art Bassel 2007 of Venice. As mentioned
previously, in 2007 he started to do the exploration in painting the text intensively. The Art
Bassel text exhibition then influenced he to be freer and courage in realised his idea. It gave
him the spirit to execute his idea about literature paintings. So, the reference of other similar
type artworks became very important in creating artworks as a sign that his idea is make sense
and find out the different type of text paintings which had not existed yet that is literature.
Case 3: Art Project of Collective artists
The art project which titled Tentang Hutan (About Forest) involved a researcher in
anthropology field and 8 artists of fine arts. The artistic work stages in this art project are
composed clearly. It started with a research about The Impact of Social Movement on The
Socioeconomic Security of the Peasants in Ngadisono Village, Wonosobo of Central Java in
2011-2012 by Dwi Any Marsiyanti. The research result explains about the benefit that
community surrounding industrial forest is gotten by the implementation of joint forest
management between the company and community. Based on this result, the emerging artists
were recruited by considering their field of works in fine arts and their competency. Then, the
team consists of 8 artists recruited, researcher and curator discussed about the research results
and the implementation of this art project.
Thereafter, the absorb phase started. The artists and curator lived in the location for a month.
While they were staying, they search tangible and intangible information and data by beginning
with the meeting with representatives of community, interview related parts, informal
conversation with the community who came to the basecamp, got involved in the community
activities, go to the industrial and community forests, go to the historical sites and public spaces
in the village. During searching the information, the team held the regular meeting to share and
discuss their findings and opinions. All information and data in the absorb phase then shared to
the public in a discussion. In this discussion, the team also got many inputs that is very useful
as the sharpening in the artworks and the art project itself.
Then, the artists were creating artworks for 4 months. During creating artworks, it was possible
to get back to the location if necessary and also meet the researcher to get more information. In
this phase, the intensive discussion between the artists and curator is important so artists needs
can be detected and facilitated rapidly. After the artworks done, all were presented to the
community in the art project location. Though the local community are common with traditional
arts, they were able to enjoy the contemporary artworks. This presentation became the forum
for artists and local community to have the conversation about the artworks, the certain location
in their village which showed in the artworks.
Instalation of Dwi Joko Harianto
Source: gerimisUngu archives
Figure 13: Bukit Bentang (Bentang Hill)
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Figure 14: Jalan Panjang (The Long Way)

Instalation of Allatief
Figure 15: Berdiri di Atas Kedaulatan Pangan Sendiri (Stand on Its Food Sovereignty)
Printmaking artwork of Fitri DK
Finally, all the artworks were presented in the exhibition. There are 17 artworks in various
media; painting, photo of performance art, video art, installations, printmaking artworks,
photography, videography, music performance, Japanese calligraphy, printmaking; and
research result display during a week. Those artworks have different content in expressing about
forest, such as: the bound between the community and the forest (figure 13), the long struggle
by the community in getting the authorization to have the joint management in the land of
industrial forest (figure 14), the landscape of village which most area is forest (figure 15), the
daily work of the farmers related to forest (figure 16), the contradictive of citizen forest and
industrial forest related to natural destroy (figure 18), the spirit that arising when stay in the
forest (figure 17). This exhibition was ended with the public discussion to share about the
research, the art project, the real story which involved also a representative of local community
as the resource person. To close the whole art project, there was an evaluation meeting to review
all the phases, method, artworks, and management.
157
Figure 16: Penderes (Bentang Hill)

Screen printing of Isrol Medialegal
Figure 17: Rear Shin Ku

Instalation of Hiroshi Mehata
Figure 18: Melanomata

Photo Performance Art of Ferial Afiff
This art project enable the interaction between the artists and community in certain issue which
not event learned by the artists previously. The artworks present the real live and problem of
certain community by explore the artists knowledge, evidences, and aesthetic understanding.
The scientific research which held using ethnography method gives the valid data that helps the
artist to catch the problems and enable them to concentrate doing their research for creating
artworks. The art project as one model of artistic research then makes creating artworks based
on the real issue and problems in community is occurred effectively which in this case is 8
months. However, this art project hasnt completed yet. The implementation of the phases
should be improved which will be experimented in the next art project.
Research in Creating Arts
Are those 3 cases of creating artworks able to be mentioned as research? To classify those
creating arts processes as research, it should be identified the research elements which exist in
those 3 cases. Refer to Graeme Sullivan (1988: 46):
Research is a reified entity within university life and the common perception is to maintain
codified practices that determine not only what is endorsed as legitimate inquiry but also the
conditions under which research is conducted and sanctioned.
Research then cannot only considered by the implementation of method, tool, and theory to
analyse the data in order to get the certain results as the answer of the research questions and
158
reach the research goals so it is beneficial. Research is involving the life as the resource data or
resource idea which has particular problems as the trigger for the researcher. Life is then the
daily existence that is experienced by the researchers directly and indirectly. In creating arts,
the element of life exist. As describe in the 3 cases above, the artists do creating process by
catch and explore their life including habits, activities, and involvement. Though, the art process
was done by collective artists in relatively short period, there are the phase when they not only
catch the life data through written research results and other written information. They were
still necessary to get involved in the real life of the resources. Then, Sullivan complete
definition of research by the need of common perception as codified practices. This second
element become the guide to examine whether research implements in creating artwork or not.
As Mika Hannula, Julian Suoranta, and Tere Vadn (2005: 20) mention, research of scientific
has two means; scientific argumentation and artistic criteria. However, as mentioned next,
(2005: 17) science is not one well-defined entity, but rather that there are many sciences and
that the sciences can sometimes have different and possibly even incommensurable goals. In
this point, there is the possibility to define that creating artworks have research process and
those 3 authors postulate the term of artistic research (2005: 19) which is still in continuous
search and convincing definition. As the consequent (2005: 21), artistic research has a loosely
connected set of goals or purposes, through which its relevance becomes evident. Thus, to
consider whether research is exist in creating art or not, it could be examined by reviewing its
relevance.
The 3 authors then explain about the relevance of artistic research which is by its nature is
relative, uncertain and changing, but at the same time experimental, an intellectual pleasure
creating new knowledge are (1) specifies the localization and specific locality of the work,
taking it forward, increasing its profundity, and (2) contents and its production, participation in
the process of forming meanings as the central points rather than form or formalities (see 2005:
152-153).
The specifies localization refer to the localization of certain understanding, while specific
locality of the work means the certain place as the resource idea, or the place to execute idea to
be artworks, or the place to presenting the artworks and sometime not even related to certain
point of place. It is about the localization of certain understanding. For example, the localization
specifies of Surya Wirawans artworks is the domain of common people (lower class people)
and the specific locality of the work is in Indonesia. While the specifies localization of Ugo
Untoros artworks is universal as its specific locality of the work, but the language of the text
make Ugo Untoros artworks are relevant for Indonesia. In the art project, though its specific
locality of the work is at the village level (Ngadisono), its specifies localization could be in
effect global where forest as its concern. Each 3 cases have different motion plot of specifies
localization and specific locality which presented by the objects, the content, the media, and
symbols used of their each artworks.
The second element of the relevance of artistic research relies on paradigm of the researcher
and the research design. As mentioned, it is possible to analysis the form or formalities to
understand the meaning of artworks. But, if the researcher would like to make the artistic
research, the analysis uses those 3 things mentioned. The researcher does not always other
person/s who study the creating artworks process. It can be the artist/s who creating the artworks
when presenting not merely the output, also those 3 things in the second element.
Conclusion
159
The process creating artworks from composing idea until presenting the artworks is actually the
research works. It can be classified as the artistic research. By study the 3 case of creating
artworks, the format of artistic research is diverse. So, the chance to bring forward different
format is very wide-open which is able to develop and enrich the knowledge of artistic research
then benefit the advancement of art.
Sources:
Csikszentmihalyi, M. (1999). Implications of a Systems Perspective for the Study of Creativity.
In R. J. Sternberg (Eds.), Handbook of Creativity (pp. 313-335). United Kingdom:
Cambridge University Press.
Hannula, M., Suoranta, J. & Vadn, T. (2005). Artistic Research-Theories, Methods and
Practice. Helsinki: Academy of Fine Arts.
Marsiyanti, D. A. (2012). Social Movement di Ngadisono (Paper).
_______. (2012). Dampak Gerakan Sosial pada Keamanan Sosial-Ekonomi bagi Petani
Penggarap di Indonesia (Research Result)
Sachari, A. (2005). Pengantar Metodologi Penelitian Budaya Rupa (pp. 147-153). Bandung:
Erlangga.
Saukko, P. (2003). Doing Research in Cultural Studies. Gateshead: Athenaeum Press.
Sullivan, G. (2009). Making Space: The Purpose and Place of Practice-led Research. In H.
Smith & R. T. Dean (Eds.), Practice-led Research, Research-led Practice in the
Creative Arts (pp. 41-51, 62). Edinburgh: Edinburgh University Press.
Svaek, M. (2007). Anthropology, Art and Cultural Production (pp. 154-155 & 187-190).
London: Pluto Press.
Wardany, O. P. (2016). Proses Kreatif Penciptaan Seni Lukis, Studi Kasus Pameran Pameran
Tunggal Ugo Untoro Melupa (Master Thesis). Retrieved from ISI Yogyakarta.
Gerimisungu (2014). Art Project: Tentang Hutan (Exhibition Catalogue). Yogyakarta:
Gerimisungu Production.
Untoro, Ugo (2013). Melupa (Exhibition Catalogue). Yogyakarta: Ark Galerie.
Wirawan, S. (2012). Climen (Exhibition Catalogue). Yogyakarta: Jogja Contemporary.
Surya Wirawan (personal interview, August 6, 2016).
160
MUSICAL PARODY OF ACAPELLA MATARAMAN :

A CREATIVITY COMPROMISE
FOR THE PERFORMING ARTS MARKET IN YOGYAKARTA
Firmansah1
Abstract
This study aims to identify and understand the creative process of artists in the performing arts
market. Performing arts into the arena of struggle by the artists to present the results of their c
reativity. However, the concept of creativity is often the response has been less precise that the
forms have high levels of creativity. Basically an assumption appears if the artist is able to sur
vive in the market is the result of creativity in the performing arts is a form of alternative or co
mpromise. This phenomenon occurred in the group Acapella Mataraman. Its presence in the p
erforming arts a few decades is interesting to study. The creative process does not just happen,
but the basic possibilities that the ability to see into the main capital in consumer tastes to cre
ate a repertoire. This case study is based on the concept of Jennifer Lindsay to explain logicall
y about the creativity of the arts kitch. Then, the concept of Umar Kayam about the existence
of performing arts groups. This study also uses several supporting concepts to complement the
two main concepts. The primary data are gained from the interview process with Pardiman Djoyone
goro (main figure of Acapella Mataraman), Then it is completed with the secondary data through a foc
us group discussion to explore deeper about creativity process on Acapella Mataraman. The results s
how that the repertoire pickax jenggleng and overhang Nuswantara of Acapella Mataraman is
a form of compromise. Musical sounds and rhythms of modern music elaborated and presente
d through acapella techniques. Supplemented by the concept of parody that has appeal and val
ue to the consumer tastes of the performing arts. This form is an effective medium for the deli
very of criticism and moral content on each of the repertoire.
Keyword: Creativity Compromise, Performing Arts Market, Pangkur Jenggleng, Emperan
Nuswantara and Acapella Mataraman.
Main Issue
Yogyakarta is one area in Indonesia which is known as a city of culture. In this city also there
are plenty of activities for the performing arts do have a lot of individual creative and
performing arts groups. Some groups such as: KUA Etnika, Hip Hop foundati, Puppet Hip Hop,
and Acapella Mataraman. Each of these groups have in common is creativity by elaborating
traditional and modern elements in the form of a musical. But attention is Acapella Mataraman
because it has characteristics as a differentiator from other groups in the performing arts market
arena.
The repertoire through genres of musical parody of Acapella Mataraman is the result of
creativity Pardiman Djoyonegoro as a major figure. He was known as a skilled artist imitating
the sound of musical instruments through acapella techniques and elaborated with local cultural
elements are then presented with a humorous style. For decades, the genre was maintained and
became unique to this group. The use of such genres as the value of the watch allows the
consumer to use his services frequently performing arts to entertain in a variety of events. Most
of the play at the position at the end of the show so that viewers are willing to wait long to see
his performance.
Mercu Buana University
161
Starting from the uniqueness of it, the writer interested to study musical parody group
Acapella Mataraman. The existence of the group comes from the creativity Pardiman
Djoyonegoro as the main figure to see opportunities in the performing arts market. The
assumption appears that the possibility of creativity is one form of compromise or alternative.
Indirectly, this allows the group's repertoire is kitsch art that is only concerned with economic
factors - or kitsch or art popular in Mataraman Acapella has a different meaning and not just
economic factors.
Creativity Compromise
Creativity compromise is a form of strategy for the artists or performing arts groups to persist
in the performing arts market. According to Kayam (in Lindsay, 1991) for the existence of kitch
or commercial art, a way of presenting must actively changing according to the times in which
he exists. This is useful in order that the work of art to be popular and attracted the attention of
the audience for making money in order to stay alive.
Than, In the opinion of Khayyam (1997) the context of Indonesia is currently in popular
culture where the situation was still very fluid, bound with traditional culture, the tendency of
people to consume foreign cultures was through commercialism dictation . Basically, the
popular music composition of course, the simplicity was the main thing for the purpose of easily
understood or enjoyed by consumers.
The simplicity was found in the musical compositions with periodization or phrasering, the
harmony structure was built relatively easy, rhythm repeated, short in duration and without
more expansive processing (Mack, 2012). Likewise the song forms uses general forms that is
A-B (binary) - the two parts or ternary form (A-B-A ') wherein A is theme and beggining period,
B is the contrast period, and A' is a recapitulation. This can be described as a musical proximity
(listener habitus) of the general public.
When referring to both opinion, in order to get the exchange against the spectacle rate, the
repertoire of Acapella Mataraman has the simplicity in form to make it popular. In order tosee
the simplicity of form, The Pangkur Jenggleng reperotar had been chosen because according
to Pardiman Djoyonegoro it is a representation of Acapella Mataraman. In addition, a new
third-generation repertoire which was often played together with Jenggleng Pangkur that is
Emperan Nuswantara had also been analyzed.
In Emperan Nuswantara repertoire, melody or rhythm can be seen as follows:
(Figure 1. Melody and rhythm of EmperanNuswantara repertoire)
Soprano as vocal and sometimes imitating the sound of the guitar, alto also imitate the sound
of the guitar, tenor imitating the sound of ketipung but still use the tone and bass sounds to
imitate the sound of a bass guitar. The intro rhythm on soprano and made repeatedly by the
placement of tone E statically. In Alto the rhythm is repeatedly sounded acted with the tone CC1. Likewise also the bass acts as a companion with a simple rhythm pattern by placing on the
tone C area. The tone was sounded repeatedly. Then in the tenor voice, the rhythm pattern was
somewhat enlarged with a tone composition of C1, E1, F as decomposed. The use of that rhythm
gives the feel of dangdut music in this rereptoar. At bar 10 in the tenors was found a first
interpellation to mark the same phrase. However, the rhythm and melody on soprano voice then
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developed with a previous rhythm pattern. Second interpellation on the soprano voice in bar 22
and 26 interpellations are as follows:
10
1st interpellation
(Figure 2. Ist interpellation of EmperanNuswantara repertoire)
2nd interpellation
(Figure 3. 2nd interpellation of EmperanNuswantara repertoire)
Interpellation on both of bar 26 above was used as a cue for the entry of lyrics with a simple
rhythm and melody pattern:
1
2
1
2
Frase I
Frase II
(Figure 4. Phrase 1 and 2 in the rhythm and melody pattern of Emperan Nuswantara)
The rhythm of the song was made in a simple symmetrical form. This can be seen in the
first phrase where there are two different motifs. In the second phrase there are also different
patterns of motif but the motif is the same as the first phrase. But in the second phrase, the
melody occupies different locations as in the picture above. Overall, when listening to
EmperanNuswantara it creates the impression of dangdut music.
Then, in the Pangkur Jenggleng tune at the opening comes a Manyura phatet. Furthermore,
there is a significant change that is using rap music. The rhythm pattern is fairly simple, played
continuously and repeatedly. However, it is sometimes interspersed with the sound of beat box
different from before. For example, sometimes imitating the sound of a drum set and then varied
by imitation sound of a DJ (disc jokey). The rhythmic pattern used in beat box was as follows:
Basic rhythm pattern

Variations in rhythm pattern
(Figure 5. Basic rhythm pattern of beatbox and repertoire variations of PangkurJenggleng)
Wherewith the melody, rhythm patterns of the melody was created with the expansion of
the rhythm in bar 4, 5 and 7, which are marked by a red line. It seemed that this was to to avoid
the impression of monotony in the song. But the variation is not enough transformed drasticly
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and developed quite simple. Melody of the song was also only played in tone E, F # and G. It
can be seen in the image below:
5
Phrase I
(Figure 6. Rhythm pattern of melody, phrase I of PangkurJenggleng)
Phrase II
(Figure 6. Rhythm pattern of melody, phrase II of PangkurJenggleng)
Analysis results of the second form of Acapella Mataraman repertoire has the simplicity in
form that made it to be is said as the kitsch art or pop music. There is a standardized pattern as
it follows the popular music namely rap and dangdut. This is also confirmed by the opinion of
Mack (1995) that popular music is more simple, has a standardization and more want to satisfy
the audience for commercial purposes.
Although both of the repertoire belongs to popular music types, but there is a difference in
the EmperaninNuswantara. It has the Indonesian impression in lyrics and musical forms. What
is meant here about the Indonesian in the form of music was the sound of dangdut music that
was presented in the tenor's rhythm pattern:
(Figure 8. strong accent/
syncope on tenor rhythm)
According to Frederick (Ibrahim, 1997) and Wientraub (2010) dangdut music is a popular
music of Indonesia. Being a political media to construct public taste in music. Indeed
EmperanNuswantara was not a dangdut piece but a musical parody genre known as hybrid art.
So it is possible that impressions of other genres of music in the repertoire occurs. However, on
both opinions and the dangdut impression that was presented Pardiman Djoyonegoro in the
Emperan Nuswantara, was found fundamental matters. That is, the characteristics of
Indonesian pop music was that the strong accent was on the light part or syncope (marked with
a red line). This basic rhythmic pattern was occured on the opening and on the way the sounds
are parsed into three lines,the alto, tenor and bass.
164
According Khayyam (1997) in the era of globalization, popular music runs parallel to the
orientation of Indonesian contemporary cultural and urban masses especially the young
generation and liberal economic system with an orientation toward mass consumerism. It can
be found under Acapella Mataraman that was the standardization of repertoire forms. On the
concept of Attali (1985), especially in music performance it was regarded as a representation.
It was intended to use the value of spectacle involving the exchange and harmony. Surrounded
by concerned parties for political and economic purposes. In the exchange, was the entrenched
capitalist economic system with the loss of the musicians. While in the harmony is the
construction of the dominant party, such as what kind of music deserves to gain spectacle value.
According to the concept of Kayam and Attali, it is known that in Emperan Nuswantara
repertoire lies a characteristics of Indonesian pop music in terms of accent. There was an
economic and political objectives that were not awared, the use of the rhythm by Pardiman
Djoyonegoro indicates that this repertoire is devoted to commercial and political purposes that
was easily enjoyed by viewers /listeners besides that there were loads of criticism and ideology
of Nuswantara. But there is a difference to the concept of Attali that emphasizes harmony in
the intra musical and then linked it to politics and economy. The intra musical emphasis of
Emperan Nuswantara that presents the characteristics of Indonesian pop music was on its
accents. These characteristics was the representation of the political and economic phenomena
in the field of music in Indonesia.
In accordance with the opinion of Khayyam and Piliang (2003) on parody, it can be said
that the reason of Pardiman Djoyonegoro remaining to stay on the genre of musical parody
besides the commodity medium, as well as an effective medium to transfer content works of
social criticism or 'ideology of Nuswantara'. For example two earlier repertoire the Pangkur
Jenggleng and Emperan Nuswantara. In Pangkur Jenggleng lyrics can be seen how interpret
the Wedhatama writings by adopting the lyrics of Ladrang Wilujeng.
Lyrics of Ladrang Wilujeng adopted in Pangkur Jenggleng:
Para besang samara bangun
Sepat domba kali oya
Aja dolan lan wong priya
Gerahmena ra prasaja
Aja dolan lan wanito
The original lyrics were then composed by singing through a rap technique.
Sample of lyrics:
Ji ro lu pat para besang para bangun sepat domba kali oyo,
Aja dolan aja dolan lan wong priya lan wong priya,
Para besang para bangun sepat domba kali oya,
Dolan..dolan dolan..dolan dolano karo wanito,
Gung remeh gung remeh gung remeh..nora nora,
Ji ro lu pat sebab yen dolan priya karo priya terus arep padha ngapa
Para besang smara bangun sepat domba kali oya,
Aja dolan lan wanita gung remeh nora prasaja
Para besang para besang para bangun para bangun,
Para besan para bangun sempat domba kali oya,
Dolan dolan dolan dolan dolano karo wanito,
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Wan tu tri fo sebab yen dolan wanita wanita ora ana tantangane,
Coba yen dolan priya lan wanito mesthi bakal nemu mulya,
Ahh..ahh..ahh..ha..ah..ah..ah
Yen beja dadi wong sukses
In addition there are the lyrics adopted from Indonesia pop songs:
Cinta ini kadang-kadang tak pakai logika
(Song lyrics of Agnes Monica / Agnes Mo)
In Serat Wedhatama it is found about the teachings of the Javanese ancestors regarding the
philosophy of life on tolerance, following the religion wisely, to be fully human and having a
noble character. It was written by KGPAA Mangkunegara IV for the people to have a peace of
heart and soul and understanding the meaning of life according to Javanese view. The lyrics in
this repertoire were taken from Ladrang Wilujeng having a moral message for the younger
generation on promiscuity. Wilujeng was interpreted as a prosperity and good fortune that rests
on the younger generation.
This repertoire as a representation to Acapella Mataraman. This can be seen through
the reasons in following the era when presenting the repertoire. This means that the
characteristics of pop music was intended for the young people in either music and the lyrics.
In addition to the economic side, there is a moral message because he thinks that in popular
culture the large media industry presents entertainment without moral message content and gave
birth to promiscuity. Teens also tend to prefer popular music (west) to gamelan music. From
here then made a musical interpretation in a musical parody genre with a solid beat pattern (rap)
and a humorous poetry. To deliver the moral message for teens through philosophy of Javanese
culture using popular music.
While the lyrics of the new repertoire is Emperan Nuswantara:
Luhur budayaku itu indonesiaku
Negeri kaya raya sungguh indah alamnya (sering diplesetkan menjadi: negeri kaya raya,
dirampok raya-raya)
Gunung lautan tempat ngarai hutannya
Beragam suku agama budayanya
Reff:
Ramah tamah penduduknya
Indah molek tariannya
Nuswantara negeri cantik dunia
Adi luhung karya seninya
Dari candi hingga batiknya
Nuswantara negeri hebat dunia
Sukunya berbeda satu nusa satu bangsa
Agama berbeda satu nusa satu bangsa
Walaupun berbeda satu nusa satu bangsa
The lyrics of this song is a representation of Pardiman desire i that is to return to the state
of Indonesia which was safe and secure. Same with Pangkur Jenggleng repertoire, the Emperan
Nuswantara was also originated from 'Nuswantara ideology' as a message for the current
166
generation to appreciate what have been passed down by generations ago. Critics towards the
exploitation of natural resources was also implicit in the plesetan:
negeri kaya raya, dirampok raya-raya
gunung lautan dirampok raya-raya
dari budaya sampai dengan bedaya
According to him the country's resource had been drained by outsiders and even by the people
of Indonesia itself.ii
This analysis found an understanding that the economy has a role in the form of repertoire
presentation of Acapella Mataraman. The form in which significantly change the aspect of
performance supporters such as the number of players, the artistic properties and costumes.
While in the music, it carries popular music, editing the repertoire appropriate to the allocation
of time given by the consumer and use the Indoneisan characteristics in pop music.
Acapella Mataraman Existence in The Performing Arts Market
In accordance with the concept of Khayyam (1991), for the existence of commercial art or
kitsch such as Acapella Mataraman must posses the use of the value of the show with a change
in the form of presentation. Two previous repertoire became a representation of the use of the
value of a show for the exchange of economic currents, had a harmony between the intramusical
and extramusical that is following the public taste. These two repertoires were presented with
the musicalparody genre combined between music, dance and theater in nuance of humor.
Creative services in the performing arts cannot be done individually. So in the interaction
between the economy and production, there are some aspects to be taken into consideration that
was adjusted by the amount of players, artistic property, stage location distance, demand on
new work requests and the segmentation. The interaction between these two factors were also
that promote changes in the form of presentation. Changes in the form of presentation currently
was significantly on the number of players, costumes and use of choreography. Regarding the
music, it was still presented using parody musical genre with pieces of repertoire used according
to the allocated time of performance given by the consumer.
Business services in the show was run with an applied strategy such as segmentation
expansion and creations of trinkets. It is also based on a consideration of the marginal cost and
marginal benefit. The marginal costs was normally issued when consumers was of the middle
down economiy. The fee was to cover the salary of players as a result of the cost of production
was sometimes not enough to be allocated to the items of production. But the profits was
obtained through that strategy, because through the expansion of segmentation it will also be a
promotional event that increased popularity to enable a marginal profit. This also applies to the
provision of trinkets to balance between the cost and marginal profits.
Besides the economic side, the implementation of segmentation strategy was also based on
an institution or institutional arround Pardiman Djoyonegoro. Where the values, norms, habits,
culture, were all reflected in the economic activities done. The other side of implemeting
segmentation was intended so every people can enjoy the work. Either as appreciators or just
lovers. In general, the purpose behind such enjoyment is the delivery of criticism content and
moral message to the community.
Each repertoire was a result of creativity with inspirations in every aspect of life which is
'ideology Nuswantara' until the socio-political events. The intrinsic motivation to cultivate it
167
into a piece of music was derived from his experience in the music world both in academic and
non-academic. Then from that creativity is able to generate economic income for the necessities
of life.
Through this analysis can be obtained an understanding that parody and kitsch became one
in the body of Acapella Mataraman, which lasted until today. Musical parody genre became
the characteristic in the performing arts market. Through this characteristic it was considered
to be an effective way to obtain the value of the show and the exchange of money. Moreover,
followed by expectations that the criticism in the content of the repertoire can be delivered
through the entertainment of the genre. This is the reason for Pardiman Djoyonegoro to remain
in its genre. Changes in the form of presentation is not the only major factor that makes it able
to survive in the market. But creativity makes this group has an existence for decades in the
performing arts market.
Musical Ideas
Parodi has developed into a study in postmodernism to declare lowness of an art. Featherstone
(in Smiers 2009) argues that this is one form of celebration of lowness of a culture. Obviously
this leads to a problem of hybridity by the way through searching in history. Questioning the
depth of a culture since ancient times whereas cultural diffusion has occurred and allows no
more original culture.
Similarly, when speaking of music, Smiers (2009; 185) gave some examples to underline
that since the first it has occured a cultural crossbreeding. Along with the development of the
era, when the music comes with some of the genre which marks the crossingbreeding
sustainability. Musical parody became one of the many in the world. Today this becomes a kind
of entertainment for public consumption.
Music and consumption become an interesting discussion event for the critics like Adorno
and Horkheimer (Budiarto, 2001), and Benjamin (in Strinati, 2009). Commercial music in their
view is a lost of aura and autonomy. When referring to this view it can be said that a parody
musical genre has lost its aura and its autonomy. There is an element of commercialism and
represents shallowness in culture.
However, this view is probably misleading to be accepted outright. There is another side to
be built from the parody. According to Smiers (2009), hybridity should be known as a special
purpose. There is an intention to bring it from experience in experiencing from their
environment. Similarly disclosed by Piliang (2003) the effects of humor and absurd in a parody
displayed in a manner by distorting or by making plesetan from the original, being ironicaly,
critical, even by creating politically loaded and ideologically. Dialogue occurred in the parody
will rise to a form of serious criticism, polemic, satire, debate, humor or jokes from the form
already exist.
Works of art, whatever the form been expressed will lead people into their human existence.
Playing an important role in the contribution of development of personal and collective identity.
From some of this opinion, observing the repertoire of Pardiman Djoyonegoro with its musical
parody genre occured other elements outside the economy. In intramusical, using diatonic tones
in popular music elaborated with the local culture elements. Of course there is an intention of
its own why it is presented in the results of the creativity.
He stated that many elements of 'ideology Nuswantara' that characterizes his work. One of
his works the PangkurJenggleng have an inspirational source from SeratWedhatama. It contains
life guidelines for the community of Java in honouring the values of humanity and the local
168
culture. Created since the KGPAA MANGKUNEGARA IV and according to Pardiman is still
relevant to be a way of life for the present generation.
Criticism of the human condition today forgot its essence as a Nuswantara generation.
Adopting foreign cultures without filtration to shape the behavior of harming people. Such as
radical beliefs, freeculture and tolerant attitude that has been lost. When looking at the history,
Indonesia since 1970 is indeed an urban society. Has been flooded with the commodity and
culture based on the consumer culture of global capitalism (Foulcher, in Abraham, 1997). This
is the underlying moral message in the content of Pangkur Jenggleng repertoire. Not just as an
excuse, as every show always presented this repertoire. This is the reason other than the
economy, there is a content of criticism and moral messages through the show of Acapella
Mataraman.
Of the two earlier repertoire, although it was a popular music but not necessarily be stated
to lose the aura of such expert opinion earlier. If it was stated as it means the Indonesian society
then was a society that had lost the aura in the art. Especially when talking about
EmperanNuswantara this means about Indonesian matter. Caused by the characteristics of
Indonesian pop music lies in the rhythm pattern of Emperan Nuswantara. This can be clarified
with the opinion of Lindsay (1991) on the popular arts. Whereas, traditional art that was said to
be valuable also has been changed according to the existing demands - arts today comes from
the arts of the past. So to say all kinds of music in Indonesia is fairly popular.
But it is clear that the elaboration of foreign culture and local culture in the parody musical
genre, not only serve as a mass consumer entertainment but presents a moral message content.
Pardiman used musical parody genre in entrepreneurial activity creating creative services. His
creativity in cultivating imitation of the sound of a musical instrument was also becoming a
major force in implementing its musical ideas. This is to make his works still enjoyed for
entrepreneurs should be smart in public taste. Entering the popular culture track to earn money
exchange. This was caused by popular music which was more accessible to the public and
provide a role in critics in the assessment.
Commodities, moral message media, criticism and creativity within Pardiman produced
musical ideas. It then becomes a repertoire that is demanded by the public audience. This is not
a matter of losing the aura since until now Acapella Mataraman still exist through musical
parody. This means that musical parody still has an aura both in criticism content and in
commodities. Musical ideas created by Pardiman was proof that he had existence in the
performing arts market.
1.
The impression of dangdut music which was present in EmperanNuswantara implies that there was a political and
economic content inside if seen in terms of intramusical. The political and economical purpose of dangdut music in
extramusical has also been described by Frederic (Ibrahim, 1997) and Weintraub (2010).
2.
Results of discussion between the author and (PD) on 'Nuswantara ideology'. The Glory and greatness of ancestors
and their heritage. Foreign cultures entered and damaged the local culture. From this discussion, the author obtained
data about what is represented on the works of AM. It is said that the curved like waves feature is a sign that the
ancestors lived under the sea that is the Royal Queen of the South Coast. The temple is also said to be a magnificent
park of the palace under the sea. According to him generations should find out about it because the 'install culture'
(translated by author: a collective memory) that exist in each human mind. Because foreign cultures would be
damaging if the generation was not aware about his true identity.
3. Ibid
169
4.
Ibid
REFERENCES
Attali, Jaques (1985), NOISE: The Political Economi Of Music, Minniepolis: The
University of Minnesota Press.
Budiarto, C Teguh (2001), Musik Modern dan Ideologi Pasar, Yogyakarta: Tarawang
Press.
Denzin, Norman K & Lincoln Yvonna S (2009), Handbook Of Qualitative Reaserch,
Yogyakarta: PustakaPelajar.
Hartono, Agustinus (2007), Skizoanalisis Deleuze&Guattari; Sebuah Pengantar Genealogi
Hasrat, Yogyakarta: Jalasutra.
Ibrahim, Idi Subandy (1997), Lifestyle Ecstasy: Kebudayaan Dalam Masyarakat Komoditas
Indonesia, Yogyakarta: Jalasutra.
Lindsay, Jennifer (1991), Klasik, Kitsch, Kontemporer: Sebuah Studi tentang Seni
Pertunjukan Jawa, Yogyakarta: GadjahMada University Press.
Mark, Dieter (1995), Apresiasi Musik :Musik Populer, Yogyakarta: Yayasan Pustaka
Nusatama.
____________(2012), Ilmu Melodi, second printed, Yogyakarta: PusatMusikLiturgi.
Piliang, Yasraf Amir. 2003. Hipersemiotika Tafsir Cultural Studies Atas Matinya Makna.
Bandung: Jalasutra.
Smiers, Joost (2009), Art Underpressure: Memperjuangkan Keanekaragaman Budaya di
Era Globalisasi, Yogyakarta: Insist Press.
Strinati, Dominic (2009), POPULER CULTURE: Pengantar Menuju Teori Budaya
Populer, Yogyakarta: Ar-Ruzz Media Group.
Weintraub, Andrew N (2010), Dangdut Stories: A Social and Musical History Of

Indonesias Most Popular music, USA: Oxford University Press.
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Poster Presentation
THE BRAILLE PAINTING FOR CHILDREN EDUCATION:

AN ECOFEMINISM STUDIES
ABSTRACT
The development of increasingly sophisticated technology to produce many modern

games (online games) is proportional to changes in the nature and character of the kids today.
Noble values that exist in traditional children's games (dolanan anak) are not contained in it.
The negative impacts of the modern game is the physical environment, psychological and
cultural patriarchy is a form of power that comes from sophisticated equipment, produce waste
that can destroy all aspects of life. Dolanan Anak are types of traditional children's games in
Indonesia as a form of culture that should be preserved for the survival of the great value of
education for the next generation. Braille painting is one of the visual art medium for learning
children, especially those with special needs (diffable), but this work can also be enjoyed by all
people. The medium used is cowhide carved and color. The basic principle of this work is the
creation of a child's world that is filled with joy, innocence, excitement packed in play activities.
This work as a form of education to children with sensitivity to sensory owned by
touching, feeling, speech, movement, and even combine elements of science in it as counting
activities. In addition, children are required to interact with and respond to a group of playmates,
natural conditions, verbal strength training, even rough motoric and fine motoric. Niken
Larasati, the creator using figures that are dominated by girls and bring tradition symbols such
as batik. Contextual studies using educational theory Humanistic by Abraham H. Maslow, and
to find textual studies using the theory of Nature Ecofeminism by Susan Griffin. This type of
research is qualitative aims to understand the phenomenon or text that occurs on the object
study such behavior, perception, motivation and other actions holistic, descriptive on the
specific context of natural and utilize natural methods. The method used was a case study on
Niken Larasatis Braille painting.
Keynote: Dolanan Anak, Humanistic, Nature Ecofeminism, education
INTRODUCTION
Ecofeminism is a term that emerged in 1974 triggered by a feminist from France named
Franoise d' Eaubonne in his book entitled Le feminism ou la mort explaining his views
against the oppression of women and nature. Thought d' Eaubonne unilaterally assert that
freedom cant just affecting the freedom of others. Ecofeminism assumption leads to the
oppression of women and nature relationship in more depth. The theory and practice by
feminists included in the realm of an ecological perspective as well as all forms of solving
existing problems in ecological issue.
Form of concrete action aimed feminists oppose and resist all forms of patriarchal power
based on ethical environment. Forms of resistance started from criticizing the technological
progress that is considered the strength of patriarchy by feminists. Advances in technology rated
oppress the balance of nature and man. Any form of work or life activities have been pursued
with advanced tools forget about the activity or the work of human hands (handmade) safer and
environmentally friendly.
171
One of the activities of human life that has experienced a shift from traditional to modern
is a game (Java: dolanan anak) who still use the objects around to be used as a tool or media
play. This activity requires direct interaction between children with playmates nature. While at
present, children are more inclined to like forms of computer-based games, resulting in a change
of physical and mental conditions of children such as the rise of individualism higher nature
because they feel have and do not want to share with other children. Dolanan anak are types of
traditional children's games played in communal or together made up a lot of activity. The types
include dhakon, gobag sodhor, yeye, benthik, engkling, pasaran, and others. Dolanan anak
usually played by children of school age and contains the teachings of the noble values are
hereditary such as tolerance, mutual respect, in line, listening to the game other friend, patient,
honest to health.
Many human activities that contain elements of play or dolanan such as walking, running,
jumping, squatting, crouching, stepped linked across time and space simultaneously. Dolanan
child as a duplicate form of daily activities undertaken by humans, imitated by children, teach
them to be able to act or behave as they should. Human activity is shown dolanan anak is being
taught by generations and contains learning the identity of a society through values, thus
becoming one of the cultural asset that deserves to be preserved. "Psychologically, traditional
games can evoke creativity and closer to children in the natural surroundings and the Lord." It
is enshrined in the type and activity dolanan anak taught noble values, the children were
directed to utilize all the things that exist in the vicinity, prepare the ground before play, creative
thinking, cultivate and empower all things around him.
Currently, the popularity dolanan anak are increasingly disappearing due to the
proliferation of modern children's games such as video games and online games. The modern
game, more seized children's self to dissolve into his own world and reduce their interaction
with their surroundings. This concern itself for Niken because of lack of children character
education based noble values.
Technology becomes one of the factors that affect children today are more like the
modern game. Sophistication and convenience provided to make them interested in trying even
have a game equipment. Children increasingly recognize dolanan anak and is caused by several
reasons such as "inclusion of children's games from abroad, the increasing popularity of the
spectacle on television, the spread of electronic games, the narrowing area children's
playground and a reduced number of children." So that the children are more have a tendency
to like modern toys have selfish tendencies, have a stronger flavor, dont want to share with
other friends. Moreover, to obtain the modern game kids can access easily through the Internet
and be required to spend more in order to be able to play when it is part of profligacy. Problems
of the dematerialisation dolanan anak have long been circulating, many concerns arise later
discussed in the seminar or the mass media. This phenomenon continues resonating this day
because it becomes a serious problem for the mental development of children in Indonesia,
therefore it has to be handled properly and thoroughly yet. Niken Larasati, an artist moved to
create works of art as a form of concern for the dolanan anak.
Niken Larasati his paintings often upload photos on social media (facebook) and received
responses from by Seiichi Okawa, a former Tempo magazine journalist for 25 years in
Indonesia and now he is the Chairman of the Graha Budaya Indonesia in Japan. Their
friendships made she has been to the residence and took her to a solo exhibition in the Graha
Budaya Indonesia at Shinjuku-Ku, Tokyo, Japan in 2012 for 3 months. Before doing solo
exhibition in Japan, Niken has been ever filed a solo exhibition proposal at Jogja National
Museum (JNM), but it rejected on the grounds of his work was not present at the time. This
solo exhibition also introduced her to some important people in Japan as one of the great
teachers, Prof. Nobuko Sasaki, a senior lecturer at Daito Bunka University, Saitama, Japan, and
172
she has chance doing workshops of 111 Javanese vocabulary sufficiently well appreciated by
the public in Japan.
Dolanan anak painting which exhibited in Japan has intended to demonstrate and
introduce the culture of Indonesia. Niken describe it with children figures especially on girls,
this is the main attraction for the author to be studied. She said, "woman is the womb of the
world and the beginning of a life because of their birth, education and compassion come." Those
statements need to be explored further as it relates to the concept in the work. Additionally,
Nikens desires and goals that his work is able to provide awareness to the parents (father,
mother, sister, teacher, etc.) about the importance of teaching and preserving dolanan anak. She
describes the dolanan anak not only on canvas but also on skin that cater for children with
special needs (diffable). This work is named Braille painting.
Niken have similarity concept with Nature Ecofeminism which involving rationale
women in relation to the nature like flora, fauna, soil/ earth, and society. In this case, women
have an important position in favor of life without them the concept of patriarchal domination.
Niken thought still need to be studied more in depth again whether the artist behavior in
accordance with the ideals held or actually affected by the euphoria artists who pursue esthetic
needs than social needs or be a part (instrument) by parties who have an interest and powers on
behalf concern for the culture.
METHODS
The studies of Niken Larasatis Braille painting is classified by the qualitative research,
so process of reading, understanding and practice is needed. Qualitative research aims to
understand the phenomenon or text that occurs on the object study such behavior, perception,
motivation and other actions holistic, descriptive on the specific context of natural and utilize
natural methods. Participants interview chosen by the author, among others, (1) Niken Larasati,
the main object of study; (2) Tri Agus Tri Susanto Siswowiharjo, author catalogs solo
exhibitions Niken in Japan in 2012 at the same time works as a lecturer and secretary of the
Department of Communication Studies at STPMD "APMD" Yogyakarta as well as the author
of books humor, one entitled "Merapi Never deny monarchy"; (3) Seiichi Okawa, the former
Tempo journalist for 25 years in Indonesia and is now the Chairman of the Graha Budaya
Indonesia in Japan.
The method used in this research is a case study in leather. Data related to the analysis
and study of Nature Ecofeminism and dolanan anak obtained from a number of journals, books,
studies, papers, articles and exhibition catalogs. The author takes a couple of sections that are
relevant to the study of dolanan anak on a painting by Niken Larasati namely (1) The research
process should be a good awareness of the "research subject" and "object of research". The
characteristics of this method is the study of the reality that oppresses; (2) collective awareness
on women's issues through the formulation methodology to be followed by the study of women
as individuals and the position of women in the social history; (3) Women should be able to
overcome individualism, careerism competition that comes amid educated men, so it is
necessary to collected the experience.
Data collection will be done with a literature review, interviews and direct observation.
Primary data research is Braille painting inlaid on the leather. Secondary data comes from
interviews with key informants, it conducted in-depth, unstructured tight, not formally done
because it is done repeatedly to designated participants. Technical interviews are not always
able to meet directly with participant interviews as tailored to the situation in the field include
done via e-mail. Observation will be conducted by the author with a direct view to do the
reading Braille painting more depth in terms of visuals, concepts or themes raised. Concept of
Nature Ecofeminism rationale supported by symbolic Suzanne K. Langer to dissect the process
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that is in the symbolic depiction of dolanan anak. Contextual analysis uses the concept of
Humanistic Abraham Maslow to find a correlation between Nikens idealism to the influence
of social and cultural life in the surrounding areas in art, especially for dolanan anak.
Data processing techniques performed by analyzing in detail the data collected through
the results of a literature review, interviews and direct observation also indirectly to the works
and artists. The data were analyzed qualitatively performed continuously to test some of the
symptoms include space, time, behavior, artifacts and then divide it into sections in the context
of data abstraction and field notes. The author also perform data reduction which serves to
reinforce, clarify, create focus, taking things that are important or stakes and discard the things
that do not matter, so that the data set and derive conclusions.
RESULTS
Picture 1. Niken Larasati, Sepanjang Jalan, Oxhide,

