The art education construction of woven craft society in Kudus Regency
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HARMONIA : Journal of Arts Research and Education 17 (1) (2017), 87-95 p-ISSN 2541-1683|e-ISSN 2541-2426
Available online at http://journal.unnes.ac.id/nju/index.php/harmonia
DOI: 10.15294/harmonia.v17i1.8837
The art education construction
of woven craft society in Kudus Regency
Eko Sugiarto1, Tjetjep Rohendi Rohidi1, Totok Sumaryanto Florentinus1,
Dharsono Sony Kartika2
1
Post-graduate of Art Education, Universitas Negeri Semarang, Indonesia
2
Post-graduate, Institut Seni Indonesia Surakarta, Indonesia
Received: February 22, 2017. Revised: March 8, 2017. Accepted: May 12, 2017
Abstract
One example of society-based local art which is constantly enculturated is woven craft of Desa
Jepang (Jepang Village) Kecamatan Mejobo in Kudus Regency. This paper aims at explaining
the enculturation of woven craft grown in Jepang village Kudus Regency Central Java Province
Indonesia as a form society-based art education. The approach employed in this study was quali-
tative with the cased study as the research design. Data were collected through observation, non-
structural interview, as well as documentation study with interactive model analysis. Research
results show that art education grows within the society as the result of enculturation process of
woven craft art in Jepang Village that takes place in the forms of: (1) the transmission of the craft
skill and (2) the transmission of socio-cultural values. The transmission process is done between
the old and young generations both in informal and non-formal ways. The woven craft of Jepang
Village as an art product that has been enculturated is unique in terms of its form, media, tech-
nique, idea, as well as the modification aspects.
Keywords: woven; enculturation; society; art education
How to Cite: Sugiarto, E., Rohidi, T. R., Florentinus,T. S. & Kartika, D. S. (2017). The art education construction of
woven craft society in Kudus Regency. Harmonia: Journal of Arts Research And Education, 17(1), 87-95. doi:http://dx.doi.
org/10.15294/harmonia.v17i1.8837
Introduction and non-formal situations. These situa-
tions or scopes of education underlie the
Culture and education are two series implementation of art education that re-
of chain that cannot be separated from one sults in the orientations of: (1) subject mat-
to another. Education is even considered ter, (2) students, and (3) society (Soehardjo,
as a special means to pass certain cultu- 2011, p. 56). In the society-based education
re down from one generation to the next orientation, the art expression in a certain
generation (Rohidi, 2000). The definition sub culture will be more developed, sedi-
implicitly means that the divertion of cul- mented, and also rooted as a new life gui-
ture happens through the process of edu- dance. The life guidance here shows the re-
cation. lationship strength between human living
Education is not only limited in a for- in a certain culture with its environment,
mal situation (education in public schools), so that knowledge, practice, and belief are
but also includes education in informal formed and adaptively developed through
Corresponding author: Jl. Kelud Utara III Semarang 50237
E-mail: ekosugiarto@mail.unnes.ac.id
87
88 HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 87-95
inherited process by a culture transmission conception. The result shows that craft
(Bequette, 2017, pp.360-374). art is explored as a basic human activity.
As part of a bigger culture, art and Further, Pöllänen (2009) also conducted a
education in a society cannot be separated research entitled “Contextualising Craft:
from the dynamics and development caus- Pedagogical Models for Craft Education”.
ed by modernization. Clashes between It tells about craft education in Finland
one culture to another culture, or between which is seen from many aspects. These
traditional culture and a more popular cul- changes are related to the independent po-
ture also contribute to the development of sition of art as school subject which con-
arts in a society (Rohidi, 2000). Relation- tains the lesson about textile and technical
ship between art expression and its envi- work as an implementation of the holisti-
ronment is actually not only resulted from cal process of art in curriculum. This is, in
the dependency of human to their envi- the end, related to the question about how
ronment, but also the vice versa (Graham, craft should be taught at school.
