The art education construction of woven craft society in Kudus Regency

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The art education construction of woven craft society in Kudus Regency
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
The art education construction of woven craft society in Kudus Regency
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
The art education construction of woven craft society in Kudus Regency
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-
The art education construction of woven craft society in Kudus Regency
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.
The art education construction of woven craft society in Kudus Regency
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
The art education construction of woven craft society in Kudus Regency
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-
The art education construction of woven craft society in Kudus Regency
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;
The art education construction of woven craft society in Kudus Regency
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
village shows uniquess in terms of its sha-              (Vol. 1). Seoul: Cambridge Univer-
pe, media, technique, ideas, as well as its              sity Press. Retrieved from http://
modification aspects that are continuous-                www.unesco.org/culture/en/artse-
ly developed in an inheritance pattern.                  ducation/pdf/presentation107jane-
The inheritance system of woven craft in                 sillis.pdf
Jepang village is actually a representation      Joedawinata, Ahadiat. (2008). Unsur-unsur
of a bigger art education which contains                 Pemandu dan Kontribusinya dalam
two transmission substances, (1) the skill-              mewujudkan Sosok Artefak Tradis-
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