2014 (intact picture)
1)
Picture 2. Detail photo
Textual Analysis
Ontological relations discussed how the actual form of the object and the relationship
between these objects with the intelligence of a human, for example, through the activity of
thinking, feeling and sensing. Niken Larasati ability dolanan anak has photographing with
children figures that is represented in more symbols on the painting as a form power response
to the phenomenon exists. The object of perception such as painting it represented by the figure
of the girls as a form of meaning norm with Braille painting. Nature Feminism concept
describes women and nature have the same position, nature as the representation of women and
vice versa, so that all forms of destruction of nature is tantamount to the destruction of women.
Braille painting provides an understanding of the role and function of women becomes
an important part in the preservation of culture. Cultural activities are always in contact with
nature and the characteristics of women who are naturally a figure of producing offspring or
generation, compassionate and patient in a key form of activity refers to human behavior that
should be owned as to preserve the environment (nature). Niken thought the concept is shown
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to describe dolanan anak either through media canvas and leather use female figures as well as
the subject of preservation of cultural objects. Culture and nature have a close relationship due
to the practice of human cultures interact directly with nature and involve women in it.
Therefore, the author connects the philosophy of life and power of the Java community as a
Javanese woman as analyzing textual approach to Braille painting.
Ontological relations based on the concept of thought and concept Nature Ecofeminism
which the concept implies one should always do if the flavor and the right mental attitude, so
that the social life of the community will be able to achieve the principles of harmony, respect
and tolerance. Dolanan anak as replica of human life in the future will be done by the children
when they grow up through the traditional game. Nature Ecofeminism concept, that the
philosophy of life and the power of Javanese women include women as a major figure of the
preservation of cultural and natural. So that women today are no longer just put in an inferior
position and not get negative stereotypes as weak. Braille painting has a symbolic power that
comes from the arrangement of symbols that never existed before and is used to form a new
symbol. Apart from the question of the nature of gender, authors conducted further analysis of
visual Braille painting. Based on the above, by performing textual analysis of the results found
that:
1.
Niken Larasati representing dolanan anak with Braille painting which carved on the
oxhide as a form of ontological relationship of women with nature and a logical
expression that is symbolic traditional children's activity game that captured the artist as
heritage properties of gender (feminine and masculine) and forms of nature conservation
through cultural activities. The position of women and nature have an equality, then
women are no longer in an inferior position under the power of patriarchy. It is a group
of women who can provide orientation and education that is more intense, especially
culture well done by applying the properties of the masculine and feminine gender.
2.
Women occupy an important position in the cultural preservation through planting norms
and noble values, as well as the nature that need to be explored and preserved while
considering human attitude environmentally friendly that combine the properties of the
feminine and masculine, in order to obtain a balance in utilizing and conserving natural.
3.
Niken has carrying a case of cultural shift through the phenomenon of disappearance
dolanan anak by including many symbols that describe positions it and herself as an artist
in representing the phenomenon according to the creativity, experience and knowledge.
4.
In other words, the artwork has a logical expression; containing composition of sensitivity
to things, emotions, thought patterns so that this knowledge can be considered as a form
of expression.
2)
Contextual Analysis
An artwork of art should be able to provide an explanation, understanding, and a sense of
appreciation from the audience. The idea represented by the artist becomes more meaningful
and varied perceptions. If the audience has a different physical and mental, of course the artists
should be able to adjust the conditions in the environment. One is the use of media and materials
from nature that can stimulate sensory powers. Niken Larasati is made the artwork that presents
the activity of the senses. Children with the special needs are required to optimize the strength
of stimulation of their senses, such as touch.
The Braille painting created to answer the question from the blind people who asked her
how does the painting looks like and she contemplated for 16 years. It is the development of
canvas painting titled dolanan anak have been made previously. Niken responds to the position
of children with special needs are limited in appreciating the art, despite that this work can still
be enjoyed by all people and education-based Her basic concept is the children world filled
with joy, innocence, love, compassion, honesty, unity, and solidarity as well as taught by
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dolanan anak (the types of traditional children's games in Indonesia). It can be enjoyed by
optimizing the stimulation of the senses possessed, especially in a touch. The process from the
interaction of children with special needs can also be done by playing, for other audiences this
work presents the feel of a memorial to an event, so that directs the audience to reflection back
on what has happened.
Based on the above, Niken Larasati as a painter, the activities undertaken by her is an
effort to represent ideas and presenting an alternative medium of learning through the arts for
all people, especially children with special needs. It is inversely proportional to the Humanistic
concept proffered by Abraham Maslow, that it was based on the framework of human needs,
which then called theory of needs Maslow's invitation. Maslow proposed a theory which is
based on the hierarchy of needs, where the fundamental requirement is the need for the
biological, the need for security, the need for compassion, recognition and self-actualization
needs. Abraham Maslow's theory, about human motivation can be applied to almost every
aspect of personal and social life. Maslow also said that people were motivated by a number of
basic needs that are common to the whole species, have not changed, and is derived from
genetic resources or instinctive. And this concept is fundamental and unique to the theory of
Maslow. The needs of human life that have been categorized by Maslow covering the needs of
the physiological or biological, that is sense of security, compassion, an award, and selfactualization. The fourth requirement posed by Maslow, Braille paintings which made by Niken
Larasati is a tangible object that can be played and used directly by children.
Basically, human beings cant be separated from other humans. Therefore, people need
interaction to the surrounding environment. At this level, the concept of a Niken Larasati
thinking about women is the womb of the world presumably has a correlation with the concept
of Maslow's thinking that carries human needs. The following is a contextual analysis that has
been done by the authors:
1. Needs of Sense Security: Sense of security is to do with the observations of the behavior
of adults. Dolanan anak is a replica of everyday human activities and real conducted by
them. All adult behavior described and taught in it, such as the activity of the lead,
responsibility, courtesy , patience, and ngemong (Java: treat, care, holding, sympathize,
meal feeding, educating). Some of these behaviors is designed so that children can see and
imitate their movements as a role model. In addition, children imagine when they grow up
all behavior and actions are governed by ethics or rules.
2. Needs of Compassion: the love involves a relationship healthy and full of affection
between two people, the unity of love includes giving love and receiving love. What is
taught by dolanan anak is a form of love of neighbor. Braille painting as a medium of art
appreciation to children with special needs so that they get a place or an opportunity to
enjoy art. This relates to the power of their images is limited or cut off by their sensory
functions.
3. Needs an Award: everyone has two categories namely the need for self-respect and respect
of others. Self-esteem include the need for confidence, competence, mastery, achievement
sufficiency, lack of dependence and freedom. While the need to be appreciated by others
is prestige, recognition, acceptance, attention, status, reputation and awards. Niken
captured the meaning of self-esteem of children with special needs. She saw that they have
limitations, but not a thing to be pitied. Instead, they want to equality in treatment, though
with a slightly different way to the others. Manifestation of concern shown by the media
appreciation of art through paintings Braille is not only used by them but also the others.
Braille in the work of this, the children were given the freedom to appreciate or represent
figures that have been made by Niken. The Braille paintings embodies a new symbol that
dolanan anak are the girls and women. Process of delivering a message to others by using
the means as a second media after use symbols as the first media. The purpose of the media
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is painting dolanan anak while the emblem for the first media in the form of figures
daughters, batik motifs, lines on the background of paintings, colors and shapes of different
hair on each figure daughters.
4. Needs of Self-Actualization: everyone has to evolve to its fullest potential. Therefore, the
exposure of the psychological need to grow and develop by Maslow said with selfactualization. Where actualization on Maslow's hierarchy of needs is the highest level, not
because how every people can develop themselves with all the capabilities they have to be
able to be fully human. From the hierarchy of its needs can be seen that the priority for
fulfillment is largely determined by the level of existing needs. This means that individuals
who have met the basic physiological needs are automatically would strive to meet the
needs at a higher level and so on. The human who have been met will be followed by a
higher fulfillment. Artistic human needs must be met for dealing with the issue of taste.
How to cultivate a sense of taste and teach to children, in particular they with special needs.
They can actualize their appreciation and empirical experience of art according to their
sensory each abilities. The main goal of humanistic philosophy is to humanize people built
through education, experience, law, culture, and art. Niken Larasati utilizes art media as
steps to humanize those who have limitations and provide opportunities for selfactualization. Actually, the painting Braille can also be made by them by using media other
than the skin. Nikens position as an artist who captured the lack phenomenon of sensitivity
toward people with special needs.
The human exposure based on the concept of Maslow's needs can be correlated with the basic
concepts of Nature Ecofeminism referring to the treatment of women and nature are comparable
to reduce or even eliminate the inferiority stereotypes masculine traits of the feminine gender.
At least Niken did not seek to work can be enjoyed by all people, and the rest pay special
attention to them. She arrangement as a woman, wife, mother and artist which not many women
painters in the world can do.
REFERENCES
Fakih, Mansour. 2010. Analisis Gender dan Transformasi Sosial (Yogyakarta: Pustaka Pelajar).
Griffin, Susan.1978. Woman and Nature (USA: Harper & Row).
Huizinga, Johan. 1949. Homo Ludens Study of the Play (London: Routledge & Kegan Paul Ltd)
Langer, Suzanne. K (Terj. FX. Widaryanto). 2006. Problematika Seni (Bandung: Sunan Ambu
Press).
Maslow, Abraham. 1993. The Farther Reaches of Human Nature (United States of America:
Library of Congress Cataloging in Publication Data).
Moleong, Lexy. 2010. Metodologi Penelitian Kualitatif (Edisi Revisi). (Bandung: PT. Remaja
Rosdakarya).
Tri Agus Susanto Siswowiharjo, Writer, Lecture and Secretary of the Study Programme of
Communication at STPMD APMD Yogyakarta, Personal Interview, 22ndof June 2015
at 11:26 a.m.
Seiichi Okawa, the Chairman of Graha Budaya Indonesia in Japan and the former TEMPO
Magazine Journalist for 25 years, Personal Interview, via
email
(okawa@mxg.mesh.ne.jp) 9th of July 2015 at 10.32 a.m.
https://psikologiuhuy.wordpress.com/2010/04/08/teori-kepribadian-abraham-harold-maslow/
(accessed 5th of August at 03.18 a.m.)
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Visual Aesthetics Djarum Black Motodify Branding

in Urban Lifestyle a Case Study
(Visual Methodology Approach)
Andreas Slamet Widodo
Faculty of Art and Design, Sebelas Maret University
Jl. Ir. Sutami 36A Kentingan Surakarta, Indonesia
andre.dkvfsrd@staff.uns.ac.id
Abstract
This development of image brand (branding) conducted by Djarum corporate, its Djarum Black
was held with the visual communication approach who made urban lifestyle. This was
embodied in the form of advertising and the activity of the urban lifestyle, one of them are
Djarum Black Motodify event. Based on these phenomena, then the researcher focused on
visual aesthetic branding Djarum Black (media and event) which conceived Djarum Black
urban lifestyle are aimed for consumers. This research using visual methodology approach to
give a description and explain the structure of matter visual code or associated mark with the
symbol of contemporary culture. A critical approach use visual methodology, which means that
visual to be considered placed in the community, and how visual it will have an impact on a
culture. This is the incident happened in the daily, because it often many matters relating to the
media visual found that we shall not see a phenomenon that occurs well. When a strategy of
promotion through the visual and event have overcome reality and duplicate themselves quickly
and sporadic, then aesthetics has captured the world and eliminate reality. A consequence,
various life reduced into symbols codification and abstraction of the promotion strategy.
Keywords: visual aesthetics, branding, lifestyle, visual methodology
178
Introduction
A company is inseparable from promotion activity in the attempt of improving its product to
consumer, promotion is a part of marketing strategy to improve selling value in order to
maintain the companys life stability. It is also related to creating the image built by company,
for both the products image and the companys. It is the image building in the attempt of
creating brand that is called branding. Branding becomes an efficacious activity in the strategy
of winning product completion in consumer market; it is conducted to make the image of
product brand acceptable and penetrable to the consumers mind.
Brand image building (branding) the Djarum cigarette company conducted is to use marketing
model with horizontal approach with its Djarum Black product. This approach was done to the
consumer public in order to have hands-on experience with the brand, so that the consumer
public will always remember the Djarum Black product. The experience with this brand is
manifested by company in the form of event activities conducted in such big cities as Jakarta,
Bandung, Yogyakarta, Solo, Surabaya, and so forth.
A strong brand is born from consumers perception on the product with functional superiority
(functional brand), generating association and image the consumer wants (image brand) and
generating certain experience when the consumer interacting with it (experiential brand).
Fundamentally, a brand should have one out of those three fundamental characteristics (Tybout
and Carpenter, 2000: 157-160). In this case, Djarum Black product meets image brand and
experiential brand criteria as it builds image and experience of urban communitys lifestyle. In
other words, branding is the communication strategy attempt in a products brand imaging in
order to apparently understand more and follow urban lifestyle trend in the context of mass
culture.
In its communication strategy, Djarum Company uses an approach by means of event
organization. In organizing an event, a variety of visual forms are designed for branding the
Djarum Black product. The implementation of such design constitute a series of promoting
activities (from advertising to brand activation) intended to exert complex effect on some
automotive (car and motorcycle) communities and consumer communities existing in urban
areas in order to participate in that event as the goal of marketing communication.
In the presence of such the approach, the company attempted to invite the automotive
community to support Djarum Blacks brand promotion program, by carrying on urban lifestyle
concept so that the consumers become accustomed to Djarum Black product. Lifestyle,
according to Piliang (2003) is how consumer human beings actualize themselves through life
semiotics. Life semiotics is some sign and code manifested into time, money, and object. Urban
means something that is city in nature either directly or indirectly, related to urbanization (the
migration of population from village to city) (Setijowati (Ed), 2010: 101). Urban is essentially
related to traditional and modernity issues. Urban community is identical with lifestyle
industrialization and consumption, thereby cultivating the existence of urban modern society.
In such the event activity, Black Community (Both BCC and BMC) brings about urban
lifestyle corresponding to the product concept of Djarum Black brand. These visual media,
event, and community creates new image of Djarum Black product, so that the imaging
attempt taken will result in Black Community (black car and motorcycle community) subculture intended to affect the Djarum Black-smoking consumer toward a typical Djarum
Black urban lifestyle.
Phenomenon of Djarum Black Visual Aesthetics Issues

The larger number of Djarum Black communities presupposes that the effect of Djarum Black
brand is very strong in constructing a community loyal to that brand. It is inseparable from the
role of promotion strategy in visual form (visual media and event) integrated into previously
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established community. Such the attempt serves as a media for the company to embed brand
ideology related to Djarum Black-typical urban life style.
For more detail, the phenomenon of Djarum Black promotion strategy will be explained in
Figure 1 below:
Figure 1. A Phenomenon of Djarum Black Promotion Strategy
Notes:
1. Djarum Company produces cigarettes through Djarum Black product division
2. Djarum Black Division designs visual strategy in the form of media and event
of Djarum BlackAuto Black Through and Motodify.
3. Two-way interaction between visual media and Djarum BlackAuto Black
Through and Motodify event (as spectacle) and between Djarum Black
community group and Djarum Black Consumers (as spectators), and interaction
with Black Jarum community.
4. Djarum Company embeds brand ideology related to typical Djarum Black
urban lifestyle, through visual media and Djarum Black event, and Djarum Black
Community established previously.
5. Some of Djarum Black consumers having expectation on typical Djarum
Black urban lifestyle will join Djarum Black community as the members.
Considering the phenomenon, this research focused on the research on Djarum Black branding
visual (visual media, event, and community) in bringing about on typical Djarum Black urban
lifestyle intended to audience and consumer using Gillian Roses Visual Methodology.
Method
A. Research Paradigm
Constructivism paradigm, according to Patton, is created based on ontological relativity in
which it is explained that the reality is created dependent on how people view it, and no view
is governed by empirical data (Patton, 2002: 92). This research paradigm considers how the
social phenomenon develops in some of social context. Constructivism refers to the creation
of individual meaning of relative knowledge on social context. The subject matter in this
research is Djarum Black branding visual esthetics in the form of promotion through visual
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media and event as well as social phenomenon in the presence of some Djarum Black car
and motor communities, in which the author attempt to understand informant, that is,
creative division designs Djarum BlackAuto Black Through andMotodify event in
constructing Djarum Black promotion program through advertising media and event. This
constructivism paradigm attempts to explain how a company, through its promotion strategy,
constructs the reality like what the audience and consumer trust, believe, and understand as
a typical Djarum Black urban lifestyle.
B. Qualitative Research Method
The main objective of qualitative method use was to capture the process of finding the
meaning. What the qualitative researcher searches for in his research activity is how to
conduct a research and how to interpret the result of research, all of which is dependent on
theoretical study and approach used (Bogdan & Taylor, 1993: 44-45).
Considering descriptive nature of research, the data collected constituted words, and figures
rather than numbers. As such, this research report contains citations of data to give a
description on the report presentation. The data was obtained from interview script, field
note, photograph, videotape, personal document, note or memo, and other official document.
It is in line with the objective to be achieved in this research, to emphasize more on the
attempt of revealing visual meaning in imaging process in the visual esthetics of Djarum
Black branding becoming the phenomenon within society, and expected to become a
descriptive explanation.
C. Method of Collecting Data
The primary data for this research was obtained from visual document of Djarum Black
advertisement. In-depth interview with the community was conducted during the event
combined with field observation. As Lincoln and Guba (1985) suggested, interview can
construct concerning people, event, organization, feeling, motivation, demand, care, and etc.
Field observation was used because it could capture the social natural condition where
behavior occurred, could capture the event affecting the social relation of participants and
could identify regularity and repeated phenomenon in social life by comparing and
considering the difference of data obtained from a study (Black dan Champion, 1992: 286).
Such the combined method was used to obtain complete information, to minimize the
incorrect information from informant. Data collection was ended when the data obtained had
been saturated (Sugiyono, 2007: 23).
D. Method of Analyzing Data
Analysis process requires a disciplined study, creative insight and precise attention to
evaluation objective. Analysis and interpretation conceptually are two separate processes.
Analysis is the process showing how the data is organized, organizing what existing in a
pattern, category and basic descriptive unit. Interpretation involves the attempt of including
meaning and significance into analysis, giving descriptive pattern of explanation, and finding
the relationship and the interrelationship between descriptive dimensions (Patton, 2002:
250)..
This research began when the author had been sufficiently impressed with the presence of
Djarum Black branding activity that could construct consumer into large-scale Djarum Black
community, by means of branding activity supported with media publication. Having
conducted observation on Djarum Black branding activity constituting (printed and
electronic) advertisement media, event, and community, the author finally selected
informants from one of Djarum Black communities.
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This study employed case study strategy, so that all of data were obtained from the
field/research site; the technique appropriate to this research was an interactive model of
analysis (Miles & Huberman, 2009). In this model, there are three components of analysis:
data reduction, data display and conclusion drawing or verification. The activity was
conducted in interactive form, even it had been conducted during data collection process.
Then, the author moved between the three components of analysis: data reduction, data
display and conclusion drawing/verification after data collection in this analysis process.
E. Analytical Framework of Djarum Black Visual Brand Aesthetics
Considering research paradigm and data analysis technique above, in analyzing visual data,
visual methodology was used. Visual data constituted visual media of Djarum Black event
and audience existing in the event and audience affiliated with Djarum Black community.
This methodology shows some criteria of critical approach to analyzing visual material.
From some reading sources, there is a differentiation of terms vision and visuality. Vision is
what can be seen psychologically by human eyes. Meanwhile visuality refers top how vision
is constructed in various ways, how we see, how we can, are allowed to or are enabled to
see, and how we see that the visible or the invisible one exists. Another phrase having similar
connotation to visuality is scopic regime. Both of them refer to what is seen and how it is
seen as something constructed culturally (Rose, 2001: 6).
This visual methodology interprets visual broadly including three components: the site(s) of
the production of an image, the site of the image itself, and the site of the audience (ibid, 16).
Visual analysis was conducted using the site of image itself in Gilian Roses visual
methodology, while composition modality analysis using analysis theories as an aid, that is
Gunther Kress and Theo Van Leeuwens Visual Grammar theory. This theory analyzes
visual text on a media. Kress and van Leeuwen (2006) did not explicitly order the analysis
step by step using their theory, but their theory will elaborate the important points to be
considered during visual text analysis using Visual Grammar in detail.
In understanding and revealing the meaning of message contained in visual material in the
visual branding of Djarum Black product, such product promotion used visual symbols with
certain interpretation (meaning segmented for receiver/audience as communicant). In this
contemporary visual work, in order to increase understanding when a text is released from
the enacted code, post-structural semiotic theory is used. Sign becomes a myth produced and
consumed by audience in visual message form in Djarum Black visual branding. As cited by
Rose (2001: 91), myth is the form of ideology. Barthes (in Storey, 1993: 88) himself defines
ideology as a body of ideas and practices which defend and actively promote the values
and interests of the dominant groups in the society. The meaning of an ideology makes the
public audiences participating in Djarum Black event forget that everthing must have been
constructed. This meaning deconstruction is conducted with signification process that will
make something apparently implicit formerly (ideology) explicit.
Considering the methods in this research, those methods were elaborated into one
methodology to analyze visually, in revealing the meaning of Djarum Black visual brand
esthetic phenomenon in bringing about typical Djarum Black urban lifestyle. This
analytical theoretical framework is the description of visual analysis process the author
conducts in obtaining visual meaning, as illustrated in Figure 2 below.
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Figure 2. Analytical Framework of Djarum Black Visual Brand Aesthetics
F. The Application of Visual Methodology Analysis (Gillian Roses Visual Methodology)

Considering the three sites in visual methodology, the author used two sites in interpreting
visual: the site of the image itself and the site of the audience (see Figure 3). The reason of
why the author chose those two sites is that the site of the image itself is applied in analyzing
visual media and Djarum Black promotion event to find the meaning of esthetics existing in
the media, while the site of the image itself is applied in analyzing Djarum Black community
and audience in Djarum Black Auto Black Through and Motodify promotion event. The
result of both analyses will be connected to its modality relation to reveal the meaning of
Djarum Black visual brand in bringing about typical Djarum Black urban lifestyle.
Figure 3. Visual Methodology (Gillian Rose, 2001: 30) selected in

The site of the image itself and the site of the audience
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In this application of visual methodology, the author selected one of Djarum Black automotive
event, that was, Djarum Black Motodify. The media to be analyzed as visual material was
billboard; this billboard was taken during the event organized in Solo on September 22-23,
2012. The data constituting picture on billboard was analyzed with theories using image base
research:
1) Data collected was then analyzed using theoretical framework of visual methodology,
visual meanings aspect through still image, by prioritizing the way of explaining its
visual using the site of image itself, in which the author would analyze the visual based
on image analysis unit, typo character, layout, color and text message considered as
important thereby creating and representing the brand of Djarum Black.
2) The author would analyze visual data using visual grammar analysis approach. This
visual grammar theory consists of three structures: Narrative, Representation, and
Composition. In conducting analysis, one of those three structures was selected, that was,
composition. This structure was used to help analyze Composition Interpretation in
composition modality in visual methodology. In the composition structure of visual
grammar, there are four components of its analysis instrument. They are: Spatial
distribution, Salience, Framing, Color (Kress and Leeuwen, 2006: 210), these four
components are intended to obtain the meaning of composition.
Result
In this visual analysis, the method was applied to the billboard media of Djarum Black
Motodify Solo (See Figure 4). Such the media contains visual elements including visual
identity of product, event logo, tagline, and illustration. Visual identity is different from logo;
visual identity has a meaning more than logo does.
Figure 4. Billboard of Djarum Black Motodify Solo
It can be stated that logo and identity of Djarum Black is an integral, interrelated and
interdependent unit, and this visual identity is expected to provide perception to be delivered to
consumer or audience. The perception constructed is that Djarum Black is a product produced
by Djarum Company that organizes a large event of automotive modification. Billboard is one
of mass media featuring visual identity of Djarum Black, thereby confirming that such the event
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is not an ordinary event but the exclusive one for motor modifier, in which the name of company
become guarantee because PT. Djarum is a large company as the organizer.
In visual typography element, every letter in the text has its own personality. Selecting
appropriate typography means selecting the letter character representing the image to be
conveyed. Its selection can be initiated with selecting serif or san serif font. Serif font is often
used to describe something related to tradition because its form character uses hook, while san
serif font is often used to describe something related to modernity because it tends to be upright,
solid and without hook.
The logo of Black Motodify event along with tagline Show off Your Dreams! exerts an
effect on audience through letter character with sans serif type in its futuristic-style
visualization and delivers message persuasively. The character of letter in Black Motodify
text is visualized using visual effect through image processing software glossy like stainless
steel befallen with light, thereby giving technological impression adjusted with the theme of
event about motor modification. Meanwhile the red-color letter in tagline Show off Your
Dreams! gives different emphasis compared with other letter color. This tagline has persuasive
message to attract the audience in order to be challenged in participating in the modification
event. The position of tagline under the logo of Black Motodify event becomes one unit
persuasively inviting the audience to show off their creativity and to make their dream come
true to modify motor in this event.
In this billboard, there is body copy providing information about artist and some events to be
held Duchess of Love Feat. The Angels, Motor Dyno Battle, Mini Moto Race, 2D Motor
Design Competition and Many More. The choice of same letter with that in tagline is made to
feature the same characteristics using white color in order to be contrast with its background.
In the presence of information through this body copy, audiences are offered to attend the event
as participants or as the spectators only.
The illustration featured in the billboard of billboard Djarum Black Black Motodify as if
shows a piece of paper with collaged motor picture (see Figure 5). The visual paper with motor
picture is as if collaged with a piece of paper with other series-motor picture on cover head
lamp, racing muffler, body cover, and alloy wheel. The image built in the visual message means
that the idea modifying motor is same like playing collage game, that is, to replace the elements
of motor corresponding to the modifiers want. Meanwhile, on the background there is
illustration of motor spare part catalogue, the visual of which features alloy wheel picture. The
visualization featured entirely as if represents a designers work table in designing his/her motor
modification.
This ostentation is called symptom by Jean Baudrillard. When the community can no longer
distinguish the symptoms characterizing the actual sickness from those not so and the real
from the counterfeit, these symptoms can be produced and no longer acceptable as original
fact; therefore all of sicknesses become simulation. The symptom arising is ostensible
sickness. An individual ill ostensibly can go to bed easily and convinces that he is sick. An
individual stimulating a sickness produces some symptoms inside of him (Baudrillard,
1983).
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Figure 5. Illustration in billboard of Djarum Black Motodify
The representation of a designers working table in designing motor modification on the

billboard media of Black Motodify as the form of image signification. The image represented
is the drawing of motor racing modification collage. This image characterizes a certain value,
the development of creativity among urban youths. The meaning of image is explored by
realizing that the image is produced in dynamic power and ideology (Sturken & Cartwrigth,
2001).
Under tagline Show Off Your Dreams! there is a caption informing the location and time of
Black Motodify event organization, with the text, Solo, 22-23 September 12 Diamond
Convention Center. The letter chosen has good legibility, because it uses familiar sans serif
font that is readable to the audiences. Letter size and yellow color provide different color
appearance compared with other, so that the audience can catch the text visualization from
about 50-meters distance. In legibility rule of outdoor design, particularly billboard,
advertisement text should be readable in at least 50-m distance because when seeing the
advertisement, audiences are in motion (riding actively on the street) and their reading duration
is very short. The text featured will facilitate the audience to find out the location where the
event is organized quickly.
Sequence (order of reading attention) on the billboard layout uses inversed C sequence (Oxfam).
The sequence starts with logo Djarum Black, logo of Black Motodify event, tagline Show
off Your Dreams! (One unity) information of Duchess of Love Feat. The Angels, Motor
Dyno Battle, Mini Moto Race, 2D Motor Design Competition and Many More events
illustration of motor collage and its background location and time of event Solo, 22-23
September 12 Diamond Convention Center (See Figure 6). The Sequence of reading is
adjusted with a local communitys habit, in Indonesia, reading starts from the left to the right
or from the top to the bottom (Rustan, 2009).
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Figure 6. Sequence of Djarum Black Motodify layout billboard
Below information on location and time of event organization there is a baseline providing
information with the sequence from the left to the right, containing Registration (participant
registration) that can be accessed in www.blackxperience.com, with Hotline service on Phone
Number 0813 9090 7000 and in social media Facebook djarumblack and Twitter
@blackxperience. Under the illustration, there are logos of sponsors such has KYT helmet,
OTO Trend magazine, and SWALLOW tire, and red triangle logo with 18+-number indicating
that this cigarette is normatively prohibited to be smoked by those less than 18 years old. All of
information related to the participation in the event is featured on the billboard, thereby offering
the audience to access the event through those media. On the bottom there is disclaimer
obligatorily included as the governments appeal, recalling that this promotion product is
cigarette, merokok dapat menyebabkan kanker, serangan jantung, impotensi dan gangguan
kehamilan dan janin (smoking cigarette may cause cancer, heart attack, impotency, and
pregnancy and fetal disorder).
Visual color in the billboard gives meaning or perception in its visual. Overall, the color of
billboard is dominated with black. Black color is basic color used in the billboard, while the
color of respective letters serves as contrast only to make the text readable. In logo Djarum
Black the color of identity is gold on text Djarum, white on BLACK word and red on triangle
symbol (see Figure 7). Thus, it becomes the meaning of company identity and its product,
Djarum Black. Connotatively, black red symbolizes power, technology and elegance, so that it
can be said that the concept of color can build the image of Djarum Companys power. As a
large company with power, Djarum has power to control and to distribute its media. Foucault
stated that in the present era enlivened with science and technology development, power is no
longer a subjugating institution, structure or strength. Power is not owned, does not own, but it
is a complex relation dispersed and present everywhere (Foucault, 1977).
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Figure 7. Logo of Djarum Black
The aesthetics of Djarum Blacks visual brand in the advertisement media of Djarum
BlackMotodify featuring the signification of motor modification image persuade the
audiences effectively, thereby contributing considerably to the involvement of audience,
particularly the modifier in this event. Every event is always full of audiences, including
participants of modification contest or model photography, Djarum Black communities and
visitors who watch the event or Djarum Black merchandise hunter.
In Djarum BlackMotodify event packaged glamorously in such a way that the event becomes
an abstract space constructed for the audiences to satisfy the passion of automotive lovers,
particularly the modified motor lovers. Abstract space is the space that has encountered
politicization and bureaucratization, so it produces and encourages social homogeneity (See
Figures 8, 9, 10, 11). Henri Lefebvre (1991: 26-27) stated that Abstract Space is a social
product. It is not merely a neutral space filled in arbitrarily, but the dynamic one constructed by
those having control and domination or power. This space becomes a media dominated by a
large companys power, Djarums. Thus promotion media in Djarum Black brand shifts from
merely reflecting reality to being a mask and reality diversion all at once. When Djarum Black
brand changes into a new reality in the form of urban lifestyle, at that time everything changes
into esthetic reality. Art has today totally penetrated reality the aestheticization of the world
is complete. (Baudrillard in Leach, 1999: 5-6).
Figure 8. Motorcycles participating in modification contest in Djarum BlackMotodify
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Figure 9. Model Photographing Contest in Djarum BlackMotodify
Figure 10. Audiences in Djarum BlackMotodify event
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Figure 11. Djarum Black Community in Motodify event
Media through abstract space greets the audience to make it the subject participating in urban
lifestyle order later in the textual symbolic space. Abstract space carrying on the symbol of
urban text can be called urban space. The terminology urban space itself is the production of
intellectual practice through a verbal sign system, and articulated in science space. Urban space
is present as the term representing lived space of contemporary human beings in urban areas
(Lefebvre, 1991: 46). In this lived space, spatial practice occurs and continuously appropriating
daily spatiality of urban human beings, in this case Djarum Black strategy targeting urban
youths as the audience through a variety of its media channels published continuously.
The audiences are creative urban youths and represent the typical Djarum Black lifestyle
character. Audiences are invited to identify themselves as active, creative, free, fashionable,
open, and modern youths, and all of these are consistent with the meaning system of urban
lifestyle constructed by Djarum Black. The perfect product of urban lifestyle results in
Djarum Black community and consumers leading to hedonism of those having automotive
modifying hobby, and then such the lifestyle is attempted to be imitated anywhere regardless
the context of local culture. It often occurs in promotion strategy practice, in which publications
in the form of visual media and even has been so close not only to its community but also
ordinary people.
Conclusion
Systematically and constructively, this Visual Methodology (Gillian Rose) will analyze visually
using a variety of theoretical framework and relevant methodology, thereby providing some
matters concerning how, why, and when we can use visual technology to support research, or
even to be the main component of research. In relation to cultural context, Roses method
emphasizes on five aspects: (1) Picture has special resistance and effect in using articulation,
tended to be equipped with other (text) information; (2) Picture (figure) can create, solidify,
weaken, and even destroy social relation and difference; (3) Picture (figure) has dynamic
relationship with its spectators how a picture is seen not only is dependent on the picture itself
but also affects the audiences point of view; (4) Picture is technically related to context and
location with different practice and rule; (5) just like picture having resistance, audiences
(spectators) have different responses. This fifth aspect, according to Gillian Rose, is usually
neglected, and generally reception study or audiencing existing only studies the visual relevant
to mass media, in which mass media becomes visual cultural product to the society.
Using visual methodology with visual grammar can provide description and explain the
structure of visual material in the form of code or sign related to the symbol of contemporary
culture. All of ways elaborated in the method through this process are carried out in order to
obtain the meaning expected by the author, that is, the meaning contained in visual branding of
Djarum Black, constructing the typical Djarum Black urban culture.
In the discussion section in this article, it is actually what we experience daily, because many
things are often related to visual media encountered so that we cannot see well a phenomenon
occurring. When a promotion strategy through visual media and event has defeated the reality
and has duplicated itself quickly and sporadically, the esthetics has taken over the world and
removed reality. As a consequence, various lives are reduced to codification of symbols and
abstraction of the promotion strategy implementation. It is a challenge for us to attempt to go
back and to see again what has happened, before go ahead.
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Foucault, Michel. (1977), Discipline and Punish, Penguin, London.
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Setijowati, Adi dkk (Ed). (2010). Sastra dan Budaya Urban dalam Kajian Lintas Media,
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Sturken, M. and Lisa Cartwright.(2001), Practices of Looking: an Introduction to Visual
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Tybout, Alice M. and Gregory S. Carpenter. (2000), Creating and Managing Brands, in Kellog
on Marketing, Ed. Dawn Iacobucci, John Wiley & Sons, Inc.,New York.
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Discourse Addicted Character "Pokemon GO" On Top of Reality

(Discourse Approach)
Jazuli Abdin Munib
Sebelas Maret University Indonesia
Abstract
Augmented Reality is a gadgets technologies in the game world, this work by superimposing
the virtual element. Characters that appear in the film Pokemon replaced with gameplay in real
life. Pokemon characters must be collected, over the elements - elements of real life. we can
actually see Pokemon in our environment through the camera phone, through the characters
visualization to get a new character in the adventurous and navigation elements, Thats enough
to make our curious to see what happens next, even though the gameplay essentially follows a
well-established pattern. After a while, there wont be any more surprises left, but until that
happens our have a tough time fighting this addiction. This effect can cause a high degree of
surprise and curiosity in users.This is a new phenomenon in society. Society is not only game
play, but more of them embedded pokemon characters in space conscious that always appear
in real life. Based on Reviews These phenomena, then the researcher focused on discourse
addicted character "Pokemon Go" On Top of Reality. This research using discourse approach
with semiotic theory to give a description and explain the structure of matter visual code or
associated mark with the symbol of contemporary culture, Characters visualization inside this
gameplay, reveals a lot of meaning, and Also semiotic perspectives in it. Overall, the gameplay
of Pokemon Go a lot of type of sign, the system of sign, leveling of sign, inter-sign relation to
the meaning and codes the which has brought with it.
Keywords: discourse, addictedcharacter,reality, semiotic
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Discourse Addicted Character "Pokemon GO" On Top of Reality

(Discourse Approach)
Introduction
The furor of game Pokemon Go epidemic among young people recorded can compete
with Snapchat and Twitter social networks.Pokemon Go that utilize augmented reality
technology allows gamers as if a virtual trainer and hunt Pokemon in the real world.
Catching Pokemon. The Pokemon Companys free-to-play mobile app, Pokemon GO,
allows players to enter an augmented reality, catching three-dimensional pocket monsters
overlaid on the real world using the phones camera. The question is: Why are Americans so
downright addicted? As Forbes reports, researchers find that collecting Pokemon is akin to
collecting stamps or coins, all of which fall under the umbrella of what one study calls
taxonomic collecting, where things are named and put into groups. Taxonomic collectors
arent purely fueled by a need for completion. Rather, its the desire to have a bigger and better
collection than their peersa desire thats amplified when collectors are posting evidence of
their loot to Twitter, Reddit, Facebook, and the like. Pokemon GO has formulated the perfect
storm between the taxonomical collection system and social media compatibility, motivating
players to catch em all when they see their friends posting their spoils.
By any means of calculation, Pokemon has been a spectacular success. Startingas a
GameBoy game in a single market (Japan in 1996), it expanded into amedia-mix, global
operation outstanding for both the longevity and expanse ofits popularity. In a childrens
marketplace where even trends tend to peak at oneyear, Pokemon has exceeded seven years of
operation and even today (2003) isgenerating new products and profits.1 Its global spread has
been equallyimpressive. Moving from East Asia and Australia to the Americas (North,
South,and Central), Western Europe, Israel, the Middle East, Eastern Europe, andSoutheast
Asia, Pokemonhas sold successfully in markets literally across theworld. And its popularity,
like that of Coca-Cola, has percolated into evenremote villages. Pokemontoys were seen by a
friend in a marketplace in uplandPeru and, in a feature on the isolated Dani in Indonesia, The
New York Timesreported that, despite their stone age ways, kids there wore
Pokemonoutfits.(Calvin Sims, Stone Age Ways, The New York Times, March 11, 2001,
section 1, p 8)
By the late 1980s, however, Japan was beginning to break into global kid trends with a
number of popular products. Starting with the Sony Walkman, transformer toys, and video
games (software and hardware), these successes moved, in the 1990s, into television shows
(Mighty Morphin Power rangers), cartoons (Sailor Moon), digital toys (the virtual pet,
tamagotchi), and the multi-media hit.
This Pokemon character in game is part of a public spaceand have meaning. A socialhistorical analysis of the syndrome of meanings possessedby "public" and "publicity" could
uncover the essentialsociological characteristics of the various historical languagestrata. The
first etymological reference to the public sphere isquite revealing. (Habermas, Jurgen, (1993).
The Structural Transformation of The Public Sphere An Inquiry into a Category of Bourgeois
Society, Translated by Thomas Burger, Cambridge Massachusetts : MIT Press)
Pokemon Go
Pokemon. It is still premature to call Japan, as some have done, the new superpower
in the global culture of children today. At the very least, however, the worldwide fury caused
by Pokemon and other Japanese kid products signifies a shift in the entertainment styles and
marketplace once monopolized by the US. (Anne Allison, (2003),1466-1888. Postcolonial
Studies, Vol. 6, No. 3, doi: 10.1080/1368879032000162220)
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Japans business of cuteness is booming and well established around the world. The
childrens entertainment business, in fact, is one of the few that has not only survived, but
grown, in this post-Bubble period of recessionary economics in Japan. Observers have noted
that, if Japan could sell Pokemon electricity, houses, and trains,6 its economy would recover
overnight. But, to follow in the footsteps of Pokemon, this would require substantial sales
overseas. For this reason, Okada concludes that cuteness may be Japans key to working foreign
capital in the twenty-first century. (Anne Allison, (2003),1466-1888. Postcolonial Studies, Vol.
6, No. 3, doi: 10.1080/1368879032000162220)
Players have organized huge Pokemon Go outings, including a Pok-walk in Australia
that drew over 2,000 people for a day of catching and camaraderie. Trainers marched singlefile through the park like leaf-cutter ants, only pausing to hit up Pokstops or pursue a
Pikachu.The game Pokemon Go is a craze, a sensation. You use asmartphone in a virtual
scavenger hunt for cartoon characters,but in real locations. It appeals to youngsters and adult.
(Margaret McCartney, (BMJ 2016), Game on for Pokemon Go, 354:i4306 doi:
10.1136/bmj.i4306)
In just one month after launch, the game developed by Niantic Inc. from San Francisco
is true only officially launched in the United States, Australia, and New Zealand on the 4th of
July.Pokemon Go reap big profits. The gain is estimated to have reached 200 million dollars,
or Rp 2.6 trillion.The profit reaching Rp 2.6 trillion was achieved Pokemon Go also
successfully pass the popular board game Candy Crush Saga.Some items include Pokeball, a
ball to catch the monster, then Lure and Incense used to attract wild Pokemon arrival.
Similar reports from Web research institute, recently released two days ie on July 8,
Pokemon Go application has been downloaded by 5.16 percent of Android devices in the world
of the US, defeated the number of downloads of applications dating Tinder.While aspects of
daily application usage, Pokemon Go is used every day by more than 60 percent of Android
devices in the US who have downloaded the app.This means that about three percent of all
Android devices are gamers Pokemon Go.Viewed Similarweb percentage data, the numbers
approaching three percent of the daily number of active Twitter users in the US are stagnating
at around 3.5 percent.Other data were more astounding is in terms of time usage. Snapchat app
to instant messaging WhatsApp conquered Pokemon Go. (Hani Nur Fajrina, (2016, August),
[Web log post] CNN Indonesia Retrieved from , http://www.cnnindonesia.com)
Virtually, location in the smartphone screen adjust the player location in real life. It is
possible synchronization between the smartphone players with Pokemon Go application.There
are some points which is described as a blue box Pokestop.
Consider it a point that needs to be visited to get some useful items.Pokeball and Candy
are two items that could be found at that point. Pokeball Pokemon serves to be a container that
is about to be arrested. Meanwhile, Candy serves to increase the strength of Pokemon.
Research Question
1. How addicted to Pokemon Go discourse was formed?
2. How does the character Pokemon Go was embedded in the subconscious player
games?
Theory and Method
Addiction closely related to psychology, as in the following discourse psychology,
analyse discourses as abstract phenomena, not as situated and occasioned social practices,
closest to the more abstract conception of discourse, then, is on how peoples understandings
of the world and identities are created and changed in specific discourses and on thesocial
consequences of these discursive constructions. Discursive psychology makes use of many of
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the same methods as otherqualitative methodologies. As with other qualitative methods,

discursivepsychology rejects the positivist epistemology that underpins much opinion.
The biggest difference between discursive psychology and many other qualitative
perspectives is that discursive psychology has another view ofthe relations between language,
meaning and peoples psychological. Acording to discursive psychology, meaning is
embedded inlanguage and it is therefore necessary to investigate language in order toanalyse
meanings. Other approaches such as phenomenological psychologysee the respondents
language as a reflection of a deeper psychologicalreality. (Marianne Jorgensen and Louise
Phillips, (2002) SAGE Publications Ltd, ISBN 0 7961 7111 4)
Characters in Pokemon go be a sign that has meaning under space awareness player
game, this addictive players, rolland Barthes semiotic tools will analyze the phenomenon of
addiction to games.Roland Barthes (1990: 13) sifting through markers in narrative discourse
fragment into a series of quick and streak describes as leksia-leksia (lexias).Leksia in the form
of units of readings. Each lexias has several possible meanings, depending on the sensitivity
(density) of connotations that vary according to the moments of the text.Textual signified
(Lexias) in the text can be grouped in at least five basic code (five major codes) that hermeneutic
code, the code semik, symbolic code, the code proairetic, and the cultural code (Barthes, 1990:
17-18).
The codes relate to one another and connected with the world outside the text.Semiotic
analysis method is a model of Roland Barthes systematic models in analyzing the meaning of
the signs.Focus his attention on the significance of the two stages (two orders of
signification).The significance of the first stage is the relationship between the signifier and
signified. In a sign of the stage of external reality, Barthes called it a denotation, which is the
real significance of a sign. While the significance of the second phase which describes the
interactions that occur when the sign met with feelings or emotions and values of culture,
referred to as connotation
This interdisciplinary approach used in this study who took the character object on
Pokemon games go where the approach looks at the phenomenon in which especially addiction
pokemon Go.In this context, research Characters pokemon go using Jurgen Habbermas
discourse theory, the theory of semiotics Roland Barthes and practical theory of Pierre
Bourdieu, depicted in the following diagram:
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Chart 1. Research method
Chart 2. Data analysis