2007). State of the art of the present rese-
One of the society-based art product arch as the paradigmatic aspect and the
that is always preserved and developed implementation of art education in the
through society education is woven craft society of woven craft artists living in Je-
in Jepang Village, Kecamatan Mejobo, Ku- pang Village which mainly focuses on the
dus Regency from bamboo as its main ma- scope of knowledge enculturation, values,
terial. Bamboo has more than 1,250 varied and skills from one generation to the next.
species. They are different in its structure The woven art in Jepang Village basically
and form. The difference is caused by the shows two basic dichotomic issues. In one
ecological condition of the country, whet- perspective, the woven craft artist commu-
her the region belongs to tropical and sub nity in society faces the challenge of mo-
tropical or climated area (Setiawati, 2017). dern product which becomes the rival of
The bamboo woven craft of Jepang traditional woven art product which is no
Village is a manifestation of art educati- longer famous in society. In other sides,
on existence in society. This is an informal there is also a continuous attempt from the
form of art education which has been exis- artist community to maintain the existence
ting in society for a long time. Previous re- of woven craft from old generation to the
searches related to art education represen- young one. This condition then builds the
tation in society has been informally done construction of art education.
and concerned with various focuses. This paper will discuss the woven
Research from Joedawinata (2005) art enculturation within the society living
discussed the aspects of artefact manifes- in Jepang Village, Kudus Regency, Central
tation in Cirebon. Woven artefact as a dri- Java Province, Indonesia, as a form of so-
ver aspect from the local natural ecology ciety-based art education. Therefore, based
aspect comprises the aspects of water, soil, on the context of socio-cultural transfor-
air, and abiotic components, as well as ot- mation explained in this present study, it
her biotic components. The artefacts of et- is seen that the hereditary system of wo-
no-cultural-ecophenotipic as a utensil arte- ven craft in Jepang village is considerably
fact is an idea and attitude transformation important to be discussed since it is able to
process of a community to be manifested give a concrete understanding and a clear
as certain objects. picture of the representation of art educa-
Karppinen (2008) in a research entit- tion in local community, especially the so-
led “Craft-Art as a Basis for Human Ac- ciety lives in the sub-cultural area of Jawa
tivity” discusses craft and its correlation Pesisir lor-tengah (The Mid-Northern Coast
with art education in Finland through the of Java).
conception of action. The aim of the rese-
arch creates the model of skill education
Eko Sugiarto, et al., The art education construction of woven craft society in Kudus Regency 89
Method technique that can be used to make craft
objects (both in two and three dimensions)
This research employs qualitati- through creating and forming bamboo
ve method. Researcher understands the sheets that are done by using the structu-
phenomena of woven art inheritance in the ral-constructive structure by referring to
field, describes it deeply and thoroughly, “even distribution of load” in a high level
and analyzes it from the context of its so- of flexibility. Most of this woven technique
ciety (emic) and conceptual by the resear- is applied in bamboo material (Joedawina-
cher (ethic). Design of the present research ta, 2005, p. 88).
is case study on the collaboration between Anyaman or woven is an old craft
the school and the society. The research lo- art. The existence has been found since
cation is mapped in two big areas, from the the establishment of humankind civiliza-
geographical and cultural perspectives. tion. The first woven craft used bamboo
Geographically, this research is located as its material. The type of bamboo tree
in Kudus Regency in Central Java, while used to do the weaving was bamboo apus
from the cultural perspective, this rese- or Gigantochloa Apus and bamboo wulu or
arch is located in the sub cultural area of Gigantochloa Atroviolacea. These types of
the Mid-Northern (lor-tengah) side of Jawa bamboo plants were considered strong,
Pesisir (Marshall & Rossman, 2006; Miles, flexible, and straight. It had a good quality
1992; Lincoln & Denzim, 2009). to be used as the material of woven craft
Researcher uses the qualitative ap- since the plant fiber was long, strong, and
proach with case study design (see Den- flexible (Setiawati, 2017).