Result
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One of the routes through which the application of drug addiction to gameplay is
supported in the popular imaginary is through the recent moral panics over the Internet-as a
sibling digital activity and form-as being also inherently addictive. While internet use and
electronic gaming use have similarities in that they both utilise digital and, in some cases,
interactive forms of textual engagement, they are also markedly dissimilar in the popular
understanding of these two new media forms. For example, Lister et al (2003), indicate a
dichotomy between computer-mediated communication forms (CMC) and videogames that is
supported by several of the following binaries: creative content versus mindless entertainment;
adult users versus youth consumers, fluid identity versus hypermasculinity; sociality versus
commodified space; tool versus toy. More importantly, where the internet is seen as immersive,
games are seen as addictive, and where online communication produces interactivity, gaming
culture works through reflex or "twitch" (Lister, 2003). Nevertheless, the rhetoric around
internet addiction as it produces the concept of addiction to digital and virtual forms of
communication and entertainment has sometimes been shifted to justify a claim that electronic
games are likewise addictive.
Addiction in terms of games and addressing the issue of popular imagination will thrive
in a wide range of virtual media. The popular imagination of the character in the virtual game
will be offered in popular culture is in fact nothing more than a virtual imagination space below
consciousness. The existence of the popular imaginations were looking eyes in many ways it is
counter-productive in building personal imagination is more real and hiperrealis.
Working within and studying game theory, we grow used to the idea that the stereotype
is false, that gaming addiction is not real or at least far more complex than given in much
popular culture depiction, and we become used to the task of ignoring popular culture and
alarmist representations in order to concentrate on the manifold task of analysing gaming
culture in such a way that overturns older, less-rigorously argued and indeed somewhat boring
attitudes. However, it does remain a fact that the stereotyping of gameplay as addictive
continues, and it comes into play. (David Brian, Water, (2011), The Prosthetic Imagination:
Meditations on Virtual Space and Experience in Single Player Computer Role Playing Games)
The game is considered as a means to build imagination pleasure virtual space became
more real and will replace the virtual object into an object that is more real and always comes
up in every room of the activities of the game addicts. Lifestyle trends and styles to love
Augmented reality games give the power of suggestion to bring virtual characters into reality.
Pokemon GO statistics dont lie: the hit mobile game is addictive. Its estimated to make
$1.6 million in revenue every day, more money in-game than the rest of the mobile gaming
market in one day altogether. Its played by all ages, not just childhood Pokemon fans: half of
the players are 18-34 years old while just under 50 percent of players are 35 and older. It has
more Android downloads than the most popular dating app, more daily users than Twitter, and
more engagement than Facebook.
Pokemon GOs creators are counting on players sticking around as long as possible to
build on its success. A series of behaviors will make its players feel more invested in the game.
But how does it persuade players to take action (engage in a behavior)?
The player must feel motivated to go outside and open the game in the first place. They
must be aware of the benefits and accomplishments that lie in wait. The player must have the
ability to travel their neighborhood while using a GPS-based technology to play the game.
Without the ability to get around and without the right technology, playing the game is
impossible.
The game must provide a trigger to urge the player to the next step. That trigger might
be a phone vibration signaling a nearby Pokemon, or a landmark in the distance such as a
PokStop or a Gym that will keep them walking. The Behavior Model is embodied in the
technology, adds Quihuis. The lure of completing a collection youve been carefully curating
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is powerful. A key component of what has made Pokemon GO so popular is its ability to put
Pokemon in the real world so its highly relevant to the player. This makes the fear of missing
out even more insatiable: there could be a Pokemon appearing right around the corner.
The around-the-clock accessibility of a constantly changing game in the real world
can draw in the player easier than a static game. Pokemon Go players expect to feel those warm
fuzzies when they capture a rare Pokemon or take over a gym. But when those feelings
diminish, the player might get stuck in a loop playing the game, waiting for the next feel-good
hit to come.
The children who played just one hour of video games every day showed more positive
signs such as a boost to creativity and social behavior. Pokemon GO has become a phenomenon
thanks to careful design, nostalgia, and luck. The popularity of the Pokemon franchise has
opened the door to players while the games design has kept them coming back for morein
droves.
Picture 1. Pokemon go feature : http://i0.wp.com/cdn.bgr.com
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Picture 1. Pokemon go reality features : https://i.guim.co.uk/img/media/
Picture 2. Pokemon go google mapping features

http://www.gannett-cdn.com/
Pokemon Go Character
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Artwork was created for this strange creature despite not having a name. extremely odd
appearance is somewhat similar to before original character. These are Pokmon and characters
that were just a few of many different designs that Game Freak created. Only a few were added,
and even those often went through redesigns before making it into the final product.
Concept and the incentive to be more active in the real world, while criticizing frequent
technical issues apparent at launch. Despite such reviews, it quickly became a global
phenomenon and was one of the most used mobile apps, reportedly having been downloaded
by more than 100 million people worldwide. It was credited with popularizing location-based
and augmented reality gaming, as well as for promoting physical activity and helping local
business grow. (https://en.wikipedia.org/wiki/Pok%C3%A9mon_Go
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http://img00.deviantart.net/
Players are obsessed with catching characters like Eevee, Blastoise, Gengar and Pikachu,
Conclusions
The popular imagination of the character in the virtual game will be offered in popular
culture is in fact nothing more than a virtual imagination space below consciousness. The
Pokemon Go character an addiction in terms of games and addressing the issue of popular
imagination will thrive in a wide range of virtual media. Pokemon Go players expect to feel
those warm fuzzies when they capture a rare Pokemon or take over a gym. But when those
feelings diminish, the player might get stuck in a loop playing the game, waiting for the next
feel-good hit to come with Pokemon GO has become a phenomenon to careful design, nostalgia,
and luck.
Pokemon go authentic realty have knowingly, maybe even unknowingly since they are
so deeply rooted, appropriated these ritual scenarios and introduced them into the game
narratives as participatory mythic structures. As Campbell points out, Man is the animal that
doesnt know what to do with itself. The mind has many possibilities, but we can live no more
than one life. What are we going to do with ourselves? A living myth presents contemporary
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models. Establish the characteristics of this model, Campbell describes a universal pattern that
underlies many mythological narratives. This is the universal pattern of seventeen archetypal
events.
Campbell believes that the mythological model can offer a set of rules or rituals for the
individual to understand and interpret the world that contains him. This ensures the presentation
of a model of morals and ethics through which to interpret and experience life. This is
humanitys attempt at upping the imaginative ante on Dawkins baboon, in effect creating a
superstructure into which to fit those first imaginative insights.
Reference
Campbell, Joseph. (1971), The Hero with a Thousand Faces. New York: Princeton University
Press
Calvin Sims, Stone Age Ways, The New York Times, March 11, 2001, section 1)
Anne Allison, (2003),1466-1888. Postcolonial Studies, Vol. 6, No. 3, doi:
10.1080/1368879032000162220
Hani Nur Fajrina, (2016, August), [Web log post] CNN Indonesia Retrieved from ,
http://www.cnnindonesia.com
Peacocke, Arthur. Theology for a Scientific Age: Being and Becoming - Natural, Divine,
and Human. Minneapolis, MN: Fortress Press, 1993.
Two Cobley, P., & Jansz, L. (2004). Introducing Semiotics. (2nd ed.). Singapore: Tien Wah
Press Ltd.
Barthes, R (1957). Mythologies: The World of Wrestling. Retrieved 1 September, 2009 from
http://www9.georgetown.edu/faculty/irvinem/theory/Barthes-MythologiesWrestling-1957.pdf
203
PAPER TOYS AS A MEDIA OF INTRODUCING PANDAWA CHARACTER AS

LOCAL WISDOM VALUE TO PRE-KINDERGARTEN- AND KINDERGARTENAGE CHILDREN IN SURAKARTA
Ercilia Rini Octavia
Surakarta Sebelas Maret University
erciliaoctavia@gmail.com
Anugrah Irfan Ismail
Surakarta Sebelas Maret University
irfaniax@gmail.com
Abstract
The development of Pre-kindergarten and Kindergarten (4-6 years) age children occurs
concomitantly with golden age period, in which brain cells develops actively reaching 100
billions that can control heart beat, respiration, reflex movement, auditory sense, and living
instinct. In this age, the development occurs in the form of behavioral changing process from
immature to mature one, from simple to complex. Such the change includes the change toward
the higher level mastery in motor, cognitive, affective and interactive aspects, with both fellows
and with objects in their life environment. For that reason, kindergarten age is considered as a
sensitive period among children, in which physical-motor, intellectual, social and emotional
functions should be stimulated. Recalling the urgency of kindergarten-age childrens
development period, the implantation of good social values should be done to early age
children in order to be able to develop their good character/personality. The implantation of
good values, particularly for kindergarten-age children in Surakarta was conducted by adopting
Pandawa character. Puppetry characters such as Pandawa (Yudhistira, Bima, Arjuna, Nakula,
and Sadewa) were considered as capable of representing kindness values such as wisdom,
honesty, obedience to religion tenets, strength and bravery, toughness, decorum, tenderness,
trusteeship, and knowing how to repay others kindness. Media considered as supporting the
development of physical-motor function to recognize the character of Pandawa was paper toys
design. Paper Toys as visual aid to deliver message was visualized corresponding to the form
preferred by kindergarten-age children. Through paper toys figure, the kindergarten-age
children in Surakarta would know Pandawa as a form of cultural local wisdom value in
Surakarta with an ability of assembling and then performing it. Using descriptive qualitative
approach, this study was expected to develop the visualization of Pandawa paper toys design in
order to make it the representative medium of delivering message to introduce and to implant
kindness values to kindergarten-age children.
Keywords: early age, local wisdom, Pandawa, paper toys.
Introduction
The development of early age children, particularly Pre-kindergarten and kindergarten
(4-6 years) ones, occurs very rapidly; this development is the process of behavioral change from
immature to mature one, from simple to complex. In pre-kindergarten and kindergarten age,
there is a change in which children learn to master higher level of the following aspects: motor,
cognitive, affective, and interactive both with fellows and with objects in their life environment.
For that reason, according to Montessori (2013), during this developmental period the children
are said in sensitive period, the one in which some certain function should be stimulated and
directed in order to promote its development. They are also sensitive to environmental
regularity, environmental exploration with tongue and hand, sensitive to walk, sensitive to small
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objects and details, and to social aspects of life. Recalling its urgency during childhood as a
foundation that will build an individuals character when they grow adult later and a foundation
of nations character; therefore during pre-kindergarten and kindergarten (4-6 years) age
children in addition to physical-motor stimulation, intellectual, social and emotional aspects
should be improved as well with good values (local wisdom values) prevailing in the
community where they live.
Parents/educators poor understanding on the development process among PreKindergarten and Kindergarten age children will exert adverse effect. Recalling that this
development period is said as unique, as its development (growth and development) process
occurs concomitantly with golden age period. It is so important that what is implanted today
will affect significantly what and how they will be in the future. Regarding this, Dorothy Law
Nolte (1972) stated:
If children are raised with insult, they would learn to insult. If children are raised with
hostility, they would learn to fight. If they are raised with mockery, they would learn to
be inferior. If they are raised with derision, they would learn to regret themselves. If
they are raised with support, they would learn to be self-confident. If they are raised
with praise, they would learn to appreciate. If they are raised with affection and
friendship, they would learn to find love in life.
For that reason, an introduction of good values enacted within local and regional society where
we live as the form of local cultural wisdom value implementation is very important. One of
those good values is kindness including wisdom, honesty, obedience to religion tenets, strength
and bravery, toughness, decorum, tenderness, trusteeship, and knowing how to repay others
kindness. The introduction of those values is important to children, particularly PreKindergarten and Kindergarten-age children in Surakarta City of Central Java, in which the
application of local wisdom values is still very strong in its society life. Thus, when they grow
adult, the children can behave corresponding to the mores prevailing in Surakarta societys life
in the expectation of minimizing the social gap to occur later. Recently, social gap including
collusion, corruption, nepotism and violence occurs due to, among others, an individuals poor
understanding on the importance of kindness implantation not introduced since he/she was so
young (in Pre-Kindergarten and Kindergarten age).
The introduction and implantation of local wisdom values about kindness such as
wisdom, honesty, obedience to religion tenets, strength and bravery, toughness, decorum,
tenderness, trusteeship, and knowing how to repay others kindness to Pre-Kindergarten and
Kindergarten children can be done corresponding to their growth process, through a medium
that can stimulate physical-motor, cognitive, social, and emotional abilities. The construction
of local wisdom values for children can be carried out by adopting Pandawa character in
Javanese puppetry replete with good value meaning in life. The introduction of Pandawa figure
and character is conducted by designing and visualizing paper toys, corresponding to visual
characters preferred by Pre-Kindergarten and Kindergarten children. This visualization of
Pandawa Paper Toys can be developed and then performed by children with parents and
teachers facilitation at school. Even it can be used by parents/teacher as a medium of
storytelling about local wisdom values from figure/character represented by Pandawa Paper
Toys including Yudhistira, Bima, Arjuna, Nakula, and Sadewa.
The Development of Pre-Kindergarten and Kindergarten-Age Children
Basically, education for Pre-Kindergarten and Kindergarten-Age Children is organized
aiming to facilitate the childrens growth and development comprehensively or emphasizing on
the development of entire aspects of childrens personality. Therefore, in their learning process,
the children are given opportunity of developing their personality and potency maximally, by
205
developing various developmental aspects including cognitive, language, social, emotional,

physical, and motor certainly adjusted with the ability and character of Pre-Kindergarten and
Kindergarten-Age Children.
1. Neuroscience of Pre-Kindergarten and Kindergarten-Age Children
Howard Garner, a psychologist, argues that early (0-6 years) age is golden age when
the children are always colored with successful learning concerning everything thereby an
assumption results that to create a high-quality generation, education should begin at 0-6
year age. According to Garner, successful education is affected by the development of active
brain cells in that age. When they were born, the childrens brain cells account for 100
billions, but those interconnected are only brain cells controlling heart beat, respiration,
reflex movement, auditory sense, and living instinct. When children are 3 years old, brain
cells create about 1,000 trillions connecting tissue/synapses (Suyadi, 2014: 30-31). Any
stimulation the children receive will bring about new connection that can strengthen the
preexisting brain cell junction. Thus, the childrens brain cells should be stimulated in order
to be stronger and more permanent. Furthermore, Suyadi stated that there is a very
significant difference between childrens brain cells stimulated and that not stimulated. The
intended stimulation is learning stimulation for the children that can produce optimally
functioning neurons so that it functions for the childrens sensory development. Such the
sensory development can spur cognitive, socio-emotional, creativity, language
developments and others. In line with neuroscience in Pre-Kindergarten- and Kindergartenage children, Hunt, Bloom and Piaget argued that when early age children are given learning
stimulation for their brain, they will have the following abilities (Sudjud, 1978):
a. Long-term effect, the children learning in early age will remember in long term until
they are adult.
b. The establishment of 70% of intellectual attitude
c. Their social and academic development will be constructed.
2. Characteristics of Pre-Kindergarten and Kindergarten-age Children
Maria Montessori (Elizabeth B. Hurlock, 1978: 13) argued that Pre-Kindergartenand Kindergarten (4-6 year) age is the sensitive period of children, the one when some
certain function should be stimulated and directed in order to promote its development. This
sensitive period includes sensitivity to environmental regularity, environmental exploration
with tongue and hand, sensitive to walk, sensitive to small objects and details, and to social
aspects of life. Meanwhile, Erik H. Erikson (Helms and Turner, 1964: 64) considered PreKindergarten and Kindergarten (4-6 year) period as sense of initiative phase, in which
children should be supported to develop their initiative, such as asking question joyfully
from what they see, hear, and feel. If children are not inhibited environmentally, they will
be able to develop their initiative and creativity, and productive matters in the area they like.
Froebel (Roopnaire, J.L and Johnson, J.E., 1993:56) argued that the 4-6 year age period is
a noble and malleable phase of human life, so that this period is often seen as golden age by
education organization. Childhood is a very fundamental phase for individual development
because it is in this phase that a very large opportunity of an individuals personal
construction and development occurs. Considering this argument, it can be concluded that
Pre-Kindergarten- and Kindergarten (4-6 year)-age child is an individual undertaking a very
rapid and very fundamental development process to go to subsequent life stage. Children
have their distinctive world and characteristics that are very active, dynamic, enthusiastic
and curious with what they see and hear, as if they will never stop learning.
3. Characteristics of Developmental Aspects in Pre-Kindergarten- and Kindergarten-age
children
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Pre-Kindergarten- and Kindergarten-age children have had some characteristics of

developmental aspects as explained below:
a. Motor development
Their motor development is well-coordinated, so every movement is harmonious
with the need or interest. This period is characterized with excessive movement or
activity so that children tend to show sufficiently agile and energetic movement.
Therefore, this age is an ideal period for learning the motor-related skills such as writing,
drawing, painting, swimming, playing ball and athletics.
b. Intellectual development
Intellectual is synonymous with cognitive. At 4-6 year age, childrens intellectuality
begins to process. Children can use their thinking ability in solving a problem.
c. Language development
At 4-6 year age, their language ability develops as their curiosity and enthusiasm
increase, so that some questions arise from the children with their language ability.
Language ability also develops continuously as the childrens intensity of interaction
with their peer increases.
d. Social development
At 4-6 year age, children can cooperate, compete positively, share with others, have
passion over social acceptance, sympathy, empathy, be dependent positively on others,
friendly, not selfish, can imitate positive things, and have good attachment behavior.
e. Emotional development
At 4-6 year age, emotional characteristics of children arise in their emotional bust or
temper tantrum, while at 5-6 year, their emotion begins to mature. In this age, children
begin to realize the consequences of their emotional display. They begin to understand
others feeling, for example how others feel when they are injured, so that children learn
to control their emotion (Elizabeth. B. Hurlock, 1978).
The importance of Introducing Local Wisdom Value to Pre-Kindergarten- and
Kindergarten-Age Children
Local wisdom is also often conceptualized as local wisdom or local knowledge or
local genius, constituting ideology and science as well as a variety of life strategy in the form
of activities the local people perform in answering various problems in meeting their need.
Their life need fulfilling system includes all aspects of life: religion, science, economy,
technology, social organization, language, and communication, as well as arts such as tradition
and life slogan (motto). Such the system then becomes a part of lifestyle they deal with. Owing
to local wisdom, human beings can undertake their life and even develop (Permana, 2010: 23).
Local wisdom is, according to Rahyono, a human intellectuality a certain ethnic group
has, acquired through community experience. It means that local wisdom is a certain
communitys result (product) through their experience and uncertainly experienced by other
communities. Those values will attach very strongly to certain community and those values
have passed through a long time trip, along the existence of community (Rahyono, 2009).
Similarly, in Javanese community in general (Surakarta people in particular), local wisdom can
be seen through: (1) local norms developed such as Javanese behavior (laku Jawa), abstinence
and obligation; (2) Javanese people ritual and tradition as well as the meaning behind them; (3)
folk songs, legend, myth, and Javanese folk story usually containing certain lessons or messages
known by Javanese people only; (4) data information and knowledge collected among society
elders, spiritual leaders; (5) manuscript or ancient books believed as true by Javanese people;
(7) how the local Javanese people meet their daily life needs; (8) tool and material used for
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certain purpose; and (9) condition of natural resource or environment usually utilized in daily
community life (Sartini, 2004).
Local wisdom in Surakarta (Java) is represented in the well-known philosophy called
pitutur luhur (noble talk) or wise words. For Surakarta (Javanese) people, pitutur luhur was
obtained from their ancient teaching life values about how to treat their fellow human beings
or
nature.
Pitutur
luhur
includes:
(access
from
http://jejakjejakhijau.blogspot.co.id/2012/01/kearifan-lokal-di-lingkungan-masyarakat.html)
1. Rukun agawe santosa, crah agawe bubrah meaning concord grows strength, dissension
results in damage. It obviously recommends us to live in concord, in an integrated
community.
2. Aja nggugu karepe dhewe, meaning never do just the way you want. These words teach
about how to control ourselves in order not to treat other arbitrarily. It teaches us how to
manage passion and to control passion, rather than to be control by passion. It also teaches
how to treat others properly meaning how to treat the nature non-arbitrarily. Otherwise,
natural damage due to human beings action for their personal interest will affect others as
well.
3. Ibu bumi, bapa aksa. It means that mother is earth, and father is sky. It means that earth is
the symbol of mother providing soil fertility as a farming activity site. Sky is the symbol of
father providing bless through rain. This tenet teaches us how to love, to protect, and to
respect earth and sky as we do so to our parents. If we damage earth, sky would be angry.
Similarly, if we treat our mother unwell, father would be angry, and vice versa. For example,
there is forest destruction. Forest is the buffer of ecosystem balance. If it is damaged,
ecosystem would be chaotic and climate would be uncertain. As a result, the sky shows off
its anger with such phenomena as storm, high rainfall rate and etc.
4. Asta brata or eight tenets. It is humanity and leadership tenets. This tenets were often taught
to Javanese Kings princes. This tenet departs from the philosphy of earth, water, fire, wind,
sun, moon, animal, and cloud. In its development, asta brata cant be taught not only to the
kingdoms prince, but also to the public. Those eight elements are interelated and affect the
human life sustainability.
The Javanese philosophy prevailing in Surakarta is actualized in behavioral attitude,
through the following attitudes in which Surakarta (Javanese) people should: (Pranowo, 2003:
262-276)
1. Have persistence and spirit in achieving life ideal.
2. Believe in God the One and Only. The presence of human beings incapability feeling
explains any natural phenomena seen and felt as well as human beings want to find life
support that can guide feeling, creation and work, so that there should be close relationship
between Javanese people and their Creator.
3. Have modesty, never being adigang, adigung, adiguna (arrogant, so that an individual can
have modesty in treating others).
Local wisdom attitude should be embedded since the children is still in early age (PreKindergarten- and Kindergarten, 4-6 years) in Surakarta, recalling that in this age, the sensitive
period of children starts to develop. It is the period in which certain function should be
stimulated for physical-motor, intellectual, social, and emotional aspects, so that good values
should be embedded in order to be carried on until adult. Through embedding good values (local
wisdom of Javanese people), the children in Surakarta will be able to behave well socially as
well.
Such the social behavior will be an activity in interacting with others later, including
peer, teacher, parents, and relatives. In relation to others, some very significant events will occur
in their life that can help create their personality. If since they were young the children have
learnt how to behave socially corresponding to their closest peoples (mother, father, sibling,
208
and other family members)s expectation, what they have learnt from their family environment
will contribute to creating their social behavior thereby making them a person with good
character. One foundation to build good character is by introducing good values as the form of
local wisdom prevailing in Surakarta community. Such the value embedment is important to
the children to undertake this life later wisely, honestly, obediently to religion tenet, strongly
and bravely, toughly, decorously, tenderly, trustworthily, and knowing how to repay others
kindness corresponding to the rules and mores prevailing within Surakarta community where
they live. Thus, later they will be able to minimize the forms of social gaps occurring recently
such as collusion, corruption, and nepotism due to, among others, an individuals poor
understanding on the meaning of justice and truth values within society that have not been
introduced since they were young.
Character of Pandawa as the representation of Javanese (Surakarta) Local Wisdom
Value
For Pre-Kindergarten and Kindergarten (4-6 year)-age children, figuring (idolizing)
someone or something to build a character that can be their idol is very important, to make
the role-modeling story acceptable/digestible/even preferable. One of representative character
made as figure in introducing good attitude as the manifestation of cultural local wisdom values
is Pandawa. The Javanese version of Pandawa story, according to Prof. Dr. Soetarno (a
Professor in Surakarta Indonesian Art Institute) in First Fine Art Study lecture delivered on
October 2008, told about Prabu Yudhistira constituting the oldest son of Prabu Pandudewanata
(the King of Astina Kingdom, the largest kingdom in puppet world) with Dewi Kunti as consort
of King. Prabu Dewanata died when Pandawas were still very young. Meanwhile, the custody
right is held by his brother (Pandawas uncle) named Destarastra less deserved to lead because
he was weak and blind. Destarastra had a wife named Gandari actually loving more Pandawas
father (Pandudewanata) but forced to get married with his brother. Unfortunately, after
Pandawa grew adult, the throne was not returned and even was given to his own descendant,
Bala Kurawa with Prabu Duryudana being the oldest son. Bala Kurawa were known for their
evil, trickiness, resentment, arrogance, extravagance, pretension, selfish, taking shortcut and
violence in solving problem, and not caring about their communitys misery. They were getting
more arbitrary under Sangkuni leadership as the patih (governor), Gandaris little brother. Then,
with the winning in Baratayudha war, Pandawa could retake Astina Kingdoms throne with
Prabu Yudhistira being the holder of leadership.
The names and characters of Pandawa Lima that can represent Surakarta (Javanese)
Local Wisdom values are explained completely below: (accessed from:
http://yokimirantiyo.blogspot.co.id/2013/01/mengenal-karakter-tokoh-pandawa-lima.html)
1. Yudhistira
He is very wise, has no enemy, and almost never lies in his lifetime. He has very high moral,
like to forgive and to pardon the enemies who have submitted. Other prominent
characteristics are just, patient, honest, obedient to religion tenet, self-confidence, and
speculative.
2. Bima
Bima has the following characteristics: muscular and brave, tough, resolute, submissive,
and honest. He is also crude and fearful to enemy, despite tender heart, loyalty to one
attitude, to-the-point and no ambivalent attitude, and he always does what he says.
3. Arjuna
Arjuna is smart and clever, silent, tender, precise, decorous, bravery and protecting the weak
one.
4. Nakula
209
Nakula is honest, loyal, obedient to parents, and knows how to repay others kindness and
can maintain secret.
5. Sadewa
He is honest, loyal, obedient to parents, and knows how to repay others kindness and can
maintain secret.
Figure 1. Pandawa Leather Puppet

Pandawa Character from the left to right, from the youngest to the oldest:
Nakula, Sadewa, Arjuna, Bima, and Bima
(Source: http://yokimirantiyo.blogspot.co.id/2013/01/mengenal-karakter-tokoh-pandawalima.html)
Pandawa Paper Toys As the Representative of Surakarta (Javanese) Local Wisdom
Values
Pandawa as one Knight often figured in puppet is a form of Javanese traditional art rich
of educational message and moral spiritual value in life. Pandawa is considered as the symbol
that can represent goodness values such as wisdom, honesty, obedience to religion to tenet,
strength and bravery, toughness, decorum, tenderness, trusteeship and knowing how to repay
others kindness for Javanese people, particularly Surakarta. Thus, the utilization of Pandawa
character and story as learning media for Pre-Kindergarten-and Kindergarten-age children has
now been chosen as an effective alternative to deliver learning message in treating others and
behaving. Of course, fore the utilization of Pandawa figure and character to be representative
as message delivering media, it is visualized in such a way, and adjusted with the form preferred
by Pre-Kindergarten-and Kindergarten-age children. It is also adjusted with childrens motor
ability in order to be communicative for Pre-Kindergarten and Kindergarten-age Children. The
media considered as representative is paper toy.
Paper toy is a category of paper craft, the art of producing a paper-based object, by
means of cutting, folding, and pasting the designed pattern in such a way that creates the shape
we want. Paper toy resembles origami. But the objects produced by paper toy are more similar
to its original form than origami. The objects made paper toys include people, house, car,
motorcycle, animal, and etc, the visualization of which seems to be urban style, pop culture art,
and trend. Then the form of paper toy is also simple and usually has very prominent texture,
either
real
or
imaginary
(accessed
from
http://paperreplika45.blogspot.co.id/2012/09/pengertian-papercraft.html)
210
This Paper toy developed as some models/types of paper developed during the 2nd
World War. At that time, many people developed various war equipment models such as plane,
tank, and combat ship from paper material. Then in 1990s, some paper types and models began
to come to Indonesia originally as the bonus in Angkasa, Bobo Magazines and etc. As a variety
of paper types arose, some creations arose as well from paper as basic material until paper
model was booming in 2000s. Paper model template started to be distributed freely through
internet, even nearly 80% of paper model template can be obtained freely in papercraft websites
divided
into
some
following
types:
(accessed
from
https://halodito.wordpress.com/2011/06/06/mengenal-papertoys-papercraft/)
1. Pepakura: the pronunciation of word papercraft in Japanese language; pepakura itself is
categorized as cute as possible model, most of which uses anime models or character from
Japanese comic.
2. Papertoy: has simple model but featured design skin/texture in that model, can be
categorized as urban art/pop art; the key to papertoy is as simple as possible, as beautiful as
possible. Although the skin used largely has urban or pop art theme, some papertoy takes
skin anime or cartoon made simpler and cuter.
3. Paper Automata: is a papercraft category in which the model used can move with mechanic
construction made of paper, described as moveable as possible.
4. Paper model or Paper-Replica is the paper model constituting the replica of original object,
generally having high detail level and complexity, described as not simple as possible,
generally in the form of military sets, vehicle, robots from anime/movie, and etc.
Paper toy is considered as a representative media to deliver local wisdom values the
Pandawa has, because paper toy can be categorized in education toys, the medium that can
stimulate the childrens activity in learning something unconsciously, using both modern and
simple or traditional technologies (Andang Ismail, 2006: 156).
Education toy is the medium that can improve the childrens knowledge and
understanding on something. Through visualizing Pandawa Paper Toy design, PreKindergarten and Kindergarten-age children are expected to assemble and then to perform it.
During the process of assembling Pandawa Paper Toy nets, the activity has occurred useful to
the development of Pre-Kindergarten and Kindergarten-age children because of the following
reasons. (1) It can stimulate their motor development as it relates to physical movement in PreKindergarten and Kindergarten-age children. Physical movements can practice muscular
system thereby creating good and healthy muscular system. Their fine motor ability can also be
practiced with the activity of cutting the net/pattern of Pandawa Paper Toy, distinguishing the
shapes of Pandawa Paper toy body parts and gluing it. (2) It can sharp social-emotional
(affective) ability; during the assembly of Pandawa Paper Toy by Pre-Kindergarten and
Kindergarten-age children, it can be seen the childrens interest and attitude to the paper toy,
whether or not they like it, whether or not they enjoy it during assembling their paper toy nets
or during performing it. In that process, we can observe the Pre-Kindergarten and Kindergartenage childrens appreciation to paper toy. (3) It can sharpen cognitive ability of Pre-Kindergarten
and Kindergarten-age children when they should think of how to assemble the body parts of
Yudhistira, Bima, Arjuna, Nakula, dan Sadewa. Thus unconsciously (when the children think
of combining those paper toys), their intellectual ability is being sharpened to develop better.
For that reason, it is reasonable if paper toy is considered as a representative medium to
represent the characters of Pandhawa containing goodness values from Javanese local wisdom
to Pre-Kindergarten and Kindergarten-age children in Surakarta. Through assembly activity
from designing the Pandawa Paper Toy visualization to performing it, Pre-Kindergarten and
Kindergarten-age children indirectly identify Pandawa figure. Then if it used as storytelling
media by parents or teacher, it can tell about Javanese local wisdom values contained within it
211
so that it can be the role model for Pre-Kindergarten and Kindergarten-age children in
Surakarta.
Method
This research employed a descriptive qualitative approach, the one focusing on
describing both condition and process in detail and in-depth, and interrelationship concerning
the details found in the target of research (H.B. Sutopo, 2006: 179). The finding of research
target was initiated by establishing phenomenological paradigm, so that this can understand the
phenomenon to be studies, related to assumptions of both how to view the research object and
how to implement the research process (Creswell, 2009), by considering the urgency or
importance of Javanese local wisdom value embedment for Pre-Kindergarten and Kindergarten
(4-6 year)-age children in Surakarta. The phenomenon occurring at that age is in golden age
developmental period. Thus, this flexible and open-ended qualitative research was expected to
contribute to solving the problems occurring later by giving solution in the form of
recommended visual Pandawa paper toys as learning medium to introduce and to implant local
wisdom values to Pre-Kindergarten and Kindergarten-age children in Surakarta. This flexible
and open-ended research allowed for the change and the adjustment during the research, so that
there would be no limitation for the author to find novelties related to the topic of research
(Bungin, 2003: 49).
This research produced a paper toy visual design so that it required action research
method, providing visual product that would be implemented in the medium of introducing and
implanting the attitudes reflecting local wisdom values in Pre-Kindergarten and Kindergartenage children in Surakarta later. The action research stage in this research consisted of
diagnosing (problem), action planning, implementation, and evaluation cycles. This cyclic
process could be seen in the chart below: (1) Diagnosing, the analysis on current condition and
need identification, (2) Planning action is the planning as guide (director); (3) Taking action,
constituting the designing of information system; (4) Evaluating Action is the review with trial.
The operational flow of cycle in this action research was adjusted with its context and use
(OBrien, 1998), so that it can contribute to practical resolution in problematic situation and
needs immediate alternative and exerting wider social effect.
The Method of Designing Pandawa Paper Toys

The method used to produce Pandawa Paper Toys design through passed through the
following stages: (1) researching/observing 4-6 year-age children in some Pre-KindergartenKindergarten schools in Surakarta, concerning the activities in school, their playing and
learning abilities, and socialization way; (2) identifying the characters of Pre-Kindergarten and
Kindergarten-age children in Surakarta and the aspects affecting physic-motor, intellectual,
social, and emotional development; (3) analyzing the representative learning medium to build
the characters of Pre-Kindergarten and Kindergarten-age children in Surakarta to be able to
socialize, by positioning Pandawa Paper Toys a learning medium of introducing attitudes
reflecting local wisdom to the Pre-Kindergarten and Kindergarten-age children in Surakarta;
(4) determining the strategy of visualizing Pandawa Paper Toys that are representative and
communicative in order to be mounted by Pre-Kindergarten and Kindergarten-age children in
Research on
PreKindergarten
and
Kindergarten
children
Identifying
character
and
developmen
t
Determining
learning
medium
212
Determining
visual strategy
of Pandawa
Paper Toys
Paper Toys
Visualizatio
n
Surakarta; and (5) The visualization of Pandawa Paper Toys. The stages can be illustrated in
the chart below:
Chart 1. Pandawa Paper Toys Designing Method
Visual Strategy of Pandawa Paper Toys as a Medium of Introducing Attitude

Representing Javanese (Surakarta) Local Wisdom
The embedment of Javanese local wisdom values (including wisdom, honesty,
obedience to religion tenets, strength and bravery, toughness, decorum, tenderness, trusteeship,
and knowing how to repay others kindness) to Pre-Kindergarten and Kindergarten-age children
is very desirable because it will build good character among the children until they grow adult
in undertaking life. For Javanese people in general and Surakarta people in particularly, those
local wisdom values are reflected on the characters of Pandawa including Yudhistira, Arjuna,
Bima, Nakula and Sadewa. It is important to introduce Pre-Kindergarten and Kindergarten-age
children to the figure and character of Pandawa because their development/growth is in golden
age period. The delivery of introduction and learning about local wisdom values is conducted
through a joyful and representative medium for their age, through paper toy. Recalling that
paper toy can be categorized as educative toy that can stimulate motor ability, sharpen socialemotional and affective abilities of Pre-Kindergarten-age and Kindergarten-age children, so
that it is reasonable to visualize the childrens understanding on Javanese local wisdom values
through Pandawa Paper Toy to make Pre-Kindergarten and Kindergarten-age children capable
of assembling and performing it. In detail, the strategy of visualizing representative Pandawa
Paper Toy for Pre-Kindergarten and Kindergarten (4-6 year)-age children in Surakarta can be
explained as follows:
1. Creative concept
a. Creative objective:
Pandawa Paper Toy as the symbol of character/figure representing Javanese
local wisdom values (e.g. wisdom, honesty, obedience to religion tenets, strength and
bravery, toughness, decorum, tenderness, trusteeship, and knowing how to repay others
kindness) was expected to be recognized by Pre-Kindergarten-age and Kindergartenage children. Furthermore, it could persuade those children to understand and to
implement goodness/local wisdom values represented by Yudhistira, Arjuna, Bima,
Nakula, and Sadewa.
b. Creative Strategy:
1) Target audience intended was Pre-Kindergarten-age and Kindergarten-age children
with geographic segment domiciling in Surakarta-Central Java, demographic
segmentation, including sex: male and female, social-economic status: medium,
psychographic segmentation in which the children are those curious with and
interested in learning by practicing motor activities directly, and loving skill.
2) Format and size
The nets were printed on A3-size paper to produce a finished product of Pandawa
Paper Toys, with 13 cm-height overall (when paper toy was assembled and could be
displayed).
3) Visualization technique
Technique of visualizing Pandawa Paper Toys was initiated with developing
draft character of Yudhistira, Bima, Arjuna, Nakula, and Sadewa using pencil, both
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its figure and 3D (3 dimension) net. Then the visualization of manual draft was
moved to digital imaging using Corel Draw software, particularly its paper toy nets.
After the nets have been designed completely in Corel Draw software, they have
been ready to be printed. The product of printed nets was then cut corresponding to
Pandawa Paper Toys pattern. To combine one net slice of Pandawa Paper Toys to
another thereby creating paper toy that can be displayed/standing table, glue or
double cellophane tape is needed as its finishing.
4) Character of Pandawa Paper Toys
The character of Pandawa will be visualized in such a way that later results in a
paper toy attractive to and preferred by Pre-Kindergarten- and Kindergarten-age
children in Surakarta. The character of Pandawa to be visualized in paper toy is as
follows:
a) Yudhistira
He is the eldest brother who is very wise, has no enemy, and almost never lies
in his lifetime. He has very high moral, like to forgive and to pardon the enemies
who have submitted. Other prominent characteristics are just, patient, honest,
obedient to religion tenet, self-confidence, and speculative. All of those
characters would be visualized into Yudhistira Paper Toy
b) Arjuna
Arjuna would be visualized in Arjuna Paper Toy as a handsome and friendly
man, who is smart and clever, silent, tender, precise, decorous, bravery and
protecting the weak one.
c) Bima
Bima known as the largest one among his siblings has the following
characteristics: muscular and brave, tough, resolute, submissive, and honest. He
is also crude and fearful to enemy, despite tender heart, loyalty to one attitude,
to-the-point and no ambivalent attitude, and he always does what he says. All of
those characters would be visualized in Bima Paper Toy.
d) Nakula and Sadewa
Nakula and Sadewa are twin brothers who are honest, loyal, obedient to parents,
and knows how to repay others kindness and can maintain secret. All of those
characters would be visualized in Nakula and Sadewa Paper Toys.
2. Visual Strategy
a. Idea screening
The figure considered as appropriate to represent the characters representing
local wisdom values in Java including wisdom, honesty, obedience to religion tenets,
strength and bravery, toughness, decorum, tenderness, trusteeship, and knowing how to
repay others kindness is Pandawa. The five brothers in Pandawa: Yudhistira, Arjuna,
Bima, Nakula, and Sadewa always become role model for goodness and heroic character
in puppetry in Javanese community. Through those figures, Pre-Kindergarten- and
Kindergarten (4-6 year)-age children can recognize noble figure and character of
Pandawa. Indirectly it can also cultivate the Pre-Kindergarten- and Kindergarten (4-6
year)-age childrens love to Javanese cultural heritage.
The visualization of Pandawa figure into paper toy form is adjusted with motor,
cognitive abilities, and visual form preferred by Pre-Kindergarten- and Kindergarten (46 year)-age children, including: (1) brightly colored visual drawing/display; (2) friendly
and funny figure visualization; and (3) less complicated and detailed form, in the term
of both color and line used in the visualization, so that the process of idea screening to
the visualization of Pandawa figure into paper toy can be illustrated below:
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Chart 2: Idea Screening to Visualization of Pandawa Paper Toys

b. The process of visualizing Pandawa Paper Toys Design
The process of visualizing Pandawa Paper Toys was initiated by identifying and
learning the figure and character of Pandawa, through books telling about Mahabharata
(and Bratayuda war), journal, photographs of Pandawa in the form of both wayang kulit
(leather puppet) and wayang orang (people puppet) taken/collected. Then it could be
done by means of researching visually the figure and visualization of drawing preferred
by Pre-Kindergarten- and Kindergarten (4-6 year)-age children in Surakarta.
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Chart 3. The Process of Visualizing Pandawa Paper Toys

The adjustment of Pandawa figure with the result of research on the visual
preferred by Pre-Kindergarten- and Kindergarten (4-6 year)-age children resulted in
draft figure and nets of Pandawa Paper Toys thereby providing the friendly fixed design
to children. The designed net was adjusted with motor, social-emotional and affective
abilities of Pre-Kindergarten- and Kindergarten-age children in Surakarta. When figure
and nets of Pandawa paper toy had been fixed and touched with Corel draw and adobe
Photoshop software working; therefore printout of paper toy nets had been ready to cut
corresponding to its design form and then attached to result in 3D-paper toy.
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3. Work Visualization
a. Nets of Pandawa Paper Toy
Figure 2. The Visualization of Pandawa Paper Toys Nets

b. Pandawa Paper Toy
Figure 3. The Visualization of Pandawa Paper Toys

Conclusion
Pre-Kindergarten and Kindergarten (4-6 year) age children experience golden age
development period (sensitive period) in which about 1,000 trillions brain cells containing
connecting tissues/synapses are created allowing for the development of intellectual
(cognitive), social, emotional, and socio-motor potencies. In that age development, there is
change of mastery toward the higher level in motor, cognitive, affective, and interactive aspects
with both fellows and with objects in their life environment. It is noteworthy that the
implantation of good social values is important to early age children in Surakarta, particularly
concerning the attitudes that can represent Javanese local wisdom values such as wisdom,
honesty, obedience to religion tenets, strength and bravery, toughness, decorum, tenderness,
trusteeship, and knowing how to repay others kindness. Children should have those local
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wisdom values in order to be persons with good character. For Javanese people in general and
Surakarta people in particular, the figure usually representing the characters of local wisdom
values is Pandawa figure, consisting of five knight brothers from Astina Country. They are
Yudhistira, Arjuna, Bima, Nakula, and Sadewa. Next, learning media considered as
representative to introduce Pandawa figure along with good character inherent to it is Paper
Toy. Paper toy is an educative toy that can stimulate motor, social-emotional, and affective
abilities of Pre-Kindergarten and Kindergarten-age- children in Surakarta. Paper Toy as visual
aid media of delivering message is visualized corresponding to the shape (forms) preferred by
kindergarten-age children, including (1) brightly colored visual drawing/display; (2) friendly
and funny figure visualization; and (3) less complicated and detailed form, in the term of both
color and line used in the visualization. Through Pandawa Paper Toys learning media, PreKindergarten and Kindergarten-age- children in Surakarta can identify figure and character of
Pandawa as a form of Surakarta cultural local wisdom that should be imitated.
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ABSTRACT
Literary Performance in the Act of Pendendang
By Noni Sukmawati
Literary performance is a form of an art performance which places pantun or verse, a spoken l
iterature of Minangkabau, as the main medium. Pantun is un oral tradisional literature delivere
d through berdendang or singing tradition which is accompanied by an instrument namely sal
uang, hence this performance is called saluang dendang performance. Studies on this saluang
dendang performance attempt to understand further on the power of pantun that has been gro
wing through the spoken tradition in Minangkabau art performance. They are aimed to obtain
pictures on pendendang or the singer as the main actor in choosing the pantun for saluang den
dang performance, and in establishing contextual interaction with the audiences or the perfor
mance environment. The pantun choices range from the available pantun and new pantun mad
e spontaneously based on the situation during the performance. This research uses observation
al-participative approach, and is carried out by observing saluang dendang directly, so relevan
t data could be obtained. From the research it was found that pendendang possesses power in
building interesting performances for the audiences through the selections of pantun, especiall
y the pantun spontaneously created during performance.
Intruduction
Pertunjukan saluang dan dendang merupakan sebuah bentuk pertunjukan yang ada dalam
lingkungan masyarakat dan kebudayaan Minangkabau. Pertunjukan saluang dan dendang ini
berupakan pertunjukan nyanyian (dendang) yang diiring alat musik tiup (flute) yan disebut
dengan saluang. Pertunjukan ini minimal dimainkan oleh tiga seniman musik, satu orang
peniup saluang dan dua orang pendendang. Pertunjukan menurut Sal Murgianto (53: 2016)
merupakan sebuah rangkaian komunikasi antara satu orang atau lebih sebagai pengirim pesan,
merasa bertanggung jawab pada seseorang atau lebih kepada penerima pesan dan kepada
sebuah tradisi yang mereka pahami bersama melalui seperangkat tingkah laku yang khas. Jadi
pertunjukan merupakan sejumlah tindakan manusia menjalin sebuah komunikasi untuk
menyampaikan dan menerima pesan tertentu dari tradisi yang mereka miliki.
Jika pengertian ini digunakan untuk menjelaskan pertunjukan saluang dan dendang, maka
pengirim pesan disebut peniup saluang dan pendendang dan tentu penontonya sebagai
penerima pesan. Pesan-pesan yang disampaikan melalui pantun-pantun yang dinyanyikan
menggunakan bahasa lokal Minangkabau, dengan sendirinya tradisi yang dipertunjukan
melalui saluang dan dendang ini adalah tradisi yang ada di dalam kebudayaan Minangkabau.
Jadi secara umum dapat dikatakan, bahwa semua orang yang terlibat dengan pertunjukan
saluang dan dendang, adalah orang Minangkabau yang paham dengan bahasa Minangkabau.
Pesan-pesan dalam sebuah pertunjukan saluang dan dendang selain pesan musikalitas yang
khas dari instrumen saluang, pesan yang paling penting adalah pantun-pantun yang
didendangkan tersebut, yang bersifat lisan (oral tradition) yang sebagian besar dikarang atau
dibuat secara spontan oleh pendendangnya. Setiap pantun tidak terikat dengan judul nyanyian
atau irama lagu yang didendangkan, karena sebuah pantun bisa saja dinyanyikan untuk juduljudul yang ada dalam nyanyian pertunjukan saluang dan dendang yang jumlah nyanyian
saluang ratusan judulnya.
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Kemampuan menguasai hampir semua repertoar lagu-lagu pertunjukan saluang dendang

yang jumlahnya ratusan tersebut, merupakan sebuah kemampuan yang luar biasa. Tidak ada
partitur musik dan teks-teks pantun yang tertulis. Para seniman pertunjukan saluang dan
dendang mengalir mengikuti selera penonton yang cukup beragam. Seorang peniup saluang
adalah seniman musik yang harus menguasai semua repertoar lagu-lagu saluang yang dikenal
luas oleh masyarakat, karena dialah yang pertama memulai membuka dengan musik
pengantar lagunya, dan kemudian baru diiringi oleh pendendang. Sedangkan seorang
pendendang, haruslah menguasai perbendaharaan pantun-pantun yang banyak, dan
meramunya atau mengisinya dengan syair-syair yang berhubungan dengan konteks
pertunjukannya. Misalnya ia bisa mengarang pantun spontan tentang orang-orang yang hadir
sebagai penonton, sehingga terjadi interaksi yang dinamis selama pertunjukan berlangsung.
Kemampuan seorang peniup saluang maupun pendendang, berdasarkan penelitian lapangan,
tumbuh dan berkembang secara otodidak, dalam artian tidak ada guru khusus yang mengajar
mereka. Mereka memulainya sendiri, dengan cara bertanya-tanya, menyimak dan
mencobanya sendiri. Kemudian mereka magang, yakni hadir di tempat pertunjukan saluang
dan dendang dan ikut sebagai pendendang tanpa bayaran. Lagu-lagu yang telah ia kuasai
akan ikut ia nyanyikan bergantian dengan pendendang yang lebih senior. Dari proses magang
inilah akhirnya ia akan bisa menjadi pendendang profesional, yang diundang dan dibayar
sesuai dengan aturan yang berlaku.
Research Questions
Bagaimana cara pendendang mempersiapkan dirinya atau memainkan perannya

sebagai pendendang yang mengandalkan sastra pertunjukan, dalam hal ini pantun
(oral traditions) untuk memberikan kepuasan dan menjawab permintaan
penontonnya dan bagaimana struktur pertunjukan saluang dendang yang
mengunakan tradisi lisan pantun (Sastra lisan) sebagai teks utamanya.
Bagaimana peran penonton dalam pertunjukan saluang dendang dalam membangun
sebuah struktur pertunjukan yang bersifat dialogis dengan modal tradisi lisan?
Mengapa pantun ratapan (ratok) digemari dan mengapa pecandu pertunjukan
saluang dendang betah menyaksikan pertunjukan sepanjang malam.
Methods
Metode penelitian ini menggunakan pendekatan observasi-partisipatif, yakni dengan
mengamati sastra pertunjukan saluang dendang secara langsung, sehingga mendapatkan data
yang sesuai dengan maksud dan tujuan penelitian. Selain mengamati langsung pertunjukan
saluang dendang, juga akan dilakukan wawancara dengan berbagai kalangan mengenai
perkembangan pertunjukan saluang dendang, terutama yang berhubungan dengan tradisi lisan
pantun. Kelompok pertama yang akan diwawancarai adalah yang terlibat langsung dengan
kegiatan seni pertunjukan saluang dendang, misalnya dengan seniman saluang, penyelenggara
pertunjukan, penonton pertunjukan dan pengamat. Data penelitian yang dibutuhkan dari
pengamatan langsung adalah data yang memperlihatkan proses dialogis masing-masing
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kelompok di dalam arena pertunjukan saluang dendang, terutama dalam hubungannya dengan
tradisi lisan pantun. Sedangkan melalui wawancara, data penelitian yang dibutuhkan adalah
data dari proses terbentuknya pengalaman, kebiasaan dan kemampuan setiap kelompok yang
bermain dan hadir di dalam arena pertunjukan saluang dendang.
Results
Pertunjukan saluang dendang yang sering disebut dengan musik malam karena dipertunjukan
hampir sepanjang malam, dimulai sekitar pukul 21.00 dan berakhir keesokan harinya sekitar
pukul 04.00. Sepanjang pertunjukan para seniman saluang dendang akan memainkan lagu-lagu
sesuai dengan permintaan penontonnya, dan bagi setiap pendendang akan diupayakan
merangkai pantun yang berhubungan dengan penonton yang meminta lagu tersebut. Misalnya
dengan menyebut nama penonton yang memesan lagu pada sampiran, dan memilih isi pantun
yang kira-kira sesuai dengan kondisi lingkungan atau situasi psikologis yang sedang dialami.
Jika isi pantun tersebut sesuai dengan konteksnya, maka akan ada respon yang spontan pula
dari para penonton dalam bentuk teriakan atau suara lainnya yang membuat pertunjukan
menjadi bergemuruh dan hidup. Jadi dengan cara yang dialogis-interaktif tersebut, setiap
pendendang akan berudaha mengenali setiap situasi dari lingkungan penonton yang ada, dan
kemudian memilih pantun-pantun yang tepat untuk didendangkannya. Denga demikian,
struktur pertunjukan saluang dendang sesungguhnya dibangun dan berkembang melalui sastra
pertunjukan yang bersifat lisan, yakni pantun-pantun yang dikemas pada waktu pertunjukan
sedang berlangsung.
Selain itu, penonton pertunjukan saluang dendang pada dasarnya adalah orang-orang yang juga
memiliki pengetahuan empirik tentang tradisi lisan pantun, termasuk mengenal banyak
repertoar lagu-lagu saluang dendang. Bagi mereka yang sudah jadi peminat pertunjukan
saluang dendang, sudah ada judul-judul lagu yang menjadi kesukaan mereka. Judul-judul ini
akan selalu mereka pesan di setiap pertunjukan saluang dendang yang mereka hadiri. Biasanya
setiap peminat pertunjukan saluang dendang, sudah memiliki pengetahuan tentang lagu yang
mereka pesan, serta pantun-pantun yang biasa dinyanyika di dalam lagu tersebut. Bahkan
karakter dari melodi alat musik saluang sudah sangat hapal pula oleh mereka, sehingga setiap
peniup saluang harus pula mampu memainkannya sesuai dengan pakem yang sudah dikenal
secara luas. Para peminat ini, yang disebut dengan pecandu gurau, biasanya tidak hanya datang
untuk sekedar pendengar, tetapi kadang-kadang juga ikut menyumbang kepada pihak
penyelenggara untuk membayar honor seniman pertunjukan saluang dendang. Dengan kata lain
sebuah pertunjukan saluang dendang bisa juga penyelenggaraannya bersifat partisipatif,
terutama dalam pembiayaannya.
Hubungan antara seniman pertunjukan saluang dendang dengan sebagian penonton, yang
umumnya adalah masyarakat pedesaan, seperti telah memilki hubungan emosional yang kuat.
Di setiap nagari (desa) yang sering dijadikan tempat pertunjukan saluang biasanya telah ada
kelompok penonton yang disebut pecandu gurau tersebut. Kelompok ini biasanya telah
mengenal dengan baik setiap peniup saluang dan pendendang, sehingga mereka sering
dijadikan refrensi untuk memilih seniman pertunjukan saluang dendang yang akan ditampilkan.
Kelompok pecandu gurau ini juga biasanya yang memberikan apresiasi terhadap masyarakat
lokal tempat acara pertunjukan saluang diadakan. Bahkan setiap seniman saluang dendang yang
diundang (ditanggap) juga akan meminta referensi tentang situasi lokal tempat mereka akan
membuat pertunjukan. Jadi sebuah pertunjukan saluang dendang merupakan sebuah jaringan
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yang cukup luas di wilayah pedesaan Sumatera Barat, terutama jaringan antara seniman saluang
dendang itu dengan para pecandu gurau yang tersebar diberbagai desa.
Topik penelitian, yakni bagaimana tradisi lisan pantun (sastra lisan) tersebut menjadi teks
penting dalam pertunjukan saluang dendang, dan bagaimana pendendang menyampaikannya
sebagai pesan yang menghidupkan sebuah tradisi pertunjukan. Dari pengamatan lapangan dan
wawancara dengan sejumlah pendendang, pada umumnya mereka menjelaskan bahwa apa yang
mereka sampaikan adalah bagian dari kesadaran kolektif dari penonton. Untuk dapat
memahami kesadaran kolektif tersebut, mereka harus bergaul dan mengenal secara baik
lingkungan masyarakat Minangkabau. Mengenal secara baik persoalan-persoalan hidup seharihari yang dihadapi, serta menguasai secara baik nilai-nilai hidup yang harus dimiliki oleh
masyarakat. Pada umumnya suasana musikal dalam pertunjukan saluang dendang adalah
ratapan, karena tradisi merantau kuat di Minangkabau, yang pergi dan yang ditinggalkan
mengalami kesedihan, dan pengalaman pahit yang mengekpresikan kesedihan dan kesulitan
hidup, maka setiap pendendang harus mampu mengekpresikan hal tersebut melalui pantun yang
disebut dengan ratok. Suasana ratapan dalam pertunjukan saluang dendang biasanya secara
otomatis menyambungkan emosional dengan penonton pertunjukan . Agar ada pesan positif
yang bermanfaat, maka dalam setiap pertunjukan juga harus ada pantun-pantun yang
didendangkan berisi pesan-pesan nasehat, dan pesan-pesan yang mampu menghibur penonton.
Untuk dapat mendendang pesan positif ini melalui pantun nasehat atau yang menghibur ini,
setiap pendendang juga harus mengenal dan mempelajari secara baik budaya dan kehidupan
masyarakat Minangkabau. Tradisi lisan atau budaya bercerita yang demikian kuat dalam
masyarakat Minangkabau,yang merupakan khasanah pengetahuan tradisional yang memberi
amunisi bagi setiap pendendang untuk tampil secara baik dalam pertunjukan saluang dendang.
Conclution
Budaya bercerita (maota) dalam kehidupan masyarakat Minangkabau, yang

kebudayaannya berbasiskan tradisi lisan tersebut, telah menjadi modal sosial yang
sangat kaya bagi para seniman pendendang untuk menyusun, merancang dan
menyampaikan pesan-pesan melalui pantun (oral tradision) yang didendangkan kepada
penonton dengan cara spontan dalam pertunjukan saluang dendang. Pengalam hidup d
dengan sendirinya menjadi kemampuan yang melekat dalam diri setiap pendendang,
sehingga memiliki kemampuan mendendangkan ratapan, kesusahan yang dirasakan dan
kerasnya kehidupan diperantauan, dan kesedihan bagi yang ditinggalkan rasa ini yang
disampaikan pendendang dalam pertunjukan saluang dendang. Inilah yang membuat
pecandu saluang dendang bertahan sepanjang malam dari jam semilan pagi samoai jam
empat pagi, karena peniknat merasa pendendang mewakili apa yang mereka rasakan
dan menyanyikanya.
Budaya pertunjukan saluang dendang yang cair dan tidak formal, serta terjadinya
interaksi yang bersifat dialogis antara seniman pendendang dengan penonton, telah
menumbuhkan dan mengembangan budaya pertunjukan saluang dendang yang bersifat
partisipatif serta memberi kesempatan yang cukup luas bagi pendendang untuk
berimprovisasi dan menyampaikan pesan-pesan melalui pantun dengan cara yang
spontan.
Pada dasarnya struktur, alur dan capaian sebuah pertunjukan saluang dendang dibangun,
dirancang atau terbentuk karena interaksi antara penonton dan pendendang, yang
dipertautkan oleh modal budaya dari tradisi lisan pantun yang mereka miliki, sehingga
pertunjukan saluang dendang dapat disebut sebagai sastra pertunjukan berbasiskan
tradisi lisan pantun. Penonton punya kesempatan berpartisipasi untuk ikut berkontribusi
223
membangun dan mengembangkan struktur pertunjukan, dan ini menjadi daya tarik
penonton, sambil menghayati suasana ratapan dendang yang seperti mewakili diri
mereka sendiri.
224
The Development Of Formal Ceremonial Coronation Attire Of

Seri Paduka Baginda Yang Di-Pertuan Agong From I-XIV
Starting From 1957 until 2016.
Nor Idayu binti Ibrahim
University Technology MARA (UiTM), Shah Alam
idayuibrahimy@gmail.com
Abstract- There is specific formal attire wear by Seri Paduka Baginda Yang di-Pertuan
Agong. The exploration related with Malaysia royal institution and royal etiquettes are
aspiring, interesting and there are numbers of printed publications had discovered in
depth, onto this fields. Unfortunately, most of them have not yet discovered in-depth
research about the development of formal ceremonial coronation attire of Seri Paduka
Baginda Yang di-Pertuan Agong. The purpose of this paper is to discover the
development of ceremonial coronation attire and to document the knowledge regarding
the research paper topic. Meyer Schapiro theory of style is used in this research equivalent
to feature its style and design of the ceremonial coronation attire. Method applied was the
qualitative method because it is the suitable approach to gathering valid data from the
experience experts. It is also discussed on the style, muskat and the design of ceremonial
attires of them. The coronation attire also known as Royal Regalia. The items are
Tengkolok di-Raja, Pending di- Raja, Short Keris and Long Keris. Finally, this research
hopefully will benefit and provide a vital source of references to the Malay civilization,
researchers, academicians, scholars, students, cultural activist, and also Malaysian
regarding with the formal coronation ceremonial attire of Seri Paduka Baginda Yang diPertuan Agong especially back dated during the period of 1957 until 2016.
Keywords - Coronation ceremonial attire, muskat, style, design.
I.
INTRODUCTION
Seri Paduka Baginda yang di-pertuan Agong is the highest ruler in Malaysia. Their ruler
cycle rotate every five years of throne. Clothing is needed of each individual, regardless
of status and position. Clothing is required in every activities of life, from the official
ceremony to normal activities. Each activities tend to have different type of clothing that
suit in different agenda. Clothes can be to wrap up the naked body from any element
that could hurt body, adjust their body temperature with the fluctuate weathers, keep
their dignity and pride and also give the comfy to the wearer by Zubaidah Shawal
(1994). The royaltys family and traders, they are taught to adorn beautiful clothes
from the early ages. Their costumes, are adapted from the foreign elements such as
wearing robes, wore coat made of satin and brocade textiles with striking fabric color.
They also wear headdress with velvety materials ornamented with golds, and also
wearing headband of gold thread, Zubaidah (1994). This shows that, the Royalties attire
had been influence and been adapted from the out reign civilization. Their clothes made
from luxury fabrication that are high in quality and beauty. But yet, the Malay identities
can be trace from these costumes by observing thru the ornaments and the detailing.
225
II.
AIM
To discover the development of formal ceremonial coronation attire of Seri
Paduka Baginda Yang Di-pertuan Agong from I XIV from 1957 until 2016.
III.
OBJECTIVES
To explore the style that had been use for the ceremonial attire of Seri Paduka Baginda
Yang Di-pertuan Agong from I XIV from 1957 until 2016 and to document the
knowledge regarding this research topic.
IV.
SIGNIFICANCE
This research will oblige as an informative documentation to the academicians and
historians that can be directed as a reference guide. Researchers may refer to this
study and find other lacking data and be inspired to dig more on the Seri Paduka
Baginda Yang Di-Pertuan Agong related to the Royal Institution Tradition and
Customs. This heritage knowledge that being inherited to the lovers can be preserved
and persist for the upcoming generations.
V.
RESEARCH QUESTION
What is the specific style for the formal coronation attire of Seri Paduka Baginda Yang
Di-pertuan Agong ?
VI.
RESEARCH METHODOLOGY
Method of qualitative, based on semi-structure questions to selected respondents. The
analysis of the finding been analyse by applying an art theory by Meyer Schapiro the
theory of Style.
VII. LITERATURE REVIEW

Seri Paduka Baginda Yang Di-pertuan Agong is a representative from several
states in Malaysia. According to Abdul Aziz Bari in his book entitled Majlis Rajaraja; kedudukan dan Peranan dalam Perlembagaan Malaysia (2003), the federal
constitution stipulates that a king was eligible to be elected as the Yang Dipertuan Agong with several issues that must be consider, of 1) unless if he is not
adult, 2) he told the Penyimpan Mohor Besar Raja-raja that he does not intend to
be selected as Yang Di-pertuan Agong, and 3) Majlis Raja-raja has adopted a
resolution that he was not fit to run the tasks of Seri Paduka Baginda Yang Dipertuan Agong due to infirmity of mind or physical or else for other reasons. The
selection of Yang Di-pertuan Agong is confidential. After the selection occurred,
Yang Di-Pertuan Agong must be on duty for five years and the cycle keeps rotating for
every five years.
226
Table 1: List of Seri Paduka Baginda Yang di-Pertuan Agong

N
Details
N
Details
o
o
Negeri Sembilan
Johor
1
8
31 August 1957 1 April 1960

Seri Paduka Baginda
Almarhum Tuanku Abdul
Rahman ibni Almarhum Tuanku
Muhammad
(24.8.1895-1.4.1960)
Selangor
14 April 1960 1 September
1960
Seri Paduka Baginda Almarhum
Sultan Hisamuddin Alam
Shah ibni Almarhum Sultan
Alaeddin Sulaiman Shah
(13.5.1898-1.9.1960)
Perlis
21 September 1960 20
September 1965
Tuanku Syed Putra Alhaj ibni
Almarhum Syed Hassan
Jamalullail
(25.11.1920-16.4.2000)
Terengganu
21 September 1965 20
September 1970
Tuanku Ismail Nasiruddin
Shah ibni Almarhum Sultan
Zainal Abidin
(24.1.1907-20.9.1979)
Kedah
21 September 1970 20September
1975
Al-Sultan Almutasimu Billahi
Muhibbudin Shah ibni Almarhum
Sultan Badlishah
(Born in 28.11.1927)
Kelantan
21 September 1975 30 Mac
1979
Tuanku Yahya Petra ibni
Almarhum Sultan Ibrahim
(10.12.1917-29.3.1979)
Pahang
26 April 1979 25 April 1984
Seri Paduka Baginda Sultan
Haji Ahmad Shah Al- Mustain
Billah ibni Almarhum Sultan
Abu Bakar RiAyatuddin AlMuadzam Shah
(Born in 24.10.1930)
227
1
0
26 April 1984 25 April 1989

Sultan Mahmud
Iskandar Alhaj ibni Almarhum
Sultan Ismail al-Khalidi
(8.4.1932-22.1.2010)
Perak
26 April 1989 25 April 1994
Seri Paduka Baginda
Almarhum Sultan Azlan
Muhibbudin Shah ibni Almarhum
Sultan Yussuf Izzudin
Shah Ghafarullahullahu
(Born in 1928)
Negeri Sembilan
26 April 1994 25 April 1999
Tuanku Jaafar ibni
Almarhum Tuanku Abdul Rahman
(19.7.1922-27.12.2008)
1
1
Selangor
26 April 1999 21 November 2001
Sultan Salahuddin Abdul
Aziz Shah ibni Almarhum Sultan
Sir Hisamuddin Alam
Shah (26.4.1999-27.12.2008)
1
2
Perlis
13 December 2001 12 December
2006
Seri Paduka Baginda Tuanku
Syed Sirajuddin ibni
Almarhum Tuanku Syed Putra
(Born in 17.5.1943)
1
3
Terengganu
13 December 2006 12 December
2011
Seri Paduka Baginda Al-Watiqu
Billah,Tuanku Mizan
Zainal Abidin ibni Almarhum
Sultan Mahmud
Al-Muktafi Billah Shah
(Born in 22.1.1962)
Kedah
Seri Paduka Baginda Al-Sultan
Almutasimu Billahi Muhibbudin
Tuanku Alhaj Abdul Halim
Muadzam ShAh ibni Almarhum
Sultan Badlishah.
(Born in 28.11.1927)
1
4
VIII. FINDING
What is the specific style for formal ceremonial coronation attire of Seri Paduka
Baginda Yang di-Pertuan Agong? Finding, the styles for formal ceremonial coronation
attire of Seri Paduka Baginda Yang di-PertuanAgong are in two styles. The first and
second Seri Paduka Baginda Yang di-Pertuan Agong wore a complete set of Baju
Kurung/Baju Melayu cekak musang. Both styles are complete from the headdress until
to the bottom accessories. The headdress for the first Agong, Seri Paduka Baginda
AlmarhumTuanku Abdul Rahman ibniAlmarhumTuanku Muhammad (31.8.1957
1.4.1960) is in dendam tak sudah style. The style of dendam tak sudah is
originated from the Negeri Sembilan. The second Seri Paduka Baginda Yang Dipertuan
Agong, Seri Paduka Baginda Almarhum Sultan Hisamuddin Alam Shah ibniAlmarhum
Sultan Alaeddin Sulaiman Shah (14.4.1960
1.9.1960), Tuanku sultan of Selangor. Tuanku also wear a complete set of Baju
Kurung cekak Musang in the same material from head to toe. The difference of both
styles is on the headdress. The second Seri PadukaBaginda Yang di- PertuanAgong wore
a tengkolok diraja in setanjak balung raja folded. This represents the Selangor state
style of tengkolok or solek, unfortunately Tuanku had died before his throne ceremonial.
The front side of the headdress tengkolok, compliment with the national symbol
of a crescent and eleven pointed stars brooch. Tuanku wore a full set of baju kurung cekak
musang with a pair of pants with the same material. At the fastening front part of the baju
kurung, it is included with five buttons. Besides, tuanku also wore a samping in dagang
luar style neatly fasten with a big size royal waist buckle pending diraja with national
symbol at the center part. Other accessories include, a short royal keris keris pendik diraja and he also wore an honor of Darjah Utama Seri Mahkota Negara (D.M.N) complete
with breast stars, a yellow sash and badge. According to the interview with Sulaiman
Ahmad (2016), the placement for the breast stars and its measurement is following
the protocol and etiquette. The placement call as the diamond shape, start at the middle
parts, followed by the left side. The placement of breast star is depend on the total of
breast stars that Seri Paduka Baginda Yang di-Pertuan Agong want to wear for that
particular occasions.
The ceremonial coronation attire for Seri Paduka Baginda Yang di-Pertuan Agong
style had change from wearing the full set of Baju Kurung cekak musang to Muskat
starting from the third Seri Paduka Yang di-PertuanAgong, Seri Paduka Baginda
Almarhum Tuanku Syed Putra Alhaj ibni Almarhum Syed Hassan Jamalullail
(21.9.1960 20.9.1965). Tuanku wore a black suit of Muskat with royal yellow songket
of Tengkolok and samping. Tuanku also wore a black trouser with golden thread tekat
tuji that being embellish to the hemline of the trouser in similar design of the muskat.
The following Seri Paduka Baginda Yang di-Pertuan Agong the forth, Seri
Paduka Baginda Almarhum Tuanku Ismail Nasiruddin Shah ibni Almarhum Sultan
Zainal Abidin (21.9.1965 20.9.1970). The changes occurred at the samping and
tengkolok in material of royal yellow songket has is change to black and golden thread
songket. Besides, the sash change from the yellow sash into the red sash with bow tie at
the end. Move to the sixth Agong, Seri Paduka Baginda Almarhum TuankuYahya Petra
ibni Almarhum Sultan Ibrahim (21.9.1975 29.3.1979), tuanku wear the same muskat
with red sash but at the top part of the tengkolok di-raja there is a figure of the Kelantan
State symbol.
228
Figure 1: Variation of Maskat style.
First style
Second style
Third style
The seventh Seri Paduka Baginda Yang di-Pertuan Agong, Seri Paduka Baginda
Sultan Haji Ahmad Shah Al-Mustain Billahibni Almarhum Sultan Abu Bakar
RiAyatuddin Al- Muaadzam Shah (26.4.1979 25.4.1984) has made major changes
on the golden thread muskat design, while the whole style remain the same. The design
is in updates version which is in a specific details and intricate design. The hibiscus
motif used is in more stylize pattern but still keep the awan larat pattern as a whole.
The third changes of the muskat design occurred during the ninth Seri Paduka
Baginda Yang di-Pertuan Agong, Seri Paduka Baginda Almarhum Sultan Azlan
Muhibbudin Shah ibni Almarhum Sultan Yussuf Izzudin Shah Ghafarullahullahu
(26.4.1989 25.4.1994), the golden thread design has finally changed into more simpler
design but still maintain the similar element of national flower, the hibiscus and repetition
of awan larat pattern along the muskat with a single line along the opening part of the
muskat. Other than that, the style remains the same. Last but not least, the current Tuanku,
Seri PadukaBaginda Yang di-Pertuan Agong Baginda Al-Sultan AlmutasimuBillahi
Muhibbudin Tuanku Alhaj Abdul Halim Muadzam Shah ibni Almarhum Sultan
Badlishah (starting from 13.12.2011) have a changes at the sash part from the red sash
into the yellow sash. Besides that, the size of the Royal waist buckle plate is smaller
compared to the previous size. According to the interview in (2016) the changes occur is
due to the certain personal reasons and body size of Tuanku. In compliment with the
muskat attire, the set of royal regalia for Seri Paduka Baginda Yang di-Pertuan Agong
the tengkolok di-raja, short keris, long keris and royal waist buckle still in the same set
back dated from 1957 until 2016. The ceremonial costume explain as an attire that suit
with specific ceremony or event, in other words clothing worn for a very special occasions.
For example, in academic protocol of graduation ceremony, all participants have to wear
the graduation robe, complete set with the mortar board or bonnet. The exploration on the
material, style of the garment comes with numbers of motif that embellished the
coronation attire. The motifs, form and meanings of the embellishment and tekat tuji are
explored in great detail. It is hopes that with greater understanding and appreciation
among Malaysians, the art of traditional Malay attires and the exclusive embellishment
of gold thread embroidery will be preserved and be maintained as our traditional Malays
heritage. The design and idea of the muskat must be agreed by Majlis Raja-Raja. The
ideas of golden thread embroidery for the muskat is being agreed by Majlis Raja-raja
and being acknowledged by Tan Sri Rais Yatim the Ministry of Culture and Tourism back
dated in 1992. From that onwards, the design at the muskat remain until now. Furthermore,
the design of the awan larat with hibiscus has been recognized as national indication
of Malaysia.
229
IX. CONCLUSION
Malay outfit born of the growth and development of clothing ancients through the
changes process. These are due to the influence bring by the merchants and the surrounding
community. Result of this clash, various kinds of textile, variation of clothing, headwear,
and accessories appear in Malay. According to Abbas and Norwani (2003) till now the
most popular women traditional attires are baju kurung, baju kebaya panjang, baju kebaya
pendek, baju kurung kedah, and baju kurung Pahang.
The ceremonial costume explain as an attire that suit with specific ceremony or
event, in other words clothing worn for a very special occasions. For example, in
academic protocol of graduation ceremony, all participants have to wear the graduation
robe, complete set with the mortar board or bonnet. The exploration on the material, style
of the garment comes with numbers of motif that embellished the coronation attire. The
motifs, form and meanings of the embellishment and tekat tuji are explored in great detail.
It is hopes that with greater understanding and appreciation among Malaysians, the art of
traditional Malay attires and the exclusive embellishment of gold thread embroidery will
be preserved and be maintained as our traditional Malays heritage. The design and idea of
the muskat must be agreed by Majlis Raja-Raja. The ideas of golden thread embroidery
for the muskat is being agreed by Majlis Raja-raja and being acknowledged by Tan Sri
Rais Yatim the Ministry of Culture and Tourism back dated in 1992. From that onwards,
the design at the muskat remain until now. Furthermore, the design of the awan larat
with hibiscus has been recognized as national indication of Malaysia.
ACKNOWLEDGEMENT
My big appreciation and thanks goes to my supervisor in UiTM Shah Alam, Dr. Arbaiyah
and to all who had supported me with this research. Thanks a lot for the supports, patience
and ideas in assisting me with this research. I also would like to express my gratitude to
my family, my appreciation goes to all of respondents and colleagues who had provided
the facilities and assistance during interview sessions and data collections, and to those
who had lend me their hands, really appreciated that.
REFERENCES
Zubaidah Syawal, Busana Melayu, Kuala Lumpur: Jabatan dan
Antikuiti Malaysia, 1994.
Abdul Aziz Bari, Majlis Raja-raja; Kedudukan dan Peranan dalam
Perlembagaan Malaysia. Selangor: Dewan Bahasa dan Pustaka.
Siti Rosnah, Raja Permaisuri Agong; Payung Mahkota Ibu Pertiwi.
Unknown, 2006.
Radzuan bin Radzi (2016, March 19). The Seri Paduka Baginda Raja
Permaisuri Agong attire. Nor Idayu Ibrahim-intervieweer.
Sulaiman bin Ahmad (2016, May 24) Muskat Seri Paduka Baginda yang di-Pertuan Agong.
Nor Idayu Ibrahim-intervieweer.
230
REJECTION OF THE CIGARETTE BILLBOARD SAMPOERNA A

MILD
MULA MULA MALU-MALU, LAMA LAMA MAU
Donna Carollina
Graduate School of Indonesia Institute of Arts Yogyakarta
Abstract
In early 2015, a billboard advertisement of cigarette product Sampoerna A Mild titled Mula
Mula Malu-Malu, Lama Lama Mau or in English means Initially Shy, Then Wanting were
protested by the majority of Indonesian people. Protests were stated on the website www.change.org,
with a petition asking for the billboard to be removed immediately. Shortly after, Sampoerna A Mild
company responded to the protest by apologizing to the people of Indonesia and removing the
billboard.
This case raises several questions for the author: Why was Sampoerna A Milds billboard
removed?; What were the communicative sign contained in the illustrations that causes the billboard to
be removed?; What was the idelogical background of Indonesian society which causes them to reject
the billboard of Sampoerna A Mild?
To answer these questions, this research based on a case study uses the methods of art critic as
described by E.B Feldman. Data collection was done based on the study of literature, then the
findings were analyzed inductively.
Results of research revealed that the billboard was removed because it was considered a
pornographic illustration. Pornography as seen in the communicative sign illustration of a young
couple hugging each other, as well pornography in the illustration which includes the text that reads
Mula Mula Malu-Malu, Lama Lama Mau or Initially Shy, Then Wanting. The majority of
Indonesian society rejected the billboard of Sampoerna A Mild and considered the billboard
illustration to contain pornography due to their ideological background which is based on ethics and
morality of Indonesian culture. Therefore, that rejection of the billboard is mainly due to an
illustration displaying things that are in violation of Indonesian culture.
Keywords: advertisement, billboard, cigarette product, Sampoerna A Mild, pornography
I.
INTRODUCTION
Advertising activity continues to change. Changes can be caused by regulations
assigned by the government of the country. In Indonesia, the changes can be seen in the
advertisement of cigarette products, such as billboards. Initially, advertisement of cigarette
products can show the form of cigarettes and smoking activity on its advertising illustration.
But the practice is no longer done after the Indonesian government certified Undang-Undang
Penyiaran 32 Tahun 2002, regulating the practice of promoting the form of cigarettes in their
advertisements. As well as the regulations listed in the Etika Pariwara Indonesia, on the
discussion about advertising of cigarettes and tobacco products.
The impact of these regulations on the advertisement of tobacco products is the
approach that is currently used to communicate the content of the advertisement using
communicative signs. It is intended that the consumer or the communicant can read the
meaning presented by the communcative signs. But some billboards of tobacco products are
protested, resisted, and ended with the removal of the advertisement because of the signs that
were presented in the illustration billboards, one of which is Sampoerna A Milds billboard.
In early 2015, a billboard advertisement of cigarette product Sampoerna A Mild titled
Mula Mula Malu-Malu, Lama Lama Mau or in English means Initially Shy, Then
231
Wanting were protested by the majority of Indonesian people. Protests were stated on the
website www.change.org, with a petition asking for the billboard to be removed immediately.
Shortly after, Sampoerna A Mild company responded to the protest by apologizing to the
people of Indonesia and removing the billboard.
The case intrigued the author and raised several questions. Why was Sampoerna A
Milds billboard removed?; What were the communicative signs contained in the illustrations
that causes the billboard to be removed?; What was the idelogical background of Indonesian
society which causes them to reject the billboard of Sampoernas A Mild?
Picture 1. Billboard advertisement of A Mild that received protests from Indonesian society
(Accessed from www.habibasyrafy.com, on 18 April 2015).
METHODS
This research is a qualitative study using a case study approach. To answer the
research questions, the methods of art critic as described by E.B Feldman will be used.
Feldman (1967:469) described that there are four steps in criticizing the work of art including
description, analysis, interpretation, and evaluation. Each steps cannot stand individually
without the other theories to support and sharpen the research results. It is necessary to use a
set of other theories such as visual communication design theory, theory of sign, and cultural
theory. A set of theories will be operated on the method of art critic and the data collected by
the literature. The findings will then be analyzed inductively.
II.
232
BILLBOARD
Find out the reason behind the

rejection based on literature
Criticizing with art critic

method
Description
Analysis
Interpretation
Evaluation
To observe and
describe the
elements in the
design of
billboards using
the visual
communication
design theory.
Analyze the unity

of the elements in
the Sampoerna A
Mild billboard
using visual
communication
design theory
about the basic
principles of design
and layout.
Interpret the
meaning of the
Sampoerna A Mild
billboard through
the communicative
signs that
presented it.
Using sign theory
which reveals that
the sign is a
referent system
was built as the
correlation in the
interpret process.
Compare the
design of
Sampoerna A Mild
billboard and
consider the role
and impact of the
socio-cultural
sphere of
Indonesia.
The process done
by considering
cultural value
system that
developed in
Indonesian society.
Make conclusions based on

the findings obtained from the
analysis process inductively.
233
III.
RESULTS
Sampoerna A Mild is a renowned pioneer of mild cigarette kretek in Indonesia

produced since 1989. Sampoerna A Mild's strong dominance in the market of cigarette
products in Indonesia is due to the promotion and marketing strategy undertaken, one of
which is to advertise on billboards. 1996 was the starting point where Sampoerna A Mild
launched an advertising campaign with the power of words and visual illustrations that are
able to amaze consumers and communicants. This condition persisted until early 2015, when
Sampoerna A Milds billboard entitled "Mula Mula Malu-Malu, Lama Lama Mau" or in
English means Initially Shy, Then Wanting was protested by the majority of Indonesian
people.
The protests arose because of the assumption that the advertisement production of
Bates and Chi agency contains pornography (by Zia Ul Haq in website pksipiyungan.org).
Even a protest by Irfan Novianda held as a petition on the website www.change.org, rejected
the billboard and asked for public support to have the billboard removed (www.m.tempo.com,
on 06 January 2015). Shortly after, Sampoerna A Mild company responded to the protests by
apologizing to the people of Indonesia and removing the billboard.
To criticize Sampoerna A Milds billboard, author uses the method of art critic by E.B
Feldman consisting of description, analysis, interpretation, and evaluation. This method is
used in order to criticize billboard in detail and depth.
Description. In description, the billboard used a photo as illustration. This
advertisement is a horizontal dimension and have a size of 16:9. Illustration on the billboard
have a white background and the illustration shows a young couple hugging each other. In
addition to the two young couple image, also appears the text Mula Mula Malu-Malu, Lama
Lama Mau printed in black. Sampoerna A Milds red logo also appears in the circumstances,
distorted but still readable behind the text Go Ahead in black. While the bottom of the
billboard shows an illustration and text of the smoking ban (regulations required by the
Indonesian government). The illustration depicts a male figure holding a cigarette and skullshaped smoke. Besides the illustration contained the text that reads Peringatan: Rokok
Membunuhmu or in English means Warning: Smoking Kills You in black. While the far
right, there is the text 18+ inside the circle and printed in black.
Analysis. Design is formed by unitary elements. The elements includes illustrations,
photography, symbols, and typography (Adityawan, 1999: 3). In the outline, the key elements
in the illustration of Sampoernas billboard includes photography and typography, where the
photo shows a young couple hugging each others and the typography reads Mula Mula
Malu-Malu, Lama Lama Mau and also Go Ahead. The placement of each elements in the
layout are united and balanced. This balance are seen from the arrangement of elements that
makes up the illustration. Layout uses symmetrical balance, with one column grid (grid
manuscript). It is seen from the balance on each side of the layout (Anggraini & Nathalia,
2014: 63). The typeface used for the text is decorative, where this type is usually used only
for the title (heading) text (Anggraini & Nathalia, 2014: 63). In relation with the use of
typography, the illustration billboard of Sampoerna has fulfilled the criteria, good legibility
and readibilty.
Interpretation. In Sampoerna A Milds billboard, elements that stands out and is the
main point lies on the photo depicting a young couple hugging each other and the text "Mula
Mula Malu-Malu, Lama Lama Mau. Both of these objects becomes the system referents for
the deciphering of meaning. This is possible because the advertisement, though its function is
to sell the objects, also shows the process of meaning (Williamson, 2007:2).
234
Broadly speaking, the photograph was appointed based on the image of selfexpression of Indonesian teenagers today. Especially with the style of dress in casual outfit,
which is synonymous with freedom of expression for teenagers. This is reinforced by the
tattoo on the boy's arm. Most people argue that tattoos are a form of self-expression.
Similarly, the girl with loose hair and sleeveless shirts that shows their whole arms also
reinforced the statement. Loose hair and bare arms showing sensuality of women, as is often
exposed by the mass media, had become the typical stereotypes of beauty and sensuality of
modern women.
This illustration depicts how the reality of the freedom of young people to behave and
get along today, unabashedly showing the close relationship between the opposite sexes. As
depicted on the object, the young couple is hugging each other, but there is still a distance
between each of their bodies. As if they have a close relationship but there is still a distance.
It is also seen from the position of the girl who is looking away from the face of the boy.
The text "Mula Mula Malu-Malu, Lama Lama Mau" clarifies the photo illustration,
explaining that the relationship between the couple is relatively new. There is a hesitation,
represented by the word "Malu-Malu" or in English means "Shy". "Mula Mula Malu-Malu"
or in English "Initially Shy" indicates that at the beginning of every relationship, they seem
"Malu-Malu" or in English "Shy" between each other. In the photo, the object described as
the "Mula Mula Malu-Malu" geared more towards the girl. Because the girl is in the arms of
the boy, from this position it was assumed that the boy in the photo is trying to "lead" the girl,
who look embarassed.
Furthermore, the text "Lama Lama Mau" or in English "Then Wanting" tries to
convince the communicant that although initially shy, the girl gradually will "Mau" or in
English "Wanting". The word "Mau" can be translated into a fairly broad range of meanings.
However, the orientation of this word directed to negative associations. These words seems
to be aimed to the context of the freedom in their relationship. "Mau" can be interpret as to
do more things in their relationship. This assumption can easily arise because today's youth
with the identity of freedom of expression, is considered closely lapsed into a free sex
activity. These negative associations tends to be harassing or demeaning girls. In additiion,
the phrase "Go Ahead" can be interpeted in Indonesian "silahkan saja" or "go ahead, there is
no problem with it". The tagline used as approving or undestanding that smokers are free to
do anyhing they wanted with no need for doubt. The text Mula Mula Malu-Malu, Lama
Lama Mau have another alternative interpretation for new smokers who are initially shy to
smoke. New smokers (mostly young smokers) often hides the fact that they smoked. Thus,
these smokers often smokes secretly. But over time, these smokers got used to it and are no
longer ashamed to smoke even in public.
Evaluation. The theme of Sampoerna A Milds advertising campaigns from 1996 to
2015 often raised social issues that are rife in Indonesia. The theme was appointed in its
advertising tagline to provoke and reflect the social atmosphere within the Indonesian
community. Because of the actuality of the theme raised, few consumers and communicants
are interested in Sampoerna A Mild.
Likewise with the theme Go Ahead which started in 2009. This tagline is used as a
encouragement for smokers of Sampoerna A Mild to do what they like without hesitation.
But this time, the theme was quite provocative as Sampoerna A Mild tried to give a picture of
the reality of young people today in their daily run.
Mula Mula Malu-Malu, Lama Lama Mau billboard included in the advertising
campaign carries the theme Go Ahead. This billboard was protested by the assumption that
the illustration of the billboard contains pornography. Mula Mula Malu-Malu, Lama Lama
Mau and the text Go Ahead reinforced the assumptions that it tolerates the action of free
235
sex. Combination of this text can be read as initially it was shy but later wanting, its okay
and go ahead. Although there are alternatives to interpret the meaning of these billboards
that relates to new smokers, who are initially shy to smoke then no longer as doubtful, the
illustration of a young couple hugging each other reinforced a meaning that implies
pornography. This interpretation then brought on the removal of the Sampoerna A Milds
billboard.
In relation to pornography, it refers to the definition of writing, pictures, or objects
that violate decency, or text, images, or objects that can evoke or stimulate lust (KBBIIndonesian Dictionary). The things related to pornography has been regulated in UU RI No.
44 Tahun 2008 and Etika Pariwara Indonesia Poin 1.26 related to pornography. From the
description of these articles, the illustration of Sampoerna A Milds billboard fit into a
category that contains pornographic material. It is seen from the photos and text that linked to
pornography. The illustrations are exploiting things that violate cultural values of Indonesian
society.
Cultural values consisting of concepts concerning all things are considered valuable
and important to a society. This value is used to guide the life of the community. Cultural
values are the highest and most abstract level of customs (Koentjaraningrat, 2014:75-76).
Customs serves as guidelines for the Indonesian community, living in accordance with those
disclosed in the proverb Adat bersendi syarak, syarak bersendi kitabullah, meaning in
acting, human must always remember the rules of custom and religion. And in another
proverb, it says, Adat di isi, lembang dituang, meaning doing everything according to the
custom (Chaniago, 1993:14). These proverbs are deeply trusted by most of Indonesian
people.
Indonesian people tends to believe the motto and symbols made by themselves (Lubis,
2013:29). Then it creates the Indonesian society whose cultural characters are elegant, gentle
(sentimental), spiritual, noble, and civilized. The society is very concerned with the cultural
values of ethic (noble and spiritual) and morality (civilized). It makes pornography as a thing
that violates the rules of ethic and do not reflect the morality of Indonesian society. Thus,
Sampoerna A Milds billboard was rejected by most of Indonesian society because the
illustrations contained in the billboard does not reflect the ideology of Indonesian culture.
IV.
REFERENCES
Adityawan S, Arief. 1999, Tinjauan Desain: Dari Revolusi Industri Hingga Posmoderen.
Cetakan ke-1. Jakarta: UPT Penerbitan Universitas Tarumanegara.
Chaniago,Amran. 1993, 1700 Peribahasa Indonesia. Bandung: PustakaSetia.
Dewan Periklanan Indonesia. 2007, Etika Pariwara Indonesia: Tata Krama Dan Tata Cara
Periklanan Indonesia. Cetakan ketiga . Jakarta: Dewan Periklanan Indonesia.
Feldman, Edmund Burke. 1967, Art as Image and Idea. New Jersey: Prentice Hall, Inc.
Koentjaraningrat. 2014, PengantarAntropologi I. Cetakan keempat. Jakarta: Rineka Cipta.
Lubis, Mochtar. 2013, Manusia Indonesia. Jakarta: Yayasan Pustaka Obor Indonesia.
Martanto, Syahrial Wiryawan &WahyuWagiman. 2007, Tindak Pidana Pornografi dan
Pornoaksi Dalam RUU KUHP. Jakarta: ELSAM dan Aliansi Nasional Reformasi
KUHP.
Williamson, Judith. 2007, Decoding Advertisement: Membedah Ideologi dan Makna Dalam
Periklanan.Yogyakarta: Jalasutra.
https://www.pkspiyungan.org/2015/01/kenapa- iklan rokok-lebih-kreatif-tanpa.html. 18April
2015.
236
https://www.change.org/p/sampoerna-akhirnya-hentikan-reklame-mesum-iklan-rokok-a-mild.
18April 2015.
https://m.tempo.co/read/news/2015/01/06/078633182/Ini-Penggagas-Petisi-Tolak-IklanRokok-Mesum. 5 Mei 2015.
237
DIALECTICS THE LIFE OF VISUAL ARTS IN WEST SUMATRA