zim & Lincoln, 1994; Sugiyono, 2008; Mi- The weaving technique is visually
les, 1992). There are four main subjects of interlaced, without a beginning and wit-
the research, (1) the community of artist, hout an end in construction. Similarly, the
(2) the community of user, (3) the local pattern and the weaving structure is not
public figure, as well as (4) teacher and segmentaristic, but it is intertwined form
student at school (the source implicature one side to another side, so altogether they
of local wisdom). will form a certain pattern. In a formal ae-
The research location is focused on sthetic way, the forming structure of the
the area in Jepang village Kecamatan Me- weaving is considered rigid and made a
jobo Kudus Regency. The data is collected recurred pattern. Futher, in terms of its
through observation technique, deep in- aesthetic-formal, the form and structure of
terview, and documentation study. Me- the weaving are very formalistic (See Bell
anwhile, to validate the study results, in Sahman, 1993; Dharsono, 2004). The ae-
source triangulation is employed. Data in sthetic-formalist builds the art excellency
this research is qualitative. Therefore, the criteria on the quality of integrative formal
analysis technique used in the study is the arrangement of artwork that emphasizes
interactive analysis model, comprising: (1) on relations between visual aspects that is
data reduction, (2) data presentation, and interconnected in a product of art.
(3) verification (Miles & Huberman, 1992, The woven craft product in Jepang
p. 17). village is considered varied. The following
is the matrix of woven craft products from
Results and Discussion Jepang village.
From the analysis results, it is found
The Woven Craft of Jepang Village in Kudus that the woven craft made in Jepang vil-
Regency lage in Kudus Regency can be divided
Anyaman or woven in the context of into two groups, based on the technique/
craft art actually refers to the “technique media used to create the woven craft, and
of making” that can be given an analo- based on the purposes of weaving. First
gy as carving. The woven technique is a analysis will be about the weaving techni-
90 HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 87-95
Table 1. Matrix of Webbing Craft Types
The Woven Craft
Descriptions
Products
Ekrak
A bamboo woven used as a trash can. The motive characteristic is
thick and thin bamboo incision with a tenuous distance.
Besek
This type of woven craft is used as food packaging, usually rice. It uses
motif of stairs.
Tambir
Tambir is used as a special container to dry foods under the sun shine.
The diameter of a tumber is between 60-80 cms.
Kemlu
Kemlu is a woven craft product used as a special container to wash
vegetables and fruits. The characteristic of kemlu is a tight and small
motif. The diameter of a kemlu is between 25-35 cms.
Kranjang
Kranjang is used as a trash can. However, in the context of Javanese
culture, kranjang can also be used as a special container to keep any
mithology needs and offerings.
Tampah
Tampah is used as a special container to select and sort out food materi-
als, like, grains, peanuts, soya beans, etc.
Bodhak
Bodhak is a non-permanent container to place rice. It usually can only
keep the rice for a short time and not for the permanent container.
Kipas
Kipas or fan is a traditional tool made from bamboo weaving.
Dunak
Dunak is like bodhak. It is used as a container to keep food. The diam-
eter is between 20-30 cms.
Eko Sugiarto, et al., The art education construction of woven craft society in Kudus Regency 91
que/media which is further divided into, In addition to this is caping (custom purpo-
basic weaving, creation weaving, and in- ses) as the complimentary hat for Kudus
novation weaving. traditional outfit.
Essential weaving is a kind of woven Based on the findings and analysis
craft made as a complimentary product to mentioned and described earlier, the wo-
fulfil the basic needs of Kudus people. This ven craft products from Jepang village can
type of craft emphasizes on the domination be syntesized into the following figures.
of function or in another word, applicab- The figure is created to show the conceptu-
le. This product is widely known among al mapping of woven craft types.
Kudus people and the motif used is basic
without modification. Usually, this type
of weaving is used as household utensils
and widely used as kitchen equipment and
cleaning tools. Second, the creation wea-
ving. This type of weaving has been added
by modification and motifs. This type of
weaving has both aesthetic and functional
aspects in it. However, the creational wo-
ven craft products have similar forms with Figure 1. Mapping of Woven Types of Jepang
its basic shape. The third is the innovation village
weaving. Innovation weaving is a type of
woven craft which has been significantly The Ert Education Process in Woven Craft En-
modified, both in terms of the technique culturation in Jepang village of Kudus Regency
used to create it and the materials used to Woven craft from Jepang village is
make it. The innovation weaving is a trans- inherited from the ancestors to the next ge-
formative product. The most significant neration in the scope of family and society.
transformation lies on the use of materials The inheritance process shows the presen-
to make it. The materials used to produce ce of enculturation.