1986 - 2003
Composition and Research Program
Graduate School of Indonesia Institute of The Arts Yogyakarta, 2016
By : Nessya Fitryona
Abstract
This study is an effort to explain the process of dialectic that occurred in the visual art practices
in West Sumatra in 1986 - 2003. At the time, there was a struggle of view inside looking at the
art work and art practice. The condition started from the contradiction situation happened in the
presence of art installation in 1986 and began to thaw coincide with the emergence of
Komunitas Seni Belanak (KSB) in 2003. Dialectical process in the life of visual arts in West
Sumatra started from thesis was the view of convention in modern art that has developed before
1986. Then it continued on antithesis phase in 1986. Antithesis phase was divided into two
periods. Firts the period is the arrival of Agus Purwantoro (1986 - 1999) and the second period
is the movement of IKIP Padang college students (1995 - 2003). The period of the arrival Agus
Purwantoro produced antithesis phase the negation release of convention modern art practices
in West Sumatra. That convention regarded curb freedom in expression. Synthesis in this period
culminate to rejection of negation which offered by Agus, and return the great thesis about view
of modern art which still grew strong. The next antithesis phase is found from period of the
movement carried out by a group of college students in IKIP Padang. Then negation offered of
freedom openness to the development of discourse fine arts. The movement culminate to the
establishment of Komunitas Seni Belanak (KSB). That movement produced a synthesis like
accepting the views and practices of visual art with new tendency in contemporary art practice
which indicated important the milestone of development in West Sumatra.
Keywords: Dialectics, Modern Art, Contemporary Art
INTRODUCTION
West sumatra is one of areas in the development of the visual arts in indonesia that has
received attention from observers of the arts. Over a period of two decades, life the visual arts
in West Sumatra in year 2000 show the increase in activity of the visual arts and development
of form and visual style works appear. This can be seen from event the art of the intense held
such as an exhibition big reunion alumni SMSR perodically, exhibition artist from West
Sumatra which spread in indonesia in Indonesia National Gallery, exhibition Bienalle Sumatra
which organized since in 2012, until the exhibition in art spaces of alternative more and more
appear. From the activities of the art of which organized, can be observed many various changes
a tendency forms work and art practices which significantly from previous development. This
is indicated happen a shift the view in art practice.
Previously, the development of a way in West Sumatra in the 20th century appears to
exist in the modern of arts. That develops the art work first identical with a characteristic visual
mooi indi with naturalistic style. The existence of pattern the modern of art start various since
establishment of education institutions art (Rosa, 2004 : 11). The establishment of institution
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started with Kweekcshool in 1856 and Indonesiche Nederlands School (INS) Kayu Tanam in
1926. In the sixties, next appear two education institutions of art namely Institut Keguruan dan
Ilmu Pendidikan (IKIP) Padang and Sekolah Seni Rupa Indonesia (SSRI) Padang. Style of the
visual arts especially naturalist painting in West Sumatra then development towards realists,
expressive, decorative, kubistic and some style of the visual arts in other modern art more
diverse including calligraphy to abstract. So far, artist still use a mediums of expression as a
conventional.
Most artist who actively involved in West Sumatra in decade 2000, especially young
generation began to carry works having freedom of expression such idea and medium in they
art work. The art works they do with mix media, installation art, performance art, happening
art, enviromental art, until works use technology latest. Wriggling it can be seen clearer of the
appearance of Komunitas Seni Belanak (2003).
Shift a view in art practices in West Sumatra of course not present by self. But there are
things trigger, influence, and initiated happen a change of views in art practice. Such as Saidi
said, a concatenation of the changes that occurred is a process history that runs dynamiclly and
dialectically. According to that, journey of the art history which dialectical tinged with the
emergence of a new art work with the spirit of entry even a radical which cannot be separated
from motivation a tendency the dominant of art work present before. So that the changes that
occurred in the life of the art form of him on a territory in the spectrum of history having
potential tinged with various spirit entry to a tendency the development of that occurred earlier
to condition of an condition new development having a pattern of terms of dialectical (Saidi,
2008 : 2).
Depart from that statement, development of visual art in west sumatra around the end
in the year in 1980 show a interesting fact. Rosa (2006 : 14) said in 1980s appear symptoms a
visual art that considered extreme through the art installation, performance art, happening art
and variety of art that the dissolution of idiom-idiom form matra, no longer talk dwi matra,
trimatra, and caturmatra. Based on that statement, known that phenomenon starts from he
emergence of installation art called Di sini Diam in 1986 at surroundings campus IKIP
Padang (Ganto, no.48/Th.VI/ November 1995). The presence of work was followed up with the
emergence of works performance art, happening art, and paintings use various media non
conventional.The work was known as new form and different in emergence in Padang even
West Sumatra. In the next, works appear have the potential as spirit struck the condition in
visual art practices that develops formerly in West Sumatra (Purnawati, 1994 : 7).
Various responses that has emerged since the middle year 1980 indicates the a dialogue
spaces. That condition first appeared not be taken for granted, but reap a range of conditions
contradictory. In addition, phenomenon that occurs in the middle year 1980 show the process
of conflict two the view of art practices. Two views consist of sight art practices of modern
visual art who has long been developing in West Sumatra and views new possibilities in arts
practice. That almost to escape view and become a phenomenon that is pulled to examined.
If be attracted in a straight line to practices of visual art that happened in the year 2000,
the condition contradictory of struggle both views that goes around the year 1980 is evident has
relation shifted to a condition that was much open, especially the reappearance Komunitas Seni
Belanak in 2003. It means, that phenomenon not is stand alone but has relationships to relate in
dialectically. So problems in this research was which the process dialectics occurring in the life
of visual art in West Sumatra within 1986 and 2003.
METHODS
The research is qualitative study with descriptive analysis and historical approach. Data
collected of words obtained from the and behavior that observed covering perception,
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motivation, the act of (primary data) and archive and documentation activity and art works who
attended between 1986 - 2003 (secondary data). The problems this research with the theory
dialectics which stated by G.W.F. Hegel. According to Hegel, history move forward with in a
dialectical manner in landscape idea, the difference of time the development of that runs
continuously in phase thesis, antithesis, and yielding synthesis show new existence. Then, the
new existence will return to the through movement dialectically (Mudhofir, 2001 : 43).
T
Keterangan :
T = Thesis
A = Antithesis
S = Sinthesis
The level of idea in perspective dialectics hegel have ties as by the collision of views formed in
the life of visual arts in West Sumatra in around the end of year 1980 to look liquid at the
beginning of the year 2000 until in next time. Thesis can be seen from developmentally a
historical which show focused a view, or concepts a framework for the creation of artist, and
shows a ideology thought art or culture widely (Burhan, 2013 : 121). Then the thesis has the
potential to cause an idea that is opposition to that which is called antithesis. This happened
because that reality is represented on an idea first demanded that reality (Ash-Shadr, 1993 :
151). Thesis and antithesis are reconciled in form of a new affirmation. That is aufgehoben.
Aufgehoben have three meaning: firts, exclude or deny, thesis or antithesis eliminated. Second,
caring for storing or preserving contradictions thesis and antithesis. Thrid, put the thesis and
antithesis in a higher level.
RESULTS
A. The View of Modern Art in West Sumatra Before 1986
Movement of dialectics started from the big ideas or large narrative as thesis. The large
thesis can be seen from developmentally a historical which show focused a view, or concepts a
framework for the creation of artist, and shows a ideology thought art or culture widely (Burhan,
2013 : 121). Before the entry of the influence of the modern visual art in West Sumatra as with
the presence of the dutch colonial that carries modern culture in the era of colonialism, visual
art practise still known traditionally to the production of objects of art collectively and
anonymous. Such carvings in Rumah Gadang, songket, pottery, and other handicrafts products.
Contiguity the modern art in West Sumatra stems from an education art founded the
Netherlands government that imparts concepts and universal values, including in the field of
Western art that is Kweekschool. This school then bring out an artist named Wakidi who
succeeded impact on the lives of the visual arts in West Sumatra with pointedness pattern
naturalistic in paint (Rosa, 2006 : 9). Most profession artist who begin to appear having a
tendency representation objects of natural scenery at West Sumatra in landscape, calculating,
and scenic. Art works that appear in accordance catch visual with to cultivate techniques be
standardized. There are replicate work paint, make perspective color, meticulous technique,
subtlety in processing form and color same as mooi indi painting who developed in Indonesia
(Rosa, 2004 : 8).
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Later, diversity pattern the fine arts modern richer with growing some educational
institutions that has an interest in visual art, namely Indonesich Nederlandsche School Kayu
Tanam (1926), majors of fine arts IKIP Padang (1963), Sekolah Seni Rupa Indonesia /SSRI
(1965). The diversity the dynamic with introduction various forms art work as sculpture,
graphic art, kriya, in addition to the art of painting that develops dominant.
The existence of many institutions the art plus the role of artist who shows tendency
toward the modern art next influence in the perspective of in art work and art practices that is
embedded in the middle of the 20th century. Themes that often presented still tending to rest
upon of natural scenery West Sumatra in subjective presented in exotic and lyrical covering
activity social life, the figure of portrait, still life to religious themes as calligraphy and a small
number is leading to criticism social. That ideas represented into various pattern universal the
modern of visual art adapted of teachings of West such as realists, impresif, expressive,
decorative to abstract in beside still like for pattern realists and naturalist in art works artists.
That can be seen from its tendency art works artist in year around 1970 to 1990. Such as Asri
Rosdi with his abstract paint, Kamal Guchi with his naturalist paint and surealistic, Evelina
Dianita with realistic and naturalistic, Nazar Ismail with etnic art work, Firman Ismail and A.R.
Nizar with they naturalictic paint.
Firman Ismail, Warisan Nenek di

Kaki Bukik Barangan 50 Kota, 90 x
60 cm, oil on canvas
Arbi Samah, Lukisan IV (1970)
Darvies Rasjidin, Tagak Gala

(1987), 85 x 85 cm, oil on canvas
Art practices that took place before 1986 show symptoms in accordance with the
phenomenon the modern of visual art still adhered to insulation in art, values novelty in pattern
and the force and the use of techniques unconventional in art work. In the art of conventional,
art works as an object still have a distance (Susanto, 2004 : 44). So, based on symptoms art
practices that happen until the decade early 1980, and from its tendency work arises from artists
in the tradition of academic and art practices that is outside academic, view that develops wider
at the time before 1986 which became the big is convention against practices of modern art of
perspective to use of usual material in art work.
Based encourge their active role which caused occurred dialectic in West Sumatra, the
whole process can be divided into two periods. First, a period arrival of Agus Purwantoro in
1986 1998. Second, a period of movement of college students IKIP Padang 1995 2003.
B. Phase antithesis I : A period of arrival of Agus Purwantoro in 1986 1998
Dialectics know a groove the developments that it is kept in motion, changed without
stopping, and continuously caused throughout history. The process of the occurrence of
dialectics according to Hegel began from a the idea that is the thesis. Then the thesis has the
potential to cause an idea that is opposition to that which is called antithesis. This happened
because that reality is represented on an idea first demanded that reality (Ash-Shadr, 1993 :
151). In the middle of the attainment of the development of modern art especially the art of
painting that has grown rapidly and dominant in West Sumatra, about 1980 happened activity
that steal attention. The art works appear use alternative mediums, and valor in offensive themes
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in the context of criticisms of social, culture, economic, and political within the scope of the
problems that were more complex. In addition, there are the presence of forms the fine arts
alternative as mural, installation art, happening art, and performance art. Form art practices was
found in artist Agus Purwantoro from year the end of the 1980 until the end of 1990. Agus
Purwantoro art work at the time as single artist did an action in art practice which very different
from the previously had form and themes that negation a tendency developing in West Sumatra.
This has resulted in Agus Purwantoro and his gait as walk alone and separate from its symptoms
art.
A period of the arrival of Agus Purwantoro started in 1985. He came to Padang, West
Sumatra to meet call the Rector of IKIP the as teachers major the fine arts. It is an artist
graduates from Akademi Seni Rupa Indonesia (ASRI) Yogyakarta 1977. A form of negation of
phase antithesis in the development of visual art in West Sumatra starts with desire Agus to
break down reliability view academic still riveted on the concept of art practices that still
conventional and stiffening in West Sumatra at that time. Contention resulted in negation of
new bids to the shape of and the pattern think to see work of art as something free and in spite
of elements reliability. Struck the new started of the appearance of his first art work, namely art
installations Di Sini Diam in 1986 on south of campus IKIP Padang. That art instalation
consist of pile of chairs that have been worn.
The emergence of experimental art works, art installation, performance art and
happening art in art practice offered Agus Purwantoro then have a pro and contra response.
Response was triggered from the shape of art work and the difference in the use of material
unusual and distinct. That art work such as art instalation Di Sini Diam (1986), art instalation
Eling (1994), art instalation Persembahan (1995), art instalation Kambing Hitam (1996),
art instalation Nasib Nyamuk (1994), art instalation and happening art Bumi GonjangGanjing (1998). Most of his work had the characteristics of work use of language estetik is
kitsch. Agus art works simulate and copying elements the style of high artistic or object daily
for the benefit of work. For example he use objects like the seat of daily, used goods as cans,
damaged table, cardboard, an envelope, newspaper, a broom stick, clothesline, until materials
the kitchen as vegetables.
Action happening art in Bumi

Gonjang-Ganjing activity in 1998 at
soccer fields IKIP Padang
Art instalation by Agus Purwantoro,

Eling, at Taman Budaya Padang
(1994)
Exhibition art instalation Nasib

Nyamuk by Agus Purwantoro at
yard offices FPSB IKIP Padang
(1995)
Hauser said, phase antithesis characterized by the appearance of the power of a force
new productive, an effort glory new, a technique achievement, individual talent, or readiness
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with the effort to the condition production that is, a form of government, a legal procedures, the
concept of moral, and norma is the old way, a penerobosan what happened between an ancient
new and repetition adaptation the need, and by a necessary condition (Hauser, 1982 : 340).
Phenomena the works of art installation, performance art, and art forms experimental other, as
a result negation done Agus Purwantoro has links while the effect on the social condition
political that was going on the time as a condition of social required in that phase antitesis
namely Orde Baru (1966-1998). Social conditions as a result in Orde Baru responded by Agus
Purwantoro by covering the various criticism in secret behind his art work.
Themes in the art work of artist in West Sumatra at the moment most is still in the theme
condition Minangkabau custom, sociocultural of life, spiritualities, and exotic nature in the side
there are an attempt to find novelty and originality in art work with the emergence of various
pattern and personal style in painting sporadiclly. In addition, social condition artists in West
Sumatra about 1980 until 1990 most still tied to the impact of from a condition of being those
experienced who have had an impact on art activity. Impact on the difficulty of to give
exhibitions in Taman Budaya Sumatra Barat, expensive tools of painting, there is no artist who
dare the total of art work and plunge professionally in the life of arts, and looking at other
alternatives in of expression.
Various negations Agus Purwantoro done in his art works and his activity art practices,
including also in terms of teaching system which he apply to his college students. System its
teaching having the style of teaching different from academic is formal, structured, and
discipline. Agus have a different perspective to art practice of likeness in the application of their
experiences in the academic environment. Subjectivity from born of a he saw and might feel
toward art practices in West Sumatra and within academic make it moved to change views and
paradima artist who did not have greget for him. While for in the academic, he realized that
college students are when that took enlightenment and something new to satisfy a feeling of
them in art (Agus Purwantoro, interview august 4, 2016). That twist around in educating
college students in art use format that is more open and not only chase on view be standardized
academic formally, structured, and established.
Agus having views the artwork is not quite turned on within the art society and the
academic environment. So, required extracurricular activities which performed by a college
student with society which are pertaining to expand the scope of art practices and consumption
art in the general public. That is a positive for students concerns. According to him college
students will be trained to organize, and always an innovator, motivator in the creative by
various events he do inside campus or in public place which is in direct contact with the society
(Agus Purwantoro, interview january 26, 2015).
Various alternatives material attempted directed Agus in lecture also is a solution of
which to help college students to make art work without having to buy oil paint which is
considered to be expensive bags less for them. Whereas in of expression it is not as an obstacle.
So that in agus purwantoro period of teaching at the fine arts majors IKIP Padang, more students
tend produce the experiments art works with alternative media. Those activities received
positive responses. Some from them feel motivated and be passion to make something new as
they expression in art work.
Before the arrival of Agus Purwantoro, art works college students was focused on
control engineering and formal conventional forms. That is basic competence in visual arts in
academic. So it was still formed strong convention of modern art in campus. Ripeness technique
is strongly accounted especially on the form of realists and suitable to the character objects
based catch eyes. Transfer the science and understanding shape view towards the students
before the existence of Agus Purwantoro also cannot be separated from the existence of figures
had played a role in teaching the fine arts in IKIP, as Idran Wakidi, Muzni Ramanto, Achyar
243
Sikumbang, and some other senior lecturer but having strong pattern in works is naturalistic
and realistic.
A method of think dialectical used hegel as the fundamental principle explain the
various existence and development of reality in the domain of idea. Gait Agus Purwantoro in
West Sumatra in idea and the idea to view freedom to experiment with and expression and anti
reliability in art practices of apparently not is fully supported. That can be seen from Agus
Purwantoro is single artist in West Sumatra when it was actively involved with experimental
art. In 1999, he chose to to java and teaching in eleven march university, Solo. Of moving Agus
Purwantoro back to java, causing activity works experimental almost lost. Antithesis done Agus
Purwantoro, in the end of the coming produce synthesis the return of view long to modern art.
After Agus Purwantoro exist with his mind in West Sumatra, next ignitd some college
students doing different art prnctise with benchmark convention into standard assessment
campus. A groove motion the process dialectics ongoing relentless throughout history.
Synthesis resulted can be the new which bring out to new antithesis and both make peace form
a new synthesis. So that the dialectical Hegel is described with the motion of spiral (Mudhofir,
2001 : 43). The movement of spiral created of the skeleton dialectics between the thesis,
antithesis, and its synthesis then back into the thesis who moves forward and progressive.
Occurred when the process dialectics coming of Agus Purwantoro, and yielding its synthesis
back the view of modern art which conventional especially in campus. That next, trigger
reaction antithesis of among collage students.
C. Phase antithesis II : A period of movement of college students IKIP Padang 1995
2003
In the period of the movement of college students appear the seeds of the movement of
progressive desires a change of views on art practices in West Sumatra. That is in which the
end of movement antithesis done Agus Purwantoro. Art practices that occured in West Sumatra
became an object observation among college students at that time. Direct observation are result
of discontent against symptoms and art practices that happen around them. Based on they
subjective observations, development the life of art in West Sumatra no have the mean and
stagnant especially that become trigger the beginning were art practices in around campus in
major the fine arts IKIP (Iswandi, interview May 28, 2015).
Phase antithesis on the movements of students from scratch student who start thinking
critical and sceptical towards matter and visual art practices that given campus. This in turn
consciousness raising self-conscious of their role as young artists generation and determine the
direction development of visual art in West Sumatra in the next. Self-awareness then according
to Hegel forming ideas or structure thought to refuse or negation great idea art practices on
campus considered disrupting the development of discourse and art practices by a new
tendency.
Openness against discourses and information is also concerned with the beginning of
the year 2000 marked the entrance of the reign of Indonesia in Reformation era, has allowed
opportunities society in free speech and openness to the current global discourse in line with
progress in the field of technology. This also resulted in was so easy to be traced and discourse
known the development of the art of both national until global stimulates thinking critical of a
fact and increasing needs of information widely among younger generation.
A period of the movement of students start was initiated in the 1995. Then students
beset manic to new discourse they can from outside environment West Sumatra by the fact that
they observe based on symptoms and art practices in West Sumatra. It is also accompanied by
244
desire a group of students at that time to have the opportunity follow activities exhibition
(Iswandi, interview May 27, 2015). Discourse development of circulating in this area are still
localized. They start looking for reference and discuss relating to discourses in the arts of
coming from outside West Sumatra and comparing. Discourse and references on the
development of the fine arts outside West Sumatra come one of which is through relation
between alumnus SSRI/SMSR that continued education to Java especially in Yogyakarta.
Some of students who enough critical was experiencing shifting patterns think or view
based on discourse and art practices that they get from outside campus. There is a feeling of
dissatisfaction students to campus triggered by several things in the campus, such as not the
availability of facilities to university students the fine arts especially of the art of painting
studios of painting conducive to students practicing paint on campus. This might impact on less
facilitate space college students to work on campus.
About 1996, some students of major fine arts in IKIP force 1995 and some force on it
beginning to form an association of which was started from a boarding houses. The association
is was on the road srigunting freshwater area, the. About 1996 students the fine arts often
gathered in location, then the assembly finally named Kreatif group (Iswandi, interview, may
28, 2015).The name of the group it comes from a place name boarding houses namely, Wisma
Kreatif. Some student who joined in the group still always conduct the activity of making work
of art in order duty college together. Sometimes explore techniques in work outside duties
college.
Later they signed a house in Gajah street, Gang Belanak still in the area of about Air
Tawar Padang. The students who formerly gathered at Wisma Kreatif, moved to rented in Gajah
street and joining a sodality named Kantau. The name Kantau as a association of being
appellative familiar after they made a mural with writing Kantau in one part the outer wall
boarding houses. Group Kantau intend to made activities of art like play, negation a condition
they felt on campus to shades formal art, bound and stiff and having views still closed at art
practice with new various trends. Students who joined in Kantau groups of them Irwandi,
Rajudin, Iswandi, Erlangga, Syahrial, Ardianto, Ibrahim, Ferdi, Johor and students other often
converging on that place which of them become an artist famous in West Sumatra.
Kreatif group and Kantau originally begins with intention gathered and discuss together
develop into an effort tried to fight back of limitations that are had happened in the life of arts
in West Sumatra. Based on the above, so this limitation covering facilities for exhibitio,
exchange of information, and media publication art activities. Discourse this was obtained
through various a medium as books the theory art have consumed some college students,
reference catalog exhibition. It is finally trigger critical attitude and awareness against gaps of
development of an art that was going on in West Sumatra with that occurs outside the district.
After forming informal group as a forum to discuss and exploration art work and the last they
have agreed to make a container that more large and complex namely form a community art .
About 1996 - 1999, the movement of students are still in the collection discourse and
information to the development of the fine arts outside West Sumatra, and discuss. Group of
students formed has not bring up struck meaningful and looked in reality as do activities
exhibition or were art work in public space. It was because students do not have the power to
do that. Then with started a shared interest simple, which is to bridge their art work to reach the
apresiator, through the agreement of 25 young artists and college students who held about the
year 2002, so formed a community was answering they uneasiness (Ibrahim, interview january
24, 2016). The community is Komunitas Seni Belanak.
That community next inaugurated and declared in 2003 and opening exhibition prime
this community titled Firts Step in the Sarasah Gallery. Art works that presented and the way
to art practices offered to the public art and society in general by this community is both show
245
the development that more progressive in the life of the visual arts in West Sumatra. The new
possibility presented in the form of work alternative and experimental, and mixed media.
To meet the challenges climate the visual arts in West Sumatra which in condition that
is complex, Komunitas Seni Belanak successfully position itself bring the development of life
the arts in West Sumatra more open and majesty.They do a lot of format activities varied with
forms the arts which more innovative. They next capable of forming and build elements art
world required in build climate the fine arts such as an author and young curator, media
distribution knowledge about art and forth of their members. In his zeal there are also
discussion activities, workshop, the screening, collaboration an art project and some exhibition
art and training writing art criticism in campus and outside campus. Komunitas Seni Belanak
also manage to build social network which began open to publish all their activities.
In accordance with the goal at first which to open discourse and information from
outside West Sumatra, they open up the opportunity to the cooperation with the art community
in Indonesia such as Komunitas Taring Padi, Cemeti Art foundation, and Ruang Rupa Jakarta.
Indeeed they can building even cooperation with an artist from Australia, namely Alexandra
Croby, in the their arts even is Art Day is Today in 2006. Through activities those which are
open and flexible, they were also able to promote the art into environment public to extend and
build appreciation of the society toward arts. Activities are Get The Book held in Tunggul
Hitam society in Padang, the existence of community in 2004. In addition, they also form
mutual relation and bring discourse by inviting any figure having a role in sphere the fine arts
in Indonesia as curator and artists from several areas the base the fine arts of them Komunitas
Seni Belanak ever invited Kuss Indarto in the exhibition prime they Firts Step (2003) and
Asmudjo Irianto as cirator in exhibition Apresiasi urban (2008).
The ends of the movement of college students 1995 - 2003 as young artists next show a
movement heading to the development of that is more open in view art practices in West
Sumatra. It was accompanied by entering and began strengthening discourse the contemporary
art in this region. This condition is phase synthesis characterized the seconstructions which
done by Komunitas Seni Belanak on climate life of arts in West Sumatra before. The
community up with its values of art more bring the face contemporary art. The condition
aufgehoben as a result of the stage synthesis (become). Aufgehoben in the concept of thought
dialectics Hegel that is made thesis and an antithesis in which contention into a unified later
appointed to the situation of higher. And, the modern art in art practices is conventional which
remains the large in the life of the visual arts in West Sumatra developing in tandem with a new
tendency possibility which attended the art practices of contemporary art favorite of by mostly
on young artist generation. This seems visually of activities of an exhibit present in West
sSumatra in 2000 to the current.
Hegel said, every new generation in scope history that run in dialectical can assume
himself as the destroyer, conservationists, and falsifies a culture which inherited from a
predecessor (Aiken, 2002 : 85). So, in the movement has done college student who joined in
Komunitas Seni Belanak as artists new generation is a condition falsifies in arts practices in
West Sumatra to the development of that is more open and follow the developments discourse
the art. Was said to be falsifies, because of they supported not cut off tradition naturalistic and
landscape they predecessor to activity arts practices done they members, on the other hand they
also adopt arts practices of contemporary openly in they art work.
In West Sumatra, that shift can be seen from the activities exhibition where senior artist
and young generation join show pattern and raise the issue of contemporery both social,
political, and economic critics. In addition, shift the notion of arts practices also changes art
practices senior artists in West Sumatra about angkatageneration 1990 down to forms that are
better innovative and having exploration by a new tendency. The phenomenon of art also
246
increased in the area of cooperation the exhibition, not only located in West Sumatra or
Sumatra, but also held nationally into the event exhibition more established.
Karya Iswandi Menjemput Hijau

(2006)150 x 150 cm,
Acrilic on canvas
Karya Nasrul Palapa berjudul

Pancang Emas di Batas
Cakrawala II, 145 x 145 cm, mix
media
Karya Jon Wahid berjudul Takatuang,

290 x 50 x 40 cm, mix media
CONCLUSION
In 1986 happened phase antithesis in arts practice in West Sumatra marked with the emergence
of experimental art works like art installation, performance art, happening art which negation
reliability thesis towards the notion of convention in modern art practices that develops before.
Period of 1986 - 2003 is a transition between views of convention to art work and practices in
modern art to art works and practices contemporary art in West Sumatra. That time having two
important point, firts point the arrival of Agus Purwantoro as grow struggle the view of art
practices in West Sumatra and shows the starting the entry of the phenomenon apractices in
contemporary art in the life of visual arts in West Sumatra. Second important point is emergence
Komunitas Seni Belanak with their role in open discourse of contemporary art as milestone
early leads life the visual arts which move more progressive in an activity and arts practices
among artists in West Sumatra.
Reference
Aiken, Henry D., 2002. Abad Ideologi. Yayasan Bentang Budaya : Yogyakarta.
Ash-Shadr, Muhammad Baqir. 1993. Falsafatuna. Mizan : Bandung.
Burhan, M. Agus. 2013. Seni Lukis Indonesia Masa Jepang Sampai Lekra. UNS Press :
Semarang.
Mudhofir, Ali. 2001. Kamus Istilah Filsafat dan Ilmu. UGM Press : Yogyakarta.
Saidi, Acep Iwan. 2008. Narasi Simbolik Seni Rupa Kontemporer Indonesia. Isacbook :
Yogyakarta.
Anonim, (-- November 1995), Lebih Dekat dengan R.Agus Purwantoro, Sosok Seniman yang
Gelisah, Ganto.
______________, (11 Oktober 2006), Menapak Jejak-Jejak Seni Patung, Patung Karya Seni
3 Dimensi yang Berbicara Lewat Massa dan Ruang(2), Haluan.
Purnawati, Linda, (11 Oktober 1994), R.Agus Purwantoro, Pelukis Aspal, Haluan.
Rosa, Ady. (2006), Moderenitas Seni Rupa Sumatera Barat 150 Tahun Sudah, Katalog
Pameran 150 Tahun Seni Rupa Sumatera Barat dengan tajuk Ngarai Sianok Defferenca
in Dentro Uno, 22 30 September 2006, Gedung Perpustakaan Bung Hatta
Bukittinggi.
247
_________. (2004), RupaRupa Dalam Kuak Rupa, Katalog Pameran Seni dan Budaya Pekan
Budaya Sumatera Barat Festival Minangkabau 2004, 18 24 Desember 2004, Taman
Budaya Sumatra Barat.
Agus Purwantoro, 58 tahun, praktisi seni, seniman, dalang, mantan staf pengajar di IKIP Padang
dan sekarang menjadi staf pengajar di UNS. Saat ini tinggal di Magelang.
Ibrahim, 38 tahun, kurator, penulis, ketua Komunitas Seni Belanak periode pertama, mahasiswa
angkatan 99 di IKIP Padang serta pendiri ruang alternatif seni RAS. Saat ini tinggal di
Padang.
Iswandi, 41 tahun, seniman dan salah satu anggota senior komunitas seni Belanak, mahasiswa
angkatan 95 di IKIP Padang. Saat ini tinggal di Padang.
248
The Study of solar incident on Planar Surface

for Kinetic Art
Author: Mr. Waiyawat Saitum
Affiliation: Faculty of Decorative Arts, Program in Design Arts, Silpakorn University,
Bangkok, Thailand.
Contact information: waiyawat.sai@gmail.com
Abstract
In future, renewable energy will become mainstream global energy source because it flows all
the time, also the solar energy. The sun always directly emits light through the earth, depending
on how we utilize it. The study will fill the gap that the most of photovoltaic panel facing to the
same direction against solar incident for maximum efficiently. It would be better if photovoltaic
appliance to have aesthetic and capability in the same time. But changing planar surface angle
for artistic purpose also need to consideration of efficiency for solar energy.
The purpose of this study is to explore the most appropriate angle of solar incident that impacts
directly to the planar surface, which will leads to gain maximum electric energy from
photovoltaic cell. The variation angle of planar surfaces will be discovered could possibly
produce energy to be applied for any purposes. The additional sources of other renewable
energy gadgets may install to generate more electric power.
These planar surfaces can be composited together into many new shapes and forms for
researcher to create more impressive artwork.
In this study, the chosen material was Monocrystalline solar cell (mono-Si) to generate energy,
wood and glass for kinetic sculpture. The procedures of study were as follow: 1. Specific
location by Latitude will be achieved I. Altitude II. Seasons III. Sunlight direction IV. Sunrise
and Sunset time 2. Calculate Solar radiation from each Photovoltaic cell for energy gain. 3.
Compares output energy and mechanic usage for Kinetic Art 4. Increases capability of solar
incident by improving angle of planar surface or multiply. Results of this research will be the
search of artistic identity in art forms, it will be guideline for designers to develop potential
Kinetic arts and or further creative works.
Keywords: Geometric, Solar incident, Planar surface, Kinetic art, Photovoltaic
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1. INTRODUCTION
Geometric is a basically design that can be create artwork very simply and also can adapt to
enigmatic visual. Geometric shapes is the math of shapes made of points and lines. Some shapes
are simple, such as the triangle, square, and circle. Other shapes are more complex that it takes
math in order to create them. These shapes are the opposite of organic shapes. While geometric
shapes are more precise, organic shapes are natural. Geometry is nothing but numbers made
visible.
Geometric shapes are 2D and can be explain in geometry in 3D, which mean the points and
lines are forming to become mass volume. It deals with the construction and representation of
free-form curves, surfaces, or volumes. (Gerald Farin, 2002, pp. 1)
In recent years, the world economic growth and population increase need more energy, is an
essentially important for the socio-economic development of developing, as well as developed
countries. (Hrayshat ES., 2007 pp. 1873). Renewable energy is a sustainable and clean source
of energy derived from nature. (Huang YH, Wu JH., 2007, pp. 345). Sunlight is one of
renewable energy comes directly from sun. And with this, we can collect energy every day for
free and waste no more non-renewable energy. A great amount of energy from sun is absorbed
by the earths surface itself, as well as by oceans, plants, and buildings. The energy that plants
absorb is potentially convertible into food energy and material for combustion (logs, etc.) or
fossil fuel (long-term decay). The energy absorbed by the oceans causes water evaporation and
motivates the complete water (hydrologic) conversion cycle. (Richard Crowther, 1983, pp. 44)
The earth is a giant spacecraft, supporting life as it orbits the sun. The sun provides the earth
with the energy it needs to sustain and maintain life. The earth with its thin atmosphere (a layer
only 160 kilometers, or 100 miles, deep) supports more than four billion people. Smaller
spacecraft in many ways duplicate the conditions and functions of the earth by utilizing the
sun's energy and shielding their occupants as they travel through space. (Richard Crowther,
1983, pp. 44)
All visual art involves light. There is, however, a growing interest in light art, works where light
is a primary medium. It is a hazy boundary that separates light art from other visual art. But
new lighting technologies, creative artists, and the dynamic nature of light are producing more
and more pieces that are clearly on the light art side of the border. Permanent and temporary
light art pieces now appear in many venues. (Russell P. Leslie, 2004, pp. 28).
Solar cells, also called photovoltaic (PV) cells, convert sunlight directly into electricity. PV gets
its name from the process of converting light (photons) to electricity (voltage), which is called
the PV effect. When scientists at Bell Telephone discovered that silicon (an element found in
sand) created an electric charge when exposed to sunlight. Soon solar cells were being used to
power space satellites and smaller items like calculators and watches. The direct conversion of
sunlight to electricity occurs without any moving parts or environmental emissions during
operation. The electricity from photovoltaic cells can be used for a wide range of applications,
from power supplies for small consumer products to large power stations feeding electricity
into the grid. (Pearsall NM, Hill R, 2001, pp.1)
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Normally, in visual art, the term kinetic art, derived from the Greek word kinesis, refers to
works that apparent movement, or art that depends on movement for its effects. Its reveal how
things look like when they are moving. Although ostensibly fascinated by machines, some
Kinetic artists developed a profound interest in analogies between machines and human bodies.
The Kinetic art utilizing mechanical or natural motion to bring about a new relationship between
art and technology. The movement introduced Kineticism across several forms of art, including
any kind of arts such as painting, drawing, and sculpture, and many of artists aspired to work
with something newer resource for ideas in order to bring Kinetic art to a wide audience.
According to reasons above, a Geometric have some significant to study for base design to
combine with Photovoltaic cell because of both are Geometric shape. This can be merge
between art and science together which represent the stylishness of renewable energy by art
object. Furthermore, this can be typify of renewable energy product of photovoltaic for building
whether interior or exterior decoration.
With all these reasons, this purpose of the research is to study the Geometric Design for Kinetic
Art Creation with Renewable Energy: Photovoltaic which is so much important. And it also
inspire to develop kinetic art. The research methodology is practice base, the process try to
create kinetic art by using different kind of local natural materials. The final stage will be access
into the identity characteristic in art form. The researcher expects that the results of this study
will be a guideline for any designers to understand an inspiration of Kinetic art, how to create
artistic art form that touching any moving hearts, build up more value of crafts and promote
their gorgeous imagine. Finally, this study will be the most useful for the next generation
designers and any researchers who need to develop their knowledge potentiality in Kinetic arts.
2. METHODOLOGY
The mainstream of this research were consist to 2 issues; solar geometry and sculpture design.
Finalize, they will lead to design development after data corrected according to Figure 1.
Figure 1. Research methodology.
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3. EXPERIMENTATION
Figure 2. Shows the 4-steps study process used to assess the expected effects development of
model appearance on specific site. The study process can be summarized as follows. In the first
step, a site survey was performed using visual observation and a fish-eye lens camera to assess
the area suitable for model situate. In the second step, the location for the model situate was
selected and the shape of form was designed taking into for observation. In the third step, the
possible light incident was recorded and estimated by entering the meteorological data and
system design parameters into calculation software. Based on the appropriated angle of light
incident of planar surface, the solar incident feasibility and development processes were
assessed in the fourth step.
Site Assessment
Design of Model Appearance (Planar Surface)
Observation
Simulation of Light Incident
Development of Model Appearance for Solar Incident Feasibility

Figure 2. Overall procedure to Development of model appearance in the study site.
1. Site assessment
The planar surfaces orientation (azimuth, the direction it faces) or tilt varies from
optimal solar incidents touch. The optimal combination of array tilt and azimuth will
depend on a few variables, including geographical location, seasonal weather patterns.
Azimuth and tilt are both required data from equation.
For the site assessment monitoring for light incidents on planar surface On Thursday
11th August 2016 (rainy season) at the top of a building close to Bangkoknoi canal in
Bangkok, Thailand (13 46' 44.3136'' N; 100 28' 9.012'' E). The procedures were
calculated for sunrise and sunset time from the date on particular day at the study site,
using a digital topographic map to locate the specific site. In order to assess the effects
of shadows on the model, researcher analyzed the daily sunshine hours on site using the
solar radiation analysis method on the period of autumnal equinox (The moment when
the Sun appears to cross the celestial equator, heading southward. Due to differences
between the calendar year and the tropical year. At the equinox, the Sun rises directly
in the east and sets directly in the west, day and night are of approximately equal
duration all over the planet. They are not exactly equal, however, due to the angular size
252
of the sun and atmospheric refraction.) To measure the shadow effects caused by small
obstacles, such as vegetation, small building and the skyline was recorded and analyzed
using a fish-eye lens camera. This enabled field analysis of the skyline at the solar site.
The results of shadow-effect were recorded in the form of a shading data for shading
elements surrounding the solar site, as expressed from approximately time and angle
calculation by values between 0.0 (complete shielding of direct radiation reaching the
PV system) and 1.0 (no shading effects). (Melo, E.G, 2013, pp. 15)
Figure 3. Shows observation site.
2. Design of model appearance (planar surface)

For the purpose of the study, it was hypothesized that planar surface of model constitute
a tilt array for the highest value of solar incident on the surface was designed with the
following parameters: number of planar per model (if there are separated), and array
spacing.
a. Model Surfaces
Practical modeling of spatial surfaces is more convenient by means of
transformation of their flat developments made as topologically connected kinetic
structures. According to topology, any graph on a surface consists of three types of
elements: planar facets (F), linear edges (E) and point vertexes (V). There are two
well-known types of transformable structures, based upon the structural units
corresponding to the planar (F) and linear (E) elements of surface division. Those
two types of surface models can be represented respectively by the folding structures
with hinged flat faces (figure. 4a), and the kinematical nets with non-triangle meshes
(figure 4b).
253
Figure 4. x.Transformable surface models: a) folding structure (Vranka 1990: 9);

b) kinematical net (Otto, Burkhardt and Hennicke 1974: 130)
In addition to the planar and the linear types of the flat developments of surfaces
there is a third possible type of flat transformable structures with vertexes (V) as
structural units. Approximations of surfaces by ordered sets of points is the common
method in mathematics and computer graphics. In these cases a separate point is
represented by a dot in the virtual space, and its numerical value relates to the three
Cartesian coordinates. The physical model of a point may be represented as the
contact of two physical 3D bodies such as tangent solid spheres or tangent cylinders
with non-parallel axes. A flat or spatial system of the contact points produces the
vertex surface model, that is, the point approximation of real continual surfaces.
(Dmitri Kozlov. 2013, pp 242)
In combining the geometric terms of the supplementary textbooks with the terms
from the basic textbook a logical sequence of instruction results from placing
space- the set of all points - after sets of points. Paths (straight and curved)
logically follows points. intersecting lines should follow lines. Curved lines
should follow straight lines, and regions - a limited part of a plane - comes after
plane. (Shirley Jo Probert. 2014, pp 24-25).
b. Shape
The shape of architectural objects in general can be treated as envelopes: 2D
surfaces embedded into 3D space. (Dmitri Kozlov. 2013, pp 253)
c. Proportion
Proportioning systems have always been among the most essential elements of
visual order and an important consideration of aesthetics. At the same time, they
constitute the basis for dimensional coordination in building design, fabrication, and
construction. The golden ratio, which is not merely a human invention but the most
common ratio in the geometry of natural forms as well, is included in since it alludes
to planar and spatial tilling and tessellations that have often been encountered in
architectural history. (Katherine A. Liapi. 2002, pp. 80).
3. Observation
The observation of solar geometry consist about 4 main factors; solar incident, time,
date and atmosphere.
a. Solar Incident
A simple logic drives the whole design. The relative position of each facade
component with the different seasonal sun paths defines its geometry (openness,
254
deepness and panelling inclinations). Each component is defined globally yet

resolved locally, and calculated individually, module by module, following the same
shared rules. (Areti Markopoulou. 2011, pp. 131)
b. Time
The solar day is exactly 12 hours long at the equator during the equinoxes. During
the summer solstice (June 21), the sun is at its northern extreme position and the
declination is at its positive maximum. (Edward Anderson, 1983, pp. 25)
c. Date
As the earth progresses along its orbit about the sun, solar declination changes
due to the tilt of the earths polar axis with regard to its orbital plane. Solar
declination then depends on the earths position in its orbit, that is, on the day of
the year. (Edward Anderson, 1983, pp. 24)
d. Atmosphere
Solar radiation incident on any given surface can be decomposed into two
components, the direct or beam component emanating from the sun and a diffuse
component that results from multiple reflections and scattering because of particles
in the atmosphere. The diffuse component may also include reflections from the
ground and local surroundings, where the surface in question is sloped rather than
horizontal. Differentiating between the two components is vital for accurate
calculations in most solar energy applications; however, a number of steps may be
required to arrive at realistic estimates at an appropriate level of detail for a given
location depending on the basic data available. (Yasser Aldali, 2014, pp. 9)
The model was putted on the roof of the building, see figure 5. For the characteristic
and some details. The camera was set for 4 point align to the wall; front view (toward
33NE), left view (toward 123SE), and top view and perspective view observe
atmosphere for clouds status. The time was assigned for 1 hour period started at
06:00 (Dawn) until 18:00 (Dusk) oclock as shown in Figure 6. The model Edged
Cone shape situated at the top of a building and set to point to Solar Zenith Angle.
Figure 5. Shows the characteristic of model.
255
Figure 6. Shows different of shade and light direction for each period.
4. Simulation of light incident

Equations was used for calculation for solar systems. It enables more accurate analyses
of how to adjust planar surface to face most directly to sunlight, given the environment,
all over model characteristics and the atmosphere conditions. For an explanation of the
Excel formulas. In this study, after observation for primary data collection. The solar
time and solar altitude were calculated by entering the meteorological data of the study
site and any values which needed, such as angle of planar, time, date and etc. The
shading data obtained by onsite solar assessment according to the tilt angle of the model
surface array, into the formulas. The following equation were used to calculate for
results;
a. Solar Time
Time based on the rotation of the Earth with respect to the Sun. Solar time units are
slightly longer than sidereal units due to the continuous movement of the Earth along
its orbital path. For example, by the time the Earth has completed one full rotation
on its axis with respect to the fixed stars, it has also moved a short distance in its
orbit and is oriented slightly differently to the Sun, so that it must turn slightly more
on its axis to complete a full rotation with respect to the Sun. For finding solar time,
the equation is
256
Solar time = Standard time + 4(Lst - Lloc) + E
(3a.1)
Solar time will use to correct in solar declination equation (John A. Duffie, 2006:
11)
b. Solar Declination
The angle formed by the line from the center of the earth to the center of the sun on
a particular day and the plane containing the earth's equator is called solar
declination 8. As the earth progresses along its orbit about the sun, solar declination
changes due to the tilt of the earth's polar axis with regard to its orbital plane. Solar
declination then depends on the earth's position in its orbit, that is, on the day of the
year. Solar declination for each day of the year is listed in The American Ephemeris
and Naval Almanac for each year. (Cooper, P. I. 1969) suggests the approximate
equation
for
calculating
the
declination.
360
= 23.45 [365 (284 + )]
(3b.1)
In this equation, n is the day number with 1 being January 1 and 365 being December
31. This approximation is satisfactory for flat-plate and mildly concentrating
collectors. (Edward Anderson, 1983, pp. 24)
c. Solar Zenith and Azimuth Angles
In order to relate the solar zenith and azimuth angles to latitude, date, and time of
day, we need to consider two coordinate systems. The first is the local coordinate
system that sues the horizontal plane and the vertical axis on the earths surface.
Taking i, j and k to be unit vectors pointing, respectively, south, east, and vertically
up, we can write the solar unit vector S as. (Edward Anderson, 1983, pp. 24)
S = i sin z cos s + j sin z cos s + k sin z
(3c.1)
In the earth-centered coordinate systems, S can be expressed as

S = i cos cos + j cos sin + k sin
(3c.2)
Where i, j and k are unit vectors along the meridional axis m, the easterly asix e,
and the polar axis p, respectively.
The components of S in the two coordinate systems are then related by
SV = Sm cos + Sp sin ,
(3c.3)
SS = Sm sin - Sp cos ,
SE = Se
Substitution of the components of S given in Eqs. (3c.1) and (3c.2) into EQ. (3c.1)
gives
cos z = sin sin + cos cos cos ,
(3c.4)
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cos s =
sin cos cos cos sin
sin s =
cos sin
sin z
(3c.5)
(3c.6)
sin z
The solar zenith angle and azimuth angle can be calculated with these results for a
given latitude, date, and time of day. (Edward Anderson, 1983, pp. 26-27)
d. Sunrise and Sunset
Neglecting the refractive bending of the sun's rays by the atmosphere, we can say
that the local sunrise and sunset occur when the sun is in the horizontal plane at the
point of observation. Then the zenith angle for either event is 90. Hence, for sunrise
or
sunset,
the
corresponding
hour
angle:
s = cos-1[ -tan tan ]
(3d.1)
with the positive sign corresponding to sunrise and the negative sign to sunset.
When exceeds 90, the sun rises north of east, and when is less than -90 (say,
it is -100), the sun sets north of west. In the mid and lower latitudes of the northern
hemisphere this occurs during the summer. (Edward Anderson, 1983, pp. 28)
According to the equation above, solar data can be collected as follows: On Thursday
11th August 2016, Sunrise time was 06:04 at 74 and Sunset time was 18:43 at 286
from north. The site point to 33E from N. And because of Rainy season, the atmosphere
status was scatter clouds. So, all data such as time, date and location has been insert into
3D application for simulating the solar incident on model for check the correction of
shade and light. See figure 7.
Figure 7. Shows solar incident in 3D simulation.
5. Development of Model Appearance for Solar Incident Feasibility
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The newly designed was estimated in accordance with the initial shape of model. In
order to change the appearance, 3d modeler application were used for create simulated
model into real scale and assume present period sunlight in approximately location to
observation situated site. According to topology, the development of model shape form
were consists of three types of elements: planar facets (F), linear edges (E) and point
vertexes (V).
Figure 8. Shows three types of elements.
Firstly, original model was create to the same dimension of real model which used for
observation, see figure 9. And after corrected from calculated data using equation,
model have to be shorten because of it have to change its shape for contact more light
from the sun. From the observation site, Bangkok. 15 is the average degree of sunlight
direction in the sky, so planar surfaces have to point to 90-15 (Solar zenith average
solar position) to face against the sun, see figure 10. So on, more FEV were added for
more complex shape by simply method; two planar which have connected surface for
15 / 15. Now, just minus 5 for the first one and plus 5 for the other and then become
10 / 20. Average of sunlight will share the incident on both planar surfaces as shown
in figure 11.
Figure 9. Shows 3D model in the same dimension of observations model.
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Figure 10. Shows 3D model after correction from calculated data.
Figure 11. Shows 3D model develop for more complex.
4. RESULTS AND DISCUSSION

Site assessment
Thailand DMS latitude and longitude coordinates are 13 44' 12.1812'' N; 100 31' 23.4696'' E
which means the sun will be located approximately 14 - 15 up in the sky from Solar Zenith
Angle, toward south. So, for the most appropriate angle of planar surface for solar incident. The
model should be change the angle of shape point up toward the sun for 75 (90 - 15).
Different latitude could be cause of changes for following factors; season, atmosphere, daytime,
nighttime, solar radiation and etc. The same original model shape could be change into various
art forms up to the reasons above.
Design of Model Appearance (Planar Surface)
Geometric design is kind of basic design to complex, simply art form can created by repeat
action such as rotate, scale and move to FEV. The many of original art forms may such a simply
design but after apply some movement to them, more new complex art form will be happen.
Some designs were created from free thought but for some designs, it have to consider about
uncontrolled factors. And the design have to change for more support.
Observation
The observation of solar geometry consist about 4 main factors; solar incident, time, date and
atmosphere. All of the actions must be accurate and regularly done in assigned period. To
observe sunlight in summer may overflow values too much and acquired data could mistake to
the results because of solar radiation is too strong. In rainy or winter season, atmosphere could
be unpredictable because of humidity or air pressure that affect to vapor or clouds. So, it would
be better if the observation can set on the lowest period for less expectation.
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Simulation of Light Incident

It have to clone every environment and context from observation process for more accurate
results. Even computer could be mistake by a little omit. 3D simulation takes the most similar
to the real spectacle which happen in real. With this process, the modeler can develop some art
form by refer the results.
Development of Model Appearance for Solar Incident Feasibility
If model would be situated in the different location, the shape of model have to change for the
most appropriately solar contact. Example, Iskenderun on the eastern Mediterranean coast of
Turkey DMS latitude and longitude coordinates are 363501300 N; 3610 0 2400 E which
means the sun will be located approximately 36 up in the sky from Solar Zenith Angle, toward
south. So, for the most appropriate angle of planar surface for solar incident. The model should
be change the angle of shape point up toward the sun for 54 (90 - 36).
Figure 12. Shows the expected shape of model if it were built at the top of a building in Iskenderun
(363501300 N; 3610 0 2400 E), on the eastern Mediterranean coast of Turkey.
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Figure 13. Shows comparison of different location cause of model changing.
CONCLUSION
The development of model shape form could be change by rotate, scale and move the three
types of elements: planar facets (F), linear edges (E) and point vertexes (V) by according to
topology. The more complex, may turn simply model into aesthetical sculpture but this action
have to improve under consideration.
Changed of model form will be differently from original because of sunlight. Different latitude,
environment and period could be major factors for consideration of making arts.
Thailand DMS latitude and longitude coordinates are 13 44' 12.1812'' N; 100 31' 23.4696'' E
which means the sun will be located approximately 14-15 up in the sky from Solar Zenith
Angle, toward south. So, for the most appropriate angle of planar surface for solar incident. The
model should be change the angle of shape point up toward the sun for 15.
For other location on earth, latitude will be the first priority to check for. According to the earth
geometry, angle of sunlight, season and atmosphere will change when latitude changes and
longitude is not necessary to concern of.
All of the conclusion could be record the study result as guideline for inspire any artist making
some design which intend to create artistic artwork.
NOTATION
The following symbols are used in this paper:
= Solar declination angle
= Solar incident angle
= latitude
= Azimuth angle
s = Suns hour angle at sunrise or sunset
Lst = standard longitude for the time zone in question (reckoned as positive west of the
Greenwich meridian)
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Lloc = true longitude of the site for which the calculation is to be made
E = Equation of Time correction
INNOVATIONS
These are interesting solutions that require further studies in order to make
Some of them have other applications and the changes proposed give them new uses.
It is a facade system based on a set of mathematical rules and logics ready for export and
adaptable to different locations or materials in response to local conditions and available
technologies and materials. Based on adaptation and not on repetition, it is able to read context
conditions and respond to them. (Areti Markopoulou. 2011, pp. 130-131)
It can be attach to the photovoltaic cell for benefits from energy issues because of these cells
need to be facing to the sunlight for make some electric energy. Furthermore, maybe energy
that generate from photovoltaic cell could be used for moving own model to make kinetic art.
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Barcelona.
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estimate the shading factor and the irradiation in a three-dimensional model of a receiving
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electricity from photovoltaics. Hill and Pearsall; 2001 . p. 142 [MA3.doc, chapter 15, 04.25.01,
1].
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Canada : Van Nostrand Reinhold Publishers.
Russell P. Leslie. (2004). The evolving public face Of light art. Public Art Rev 15 no2
Spr/Summ 2004
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grade. Michigan : ProQuest LLC.
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Vranka, A. (1990). Short-span Roof Structures Made of Bamboo. Unpublished ms.
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TEACHING PERFORMANCE ART BASED ON RESEARCH STUDIES: REVIEW

OF NEEDS AND NEEDED IN TEACHING TRADITIONAL ARTS FOR FOREIGN
STUDENTS
Novia Murni, SS., M.Pd
Lecturer at Indonesian Institute of the Arts Padangpanjang
pureheart_021175@yahoo.com
Mobile: 082382224820
Abstract
Teaching and learning process is a complete process of transferring and getting
knowledge for both (teacher and learner). Trough teaching and learning process, both teacher
and learner are placed in certain condition in where they are interact, communicate, processing,
absorbing knowledge, and understanding of the study materials along with all phenomenon
wrapping it along the process. Phenomenon can be divers between one teaching and learning
process, but it can be analyze to see the real condition based on research instead of using
predictions. The research for sure will help general understanding, event deep understanding
over one phenomenon. Furthermore it will help in produce new theories and acts dealing with
teaching to improve the quality.
This paper inspired by writer experiences, knowledge, and researches dealing with
traditional art performances teaching and learning process. The paper will focused on the
important of teaching performance arts, based on research studies, to matching the needs and
needed of both side (teachers and learners). The scope limited in traditional performance arts
along with cultural studies for foreign students. The discussions are: 1) teaching and learning
process in higher education; arts institutions, 2) the important of research to understand the
phenomenon, finding the answer, and to get solution over problems in teaching and learning
process, 3) implementation of teaching and teaching material over views based on needs and
needed as a result of a research studies. The aim of this paper is to explain: the importance on
teaching and learning process based on research studies to over view and fit up the needs and
needed along with it implementation in the form of teaching materials.
Key Words: Teaching, traditional performance art, research studies, foreign students
Introduction
Teaching is not one simple process and cannot be making as a simple one. There are a
lot of afford needed along the process of teaching, hence far-away before the teaching process
itself. Teaching processes can be work out in a good guaranteed ways if only it can be measure
and fully-tested, surely must after studies and researches. It will be so naf to say that teaching
can be done by anyone in any way as long as the goals receive. Teaching is not that simple and
cannot be simplified. Like another part of a coin, learning becomes the couple of teaching
that cannot be ignored. Learning itself are complicated and somehow not firm. So many things
bound and link with both teaching and learning process that make it complicated but rich at the
same times. These condition works for any kinds of teaching and learning, including teaching
and learning of performing arts.
Performing arts become a new wave of scientific studies after modern times even though
it actually has been studies for centuries. The tendencies of new era of life and living in 20 th
century make performing arts become a hit. The needs and needed of learning performing arts
become a trend than necessities for some reasons. The reason spread from a basic one like
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hobbies, talent, likes, called, need, life, and live to being socialize, trend, pride, cultural
exchange, and government programs. To overcome and cope up the needed and reasons for
learning performance arts; some teaching programs that fit up have to be made. It has to be
understood that making a teaching programs is not simple. It is a complicated process that not
only considered the goals and the learners nature but also the possibilities of application and
development that can be measured and tested. To make it measurable and tasted able also
applicable in scientific ways therefore research have to be conducted.
Researches on making a teaching program (the methods, technique, materials, and etc)
beside make it measurable and tested able also applicable in scientific ways have the other
important aim; to make it useable and acceptable. Useable and acceptable in the teaching and
learning process is the first key to consider in make a teaching program. Both factors useable
and acceptable have to be present equally. If it useable only but not acceptable it is noting and
reveres. To conclude, teaching and learning process in short need a useable, acceptable,
measurable and testable program that can be applied in real condition. Again, all can only be
gained through research.
Discussion
1) Teaching and learning process in higher education; arts institutions
Teaching and learning process in higher education need much more concern both for
the lectures and learners. The concern here especially in arts institutions lies on the application
of theories based on research and development over problems and founding in learning process.
As arts institution teaching and learning somehow differs from other institutions which are
based on science and knowledge not science, knowledge and talents. The talents factors
somehow determined the continuity and process of teaching and learning atmospheres. Talents
as a one of the essential factors of accepting students in arts institution somehow become a wild
card that can make the teaching and learning process become smooth or stuck.
Talents mention in here as a factor to be concern since talents are somehow varies
among learners. The variations lie on the range of kinds and levels. Some learners are very
talented that seems event genius; some are just talented while the rest can be said less talented.
As long as any drops of talent still exist the condition can be said well but when theres no talent
factors left therefore all that can be hope is the learners abilities. It cannot be dined that the arts
institution accepted learners that do not have any talents at all but they have abilities in arts.
They have abilities since they are used to: work on, dealing with, manage, live in, or grown up
in arts world/businesses. Beside they who are mention before, there are learners that accepted
from a no talent, no art/art world background. They are who interested and want to live their
carriers in art world later on in the future.
The condition and situation mention above can be seen as glimpse of pictures of arts
institution in where things are somehow somewhere and some parts are different from others.
Beside matters of talent, abilities, interest and art world/business background, there are also
some students that are accepted to come with certain status like visit students and exchange
students. These students/learners come under government or diplomatic programs which are
studies or learn for certain time; short or long stay. Most of them come from different countries
and nations with different education background. Some are have talent in art, some are from
arts world/ businesses, and some no talent at all plus not event have been touch with art/art
world. The toughness become hard since most of them cannot use Indonesian Language. Since
they are under government/diplomatic programs learning process, their present and learning
must be accepted and prepared well. Along with all factors that bound with them and the
situation wrapped them these learning and teaching process become much more challenging
both for the learner themselves and for the teachers who have to teach them. At the end it has
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to be admitted that these conditions make it much harder to making appropriate teaching designs
which are applicable and useable.
The problems and challenge of teaching and learning process in dealing with foreign
students who come and accepted as part of government/diplomatic programs are rich and
complicated. In teaching and learning process for the foreign learners/students, teachers not
only dealing with the learning materials only but also with the learners background,
personalities and views. These are as factors that cannot be neglected nor ignored. Still the goal
to make them absorb the materials that will be teaching to, but the challenge is how make them
absorb it in proper ways not rejected it or worst drop it as they feel they have no need of it. To
make the teaching and learning process for the foreign learners possible to carry on, work out
and can reach the goal a teaching design is a must. The teaching design must be the design that
not a prediction one but the design that has come from research studies.
2) The important of research; arts institutions
As been mention above, the condition and situation of arts institution is hoped can be
understood and can be seen as a thing which should be overcome in a wise way. Now the
question How wise is it? Well the answer is simple as wise as it have to be and can be done
i.e.; through research studies. Research studies are needed to understand the phenomenon,
finding the answer, and to get solution over problems in teaching and learning process.
Through educational research, teachers (in here lecturers) can identifying the problems
or issues along the teaching and learning processes/studies. These problems and issues can be
later on processes through research to find out the solution over the problems/issues. Creswell
(2002: - ) stated that:
Educational research is a cyclical process of steps that typically
begins with identifying a research problem or issue of study. It
then involves reviewing the literature, specifying a purpose for
the study, collecting and analyzing data, and forming an
interpretation of information. This process culminates in a report,
disseminated to audiences that is evaluated and used in the
educational community.
The above quotation shows what is mean by educational research and what involve along with
it. Educational research as stated is cyclical process of steps, in where the steps are measured
and done for purposes. The steps later on end up in the form of report that is evaluated. The
evaluation is needed to measure again the applicability of the research that that can be used to.
Furthermore, Creswell (2002: -) stated that In less comprehensive terms, educational research
is an organized approach to asking, answering, and effectively reporting a question. Through
the statement it is clearly seen that educational research is prepared and follow some procedures
along with an organized approach that will help and useful in answering questions that arises
and reporting it in a measurable accountable ways.
It have to be understood that the differences among foreign learns are so large. The
varies not only lies on age, sex, personalities, language, culture, nationalities, but also in
education back ground, talent, views, perception, studies habit, interest and reason of joining
the program. The foreign learner will happened to be not in the same age and same levels of
studies in the same years of coming and acceptance. They happened not in the same interest of
arts nor same talents. Factors to be concern most are the reason for joining the program, the real
interest and age. The others most important thing that can determine the continuities of learning
process and gaining of goal are the review of teaching designs and materials every years since
the learners will be much different (phenomena. atmosphere, circumstances, differences, needs
and needed) and improvement must be make.
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The rich phenomenon and also complicatedness; like what have been mention in first
part of discussion, make it impossible to just make a teaching design based on materials of
learning only nor predictions. The need of research studies in education is come for some
reasons: 1) Make the teaching design measurable and testable, 2) Make teaching design can be
accountable 3) Make the teaching design can be applicable and implemented in scientific ways
3) Make the teaching design can be used not only in limited area or for certain condition,
4)Make teaching design can be develop and spread out, 5) Make teaching design as an
instrument of teaching and learning process for the intellectual richness and science studies., 6)
Most of all make teaching design as an appropriate instrument to overcome problems that
present in teaching and learning process. Furthermore, still dealing with educational research,
Creswell (2002:-) notes the following reasons, describing the various purposes of educational
research:
1. Improve Practice
Research can suggest ways of improving practice that
have been verified with many applications and by many
different types of people, which is difficult for
practitioners.
2. Add to Knowledge
Research can add to what we know about how people
learn and what we can do help facilitate the learning
process.
3. Address Gaps in Knowledge
Research can address areas in which little is known,
like perhaps the effects of online versus traditional
classroom learning.
4. Expand Knowledge
Research can allow us to extend what we know in ways
we never conceived.
5. Replicate Knowledge
Research can act as a test to verify previous findings.
6. Add Voices of Individuals to Knowledge
Research can add an important perspective for different
learning types. Much of the educational research prior to
the Eighties is based on able, white, middle-to-upper class
males. This is certainly not reflective of our increasingly
heterogeneous students, and research helps revise theory
and practice to reflect different student needs.
3) Implementation of teaching and teaching material over views based on needs and
needed as a result of a research studies.
Before we discuss about teaching and learning materials lets discuss first what teaching
and learning materials. The teaching and learning materials which is discuss here is the teaching
and learning materials of performance arts. In simple way performance arts are the arts which
are performed. The palaces of performance can be varies; stage, off stage, live or recorded and
etc. To gain more understanding of what is performance art actually, the range of performance
arts and entire things that link with it is also need to be understood.
Lets see some definitions about performance arts which are explained in the simplest
ways to gain the understanding Merriam Webster online dictionary (2016:1) stated that
performance arts a type of art that is created in front of or presented to an audience by the
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artist. In here Webster showing the essential boundaries of what is called performance arts and
its criteria. Performance arts must be performance in front of audience and perform by an artist,
so there are three essential factors must be present at the same time in the same place; the
performance, audience, and artist. Dealing with the range of what is called performance arts
and what bound with; UNESCO (2016:1) stated that:
The performing arts range from vocal and instrumental music, dance
and theatre to pantomime, sung verse and beyond. They include
numerous cultural expressions that reflect human creativity and that
are also found, to some extent, in many other intangible cultural
heritage domains.
The quotation above showing the range of performance arts which is stated it stated start from
vocal and instrumental music, dance and theatre to pantomime, sung verse and beyond. It
furthermore explains that the performance arts bound with cultural expression, human and
creativity. The performance based on the quotation clearly explains the scope of performance
arts and what bound with it.
Teaching and teaching materials are two things that bound to each other in teaching and
learning process. In simple way it can be said that; teaching cannot be done without teaching
materials while it is not called teaching if not with teaching materials. Teaching itself develops
along with teaching materials, and teaching materials will support the teaching process. The
development of teaching will be gained as the material are also develop with it. Even though
some materials stay the same and techniques of teaching are develop most, it cannot be judge
that the failure has done. Some teachers mostly focused on the way how to teach rather than
develop the materials since, the development sometimes must be follow and equal with
curriculum. It is need to be understood that the development of teaching and teaching material
along with its implementation need process which can be gain trough research studies. Research
studies are must in here to make it again can be accounted, beside that, the research itself has
to be view and review based on need and needed. Teaching materials itself and what is need
and needed factors to considerate to can be seen from the view of Minister of education of
Colombia States (2016: 1) that stated:
Teaching materials are Learning resources are texts, videos,
software, and other materials that teachers use to assist students to
meet the expectations for learning defined by provincial or local
curricula. Before a learning resource is used in a classroom, it must
be evaluated and approved at either the provincial or local level.
Evaluation criteria may include curriculum fit, social
considerations, and age or developmental appropriateness.
The quotation above shows us that teaching materials not limited in the writing form or manual
one but also can be in some different variations such as; texts, videos, software, and other
materials. The functions of using different kind of materials also stated that is for assist students
to meet the expectation of learning. In simple way we can say the teaching materials in different
variations which are exist and used to achieve the goals of teaching and learning process; the
understanding and mastering of what studies. One point which is put at the end of the line at
the quotation above still concerning with learning is; no matter what materials are used it has
to define by provincial or local curricula. If we talking about the materials for foreign learners
who studies in arts institutions since it is not bound with provincial or local curricula therefore
it should be made in small scope based on the need and needed of the studies equalizing with
the reasons for their coming to our nation to learn. Furthermore the Minister in the quotation
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have been stated that before learning resources is used in a classroom it must be evaluated and
approved at either the provincial or local level. Again since the resources is not in the level of
provincial and local therefore it must be evaluated and approved in the arts institution
themselves, based on the need and needed of learning. It have to be understood that some
variations and biases might appears and colored the process of creating the materials but it will
not be too much differentness appears. Most only lays in the vision and mission of arts intuitions
themselves. The last line of the quotation above stated something about evaluation of the
materials. Evaluation criteria is stated may include curriculum fit, social considerations, and
age or developmental appropriateness. For these there is no way to conduct it unless by using
research studies. Therefore research studies are a must and essential.
As the discussion of the importance of research studies have been discussed above lets
focused on the implementation. The implementation of teaching and learning material even the
studies one is not easy. The difficulties will come along the way of teaching and learning
processes therefore the good materials like have been mention in the quotation above is the one
that can be developed based on appropriateness. It has to fit up in different situation or
circumstances and condition also the background of the learners. It has to be flexible to be fit
up to. If these criteria do not present or exist therefore the implementation can be difficult to
made, worst every years the materials have to be made new following the need and need of
teaching and learning programs. The good one or the implementation one is the materials that
can be reviewed not remade all the times.
Other things to be considered in the implementation of teaching and learning materials
that had design are the implement ability. It cannot be denied that some teaching and learning
materials are very good and almost superb on the papers but only superman and the heavenly
institutions of other world can implement it. What we should understood is, the good teaching
and learning materials which are designs based on need and needed that is gained through
research studies must be placed and implemented in the right institutions and teach by the right
teachers based on the real condition and situation that wrapped them. In simple words; the
teaching and learning materials is made by concerning the place of implementing and human
resources who implementing it. By understanding these implementation of teaching and
learning materials based on need and needed can be achieved. Now what about the overview?
Is it needed and what is the implementation overview?
Implementation overview is needed and a must. Implementation overview in simple
words is the overviews of the teaching and learning materials implementations to show
problems, achievement, development, failures, successes, strength and weaknesses of the
materials implementation. The overview again has to be conduct under research. It has to be
remembering that; the research is done after the implementations not before the implementation
and must be again based on need and needed. The overviews can give a big help in seeing
clearly the phenomenon, atmospheres, and real condition of previous implementation to help
overcome the next implementations. If the overviews are not being conducting after each
semesters or years of studies therefore the next implementation of teaching and learning
programs is a chaos. It can be said that overviews is the least but not last process to be done in
the implementation which are crucial for the continuation of the studies.
In arts institutions the overview of the implementation has been conducted in some
subjects or programs. Efforts has been done and keep on doing for years to improve the teaching
and learning processes for the foreign students but it cannot be said enough and far away from
perfectness. The large different background of knowledge, studies, nations, personalities and
views among students that come along with changes of policies as changes of institutions
structural policies makers, who are the management of higher education, made things gone
wild sometimes. This wave happened almost here and there so it cannot be avoided as it is
parts of life. These make it is hard for the implementation to stand fit save and secure.
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If than the questions is how the management of higher education involve here the answer
is so simple, the management of higher education in an institutions is the policies maker who
decide the rolling of a policies in an institution. Therefore their decisions in here the
implementation of ; 1) teaching and learning designs, 2) people who doing the research, 3)
people who manage the foreign programs, and 3) teachers resources, become the most
determined things that determined the flow of the higher education itself and how it will end
up. In simple understandable ways dealing with management, polices and policies makers Terry
and Leslie (1992:17) stated that:
Membuat keputusan adalah memilih suatu alternative dari dua
pilihan atau lebih, untuk menentukan suatu pendapat atau
perjalanan suatu tindakan, ia adalah peristiwa psikis dan kreatif,
dalam mana pikiran, perasaan dan pengetahuan di himpun bersamasama untuk sebuah aksi. Biasanya ia mencakup ketidak pastian.
Dalam pengambilan keputusan, seorang manajer berurusan dengan
nilai-nilai yang akan datang, yang sampai tingkat tertentu belum di
ketahui.
In English it will be said: making decisions is choosing an alternative from two or more options,
to determine an opinion or an action journey, decision making is an activity that involve psychic
and creative action in which the thoughts, feelings and knowledge gathered together for an
action. Usually it includes uncertainty. In making decisions, a manager dealing with future
values that in certain extent not yet known. The quotation sharply stated that making decision
is not a simple matter since its will determined the continuities of values. In simple words the
future existence of an institution and named is bet by the discussion made.
There are two things we can get from here dealing with the implementation; 1) the range
of differences of students or learner especially their abilities and background knowledge on arts
and language have to be considered as the main factors of designing and implementing teaching
and learning materials, 2) the implementation of teaching and learning materials no matter how
good it is, it has to step on the stable ground and must be take care in right ways by right
policies, by the right policies makers that has abilities and understanding on the matters along
with right teachers resources. If it can be gained there will be the result of research studies and
the development of it can be achieved.
Conclusion
Teaching performance arts based on research studies is a must and can no longer be
ignore and let as the way it is. The implementation of the result of the research is needed for
the development of the institutions. The implementation is needed to follow steps and
regulations along with the process. The implementation need to be overviews to see the
achievements and development that has been made. Factors which is must be concerned most
is the made of designs, implementations and overviews that based on need and needed.
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References:
Creswell, W, John.2002. Educational Research Planning, Conducting, and Evaluating;
Quantitative and Qualitative Research. Boston: Pearson Education Inc.
Terry R, George and Leslie W Rue.1992. Dasar-Dasar Manajemen.Jakarta: PT Bumi Aksara
Other resources
https://www.bced.gov accessed 2 august 2016
http://www.unesco.org accessed 2 august 2016
http://www.merriam-webster.com accessed 2 august 2016
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POSTER PRESENTATION
CONSISTENCY
(The Dark Side of Dajang Rindoe)
Kiki Rahmatika
Choreography Department
Indonesian Institut of the Arts Yogyakarta
kiramsyaher88@gmail.com
ABSTRACT
In globalization era which is more sophisticated, people are more and more faced on the
rapid improvement of technology and communication. Those improvements should able to
generate the unbound human being. But, the tradition often become the wall for people
movement either in mind or physically. This situation commonly experienced on women
though freedom should actually be had by women. However, giving up is not the option. Keep
expressing the thoughts and doing the movements independently and responsibly are the exact
decision. Because there isnt any tough wall that able to restrain the mind that would like to fly
freely.
This choreography is started from Dajang Rindoes manuscript which is deconstructed.
In the process of cultivation of this work, the foundation of creation used text deconstruction,
creativity, and choreography. Text deconstruction is implemented in finding the new point of
view of the women freedom. Creativity approach is used for the reason that the artwork creation
is not separated from the thinking process and work creatively. By this approach, the way of
thinking and working creatively will be developed. The third approach that is choreography is
used as the foundation in creating the dance aesthetic that involving the body movement,
composition, unity, harmony, behaviour and other visual aspects.
CONSISTENCY dance work is a description about woman toughness to get her
freedom in order to maintain her integrity. The freedom that need the full struggle for her to
get. Because the freedom itself has the meaning to be able to live independently and
responsibly. In the real life, the freedom women who able to preserve her firmness
independently and responsibly are very scarce. The imbalance of this firmness then fades the
women integrity.
Keywords: deconstruction, firmness, woman integrity.

Introduction
CONSISTENCY (The Dark Side of Dajang Rindoe) is a dancework that tells about
woman determination in struggle to reach her freedom to taining her integrity as awoman.
Struggle in this dancework is resulted by deconstruction of Dajang Rindoes Manuscript that
save on library of Leiden University. This deconnstrustion way is using not to argue or
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resistance to the contents of the text. Deconstuction is used to give the other view without must
blame and broke the previous views. On his book with a title Derrida (2005) Muhammad AlFayyadl said that deconstruction is a way to break reliability of a text, so that it will result new
interpretations.
Research Question.
1. What the result of deconstruction of Dajang Rindoes manuscript who written by Van
Der Tuuk?
2. How use creativity and choreography to make a dancework?
3. What the important essence of CONSISTENCY dancework?
Method
The method that used in this research is qualitative method, eventhough data collection methods
used in this research is by Dajang Rindoes manuscript. For data analysis this research use
deconstruction approach by Jacques Derrida written by Muhammad Al-Fayyadl, creativity choreography written by The Liang Gie, Doris Humphrey, Sal Murgiyanto, Joan Russell and
Hans-Thies Lehman for create the dancework.
Deconstruction is used to found essence and meaning that will be used as guidance to
create a dancework. Creativity approach is used because creativity of dancework can not be
separated from the process of thinking and creative work. By this approach process of thinking
and creative work will be build. Whereas the second approach is choreography. It is used as
base on create dance aesthetic that consist of body movement, composition, unity and harmony
and act aspect and the other visual.
Result
Dekonstruksi
Dajang Rindoes manuscript rewrite by Van Der Tuuk as anthropologist from
Netherlands on 1668. The manuscript sourced from oral literature that tells hereditary
by a man. So that the story of Dajang Rindoe just have one viewpoint, it is man view
point. It is tickle choreographer to deconstruction the text to give the other view about
Dajang Rindoes dead by woman viewpoint.
When the text deconstructed, choreographer use naratology approach.
Naratology can definition as a set of concepts about stories and storytelling. While,
structure of fictional narrative is series of moment that on the story contained the other
elements, such as: figures, background, viewpoint and the other. Study of narrative
discourse on this case considered to have involved languange, literature and culture,
which in itself is very relevant as the object humanities. For naratology studies, teory
of contemporary literature had give very wide area coverage to narrative eksistention
(Ratna, 2004: 128-130).
The moment can be either action (Moment likes human action) and happenings
(moment that not by result of human action). Discourse on the other side is as a advice
to reveal the content. Based on text of Dajang Rindoes manuscript, there is action
(moment likes human action) that spken by narrator. The important moment that
happens on manuscript who written by Van Der Tuuk is divide self of Dajang Rindoe.
Divide self of Dajang Rindoe if it is look from re-storytelling of Van Der Tuuk
is caused by war between Tanjung Iran region and Palembang Sultanate. The war is
happenings because rejection of Dajang Rindoes father (Wayang Semu) to Prince Riya
proposal. On that situation Wayang semu had make a promise to Dajang Rindoes
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grandfather (Kriya Carang) to marry Dajang Rindoe with a man (Ki Bayi Radin) that
had choosen by Kriya Carang. Because of the rejection Tanjung Iran was destroyed and
all family of Dajang rindoe were dead. Dajang Rindoe only has two option; die or accept
Prince Riyas proposal. Dajang Rindoe choose dead with a requirement to Prince Riya,
she ask Prince Riya to divide her body to be two part. The first part (from head to waist),
she ask Prince Riya to burry to Dajang Rindoe,s land of birth (Tanjung Iran). Then the
second part (from waist to food) burry to Palembang sultanate region.
However, story that rewrite by Van Der Tuuk is a story that sourced from man
voice. There isnt woman voice on the manuscript. It is make choreographer make a
conclution that rewrite of Dajang Rindoes manuscript based on man view point. So that
absence of woman voice on Dajang rindoes manuscript make choreographer renarration and re-discourse moment of Dajang Rindoe die by woman viewpoint. Relate
to deconstruction, narration that choreographer try to presence on new discourse
certainly not to destroy the structure of story in manuscript who rewrite by Van Der
Tuuk. Because the principal of deconstruction is not to destroy of text but also to
presence the other view point from the meaning of story.
Relate to structure of story above by naratology, choreography presence
discourse on the text especially on Dajang Rindoes divide movement. Divide self of
Dajang Rindoes if mean correspond to structure and view point of Vandertuuk is a
loyality form to men (grandfather, father, and boyfriend). But if the story narrated back
with choreographers view point as Dajang Rindoe (woman present), certainly will give
the different result. By woman view point, divide self of Dajang Rindoe is critical to
men. This critic appear because at the time tradition is not give space to woman to
voiced.
The critic with divide self have a the meaning of satire. The satire is when Dajang
Rindoe ask Prince Riya to divide her body to be two part. The first part (from head to
waist), she ask Prince Riya to burry to Dajang Rindoes land of birth (Tanjung Iran,
Muara Enim). The first part burry in her land birthday have satire meaning that as a
woman she loyality with her promise with give her heart and thinking. Then the second
part (from waist to food) burry to Palembang sultanate region. The second part was
burry on Palembang Sultanate because it is have satire meaning that Palembangs people
always doing something with a lust without thinking by brain and considered by heart.
From the explanation above can get conclution that the die of Dajang Rindoe
with divide her body to be two part not to show surround. But the rejection to tradition
and the power of man to woman. Dividing the body meaned if Dajang Rindoe not only
rejection the proposal of Prince Riya, but give a sharp critic about the dead of
humanitybecause tradition and the power of man. Dajang Rindoes rejection not only
to show feel of consistency to obligation as a daughter and lover. Consistency on this
context is resistancy (fight) woman on struggle her inetgrity. So that this dancework up
about woman integrity and choreographer give a title CONSISTENCY.
1. Creativity
Human as a creature whose most perfect. They supplied with thinking. By
thinking human can doing a few needs on them life. Fullfillment of the need then make
human to doing something. Fullfilment in this situation is not only understood as
physical needs (clothing, shelter, and food), but also spiritual needs (heart). So, on the
basis of fulfillment human required to think and be creative.
Jacob Sumardjo on his book Filsafat Seni formulate that creativity is a very
individualized mental creativity that is manifestation the freedom of human as
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individual (Sumardjo, 2000:80). But also The Liang Gie on his book Teknik Berfikir
Kreatif (Gie, 2003:18), provide limits on creative thinking as follows:
creative thinking is a series of actions performed by people using his
intellect to create a new thinking from a collection of memories that contain a
variety of ideas, information, concepts, experience and knowledge
So, it is conclution that creativity is self expression from intellectual that appear
cause human freedom as individualto create something new. Something new in this
context not to meaned as a orisinality that is individualistic. Every artist creative
esentially is to create something from something that be before. There isnt something
new in the world. An arwork created by collecting of idea, experience, concept and
knowledge out of themselve.
Concept
Concept is a vision or artistic plan that will embodied on a creativity of
dancework. Without clear vision creativity of dancework not have direction and
purpose. This concept make artwork creativity process became targeted and sructured.
And then artistic vision that had determined will translate to artistic mission in the form
of methods of creating dancework.
Excitatory early
This dancework is come from visual excitatory when get new information the form of andaiandai from Muara Enim and repro of original manuscript of Dajang Rindoe that rewrite by
Van Der Tuuk to Indonesian Languange, Malay Languange, and Ka Ga Nga script.
a. Theme.
Creativity of CONSISTENCY dancework want to transformation the new meaning
fom deconstruction result and not to retells content of manuscript, so the theme of
this dance is nonliterer.
b. Title.
Title which choesen on this dancework is. The title is intend to give a description
about be different way of view from a woman on resistance her ideology and
integrity. By my supervisor the title translated to Indonesian Languange became
Keteguhan Hati Pererempuan: Sisi kelam Kehidupan Dajang Rindoe.
c. Type of Dance.
CONSISTENCY dancework is use postdramatic type. Postdramatic is atype of dance
that adaptated from theatre. if on theatre using postdramatic because there isnt have
obedience again, it is also happening with dance where dance not only create based
on literature but also by essentially story. So that this dancework leave the manuscript
and deconstruction its to get the new meaning. The meaning became the first base to
embodied dancework by dramatic type.
d. Mode of dance presentation
Mde of dance presentation is a result form from creativity process that deliver to the
certain choreography, so that on the ending of creativity process, an choreographer
can understand with right form of choreography that had produced. Mode of
presentation CONSISTENCY dancework ia representational. Representational is
describe a reality that accordance with the motion as present can known the meaning,
form of dance creted as clear according to idea of story. This mode is intend to result
a choreography that summon to manifestation ideas as clear (realistic).
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e. Motion.
Motion that used in this dancework is daily motion (realist) and symbolic (stilitation).
Realist motion used accorded with he theme of dance (nonliterer) and mode of
presentation (representational) was used. Realist motion will give description to
audience to daily moment that presenced like fall, walk, run, survive and the others.
While stilisation motion is used to express symbols accordance to the meaning that
want to told. Stilisation movement displayed by transformation process from realist
motion. So motion patterns on this dancework can knowing as follows: Realist----Realistic-----Symbolic.
f. Dancer.
Dancer is the most important element on creating dancework. Selection of
dancer is a important process in a dancework because dancers must can explain the
conceptual reasons. Gender, body posture and composition is an aspect that must
thinked on make an dancework that take postdramatic type.
CONSISTENCY is a dancework that dancing by 7 dancers, it is consist of 6
women dancers and one man dancer. The man dancer has a propotionsl body and has
good technic used to presentation a wall (tradisi) that strong, big and great. One
woman dancer with the small body, agile and has good technic is intend to express
resistance. One woman dancer with fat body, heavy and slow with a simple technic
is intend to express weakness, failure that continue in order to bring hope. And four
dancers whose have propotional body is an expression of woman power.
Decicion of dancer amount body posture not only considered to express
situation, but also to floor patterns that is important aspect on selection of dancer
amount. CONSISTENCY dancework that consist of 7 dancer is using focus on one
point, focus on two point (1-1), (4-2), dan focus on three point. (1-1-2), (2-4-1). The
three focus deliberate used to show situations that mutually exclusive but also have
mutually relation. Besides that using of unison motion, canon motion, alternate
motion, and broken motion also very relate to dancer amount.
Unison motion and canon motion used to show the impress of woman power.
This motion choosen because if one motion do by one dancer not will show the effect
of power. But, if one motion doing with alternate, unison and canon will show the
effect of power that biger. Alternate motion used to show the impress about be
commotion and uncomfortable situation. While the broken motion to express destroy
and anger.
g. Music.
Music is one of important element on choreography, although on the reality
often get dancework that not use external music. It is because basicly there is music
that not visible, in the other word there is music can felt by motion. But, basicly music
is soulmate of motion.
Djohan on his book with a title Psikologi Musik tells that music is human
action, music can arouse feelings of listener (2005). CONSISTENCY is a dancework
that many played on area atmosphere. The atmospheres that eventually charted music
as illustration. Music as illustration is music that functioned to give atmosphere that
support choreography. So that a moment that describe can build on audience
perception. But also because on CONSISTENCY dancework there are many unison
motion, so music on this dancework had levels were quite dominant as a confirmation
of motion.
Music on CONSISTENCY dancework consist of a few element of sound that
have function to describe atmosphere in order to can shape the imajination of
audience. The elements of sound are percussion choosen besides as the key of tempo
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also as ilustration from situation of resistance to static of tradition. Singing bowl and
tibet vocal are used to ilustration the great of tradition that very binding human life.
Violin used to ilustration of regret. Bass and piano used to ilustration of woman
consistency.
h. Stage artistic.
This dance work was performed in the Sociteid Militer hall of Yogyakarta
Cultural. That place choosen because had atmosphere that support with
CONSISTENCY dancework concept. When make sketch of place, choreographher
join with one of student in interior studies on Magister of Institute of the art of
Yogyakarta whose name is (Nurhayatu Nufut Alimin) and stage crew from
Yogyakarta (Susilo).
After doing discussion about space with Nurhayatu, finally got an idea to
make or different stage became two world. The first world is for solo choreography
that we agree with name limitation. And we try to make the limitation on a level with
wide 1m x 1m and high 30 cm. On athe level choreographer let the body felt the
limitation. Limitation memory that has saved on the choreographer body finally was
aplicated on creativity.
At the times wrestle this creativity choreographer came academic supervisor
(Sal Murgiyanto, Ph. D) to talking about the two world. Sal Murgiyanto was agree
about the concept and ask to do the eksploration on that level in order to get feelings
of limitation and the feelings not lost from choreographers body. Finally this
limitation not only limit on space but also limit on the body.
i. Costume.
Costume must support the concept of creativity that will presence, besides
use of the clothing colour that base on the psicology of colour. Beside that costume
not only use as tools of comunication and it is must give comfortable feelings to for
dancer to move. On this dancework choreographer had experience three times
costume possibility that designed by a designer (Embran Nawawi). Finally costume
of CONSISTENCY dancework found three kind of costume that used, that is:
Man costume that representation of wall tradition.
Pict 1. Costume of CONSISTENCY (Representation of Wall Tradition)