the woven craft product tends to be a plas- The enculturation of woven craft in
tic waste or other wastes. The orientation Jepang village society is a form of society-
of production is shifted, from private con- based art education. The inheritance pat-
sumption to mass consumption; and natu- tern of the craft is actually a representation
rally profit oriented. of art education (that tends to be inter-
Second, based on the puposes of preted as skill transfer) that goes on expli-
production, the woven craft from Jepang citly. In inheritance system of woven craft
village can be divided into basic-needs in Jepang village society, there are two
weaving, aesthetical-needs weaving, and substansial transmissions attached, (1) the
custom/belief-needs weaving. The woven skill-technic transmission and (2) the value
craft production for basic needs manifests (enculturation) transmission. For Pöllänen
in the form of products used to help the (2009), art education in the society fully
people to do daily activities. Meanwhile, supports the contextualization of crafting
aesthetical weaving is closely related to education with a pedagogical model that
the social aspect of Kudus society (Dharso- establishes the holistical art conception.
no, 2004). Lastly, woven craft produced for First, the inheritance system of wo-
custom or beliefs purposes is closely rela- ven craft (the transmission aspect of techni-
ted to the tradition done by Kudus society cal skill) can not be separated from the eco-
in general, like, the tradition of burying logical aspect in the context of sub-culture
baby’s placenta after born which uses the area of Javanese mid-western coast (pesisir
kranjang weaving, the tradition of kenduri lor-tengah). The cultural ecology tends to
which uses besek weaving, as well as tum- explain about causes of similarities and
pengan tradition that uses tampah weaving. differences of socio-culture, as well as the
92 HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 87-95
connection between the ecology problem on through the process of education wit-
with the culture of a human. In the ecolo- hin the society. It gives implications to the
gical culture perspective, the inheritance system of behaviour, attitude, and values
system of woven craft in Jepang village attached in the inheritance process of a cul-
comprises the relationship between envi- tural product that is inserted into the pro-
ronment and technology, the relationship cess of education in the middle of an exis-
between behavioral pattern and technolo- ting change in society. This is directly and
gy, as well as an overview of a pattern of indirectly will create a pradigmatic pattern
attitude that influences the other sectors towards art education in the society in Je-
within the culture. The social attitude in pang village through the inheritance (skills
society always invites important meaning and values) of the woven craft.
on the relation bertween the society them-
selves and the environment. According
to Stewrd (Irianto, 2009, p.75), the basic
assumption of the ecological and cultural
theory is the environmental factors that
have both positive and negative potenti-
als in every cultural process. Rohidi (2011,
p.155) states that in cultural ecological ap-
proach, art is placed as one of the fields of
study which is related to the environments
and its changes.
Secondly, the inheritence pattern of
woven craft (value enculturation aspect)
cannot be separated from the aspect of
socio-cultural area context where Kudus
is located in the mid-nortern coast of Java Figure 2. The Enculturation of Woven Craft in
(pesisir lor-tengah). The essence of a true the Context of Art Education
education is actually the value transfer in
certain culture framework. In the inheri- In many social studies, the social
tance system of woven art, there is an in- change encompasses a wide area and even
tegration of value in inheriting the woven gives implication to the other fields. The
craft skill from one generation to the next social change is defined as variation and
generation. The interesting phenomenon modification in every social process aspect,
is the possibility of socio-cultural value the social aspect, and social formations,
shifting within the supported society. This as welll as “every modification of pattern
way, the value is implicated to the change between established inter-connected rela-
of inheritance system of woven craft in Je- tions and standard of attitude” (see Lau-
pang village paradigmatically, comprising rer, 1993). In the case of woven craft inhe-
the believed concept, strategy, and the ritance pattern in Jepang village in Kudus
applied method. Regency, the society (as the doer of every
The woven craft in Jepang village social interaction) with other institutions
in Kudus Regency is a traditional fine art positioned as a whole, or in other words
product in the sub system of the culture of is considered as a “system” that is inter-
society living in the mid-northern coast of related and later form systemic relations.