Photo: Ari Kusuma
This costume consist of black shirt and black trousers. Looking from the form
of costume that use by the body of a man dancer, the costume not show
costume like general. This form was deliberate because the black colour not
only as distraction symbol, it is also to show that a man free from tradition
rules, so that man always can higher than woman.
Woman costume who on the limitation.
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Pict 2. Costume of CONSISTENCY (representation of resistance)

Photo: Ari Kusuma
Woman costume who on the limitation is embodied with patterned fabric of

tapis that show Lampungs identity, gold and red fabric where is the red
colour more dominant than gold colour. It is to show about woman body that
always want to resist although be on the limitation condition. Jumpsuit
costume was choosen because it is to symbol of bravery.
Costume of women dancers whose representation of resistance.
Pict 3. Costume of CONSISTENCY (representation of resistance)

Photo: Ari Kusuma
This costume is looks like the previous costume. Different both of the
costume just on the colour. Gold colour is dominant is to show woman
resistance whose effort to reach freedom. But also to get a free didnt need
doing something radical, resistance that base on wisdom is resistance that
begin by logic. The wisdom is representated by the golden colour.
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j. Make up.
Make up is one of element on choreography that relate to figure characteristic.
Make up is play an important role to give face effect of dancer according to
choreography concept hwen lighting illuminating the dancer. There are 3 kind of
make up that used in CONSISTNCY dancework:
Make up of aman that to representation his body as wall of tradition
(distractor). The make up didnt need made to be certain character, because
that want to show is motion quality not the character of face.
Pict 4. Make up of man dancer (representation of rbustness of tradition)

Photo: Ari Kusuma
Make up of woman who on the limitation is used to dance opening Tata rias
perempuan yang berada dalam keterbatasan. It use to opening dancer (dancer
whose on the lvel) is natural make up, us a fondation, blush on pink, pink
lipstick. Face make up on down choosen to express guts on limitation.
Pict 5. Make up of woman dancer (representation of woman resistance)

Photo: Ari Kusuma
Make up of woman who doing resistance. Make up that used to dancer that
doing resistance is natural make up, use fondation,blush on pink and maroon
lipstick.
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Pict 6. Make up of women dancer (representation of resistance)

Photo: Ari Kusuma
k. Lighting.
Role of lighting very support a dance permormance. On the dance script can
explained lighting concept or illumination that use on the dance presentation.
Lighting on CONSISTENCY dancework also had a role as atmosphere shape. This
concept is more accent on dancer performa which can presence with confirm the
atmosphere.
Psicology of power is a knowldge that to study and to identification human
perception to colours in the nature.mood of someone can influenced because a colour
that caught by eyes (Triadi, 2005). Someone called with a term Psicology of power
to articulate perception as unique with peopl mind was seen. As well as nature colours
can tells and to influence people mood. The lighting concept on this dancework was
function as confirm scene and as tool to confirm symbol of the dancer body. Evry
choose colour effect or illumination, choreographer guidance by psicology of colour
book, whhere the colours have a mean follows:
Red is use to confirm anger atmosphere.
Blue is used to confirm atmosphere scene and as tools to confirm symbol or
gesture of the dancer.
Purple is used to confirm about the great of tradition.
Orange is used to confirm about consistence.
Base on the above comprehension choreographer can result a new artwork,
unique, and rarely get peoples attention or dont get famous on our tradition, but maybe
as intuitive had feel and very famous to all human. Creator must can change something
that ordinary to be extraordinary, or something didnt had means tobe had a mean. So
that we need creativity, both in the process thinking and acting process. Creativity of
dancework is base on courage creator on doing the creativity. On this artwork
choreographer make a dancework by using simple symbols that forming by body (daily
movement), so that it can be a dancework that not only meets creativity movement, but
also this body symbols can be dancework that a moment that remember on audition
heart.
Choreography
1. Eksploration.
Eksploration on the choreography process is a step between danccer and
choreographer. The essential of this process is exploratory between dancer and
choreographer. Choreographer role as subject who responsibility to know about
dancers technic. This process doing after choreographer had a dance concepts. S
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that this process include on eksploration that had planning, although uncertainly.
The intention of this eksploration to found the other ideas from the dancers as
interpretation artist on unity definition work relation between choreographer and
the dancer. This experience can develop because the dancer have mutually
interpretative.
Eksploration based on form or structural especially relation to the other
dancers founded in a book Lois Ellfeldt dalam bukunya yang berjudul A Primer for
Choreographers. Eksploration is a process to result possibility motion. The
possibility motion will choose as a tool to show a message. The eksploration are
follow as:
Pict 7. Exploration of Want to Free

(Photo: Achmad Oddy Widiantoro)
Pictures in above is result of eksploration from a theme Want to Free .

CONSISTENCY is a woman effort to keep integrity as woman (Dajang Rindoe).
Consistence which doing by divide self is acritic or effort to resistance her integrity.
The critic is a contemplation where a woman also need gave voice to take a
decicion, especially if the decicion about her life. Thats actio is a way to to destroy
the wall of tradition.
Different with the effort that doing by Dajang rindoe, as a choreographer
will choose the other way to solving problem. If Dajang Rindoe choose diie in the
wall of tradition, choreographer choose to still life and effort so that the voice can
hear although the great wall and high became distraction to freedom.
This eksploration had doing three times. First eksploration was presented to
Dede Pramayoza as a dramaturg from Gajah Mada University. The second
eksploration was presented to Prof. Feriyyal from Pakistan as a practical dancing.
And the last ekploration was presented to artists from Thailand (Choreographers
and Dancers. By presentations of eksploration choregrapher had many advice that
can apply to CONSISTENCY dancework. The advice are the choreographer must
can enjoy the limitation on the level (Dede Pramayoza). Choreographer must learn
how to plan emotion (Prof. Feriyyal). Choreographer expression very good and the
symbol was used very relevant with present(Thailand artists)
This eksploration give me many knowledge about woman freedom. Besides
that choreographer get a reason why often use contract release (Martha Graham)
and fall-recovery (Doris Humphrey). This technic not directly get and learn from
Martha Graham and Doris Humphrey. This technic get from watch Pina Bausch
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dancework Rite of spring by youtube.contract and release besides used on plan a

motian, the technic also teach choreographer, if want to be a real woman the woman
must learn how to contract and how to release emotion.
Dancework which a theme Want to Free is a woman resistance on going
to keep her integrity with independently and responsibility. The theme became one
of stimulus to results motions that can represent group choreography.
Pict 8. Exploration of Run from unfreedom

(Photo: Achmad Oddy Widyantoro)
Freedom is a situation that always dreamed by every human, but many

tradition that not relevent again became a wall especially for woman. Tradition like
binding woman, even though if looked with life present many values that not
relevant again. So that free from binding is a situation that very dreamed of woman.
Because by a freedom that independently and responsibility woman can reach her
integrity. Run from tradition is one of way to get a freedom. Run on this
eksploration combine with alternate motive. This motive is intend to show
restlessness impression from the rule that existin the vicinity.
Pict 9. Exploration of Resistance to Wall of Tradition

Avoid tradition is not an easy way. As far as any woman try and run, finally will
meet distractor on keep and resistance her integrity. On this position consistence
needed to fight rules on tradition which have not relevant again on human life.
Exploration aboveis expression from body that rebelled and trie to escape.
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Pict 10. Exploration of the power of wall tradition

(photo: Achmad Oddy Widyantoro)
Tradition is a wall that very strong. By the power that it have, tradition can became
fences or barries that impede freedom of people. Tradition as strong wall explorated
by man body and jump technic to show the impression of strong and kokoh.
Pict 11. Exploration of try to survive

Everytimes try to out and free from tradition, this effort always get fail. But fallis
not a condition that must accept as lost. Sometimes fall make we learn be patient
and refrain. We need to step backward to get the next three steps. On this fall
position will prove of what courage is owned by a woman. A woman who easily
give up of course have alow level of firmness. Otherwise if a woman has a high
degree of firmness will make the fall as a lesson for introspection. Rise up and fight
again is the right choice to be completely detached from the walls of tradition.
Exploration of the body from falling to stand by lifting up one leg is a form of
woman effort to remain consistence resist the traditin that distraction.
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Pict 12. Exploration of to continue survive

Effort will always meet with possibility fail or succes. Fall up to be a risk in
fighting to achieve a goal. Everytimes felt fall up will stronger our consistence as
a woman to struggle our dream. Surround is not a choice, because surroun just a
choice for loser.
2. Improvisasi
At this stage has a variety of artistic and visual shadow accordance with the
theme of dancework determined, the next step is to conduct experiments in motion
to realize the imajination. Experiments were first performed to respond to any
incident that is the story of Dajang rindoe.choreographer give instructions to the
dancers to move, according to the stimulus whose they can.
On this step spontanity more especially to get forms that better from exploration result.
Exploration doing by give stimulus to to the dancer, so that can to result respon and
spontanity. After feelings, knowing and look the atmosphere and can to respon directly
somethings that relate to memories before die of Dajang Rindoe. Without the whatever
instruction all dancer was free to feelings and intercourse. This is important to doing to
uniting in advance between the energy that is in the body of a dancer with the motion you
want to use, resulting in unity between the dancers body and the motion that is used. Thus the
motion already belong to dancers who will lead the body to bring up the symbols and gives
meaning to the motion itself.
After all the dancers finished making spontaneous movements associated with the theme
Dajang Rindoe, choregrapher and dancers perform throughout the evaluation. In the
evaluation we mark the new forms from the spontaneity of the body. The results we discussed
back in for questioning precision-accuracy motion previously used and defined in this dance
work consistency.
3. Embodies
After the stage of exploration and improvisation passed, aspects of the shape and
the technique can be awakened through some exercises that have been planned as
follows:
Latihan pertama:
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Awareness of the movements of the entire body, including footwork, arms,

hands, body, head, and so on.
Latihan kedua:
Sensitize or concentrating effect of such spatial directions, level, dimension,
motion in place (Stationary) and motion move (Locomotor).
Latihan ketiga:
Resuscitate the influence of time as their rhythm, tempo, and duration.
Constant rhythm, and not constant, fast and slow tempo, and an assortment of
other time dynamics.
Latihan keempat:
Awaken the use of force by the changes in the variation of intensity, quality
and light or heavy pressure. The scope of dance as well as the use of this power
lies in between the two extremes of maximum tension, or require a lot of
energy, maximum relaxation or do not need to use a lot of energy.
Latihan kelima:
Sensitize the use of breathing. Breathing through dance is a specific setting
that has to do with movement in order that in the motion is not disturbed, the
more a dancer that must require a lot of energy in a long duration.
After all forms of visual and audio created and agreed upon by all the artistic
support team, then before rehearsal (GR) lock stylists artistic achievements that
have been created. This means that the artistic search process has been stopped,
and no changes will occur more visual form. When it is fully stylists submit to the
stage manager (M. Fachrodian) to become a leader in regulating the course of the
show. Since rehearsals until the show progresses.
Conclution
Consistency dance works (The Dark side of Dajang Rindoe) is a work that has the essence of
deconstruction results Dajang Rindoe manuscripts. The essence of the dance work is freedom,
determination and integrity. The essence of it is concluded that that the freedom that a woman
is a result of the struggle is not given. Freedom is a desirable state of women in order to
achieve the goals and ideals. But it takes persistence to have freedom, as well as possible
freedom is freedom that is capable of operating independently and is responsible for ensuring
the integrity of a woman is maintained.
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Pict 13. Result of Dancework

Photo: Ari Kusuma
Creativity and choreography of a dance piece Consistency rather than starting from the studio,
but the creativity and choreography can be run under the guidance of the essence obtained
from the deconstruction of manuscripts Dajang Rindoe. Creativity and choreography is a
creative tool that is able to transform text into a dance. A dance piece that lasts approximately
40 minutes of this, contains events that may be experienced by people in general. As the
events fall up where everyone has experienced defeat in achieving its goals, but as shown in
the work of consistency this work to show firmness of women who do not want to lose with
limitations. Surrender is not an option, rose still fight and walked achieve ideals is the right
choice. So that this work is not only giving the reference spectacle eye, but becomes a mirror
and reflection materials who's watching the work of this consistency.
Consistency works brings many benefits academically, but also provide value in life. The
benefits obtained from the making of the work of stylists are becoming more aware stylist
neighbor deconstruction and transformation. Additionally stylists acquire knowledge and
practice of bodies about the possibilities of body shape is able to represent the essence of
deconstruction manuscripts.
Undergo a process of creation of course, not only related to the intellectuals. Patience is an
important part that always gets a good test in terms of material, time, dancers and even
bureaucracy. The tests were almost fade determination in finishing a dance stylist consistency
to finish and be free from a period of study in Postgraduate ISI. Because if the stylist is not
able to complete the study period stylists, this equates to destroy the integrity stylist
hairdresser as a woman who has been a stylist wake. Of these, more stylists agree that
freedom is a situation that must be fought not given. Of the process of creation can be seen
that the creation of a dance piece Consistency is an attempt to find another way of freedom.
287
KEPUSTAKAAN
Al-Fayyadl, Muhammad. (2005), Derrida, Yogyakarta: LkiS Pelangi Aksara Yogyakarta.
Djohan. (2005), Psikologi Musik, Yogyakarta: Penerbit Buku Baik.
Ellfeldt, Lois. (1971) A Primer for Choreographers. Palo Alto: Mayfield Publishung Company.
Gie, The Liang. (2003). Teknik Berfikir Kreatif , Jakarta: Gramedia)
Humphre, Doris. (1983). The Art Making of Dance. Terjemahan Sal Murgiyanto. Jakarta:
Dewan Kesenian Jakarta.
Murgiyanto, Sal. (2015), Pertunjukan Budaya dan Akal Sehat, Fakultas Seni
Pertunjukan-IKJ: Komunitas Senrepita.
Nurgiyantoro, Burhan. 2005. Teori Pengkajian Sastra. Yogyakarta: Gajah Mada University
Press.
Ratna, Nyoman Kutha. 2004. Teori, Metode, dan Teknik Penelitian Sastra. Yogyakarta:Gajah
Mada University Pers.
Russell, Joan. (1969). Creative Dance in secondary School. London Maconald dan Evans Ltd.
Sumardjo, Jakob. (2000), Filsafat Seni,Bandung: ITB.
Triadi, Darwis. (2005). Color Vision. Jakarta: Gramedia
288
The suitable fabric for Thai art folding of banana leaves on clothing
Miss Chanakarn Ruangnarong
Program in Design Arts Graduate School, Faculty of Decorative Arts, Silpakorn University
Email: rchanakarn@yahoo.com
ABSTRACT
Thailand has a uniquely long-standing tradition of arts and crafts. Thai art folding of banana
leaves, probably the best-known such as food wrappers and precious handicrafts has been
practiced to make colorful decorations for festivals. As time passed, roles of using parts of
banana have been reduced but there has been an attempt to help conserve it only some art and
craftsmanship. This research will study and analyze about Thai art folding of banana leaves,
the folding technic from art and design, product and fashion for diversity of folding.
Furthermore, Fabric is the key of this research to know the type of fabric suitable for folding.
Thus, the experiment and practice show the fabric qualification by selected 9 properties
included 1. Good stability 2. Good draping 3. Heat resistance 4. Smoothness 5. Balance 6.
Wrinkle 7. Stretch 8. Strong 9. Soft with the wearable fabric are 1. Natural Fabric 1.1) Cotton
1.2) Linen 1.3) Muslin 1.4) Jute 1.5) Ramie 2.Man-made fabric 2.1) Polyester 2.2) Nylon 2.3)
Organza 2.4) Satin 3. Blended Fabric 3.1) Cotton Spandex 3.2) Linen Viscose. The result is
Polyester, Cotton Spandex and Linen Viscose respectively suitable for folding. In conclusion,
the purpose of this research compiles the theory, technique, and method of Thai art folding of
banana leaves. Moreover, the many types of folding technique from Thai art folding of banana
leaves for clothing construction that can be a guideline and modified in the next stage for
designers who interested in craftsmanship, culture, and tradition. Then, to create the guideline
from the Thai art folding of banana leaves. Finally, the wearable art by using the clothing
construction guideline from the Thai art folding of banana leaves.
Keywords: Fabric, folding, wearable art, traditional techniques
1. INTRODUCTION
Considering plants that have been closely linked to the traditional Thai ways of life,
banana can be placed among the top ranks. This is not only because its parts are used in many
traditional ceremonies but also due to the high nutritive value of its fruit that has made it a
simple home remedy or a quick fix for flagging energy levels. Also, banana is a very useful
plant to the Thai household. To begin with, most parts of the plant can be used for various
purposes as explained below. Leaf and stem of banana, in former times, was linked to and
became an important part in the Thai ways of life from birth to death. When a mother delivered
a baby, there was a ritual of presenting offerings to a midwife as an auspicious start for the new
mother and the new baby. At this stage, banana was a must as a part of the offerings. Today, as
formerly, when a baby starts to eat, its first food is bananas as it is considered a fruit of high
nutrition which is friendly to its digestive system. As children grow up, some parts of the banana
can be made into simple toys. A banana stem is cut and made into a toy horse or a gun for
children to play with, and the leaf can be woven into animals, such as a centipede and tapian
fish; it can also be folded into an oboe. Generally, a banana leaf can also be used as an umbrella
because of its large size, or used to wrap food or things and to cover soil to prevent evaporation
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of its moisture. Moreover, leaf of a kind of banana called tani is used as cigarette papers and
those of wild bananas can be used as a temporary roof of a house. The fibrous outer layer of the
stem of the banana plant is left to dry, split into strips, and used as ropes to tie things such as
vegetables. Apart from being a nutritious food for babies as mentioned above, banana is proven
as possessing many curative properties as it contains various kinds of vitamins and minerals.
Thus, it can help overcome and prevent many kinds of illnesses and ailments; the abundant
nutritional contents explain some benefits of eating bananas (Blue Lotus, 2004).
Thailand has a uniquely long-standing tradition of arts and crafts. Unlike most of its
neighbors, it has never been occupied by a foreign power or engaged in wars of conquest, and
it has thus enjoyed a relatively peaceful development since ancient times. Patronized by the
court and the temples, the designs and craftsmanship of Thai artisans have flourished (William
Warren, 1994: 1). Thai banana leaves folding, probably the best-known example of Thailands
precious handicrafts, has been practiced to make colorful decorations for festivals. Leaves are
folded in delicate, triangular and intricate patterns before being presented to Lord Buddha
statues at temples. The religious offerings made from banana leaves and flower petals are called
Bai Sri. The art of banana leaf folding is handed down from generation to generation
(Artcrumps, 2013).
According to archaeological evidence in Twelve-Month Royal Ceremony book as a
literary work by the King Rama V, krathong was first created by Tao Sri Chulalak or Nang
Noppamas in Sukothai, she created a valuable handicraft called krathong with banana leaves,
flowers, and carved fruit to worship the goodness of river, Pra mae Khong Ka (Chatchai
Wilailuck:2007). Luckily, with the talent of Nang Noppamas, a note of her story, creation, and
handicrafts has been made. Therefore, we had the opportunity to know that krathong, the art of
banana leaves folding and flowers arrangement of Thailand that has begun in Sukhothai
(Maneerat Jantanapalin:1983). Since Ratanakosin Era, Thai people have admired the
aforementioned craftsmanship. The King Rama V liked it very much and every queen was
interested in it. Queen Saovabha Phongsri trained governors and teachers of Rajini School about
the art of banana leaves folding, flower, and dry flower. Furthermore, the Queen supported the
art of banana leaves and flowers; new techniques for banana leaves folding and flowers
arrangement art were adapted by the queen herself (Jantana Suwanmalee: 1986). On the other
hand, Thai people no less overlook their precious things than accept some culture from another
country. (Maneerat Chantanapalin:1997)
As time passed, roles of using parts of banana as such materials as food wrappers or
children toys, as well as its role in some ceremonies, have been reduced, and mostly replaced
by plastics or other easier-to-find materials. However, there has been an attempt to help
conserve the art of decoration from parts of banana, especially for traditional ceremonial
purposes, as it is considered a fine art from ancient Thai folk wisdom (Blue Lotus, 2004). Also,
Thai banana leaf folding is one of the remaining traditional art that still exist and are known by
some art and craftsmanship student, so proliferation is the way to inherit and develop the Thai
culture (Pattrawut Thongyam:2005).
However, a Thai fashion designer, Wisharawish Akarasantisook, his unique concept is
high level of craftsmanship in little details (Monruedee Jansuttipan:2012). He contemplates the
abstract and extracts its very essence into the material through technical experiment; the latter
at times becomes the main narrative of his fashion design. Championing technical mastery,
immaculate handicrafts, and intricate details on pattern, He plays with repetition of forms and
geometric shape (Gennaio:2015). Furthermore, he always uses Thai wisdom in his collection
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because he is concerned about Thai culture, Thai tradition, and handicraft skill, being aware
that it is going to exhausting then if no one use it (Wisharawish :2015).
In conclusion, this research will study and analyze about Thai art folding of banana
leaves, the folding technic from art and design, product and fashion for diversity of folding.
Furthermore, Fabric is the key of this research to know the type of fabric suitable for folding.
2. MATERIAL AND TOOLS

2.1 Materials
First, fabric and apparel design, commonly referred to as fashion clothing, relates
the physical properties of fabric to human need for functional, occasional and
fashionable clothing. Materials combine the art and design, the science for support
the fabrics suit for the many types of clothing.
Second, fashion designers must have the sense by the aesthetic, function and form
to be offered a challenging and concentrated foundation in design, drawing, pattern
making, construction and fabric analysis.
Finally, the types of fabric is important for clothing design. The folding experiment
by choosing the suitable and fashionable fabric for clothing to folding according to
Thai art folding of banana leaves. Fabric divide to 3 types by the manufacturing
processes as natural fabric, man-made fabric and blended fabric as fallow.
2.1.1. Natural Fabric
1.) Cotton is the fibrous covering of cotton seeds; these fibers vary widely in
length (staple). Cotton is generally off-white to tan in color, but is usually bleached
white. Cotton is very absorbent but dries slowly, can withstand high temperatures and
vigorous agitation, and dyes easily. It is the most widely used fiber in the world; cotton
fabrics range from coarse canvas to the finest batiste. ( Holly Brackmann, (2006). The
surface designers handbook. Retrieved from https://books.google.co.th)
2.) Linen is the oldest known fabric, with examples dating back to 6000 B.C.E.;
its fiber, called flax, comes from the stem of the flax plant. Linen is naturally light cream
to gray and very durable. It absorbs water readily and dries faster than cotton. It is
stronger when wet than when dry, but it has little resilience and therefore wrinkles
easily. Linen can be machine-washed and dried; in fact, repeated washing and ironing
makes it lustrous. But because it is subject to abrasion, stored fabrics should be refolded
periodically to even out wear. (Holly Brackmann, (2006). The surface designers
handbook. Retrieved from https://books.google.co.th)
3.) Muslin is a cotton fabric of plain weave. It is made in a wide range of weights
from delicate sheers to coarse sheeting. It gets its name from the city of Mosul, Iraq,
where it was first manufacted. Early muslin was handwoven of uncommonly delicate
handspun yarn, especially in the region around Dhaka of what today is Bangladesh. It
was imported unto Europe for much of the 17th and early 18th centuries. (Muslin. In
Wikipedia. Retrived August 12, 2016 from https://en.wikipedia.org /wiki/muslin)
4.) Jute is a long, soft, shiny vegetable fiber that can be spun into coarse, strong
threads. Jute is one of the most affordable natural fibers and is second only to cotton in
amount produced and variety of uses of vegetable fibers. (Jute. In Wikipedia. Retrived
August 12, 2016 from https://en.wikipedia.org/wiki/Jute)
5.) Ramie, naturally white, comes from the stem of a plant in the nettle family.
It is the strongest of the cellulose fibers and dyes easily. Like those of linen, the fibers
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are not resilient or elastic, and so the fabric wrinkles easily, but it absorbent and dries
quickly. (Holly Brackmann, (2006). The surface designers handbook. Retrieved from
https://books.google.co.th)
2.1.2. Man-made fabric
1.) Polyester was developed in 1941 and today is second to cotton in usage. It
is often blended with cotton, linen, or wool, but is also used alone either as fiber or as
fiberfill for insulation. It is a very strong fabric, resistant to abrasion, wrinkling, and
frequent washing. As with nylon, pleats and other shapes can be permanently set with
heat. Polyester microfiber produces fabrics with improved hand, drape, and texture that
more closely resemble silk than do regular polyester fabrics. Low absorbency means
that polyester dries quickly. Trade name include Dacron, Mylar, Trevira, Ploar Fleece,
and Polartec. Some if the latter two fabrics are sometimes made of recycled plastic
bottles. Polyester can be dyed only with disperse dyes. (Holly Brackmann, (2006). The
surface designers handbook. Retrieved from https://books.google.co.th)
2.) Nylon (polyamide), developed in 1935, was the first synthetic fiber.
Although first used for womens stockings, its major uses today, because of its lightness
and strength, include carpenting, tent, and backpacks. Nylon has good abrasion
resistance and flexibility. It is more absorbent than other synthetic fibers but is damaged
by sunlight. Nylon can be dyed with acid, disperse, and vat dyes. Pleats and other folds
can be permanently set with heat. (Holly Brackmann, (2006). The surface designers
handbook. Retrieved from https://books.google.co.th)
3.) Silk organza used in the resist-scouring process, is stiff because the fabric
still contains sericin. The highest quality, most lustrous silk is obtained by killing the
silk moth in the cocoon and reeling, or unwinding the filament and degumming it. If the
moth is allowed to emerge from the cocoon, it will cut the filament as it exits; the
resulting short fibers are used to make noil (raw silk), which has less luster than reeled
silk. (Holly Brackmann, (2006). The surface designers handbook. Retrieved from
https://books.google.co.th)
4.) Satin is a weave that typically has a glossy surface and a dull back. The satin
weave is characterized by four or more fill or weft yarns floating over a warp yarn or
vice versa, four warp yarns floating over a single weft yarn. A satin fabric tends to have
a high luster due to the high number of floats on the fabric. Because of this it is used in
making bed sheets. Many variations can be made of the basic satin weave including a
granite weaves are the three basic types of weaving by which the majority of woven
products are formed. Satin is commonly used in apparel: satin baseball jackets, athletic
shorts, womens lingerie, nightgowns, blouses, and evening gowns, but also in some
mens boxer shorts, briefs, shirts and neckties. (Satin. In Wikipedia. Retrived August
12, 2016 from https://en.wikipedia.org/wiki/satin)
2.1.3. Blended Fabric

1.) Cotton Spandex is a synthetic fiber known its exceptional elasticity, it is
stronger and more durable than natural rubber then, its blend with cotton. It
revolutionized many areas of the clothing industry. Because of its elasticity and
strength (stretching up to five times its length), spandex has been incorporated
into a wide range of garments, especially in skin-tight garments. A benefit of
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spandex id its significant strength and elasticity and its ability to return to the
original shape after stretching and faster drying than ordinary fabrics. (Priya
Murad: 2016)
2.) Linen Viscose is used in combination with viscose. Fabrics with linen like
texture and coolness but with good wrinkle recovery can be produced from
manufactured fibers and blends. Luster vary from very bright to very dull and
can be controlled by addition of de-lust rants in viscose solution moreover
greater elasticity than cotton and linen. Linen viscose crease easily although
special crease resistant can be applied. Good conductor of heat hence
appropriate for summer clothing. One of the most absorbent of all textile which
even facilitates dyeing and processing and do not fet damages by weak alkali
solutions but strong alkalis cause swelling of fibers and loss strength. (Priya
Murad: 2016)
2.2 Tools
1.) Sewing machine, Lock stitch type 301
2.) Scissors
3.) Thread
4.) Steam Iron
5.) Questionnaire
3. METHOD
3.1 Collect documents to define the scope of the study.
3.2 Study about The Thai art folding of banana leaves.
3.3 Study about suitable fabric for fashion folding.
3.4 Experiment and practice The Thai art folding of banana leaves with 11 kinds of
fabric with 12 overlapping folding method
3.5 Practicing folding technic and analyze for create folding technic suit for art form in
many ways.
3.6 Analyze from study and experiment of The Thai art folding of banana leaves.
293
Figure 1. A research methodology of the suitable fabric

for Thai art folding of banana leaves on clothing
The 12 types of Thai art folding of banana leaves by overlapping method

1.) Hak kor ma
2.) Hua kwhan plang
3.) Hua nok kor yak
4.) Hak kor ma lie pia
5.) Kleab fun pla
6.) Kleab ku larb yam
7.) Kleab ka ra wake
8.) Kleab phee seua
9.) Kleab ko sol sroy
10.) Kleab pood tarn
11.) Kleab rat cha pruk
12.) Kleab puang ko men
294
Figure 2. The Thai art of banana leaves by overlapping method: 1-6
Figure 3. The Thai art of banana leaves by overlapping method: 7-12

295
4. RESULTS
Historically, clothing is and has been made from many materials. These materials range
from grasses to furs to much more elaborate and exotic materials. Some cultures, such as the
various people of the Arctic Circle, until recently, made their clothing entirely of prepared and
decorated furs and skins. Other cultures have supplemented and replaced leather and skins with
cloth.
Cloth is either woven or knitted and can be made from a large variety of fibers, which
in turn can be natural, cellulose, or synthetic. Humans have shown extreme inventiveness in
devising clothing solutions to environmental hazards and the distinction between clothing and
other protective equipment is not always clear-cut; examples include space suit, air conditioned
clothing, armor, diving
suit, swimsuit, bee-keeper's
protective
clothing, motorcycle
leathers, high-visibility clothing, andprotective clothing in general.
Clothing is generally made of cloth. There are many different types of cloth, with
different names and uses. Main differences between types of cloth include how the cloth was
made (clothing_material. In Wikipedia. Retrived August 12, 2016 fromhttps://en.wikipedia.
org/ wiki/clothing_material) so, choose the right fabric is important for the right clothing.
The experiment and practice show the fabric qualification by selected 9 properties
suitable for clothing included
1. Good stability
2. Good draping
3. Heat resistance
4. Smoothness
5. Balance
6. Wrinkle
7. Stretch
8. Strong
9. Soft
The wearable fabric are
1. Natural Fabric
1.1) Cotton
1.2) Linen
1.3) Muslin
1.4) Jute
1.5) Ramie
2.Man-made fabric
2.1) Polyester
2.2) Nylon
2.3) Organza
2.4) Satin
3. Blended Fabric
3.1) Cotton Spandex
3.2) Linen Visc
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Fabric properties for folding
Figure 4. Fabric properties for folding

From the experiment have founded the best stability are cotton, polyester, cotton+spandex,
linen, muslin, jute, ramie, nylon, linen+viscose, organza and satin. The best draping are linen,
polyester, cotton+spandex, linen+viscose, cotton, muslin, jute, ramie, nylon, organza, satin. The
best heat resistance are cotton, linen, muslin, cotton+spandex, jute, ramie, polyester,
linen+viscose, nylon, organza and satin. The best smoothness are organza, satin, cotton, linen,
muslin, jute, ramie, polyester, nylon, cotton+spandex, linen+viscose. The balance are cotton,
linen, muslin, jute, ramie, polyester, cotton+spandex, linen+viscose, nylon, organza and satin.
The best wrinkle are cotton, polyester, cotton+spandex, muslin, nylon, organza, satin,
linen+vicose, linen, jute and ramie. The best stretch are cotton+spandex, linen+spandex, cotton,
linen, muslin, jute, ramie, polyester, nylon, organza and satin. The best strong are cotton, linen,
muslin, jute, ramie, polyester, cotton+spandex, linen+viscose, nylon, organza and satin. The
best soft are linen, organza, satin, cotton, muslin, jute, ramie, polyester, nylon and
cotton+spandex. Finally, The best result is Polyester, cotton spandex and linen viscose
respectively suitable for folding.
5. REFERENCE
Settaman Kanjanakul, (1991). Banana leaves folding idea. Bangkok: Settasilp.
Blue lotus, (2004). A banana matter.
Retrieve from https://owl.english.purdue.edu/owl/resource/560/10/
Maneerat Chantanapalin, (1997). Ngarn bai tong. Bangkok: Faculty of science, Suan
dusit college.
William Warren, (1994). Arts and crafts of Thailand. London: Thames and Hudson.
Holly Brackmann, (2006). The surface designers handbook.
Retrieved from https://books.google.co.th
297
A study of Knitted Fabric from Thai Silk Waste Yarn