Java Island. This socio-cultural aspect of For Parsons (1964, p.337), the change can
culture cannot be separated from the dyna- be only understood through an understan-
mics and developments caused by the flow ding towards the former structures (see
of change, and in that place, art is placing Rohidi, 2000).
itself dynamically. Art is then inherited
The Art Education Construction (The Woven
from one generation to the next generati-
Eko Sugiarto, et al., The art education construction of woven craft society in Kudus Regency 93
Craft) in the Society the culture of local society both from the
Art Education is an integral part of form of the arts and its the visual structure,
education which generally accomodates as well as to persuade the society. Based
the capacity of creative capacity and cul- on the fact mentioned, therefore, the con-
tural awareness (Unesco, 2006). The term ception of art education in art education
fine arts education in Indonesia has a simi- contains two substances, (1) an art skill as
lar understanding with the “Art Educati- an ability that has to be inherited, and (2)
on” which is widely used in the U.S. and an inheritance system and pattern. There
Europe. In conceptual understanding, the is always values of life attached to it that
term Arts Education has grown and de- has to be enculturated. In this conception,
veloped earlier in Western countries. An the cognitive aspect is reduced, the art skill
expert of Arts Education from America, aspect is explicitly dominant, and the va-
Lansing (1969, p.268) in his book entitled lue aspect is implicitly integrated into the
“Art, Artist, and Art Education” state that to teaching and learning process.
accomplish the absolute purposes of edu- Paradigmatically, the believed con-
cation through arts, one (student) should ception will in the end result in the stra-
have the experience to work creatively and tegic implication and inheritance method
to appreciate the arts itself. pattern. First, the skill of doing arts is
Another famous expert namely Read taught (1) non-formally from the generati-
(1970, p.1) in his book entitled “Education on who had previously learnt directly from
Through Art”, referred his understanding the sources or nyantrik, (2) infromally from
towards Art education by citing Plato’s parents to the children by watching and
idea which says that ‘arts has to be the ba- immitating, (3) informally from the society
sic of education’. Plato (Read, 1970, p.1) un- living in surrounding neighbourhood, and
derlines the ideal potency and position of (4) integrally from the art subject at school
art education. In general, the art education by involving the society and parents in it.
conception which is based on the society Second, the value is inherited through the
needs sees that art education aims to fulfil attitudes that are deliberately given to the
the need of the society (Salam, 2001,p.13). next generation (the learners) from the el-
Arts and art education cannot be separa- der generation (the teacher). Sillis (2000)
ted from the perspective of culture. Koentjara- mentions that the practical development in
ningrat (1974) defines culture as a whole hu- fine art education can be obtained through
man activity formed by their ordered behavior cross occupation cooperation between art-
and results of the behaviour that has to be ob- work project and mentor.
tained from learning and the society rules. The Hosang (2010) mentioned earlier that
enculturation of woven craft in Jepang village the relation between the art educators and
as part of certain cultural products definetely the craft artists also gives a contribution
gives implications in the practice of craft edu- towards the existence of art education. In
cation both informally and non-formally. The woven craft education that happens wit-
craft art education in the area of Jepang village hin the society of Jepang village, there are
is, besides developes the technical skill of each several basic philosophical understan-
individual while working, also emphasizes the ding that has to be answered: “who learns
aspect of artistical approaches and ideas. This what?” and “who learns from whom?”.
is supported by Karppinen (2008) who states First, crafting artists learned the skill of
that craft education is a part of art education woven craft by invloving the aspect of the
system that naturally has basic differences than idea and media exploration (tool, material,
the skills made in schools (formal education). and technique), so that the woven craft can
Woven craft is an art which has two be established. Second, the artists learned
major functions: as a cultural product (art) from the (1) consumers, about the taste of
and as an educational media. The woven arts liked by them; (2) ancestors or previo-
craft is supposed to be able to represent us generations about the skill of weaving;
94 HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 87-95
and (3) society in a broad sense, about the trieved from http://www.unesco.
orientation shifting and life needs. org/culture/en/artseducation/
pdf/presentation105hosangahn.pdf
Conclusion Sillis, J. (2000). Non-formal training for arts
education practitioners. In The 2nd
The craft products made in Jepang World Conference on Arts Education
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two transmission substances, (1) the skill- mewujudkan Sosok Artefak Tradis-
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