Peeraya Sramala
Faculty of Decorative Arts, Silpakorn University. 31 Na Phra Lan Road, Phra Borom Maha
Ratchawang Sub-district, Phra Nakorn District, Bangkok 10200. E-mail: psramala@hotmail.com
ABSTRACT
Thai silk is a part of Thailand regional cultural heritage. The unique characteristics are gummy,
sticky substance and shining. Thai silk Industry share a common problem to other industries,
the process produces a lot
of waste. A solid waste from Thai silk can be classified into three
types: Incomplete cocoons broken silk yarn; and silk fabric waste. Generally, these waste use
for reuse in the business roles such as fashion accessories and
decorative product. In
order to adding value to Thai Silk waste can be done by knitted fabric properties: more flexible
and able to produce in flat, seamless, and three-dimension. The recycle concept led to following
studies:
1) To do an experiment of yarn spinning from Thai silk waste fibre;
2) To experiment a knitted fabric from a yarn of Thai silk waste and
3) To experiment yarn dyed and knitted fabric piece dyed by natural dyeing colour. A method
of study consist of fibre preparing and spinning by hand, the equipment to develop knitted fabric
are hand knitting and knitting machine, the natural dyeing colour come from coffee grounds,
Turmeric, Red cabbage, and Mulberry. The result of study are:
1) Fibre and spinning experiment shown a yarn is uneven; yarn from broken silk yarn, silk
fabric waste, and incomplete cocoon fibre are sticky and softly touch respectively;
2) Knitted fabric experiment showed that the production by hand knitting are soft and flexible
than a knitting machine. While knitting machine fabric is smooth surface than hand knitting
fabric and
3) Natural colour dyeing experiment showed that the colour absorption of yarn dyed is better
than piece dyed. In conclusion, a result of the study can be used as a guideline idea to create
new knitted fabric made from Thai silk waste to present the aesthetic values through textures,
colours, structure and pattern.
Keywords: Knitted fabric, Thai silk waste
INTRODUCTION
1. Thai Silk
Thai silk is a part of the national cultural heritage. Thai Sericulture was founded long time ago,
Sericulture is an art of rearing silkworm for the producing cocoons as the raw material for silk
production. The evidence record shows that in 1903 AD. (2446 BE.) His Majesty King
Chulalongkorn be kind to founded the Silk Artisan Department in Bangkok to promote Thai
sericulture. Thenceforward, a development of Thai Sericulture is grown up steadily. At the present, Her Majesty Queen Sirikit be kind to establish Foundation for the Promotion of Supplementary Occupations and Related Techniques of Her Majesty Queen Sirikit to sustain this
objective. By the Queens speech Silk sericulture is a part of increasing farmer income. In
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addition, it is a cultural heritage and aesthetic of Thailand that has transferred from generation
to generation for a long time. Therefore, if Thai economy is changing, Thai silk sericulture
should be continuing development. The present is the Queen Sirikit Department of Sericulture
response the Queens speech by collect Local Thai silkworm breed to research and breeding in
order to get the strong varieties and high yielding. At the present time, 24 breed of pure Thai
silkworm and crossbreed in the collection. ( The National Institute of Sericulture Queen Sirikit,
2008, pp. 45-53)
Detail of the silkworm rearing process is consisted of two steps: rearing the newly born silkworm and wait until the worm developed into cocoon. Thai cocoon has a special property,
it is a small and slim shape, but its durable in the environment as well. Filament silk yarn is
very fine and has special physical characteristics never seen in another silk, its cross-section is
triangular shape making beautiful light refraction. Thai silk yarn is hand reeled and when
dropped in wicker basket its become the fine silk yarn. In this process the spinster found that
the yarn is more soft touch, flexible and shiny than machine reeling method. Moreover, when
Thai silk clothed is worn and moved, it produces a special noise called silk sound. The most
strength of Thai silk never found in the yellow silk type which consisted of 18 kinds of amino
acid. The percentage of the amino acid is over 34.5 that higher than those of other country.
(The National Institute of Sericulture Queen Sirikit, 2008, pp. 34-39). All of this is a result of
the unique characteristics of Thai silk, it is quite a gummy, sticky substance and shine. Nowadays, Thai silk produces both remain in the household and become to the factory, most are in
the northeast area. Also, Thai government has promoted the development of cocoon gene, manufacture technology and product design in all of this to make the best quality. People are encourages to use of Thai silk.
2. Thai Silk Waste
Thai silk industry like the other industries, it produces a lot of waste. A solid waste from Thai
silk can be classified into three types: incomplete cocoons, broken silk yarn, and silk fabric
waste.
Among the three types, the first one is incomplete cocoons: imperfect cocoons which can not
be reeled commercially such as double cocoons, feeble cocoons, pierced cocoons, piques, and
rates. The second type is broken silk yarn: a waste products in reeling, winding, throwing, and
weaving. The last category is silk fabric waste: a waste products in apparel industries, and decorative product industries. (F. R. McGowan, Charles W. Schoffstall, & A. A. Mercier, 1924,
pp. 582-583; K. Murugesh Babu, 2013, p. 48; Thai Textile Institute, n.d., p. 52) However, the
statistic of this waste can not be estimated because the factories have been different management. (Thai Textile Institute, n.d., p. 63) Generally, these waste use for reuse in the business
roles such as fashion accessories and decorative product. Academically, Thai researchers conducted a study of waste in several fields to achieve high benefit. The detail are as follows,
Nonwoven Fabric Production Using Waste Silk. The aim of the project is to study the possibility
of producing a nonwoven fabric from waste silk by conventional carding followed by the thermal bonding process. It also covers the study of physical and mechanical properties of the products to verify whether they are acceptable for textile applications. The results show that the non
woven is yellowish white, lustrous and acceptable strength and softness. (Kachamas
Tumrongsak, 1994, p.; 5th Thai alphabet)
The Development of new Mixed Fibre from Waste Cocoon and Other Plant Fibres. The research
was to develop new mixed fibre from a waste cocoon and other plant fibers. The researcher
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found that waste cocoon has special properties to produce new mixed fibre when mixed with
five kinds of plant fibres, namely cotton yarn, linen yarn, pineapple yarn, ramie yarn, and hemp
yarn. The research results indicated that fiber from waste cocoon mixed with hemp yarn is good
for producing home textile as it has the maximum breaking strength while fiber from waste
cocoon mixed with pineapple yarn is appropriate for producing clothes. (Kittisak Ariyakuare,
2010, p. 369)
Yarn Spinning from Silk Wastes in Weaving Process. The research aimed to recycle silk wastes
from the weaving process by transforming into spun yarns using ring spinning system. In this
study silk wastes from both handloom and rapier loom were used and cut at a length of 38 mm.
suitable for the cotton spinning process. The treated fibres fed into the opener, carding machine,
draw frame, roving machine and ring spinning machines. The physical from this properties
were then used characterize the properties of resulted yarns. The yarns were knitted to make
gloves, socks and knit fabrics. It was established that silk wastes from both handloom and rapier
loom were able to make yarns. The yarn count of the recycled yarn from the waste of handloom
was 18.37 Ne with the average twist of 17.22 turns per inch. The tenacity of yarn from the waste
of handloom was 14.40 cN/tex. The yarn count of the recycled yarn using waste from the rapier
loom was 16.51 Ne with the average twist of 16.53 turns per inch. The tenacity of yarn from
waste of rapier loom was 20.27 cN/tex. The recycled yarns could be knitted into end-use product such as gloves, socks and knit fabrics. (Pisut Chankum, 2011, p. ; 4th Thai alphabet)
The Development of a Carding Machine and a Twisting Silk Machine for Eri Silk. The purpose
of this research was to develop a carding machine and twisting machine for produce eri fiber
and yarn. A carding machine decomposes degumming cocoons and forms it into cohesiveness
silk filament. Silk filament was then spun and twisted in the twisting machine. Factors to test
machine functionality were teeth of carding head which were aligned in straight and zigzag
pattern. Speeds of fiber feeding were 0.24, 0.32, and 0.4 meter per minute. From the experiments of the carding machine, it can be found that almost cocoons were decomposed when
using zigzag pattern. Speed The speed of cocoon feeder was about 0.24 meter per minute. From
twisting machine testing, results pointed out a different speed of fiber feeding provided different
size of yarn. The properties of eri silk obtained from the machine were similar with eri silk
produced from the traditional method. Therefore, carding machine and twisting machine developed in this research can help farmers to increase production and support the eri silk industry
development. (Siriluk Wongkasema and Puripong Aksornpim, 2015, pp. 801-806)
According to The research, Thai researcher was studying fibre processing, equipment, and a
method to transfer into yarn and nonwoven suggesting that Thai silk waste can be applied in
multiple propose and expect that can be developed more and more.
3. Spinning Thai Silk Waste
It may be broadly divided into five main divisions to make cocoons be a yarn: de-gumming,
dressing or combing, preparatory operations, spinning, and finishing.
A detail of practice is begun from de-gumming: removing the gum or sericin from cocoons.
After that dressing or combing: a process to separates out short fibre, straighlinear and lie parallel to each other.The next step is preparatory operations: a process that disentangles, cleans
and intermixes fibers to produce a continuous web; sliver and roving that suitable for spinning.
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The following step is spinning: a process to grouping a fibre twist together to form a long continuous length of interlock called yarn. Finally, after spinning is finishing: a process to arrange
yarn number, cleaning, reeling, and bundles. ( K. Murugesh Babu, 2013, pp. 48-52).
Another method to make a fibre from the cocoon is Mawata, each cocoon is opened up, turned
inside out and stretched on a frame. Layer upon layer of fine silk is stretched in this manner and
then hung out to dry like a handkerchief. When dry, the Mawata is fixed to nails projecting
from a rotating stand, fluffed up and spun, making a soft weft thread to be used with the reeled
warp.(Ann Hecht, 2001, pp. 129)
In the case of broken silk yarn and silk fabric waste, the cotton spinning process is applied to
produce a yarn. The process is about combing and carding broken yarn by machine. Silk fabric
waste should be separated warp yarn and weft yarn, then comb and card by hand, after that,
hand spin or machine was practice. (Thai Textile Institute, n.d., p. 59)
4. Knitted in Art and Design
Knitted fabric formed by intermeshing loops of a single yarn or set of yarns together, there are
three type of knitting tool: are used Hand knit, domestic machine, and Automatic machine. The
properties of knitted fabric are high flexible as a result to comfortable wearing. The fabric is
soft, whether thick and thin, wrinkled resistantly and easily recover form its wrinkly. Knitted
fabric can be produced by body sizing, it is suitable and convenient fitting wear. (Pornchai
Tulpijit, 2009, pp. 2-5)
In recent years knitting has seen a resurgence in popularity, with many different approaches
emergingfrom creative international runway fashions through to the application of knitting
in interiors in the form of lightshades, cushions, floor coverings, chairs, and blinds, all based
on the versatility of stitch structure. Furthermore, conceptual artists who exploited the traditional craft of knitting can create installations of all dimensions, from large-scale public sculptures to miniatures and wearable art, all of which challenge our preconceptions of knitting.
(Carol Brown, 2013, p. 6)
The famous artist and designer are as following sentence:
Fashion
Mark Fast: Marks unmistakable womenswear pieces, created on a domestic knitting machine,
have challenged perceptions of knitted garments. He is famous for devising his own innovative
stitches, and embracing stretch yarns to create contemporary sculptured garments. The pieces
have a unique design signature and a large following. (Samantha Eliott, 2015, p. 26)
Ramn Gurillo is a fashion designer from Valencia, Spain, his influences are multicultural:
traditional Valencian craftsmanship combined with a London sensibility and a hint of rock n
roll. The Spanish designer intricate designs, with recurring open-weave stitches, often cocoonlike in silhouette, use the finest yarns, refined cottons, linens and crpes. (Samantha Eliott,
2015,. p. 34)
Art
B-Arbeiten, the German guerrilla knitting group known as B-Arbeiten an adaptation of the
German word meaning to edit or to alter are known for using yarn bombing to decorate
public objects such as trees and ferries and, more recently, to create tipi structures. (Samantha
Eliott, 2015, p. 116)
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Magda Sayeg, Credited as the mother of yarn bombing (which can loosely be defined as impermanent graffiti artworks), her work has influenced and inspired a generation of graffiti knitters to go out and create. The art work has evolved into a solo pursuit innovative in her approach, projects include working with corporate companies (Absolut Vodka, Madewell, Mini
Cooper), art exhibitions, large installations and community projects. Identifying as an artist, a
collaborative worker, a teacher and an activist, she constantly challenges herself and the environment around her. (Samantha Eliott, 2015, p. 172)
Design
A highly regarded textile artist in Japan in the 1970s, Toshiko Horiuchi MacAdam realized that
she wanted to make works designed for childrens play rather than for exhibition in galleries
and museums. Her first high- profile playspace was created in 1979 and housed at Okinawa
Memorial National Park, followed by knitted wonder space at the Hakone Open-Air Museum.
With her husband Charles MacAdam, Toshiko established Interplay Design and Manufacturing
in 1990, creating and promoting art and play for children in national parks. Japanese Artist is
currently working on pieces to be installed in her north America based. (Samantha Eliott, 2015,
p. 198)
Annette Bugansky, combines a background in fashion and costume design with a nostalgic love
of knitted fabric and skilled slip casting techniques to transform soft, tactile surfaces into usable
vases, lamps, cups and sculptural pieces. (Samantha Eliott, 2015, p. 190)
5. Natural dyeing
Natural dyes are colorants derived from plants or minerals, the major of natural dyes are a
difference part of vegetable from plant sources such as roots of vegetation, many part of berries,
bark, leave, and wood. Natural dyestuffs are often abundant and freely available in gardens or
hedgerows. Linda Rudkin (2007, p. xi) said Working with natural dyes, like the rest of the
creative process, is an adventure. As long as basic principles and process are observed, there
will be few disappointments and many delightful surprises. The following sentence to support
her statement are First, the results are not entirely predictable. Many variables that can affect
the outcome such as the age of the plant material, the season, the amount of recent rainfall, the
Ph. of the soil, the hardness of the water and, most significantly, the ratio of dyestuff to fibreany of theses factors can make a noticeable difference. Second, Most natural dyes will hold
their colour as well if a few basic principles are understood and processes observed. Also, given
the same care and consideration as any others such as be kept out of direct sunlight, it should
be main vibrant for just as long. Third, natural dyeing is not at all difficult and it is a great deal
more interesting. There is something very satisfying about growing to find the means to produce
a natural colours for a piece of textile work, especially these soft, harmonious colours that
would be difficult or impossible to achieve using commercial dyes. (Linda Rudkin, 2007, pp.
ix-x)
The basic dyeing process are begin from preparing equipment consist of large pan, steel rod or
knitting needle, other tool can be are such as tongs, rubber gloves, dust mark, waterproof apron,
weighing scales, thermometer, sieve, jelly bags, muslin or coffee filters, scales, plastic sheeting,
heat source, large bowl, and glass jar. The recipe for a specific material and all techniques and
project are base on 100 g (3 1/2 0z) and 3 1/2- 4 1/2 litres (6-8 pints) water. The dyeing step is
preparing the material begun by cleaning, follow by putting a dyestuff in water and thirty to
sixty minute boil. The next step is strain and transfer only liquid to pot, damp yarn and a piece
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of knit fabric and simmer for about an hour. Rinse with water until a water clear and hang to
dry with air drying. (Jackie Crook, 2007, pp. 7-8, 23-28)
All of above, its inspire to study to develop knitted fabric from Thai silk waste to create an art
form. The aim of this research are , first is to do an experiment of yarn spinning from Thai silk
waste fibre. second is to experiment a knitted fabric from a yarn of Thai silk waste. and third
is to experiment yarn dyed and knitted fabric piece dyed by natural dyeing colour. Finally, the
result will be applied to create Art form.
METHOD AND EXPERIMENT
1. Material and Equipment
Material
A method of study consists of Thai Silk waste : degummed incomplete cocoons; broken silk
yarn; and silk fabric waste. The natural dyeing colour is coffee grounds, Turmeric, Red cabbage, and Mulberry, water and salt.
Equipment
Mesdanlab : Lab carding machine serial 137 and Lab drawing machine serial 21. Thai tradition
hand spinner, Knitting needle no. 12, Knitting machine : Brother HK-836 (gauge 5.5)
2. Fiber Preparation
Preparation of Thai silk waste to make the suitable fibre for spinning are two methods as the
details below:
The first method is machine preparation. Mesdanlab: Lab carding machine serial 137.
Firstly,set a group of three raw materials, then cut degummed cocoons into 3 mm., Broken
silk yarn, and Silk fabric waste (it should be only a silk thread that separate from fabric) into 3
cm. Secondly, weigh each fibre 15 gramme and feed into a carding machine for three times. In
this step the fibre will be separate and straighten, the result is a pad of fibre. Thirdly, after
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carding is drawn a fibre and feed each fibre pad into Mesdanlab, is used Lab drawing machine
Figure 1. A process of Carding and drawing a cocoon into a fibre

serial 21. The result is a long bundle fibre called sliver as presented in figure 1.
The second method is hand preparation. This method applied for cocoons only, begin from
soaking a degummed cocoons in warm water, then gently stretched into a gossamer film onto
a square frame, do overlay about ten sheets After that, remove a silk hanky from a square frame
and place it hang to dry, the dried silk square sheet known as mawata or silk hankies. The last
step, poking a hole in the centre of a mawata sheet. Put the hands through the hole and stretching
the fibre into a large band. Keep extending the circle carefully and pulling the circle thinner by
hand until the size is reduces fibre to the diameter about one centimetre, the out come is a long
band fibre called
roving as presented in figure 2.
Figure 2. Cocoons made into Mawata and roving

3. Spinning process
The objective of this process is grouping fibre a twist together to form a continuous stand by
traditional Thai hand spinner and become to made single yarn. Both sliver and mawata or silk
hankies will be led to direct spinning. This process was done by local spinster in Bann Nong
Bau Dang, Chaiyapum Province, Thailand. The number of yarn is not be specify, it was controlled depending on raw material, spinning tool and spinster as presented in figure 3 and 4.
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Figure 3. A process of Hand spinning and yarn from cocoon, Silk fabric waste
Figure 4. A yarn from Thai cocoon mawata
Figure 5. Mulberry and a sample

of yarn and piece dyed
Figure 6. Coffee grounds and a sample

4. Dyeing Process
Dyeing method of this study is applied to yarn dyed and piece dyed by natural base colour,
There are mulberry, coffee grounds, red cabbage, and turmeric.The material for dye are yarn
and fabric from cut cocoons and mawata by the process as bellow
Mulberry
The process of mulberry and coffee ground dyeing is similar. First step is mix one cup of mulberry, one teaspoon of salt or one cup of coffee grounds in four cups of water.
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After that bring to boil, turn off the stove and leave to cool, strain and transfer only liquid to
pot, add damp yarn and a piece of knit fabric and simmer for about an hour, stir every fifty
minutes to make sure the that fabric is picking up the dye evenly. Finally, rinse with water until
clear solution is obtain and hang to dry with air drying. The outcome as presented in figure 5
and 6.
Red cabbage
Red cabbage and turmeric dyeing is same procedure, to begin with put one cup of chopped
cabbage or one cup of chopped fresh turmeric in four cups of water and bring to boil about a
thirty minute. Next step is strain and transfer only liquid to pot and continue boil on medium
heat, add damp yarn and a piece of knit fabric and simmer for about an hour, stir every fifty
minutes to make sure that the fabric is picking up the dye evenly.The last step, rinse with water
until clear solution is obtain and hang to dry with air drying. The outcome as presented in figure
7 and 8.
Figure 8. Fresh turmeric and a sample

Figure 7. Red cabbage and a sample

5. Knitting Process
This study is require two methods: knitting needle no.12 and Brother knitting machine model
Brother HK-836, gauge 5.5. These tools use for knit a yarn from three raw material: 1)
degummed incomplete cocoons (cut cocoons and mawata); 2) broken silk yarn; and 3) silk
fabric waste.
The knitting needle no.12 is first practice, each yarn will be knit into ten square centimetres of
fabric. The next practice is machine knitting, each yarn will be knitted two piece of ten square
centimetres of fabric, one of this will be bring to wash and dry. In addition, yarn from cut
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cocoons and mawata will be knit four piece of small circle diameter about three centimetre by
cut cocoons
Silk fabric waste
Hand knitting needle No.12

Broken silk yarn
Mawata
Figure 9. Hand knitting needle and a sample of knitted fabric

crochet, and the next step is dying. The outcome as presented in figure 9 and 10
RESULTS AND DISCUSSION

1. Fibre preparation
The result of fibre preparation are three sliver and one roving as following:
The result of experiment shown all of raw material can be card and draw by machine.
Fibre of silk fabric waste is easy to separate and straighten than broken silk yarn and degummed
incomplete cocoons. As a result, the fibre from silk fabric waste is very fine, next is broken silk
yarn, and the last is degummed in complete cocoons. Moreover, it can be setting into sliver
better than another two material, sliver size of three raw material was about tree to five centimetres.
In the case of mawata or hankies, Thai cocoon can be expanded into a sheet about ten square
centimetres. while transfer a sheet of mawata to be a roving by hand, it was sticky but not
difficult to pull and control a roving size.
2. Yarn spin
The result of yarn spin experiment by local tool and spinster in Thailand is four type of yarn.
There are cut cocoons yarn, yarn from mawata, broken silk waste yarn, and silk fabric waste
yarn.
Since sliver from silk fabric waste is smooth as a result to spin easily, next is sliver from silk
broken yarn. Meanwhile a sliver from degummed cocoons is sticky consequently it was hard
to feed in to a spinner. However, the result of practice shown a yarn is uneven; yarn from broken
silk yarn, silk fabric waste, and incomplete cocoon fibre are sticky and softly touch respectively.
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In the case of mawata, by the property of mawata roving: even and long band. The material is
easily and rapidly spinners.The result is a uneven, sticky and middle softly touch.
3. Dyed
The result of natural colour dyed experiment obtained that colour from: mulberry is pink, coffee
ground, light brown, red cabbage is purple and turmeric is redish yellow. In the case of colour
absorption, yarn dyed absorb better than piece dye.
4. knitted fabric
Knitted fabric experiment shown that the production by hand knitting are softer and more flexible than machine knitted produce. The surface quality of the machine knitted fabric is smoothes
than hand knitted fabric. In addition, washed knitting machine fabric is transferred to hard skin
touch and reduced flexibility. See the explanation bellow:
Hand knit
The fabric surface is rough, medium flexible, but soft touch. A fabric from broken silk yarn is
the most softly touch feeling. The next example is fabric from silk waste fabric, silk hankies,
and cut cocoons respectively.
machine knit
The fabric surface is rough but smoother than hand knitted fabric. Fabric flexible is less than
fabric knit by hand knitted type fabric. There are soft touch by hand like a fabric knit by hand,
the most softly is fabric from broken silk yarn is the most softly, next is fabric from silk waste
fabric, silk hankies, and cut cocoons respectively.
CONCLUSION
In conclusion, a result of study can be used as a guideline to make a new knitted fabric from
Thai silk waste to present the aesthetic and art form and aesthetic values through textures, colours, structure and pattern. The further study will be mention as the following:
1. The consideration of raw material and equipment that suitable to making a yarn by relate to
process. firstly, there should be short procedure and uncomplicated, quickly, low cost, low energy. secondly, It could be easy and rapidly to develop,created and design a new yarn in various
form. and
2. The consideration of yarn properties that suitable to create knit art form relate to technic,
pattern, shape, and form
REFERENCES
Ann Hecht. (2001). The Art of The Loom: weaving, spinning and dyeing across the word.
Hong Kong: The British Museum.
Carol Brown. (2013). Knitwear Design. China: Laurence King.
F. R. McGowan, Charles W. Schoffstall, and A. A. Mercier. (1924) A Study of Silk Waste
used
for Cartridge-bag cloth, with in Appendix on The general Classification of Waste Silk.
TECHNOLOGIC PAPERS OF THE BUREAU OF STANDARDS, 18, 582-583.
Jackie Crook. (2007). Natural Dyeing. China: Gaia Books.
Kachamas Tumrongsak. (1994). Nonwoven Fabric Production Using Waste Silk (Masters thesis,
308
Applied Polymer Science and Textile Technology, Chulalongkorn University.)

Kittisak Ariyakuare. (2010, June). The Develoment of new Mixed Fiber from Waste Cocoon
and
Other Plant Fibers, The 2nd
RMUTP International Conference.
K. Murugesh Babu.(2013). Silk Processing, properties and applications. India: Lightning
Source.
Linda Rudkin. (2007). Natural Dyes. China: A&C Black.
Pisut Chankum. (2011). Yarn Spinning from Silk Wastes in Weaving Process (Masters thesis,
Engineering in Textile, Faculty of Engineering, Rajamangala University of Technology
Thanyaburi.
Samantha Eliott. (2015). Knit: Innovations in Fashion, Art, Design. China: Laurence King.
Pornchai Tulpijit. (2009). Structure Properties and Utilizer of Knitted Fabric. [copy
print] Bangkok: Rajamangala University of Technology Krungthep.
Siriluk Wongkasema and Puripong Aksornpim,(2014). The Development of a Carding Machine
and a Twisting Silk Machine for Eri Silk (Procedia Engineering 100-2015). Retrieved
from www.sciencedirec.com.
The National Institute of Sericulture Queen Sirikit. (2008). The miracle quality_local Thai silk.
Bangkok: Amarin Printing and Publishing.
Thai Textile Institute. (n.d.). The productivity of natural fibre development as a raw
material
by
using
industrial
format
(

)., n.p.
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The Ancient Technique of Weaving with the

Contemporary Art.
SUPAMAS JIAMRUNGSAN
Doctor of Philosophy Program in Design Arts
Faculty of Decorative Arts, Graduate School, Silpakorn University.
Bangkok, Thailand. E-mail: massupa@yahoo.com / supamas.jia@rmutr.ac.th
ABSTRACT
This study is a qualitative research method. The purposes are firstly to trial production of Pha
Yok Dok which is one of the local handicrafts, found in the north-eastern part of Thailand. It is
the guidelines for handling core issues of the creation and must start from studying motif of
design, focus on techniques the golden fabric is located at weaving with gold threads, called
Yok Thong. Secondly, to improve the pattern of contemporary fabric are the synthesis of Yok
Dok textile design in making fabric. It is a complex process which requires highly skilled
weavers. In researchers point of view, for weaving of each fabric-depending on the design and
used for similar was weaving 1500 shaft /Ta-kor. Thirdty to invent textile art inspiration from
Yok Dok textile design to create new works of art. The results showed that the fabric weave of
the operation weave structure on motifs of Yok Dok textile design.
This is an outstanding special technique. The contemporary new fabric pattern can be operated
by opening and closing of the warp yarn on a draw frame. The new pattern design and process
of Yok Dok textile design by fabric weave selection. It is a supplementary weft technique that
is the process and design which is the first method of fabric craft practice use for the manual
textile art inspiration from Yok Dok textile design to those who is the weaver. Textile weaving
process by adding a special fabric pattern these characteristics come from the roots and identity
of steps and methods of natural fabric cultivation. It is completed by delicate skill of weaving
alternatives for creating a product and to serve as a guideline for further research. This
handicraft highlights the significance continuation and bridge the relationship between classic
fabric contemporary. art to humanity from the ancient world until the present day.
In summary the researchers plan to design and contemporary Yok Dok, a synthesis between
classical the golden fabric of the Royal cord of Rattanakosin period and the contemporary Thai
litterateur work which telling design.
Keyword: Pha Yok Dok, Yok Thong, Shaft/ Ta-kor
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INTRODUCTION
Pha Yok Dok is one of the local handicrafts found in northeastern part of Thailand, reflecting
human intelligence on how they invent weaving. It is a complex process which requires highly
skilled weavers. The sophistication of the pattern varies technique where the patterns are set in
the warp with additional pattern heddles, placed behind the main heddles and suspended over
the warp with a support hung from the frame. It is genuine art textile weave of Thailand.
There are designing and weaving silk for famous, intricate, and elegant designs of weaving
technique. The process of discontinuous supplementary weft: weavers used a long piece of
bamboo to pick up the warp yarns, then, they added periodically a supplementary weft yarn
under them from one side to another side along the direction of the weft yarns, continued
through the width of cloth.
The result revealed the difficulty of this weaving technique to create a pattern such as floral,
animal, and matter designs created in pattern of geometric motifs on grid. In many places of the
Northern, Northeastern and Southern regions of Thailand, the several groups of women
normally weave the finely detailed gold- etched or silveretched shapes in the fabrics are done
in a gorgeous. The Thai brocades are woven with gold or silver cotton threads or silk yarns.
Classic overall designs, including the star motifs, the elephant motifs, and the tray with pedestal
motifs the peafowl tail motifs, and also weave in several forms. Especially, the form of each
circles may be a flower, an animal,or a matter in the center, outside the circle floral ( silveretched or gold-etched motifs), called " Kaeo-Ching-Duang "in Thai and made multiple forms,
for example, diamond-shaped quadrangles, rhombuses, squares, and hexagons, each form with
a flower, an animal, and a matter in the center, called the Thep-Pa-Nom in Thai. Each deva
is about a palm (10 cm) from one chest to another chest of each repeat.
This research focuses on studying motif patterns of Yok Dok textile design on the significant
concepts and theoretical frameworks needed for understanding the background and history of
Pha Yok Dok weaving technique to create a pattern including a review of related documents.
DESIGN / METHODOLOGY / APPROACH
The data was collected through in- depth interview with respondents who have experience in
the community as well as the host of local authorities and government officers of The Support
Arts and Crafts International Centre of Thailand (Public Organization). All interviewed parties
have been involved with community based Pha Yok Dok, which is one of the local handicrafts,
found in northeastern part of Thailand. Data was analyzed through descriptive methods and
observation results. The research method for this study is based on approaches that are
qualitative. There are main methods, including gathering empirical data, and interview. Various
research instruments were used in order to obtain the most valid analysis results.
1.Thai Design
This kind of fabric is made using the supplementary weft and warp technique,which are rarely
found. It is not clear evidence document how the Siamese court ordered brocades from China
and India. The Siamese court employed merchant to act as middlemen who ordered textiles and
delivered the finished products to the court. The orders were sent with instructions, desired
designs and fabric samples. In some cases, foreign weavers created designs especially for the
Siamese.
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As explain the Siamese court appreciated the value, beauty and uniqueness of brocades, these
woven textiles responded to the court s need to uphold the status of the monarch. The Royal
court thus chose brocades as an important instrument, together with other types of fabrics, to
create this image. The Royal ordered made brocades from the southern province of Thailand
and also imported them from foreign countries such as China and India. The resources of the
Siamese court allowed the extensive use of brocades woven with gold thread, used plain silk
brocades with occasionally some gold designs woven into the panels.
Nowadays, local weavers produced textiles with designs similar to the traditional or royal
designs because they were a part of and understood the local culture. However, textiles woven
by foreign weavers deviated from Thai designs. Different types of loom were used resulting in
different kinds of fabrics.
Figure 1 Pha Yok Dok in Surin. The golden fabric is located at the Tha Sawang Village,
Tambol Ta Sawang, Amphoe Mueang, Surin
Source: From the survey area
Figure 2 Pha Yok Dok (Phumriang) in Southern District Chaiya , Surat Thani, Thailand
Source: https://sites.google.com/site/phahimsaket/phakh-ti
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Figure 3 structure design Pha Phumriang in, Surat Thani, Thailand

Source: https://sites.google.com/site/phahimsaket/phakh-ti
2.Methodology
Process to study
2.1. Collect the document to define the scope of the study.
2.2. Survey and collect the data area of textiles about Yok Dok in Thailand.
2.3. Analyze the problem of weaving process of Yok Dok in Thailand.
Study motif pattern of Yok Dok textile design.
Define the operation problem of weave structure

on pattern work for Yok Dok textile design.
Locate the source of places are produced designs

of Yok Dok weaving technique.
3.The Approach of Design

3.1. History and background of Pha Yok Dok
Thailand: Pha Yok Dok began at the period of the was a princess of Chiang Mai, Siam (later
northern Thailand) Princess Dara Rasmi daughter of King Inthawichayanon and Queen
Thipkraisorn Rajadevi of Chiang Mai descended from the Chet Ton Dynasty. She was one of
the princess consorts of Chulalongkorn, King Rama V of Siam and gave birth to one daughter
by King Chulalongkorn, Princess Vimolnaka Nabisi. The ruler of Chiang Mai mostly wore a
skirt. He put on effort to invent new patterns, fabricated by weaving an intern in the house to
give a master class for adults, and it is part of Lampoon.
Princess Suonboon, the daughter of the ruler of Lampoon, inherited knowledge of woven
mantles from Princess Dara Rasmi in Chiang Mai. The restoration and promotion of the fabric,
which had been known for a long time in Lanna, quoted the expert weaving sarong and trainer
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Teenjok weavers. The plant weaving behind her residence. A loom 20 after the Holy Family
from Lampoon city to study weaving yok dok skirt. And be trained in the capital for the
Lampoon, and expertise. It was passed down from generation to generation until now. Weaving
business has spread to the public and become a product of Chiang Mai and Lampoon section at
the present.
Figure 4 Pha Yok Dok Lampoon ,Retrieved July 23,2016,

from http://www.tci-thaijo.org/index.php/jiskku/article/view/6348
Indonesia: This technique, rarely seen in Indonesia, requires a special skill and is executed on
a body- tension loom with two types of warps, one for the ground, and one for pattern. To
program this supplementary warp, a special string model, called pahudu is needed (fig 3) It is
prepared as a guide before weaving with strings in the warp direction and with small bamboo
or palm sticks in the weft direction. The string models ( pahudu) are woven and worn in the
same context, they have similarities in their iconography.
The most common pattern such as horse, fish, bird, and deer. The same iconography is also
observed on accessories like sculpture tortoise shell combs and the fabulous gold omega-shaped
ear ornaments called mamuli worn by women. That is like textiles play an essential role in the
elaborate gift exchanges that bound Sumba society together, in marriage negotiation for
instance. The women in that family were not weaving any longer and instead of burning the
pahudu upon the death of the last women- weaver as is the custom, they had finally agreed to
part with them. It is difficult to craft a successor expertise may be ended in the 20th century.
The James H. W. Thompson Foundation Symposium Papers, Jane Puranananda River Books,
2004 - 181 page, Retrieved July 23,2016
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Figure 5 Pahudu, string model..

heritage.
Source: River Books : James H.W.
archive/sumba /Thompson Foundation, 2004
Figure 6 A textile combining ikat and pahikung

Source: http://threadsoflife.com/textile
3.2. Cultural significance

Cultural regression models began to play a role in the art of weaving is classified as a class. Pha
Yok Dok are silk woven with a special technique and it is outstanding. Each brocades could be
woven typically on a draw loom. It is a supplementary weft technique that is the ornamental
brocading is produced by a supplementary, non-structural, and weft in order to the flatten weft
that holds the warp threads together.
The purpose of this is to give the appearance that the weave was actually embroidered on. The
luxury fabrics and cloth of gold, made with real gold thread, were only worn by royalty. Purple
was also preserve of the monarchy, and gold patterned silk became the ultimate expression of
dressing power, elegance and fashionable. Brocade fabrics are used mostly in modern times for
upholstery and draperies. Appreciation of precious and semiprecious stones in the adornment
of brocades is not common but has been replaced with the use of sequins and beading as
decoration. Brocade fabrics are now largely woven on a Jacquard loom that is able to create
many complex tapestry- like designs using the Jacquard technique. Although many brocade
fabrics look like tapestries and are advertised by some fashion promotions but they are not to
be confused with genuine. Patterns such as brocade, brocatelle, damask, and tapestry- like
fabrics are known as Jacquard patterns.
The Jacquard machine required a higher skillful textile designer and technician because of its
complexity and cost of maintenance. The effective punching card machine causes the effective
design system of Jacquard machine. The Jacquard machine is more effective and capable than
Dobby machine. It operates regularly fast but it takes time to change a set of design card. It is
suitable for a mass production. Jacquard machines were mechanical, and the fabric design was
stored in a series of punched cards which were joined to form a continuous chain. The Jacquards
often were small and only independently controlled and relatively a warp ends. It required a
specific width of fabric a number of repeats across the loom width. The more the machine is
high capacity, the more a factory must choose looms and shedding mechanisms to suit its
commercial requirements. As a rule, the more warp control required the higher the expense.
Therefor it is not economical to purchase Jacquard machines and use it for dobbys work.
315
Figure 7 A series of punched cards for the Damask weave.

Source: From the free encyclopedia, Wikipedia, July 23,2016.
The Damask weave is used extensively throughout the fashion industry due to its versatility and
high- quality finish. Damask is usually used for mid- to- high- quality garments, meaning the
label tends to have a higher definition and a more expensive look. The motif patterns as the
product of Damask weave is a reversible figured fabric of silk, wool, linen, cotton, or synthetic
fibers, with a pattern formed by weaving. They are woven with one warp yarn and one weft
yarn, usually with the pattern in warp-faced satin weave and the ground in weft-faced or sateen
weave. Twill damasks include a twill-woven ground or pattern Modern damasks are woven on
computerized Jacquard looms.
Damask weaves are commonly produced in monochromatic ( single- color) weaves in silk,
linen, or synthetic fibers such as rayon and feature patterns of flowers, fruit, and other designs.
The long floats of satin-woven warp and weft threads cause soft highlights on the fabric which
reflect light differently according to the position of the observer. Damask weaves appear most
commonly in table linens and furnishing fabrics, but they are also used for clothing.
(From: The free encyclopedia, Retrieved July 23,2016, Wikipedia.)
Figure 8 The Damask weave.

3.3. The impacts of cultural heritage
Highlights of the Thai traditional weaving process is a motif of design weaving is aligned
vertically a number of threads. It is called end yarn and these threads are known as warp threads.
Once they are hung it is called heddle, other threads are interlaced horizontally on a loom, one
round to the vertical warp. They are called filling yarn or weft threads and they are packed
316
tightly against each other. On a weaving loom, the warp threads can be lifted up. Lifting or
lowering the warp threads in a specific pattern determines the weave of the fabric.
Basic patterns make use of weave, also known as flat weave or plain weave. In this case, the
weft thread crosses the warp thread by going up, then going down the next. The one weft thread
crosses the evenly numbered warp threads, while the crossing warp threads were covered.
Complicated patterns arise when the weft thread crossing two or more warp threads. It takes
time the continuous chain to change the whole set of motif of design weaving relates designing
a textile pattern for weaving on a Loom. then down to the next without the engine or any
electrical power.
Technical textile applications and the model for modern reproduction as well as tablet weaving
(often woven fabric cards in the US) due to materials and tools are relatively cheap and easy to
obtain tablets of the popular apparel. woven fabrics hobby housewife to household or art
weaving techniques with a tablet or a card to do just the rest will be forwarded to the foot of the
craft anonymous. citizenship and culture. Currently, most weavers produce a tablet that has a
long line of narrow fabrics such as belts, straps or trim on clothing. Functions such as cards,
usually a piece of cardboard with the one in control, automation or data for data processing.
Both the statement and the information that has come with or without holes in a predetermined
position. Today, tablet weaving is constructed of obsolete paper tape punched cards were
widely used throughout the 19th century to control textile looms. The impact of cultural heritage
as it happens in the right way. lost the taste of the market and the manufacturer. Tangible
indication of the origin of culture, identity and more.
Figure 9 Build Tablet / Card loom hand weaving

Source: www.pinterest.com/pin/411305378444136783/
3.4. Cultural identity conservation
Thailand handicrafts are legacy that has a long history and reflects the wisdom of our ancestors.
The formation of the culture of Thailand in each period has evolved hierarchy ( There is a
hierarchy of development) . The art and crafts are important to the national economy and help
create income for the people in rural families. In addition, it creates proximity and the beauty
to original inhabitant people. For heritage crafts conservation Thai ancestors, it required
development of craft product styles to suit the functional, aesthetic and artistic quality of
crafting. The nature of the materials used in production for the benefit should also be taken into
account. Moreover, they have formed a unique local crafts as part of the culture of Thailand.
In researchers point of view, the researcher focusses on techniques Pha Yok Dok in Surin. The
golden fabric is located at the Tha Sawang Village, Tambol Ta Sawang, Amphoe Mueang,
317
Surin ( about 10 kilometers from Surin along Ke Loi- Mueang Lieng Road. ) It is a fabric of
ancient silk weaving with gold threads, called Yok Thong. The process is to dye very small silk
threads and weave them under many ancient designs such as the famous and beautiful golden
brocade silk fabric which is made of pure silver threads being woven with silk threads.
The long process, each design 2- 3 months or a year for weaving of each fabric- depending on
the design and the number of production (selection of silk yarns) used for weaving 1500 shaft/
Ta- kor ( maximum was 1500) . Surin province has continually made an impression by being
selected as the material for shirts and shawls the souvenirs, which were given to the leader and
spouse of each country, who participated in the APEC Summit which was hosted by Thailand.
This weaving project is supported and promoted by the Bureau of the Royal House Hold and
Her Majesty the Queen's Foundation. Silk selection as the fabric to be produce in form shirts
for all country leaders in the APEC Meeting in the year 2003. This cloth traditionally commands
high prices due to the special weaving technique, as it is thickened so that each piece becomes
double- sided. The edge of the cloth is traditionally sewn only with silk thread. Pha Yok Dok
clothes were a luxury item worn by wealthy ladies or those who knew how to weave their own
cloth and only for special occasions. This complex craft was taught to daughters by their
mothers, with the designs committed to memory and handed down through generations of
families.
In Thailand, the lifestyle of high society development foundation from different ethnic,
religious, social, cultural and geographical surroundings. Each location has a unique culture
and traditions of different regions and help them live happily together in the same society.
Creating a culture of local crafts, fabric art, which existed directly from local wisdom and reveal
the goodness and beauty that has been accumulated and inherited from generation to generation
in each area. Pha Yok Dok are woven textile fabric to be used in special occasion.
There are many steps of procedure to be mentioned sequentially and weaving method need to
be explained in detail. Since there is no common procedure of weaving because each piece of
art work can be done differently depending on it individual design. These characteristics of the
ethnic group and the identity of the procedures and the methods of cultivation each of them,
need particular procedure method. Using natural fibers for use in complex and delicate skills of
weaving. This is an important craft tradition. Two aspects must be considered: study of history,
aesthetic and art, and the means of passing the tradition of clothing and apparel from one
generation of craftsman, artisan or designer to the next. This is the key contribution to humanity
from past to present.
The researchers intend to present the differences and similarities of pattern that has
distinguished itself as an educational process in the form of design motifs. To study the problem
of weaving process of Yok Dok in Thailand the researcher made survey of four provinces:
Lampoon in the north; Nakhon Si Thammarat in the south; Roi-Et in the north Isan and Surin
in the south Isan. The researchers have to find the differences and similarity of the production
process, artistic and aesthetic of the regional weaving tradition.
318
Figure 10 Analyze the problem of weaving process of Yok Dok in Thailand.

Source: From the survey area
The concept of adoption

The guidelines, is based on William Morris ( 24 March 1834 3 October 1896) an English
textile designer, poet, novelist, translator, and socialist activist. According to the British Arts
and Crafts Movement, he was a major contributor to the revival of traditional British textile arts
and methods of production. Morris founded a decorative arts firm with Edward Burne- Jones,
James Rossetti, and others: The Morris, Marshall, Faulkner & Co. Becoming highly fashionable
and much in demand, the firm profoundly influenced interior decoration throughout the
Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained
glass windows. He posthumously became better known for his designs. Almost sixty years after
William Morris died the William Morris Society is devoted to his legacy, while multiple
biographies and studies of his work have seen publication.
Morris produced items in a range of crafts, mainly those to do with home furnishing, including
over 600 designs for wall-paper, textiles, and embroideries, over 150 for stained glass windows,
three typefaces, and around 650 borders and ornamentations. He emphasized the idea that the
design and production of an item should not be divorced from one another, and that where
possible those creating items should be designer- craftsmen, thereby both designing and
manufacturing their goods. In the field of textile design, Morris revived a number of dead
techniques, and insisted on the use of good quality raw materials, almost all natural dyes, and
hand processing. He also observed the natural world first hand to gain a basis for his designs,
and insisted on learning the techniques of production prior to producing a design.
William s fond of hand knotted Persian carpets and advised the South Kensington Museum in
the acquisition of fine Kerman carpets. Morris taught himself embroidery, working with wool
on a frame custom- built from an old example. Once he had mastered the technique he trained
his wife Jane, her sister Bessie Burden and others to execute designs to his specifications. An
important line of business for its successor companies into the twentieth century.
319
By the 1870s, the firm was offering both embroidery patterns and finished works. Following in
Street's footsteps, Morris became active in the growing movement to return originality and
mastery of technique to embroidery, and was one of the first designers associated with the Royal
School of Art Needlework with its aim to "restore Ornamental Needlework for secular purposes
to the high place it once held among decorative arts.
Morris took up the practical art of dyeing as a necessary adjunct of his manufacturing business.
He spent much of his time at Staffordshire dye works mastering the processes of that art and
making experiments in the revival of old or discovery of new methods. One result of these
experiments was to reinstate indigo dyeing as a practical industry and generally to renew the
use of those vegetable dyes, such as the red derived from madder, which had been driven almost
out of use by the anilines. Dyeing of wools, silks, and cottons was the necessary preliminary to
what he had much at heart, the production of woven and printed fabrics of the highest
excellence; he was absorbed in the production of textiles (187778), and more especially in the
revival of carpet-weaving as a fine art. (From: The free encyclopedia, Retrieved July 23,2016,
Wikipedia.)
Figure 11 Williams carpet design of 1873

320
DISCUSSION & CONCLUSION

The researcher found that technology of the pass was very useful and can be applied to the
manage local wisdom and knowledge. It allows learners to have access to the source of
knowledge and enhance practice weaving much easier. As mentioned above the study can be
used as a study guide. The objective of this study for researcher with innovative ideas in both
artistic and academic in concept of bringing this fascinating weaving process to create art form.
Its value is much more than usual clothing which use all types of cotton and chemical dyes.
Body of knowledge in this finding can be applied to studying the process and design, the first
method of fabric craft practice. As a researcher, it is expected that with this research is a search
of the roots and identity of the art tradition, what suggesting should be done, what is the most
acceptance or most possible practice.
The art of weaving is not just the classic tradition of the past; it can also be a source of
inspiration for contemporary design in Thailand. Finally, researcher has tried to make an
investigation of the experimental results. Using string coated yarn used in weaving. Pattern
design motif new image. Approach of contemporary art that is different from the traditional
model. To make learning easier and more understandable. If the two concepts can be combined
with alternations and the possibility of further development of the twenty- first century. The
researcher is proud of the cultural heritage of the country, its status as a living tradition of art.
What is created is new, simplifying, it is inspiring traditional art form of weaving art.
In summary, the researcher plan to design and create a synthesis between contemporary
classical Pha Yok Court Royal of Rattanakosin and illustrating Thai themes and stories through
design in the contemporary version. Only small number of older generation know the story of
Yok Dok , so is the number of the younger generation who are interested in the succession of
the Yok Dok woven fabric. The material is durable and suitable for the storage of this data. In
the past, there is no clear feature document in any form to educate apprentice.
The extra warp weaving techniques begun in the past ( more than a century) , it is possible that
the contemporary style can be made from the old technic. In the present the artwork in the form
of a suspension or temporary installed is the means of presentation. The researcher propose that
it is not necessary, to show the loom to the public only to the fabric alone can reflect many
aspects of idea and knowledge, such as the cognitive aspect of technic and material, social and
historical significances, aesthetic and artistic and the affective aspect of taste or beauty
appreciation, as you'll see in the next step in the research. The research will bring the above
information to make the maximum amount of cultural and commercial benefit.
321
Figure 12
The Supplementary warp weaving technique weave of motif pattern

new image of contemporary Yok Dok
Source: From the results of the experiment
REFERENCES
Knowledge Management Wisdom of Lanna. Yok Dok Lampoon (2016)
Tassawan Thimakom, Rattana Na Lampoon, Songsak Phrangwattanakun Retrieved July
23,2016
Through the Thread of Time: Southeast Asian Textiles: The James H. W. Thompson
Foundation Symposium Papers, Jane Puranananda River Books, 2004 - 181 page, Retrieved
July 23,2016
ONLINE RESOURES
http://www.tci-thaijo.org/index.php/jiskku/article/view/6348 downloaded 23 July 2016
http://www.otoptoday.com/wisdom/8432 downloaded 23 July 2016
http://threadsoflife.com/textile archive/sumba downloaded 23 July 2016
322

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Proceeding

Reconceptualizing Art Research

Professor Dr. M. Agus Burhan, M.Hum

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Soliloquies: a movement-based approach towards

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Promoting a Film by Using a Hologram With Kinect

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Graphic Design Methods of a Science Museum

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15 Octalyna Puspa Wardany

Research in creating arts - Comparation of 3 case

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Discourse Addicted Character "Pokemon Go" On Top

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Paper Toys As A Media Of Introducing Pandawa

Nor Idayu Binti Ibrahim

The Developement of Formal Ceremonial Cornation

Rejection of The Cigarettes Billboard Sampoerna

Dialectics The Life Of Visual Arts In West Sumatra

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Teaching Performance Art Based On Research Studies:

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The Western music Acculturation in Keraton of Yogyakarta:

address: Graduate School , Indonesia Institute of the Arts Yogyakarta,

58. Pra Pangeran dyan Patih sakondangipun,

59. Wektu iku kang sareng antuk komandur,

52. Saurutirng prajurit,

Wusnja mandjing dalem residensi,

drums, blared presenting,

Dene Raden Danuredja Patih,

Akasukan aneng Gedhong Kuning,

Tuwan Djendral kondur marang Lodji,

nitih rata sakmarga kinurmat,

stay long in Yogyakarta,

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THE SECRET OF BRAHMS CELLOS SONATA NO. 1 OP. 38

The fourth point is situated at the third movement,measure 74 (see figure2-11)