Beruflich Dokumente
Kultur Dokumente
PROCEEDING
THE 1st INTERNATIONAL SEMINAR
BY ASSOCIATION OF INDONESIA ART INSTITUTES 2018
July 7”, 2018
Art
Identity
and Reality
INSTITUT
SENI BUDAYA INDONESIA
ISBI TANAH PAPUA
INSTITUT SENI BUDAYA INDONESIA
ACEH
PROCEEDING
THE 1st INTERNATIONAL SEMINAR
BY ASSOCIATION OF INDONESIA ART INSTITUTES 2018
July 7”, 2018
WILWATIKTA PRESS
STKW Surabaya
I
ART, IDENTITY, & REALITY
PROCEEDING
INTERNATIONAL SEMINAR
Editor :
Sal Murgianto
Bramantijo
Dewi Yulianti
Reviewer :
I Wayan Dibia
Santoso
Cover Design :
Agus Priyanto
Layout :
Novy Rosandy
Publisher :
Wilwatikta Press
Redaction:
Jl. Klampis Anom II (Perumahan Wisma Mukti) Sukolilo - Surabaya 60117
Telp/Fax : (031) 5949945
Email : stkw_sby@ymail.com
Website : stkw-surabaya.ac.id
ISBN : 978-602-52652-2-8
Cetakan Pertama, Juli 2018
Hak cipta dilindungi undang-undang
Dilarang memperbanyak karya tulis ini dalam bentuk dan dengan cara apapun,
tanpa ijin tertulis dari penerbit.
II
Foreword
Dr. H. Jarianto M.Si
The Head of Surabaya Wilwatikta Art Institution
Cultural greeting,
Let us thank God the almighty for giving us a chance to hold 10th Indonesia Art Festival
which is hosted by Surabaya Wilwatikta Art Institution. This festival is held biennial and as the
streering commitee containing 9 art institutions joined in cooperation body of art institutions in
Indonesia (BKS- PTSI) and in 2018 as the organizing commitee, it is Surabaya Wilwatikta art
institution.
Indonesia Art Festival aims firstly to present the success of creavity practice including
the presetvation and development of our culture in their own areas. Secondly, to grow and
develop qualified communication forum and art interaction among art institutions in Indonesia
through art performances, exhibitions, workshops, and art seminars. Thirdly, to strengthen the
cooperation among the nine Indonesia art institutions. Increasing national and international
society's participation and participation towards art institutions' activities in Indonesia.
Therefore, the theme chosen is "Art, Identity, an Reality", this theme has a meaning that in
running art education, including creativity is a part of national education system which pay
attention on cultural identity of the art which is the area of responsibility to keep responding
creatively and critically the culture reality happening today.
This Indonesia Art Festival is held with the cooperation of BKS- PTSI with East Java
department of culture and tourism, The empowerment of institution unit in Wilwatikta art
institution, which has a functional duty to manage Surabaya Wikwatikta Art Institution. This
festival is financed independently by each of the art institution, while the operating cost at
Surabaya wilwatikta Art Institution is financed by the Regional Revenue and Expenditure
Budget of East Java province through the Department of Culture and Tourism, Empowerment
Institution Unit of Surabaya Wilwatikta Art Institution, we thank deeply to East Java governor.
At last we congratulate all of you especially keynote speakers from America, Duch, and
Malaysia and 9 Indonesian Institute Of Art thank you for your comming in Wilwatikta Institute
Of Art Surabaya. may this event be beneticial.
III
COMMITTEE OF INTERNATIONAL SEMINAR
IDONESIA ART FESTIVAL - X
at STKW SURABAYA
JULY 07 2018
IV
CONTENTS
Foreword
Dr. H. Jarianto M.Si
The Head of Surabaya Wilwatikta Art Institution III
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ABSTRACT
The aim of this research is to analyze the thought of art education by Ki
HadjarDewantara and its relevance in art education in Indonesia. The research method is
using Jurgen Habermas critical method which has six steps of analysis those are:
empirical history philosophy, language, hermeneutics, ideological criticism, functionalist,
and construction of historical materialism. The methodusedis focuson critical analysis.
The result of research are: (1) the education of art by Ki HadjarDewantara is defined as
educational system oriented to education that liberate and inculcate the values of
character through art. (2). critical analysis: the philosophy of empirical history, language,
ideological criticism, functionalism, and historical materialism, in the scope of art
education that imply in choosing of the philosophical principle of art education applied to
the awareness of cultural itself. (3). the art education in response to the development of
human resource, it deals with the capability of delivering the Nation beyond the
competition of the world of science, technology and art, with the basic of human
creativity, and cultural manifestation as a source of knowledge.
Keywords: Education, Art
PREFACE
Art is a mysterious phenomenon, asSugiharto (2013) said, at a glance it is
something that is not essential, unimportant. When all these activities of life which are
organized based on the main of scientific-technological activity that depend on
calculation, objectivity and efficiency, art does seem to be something trivial,useless,
exaggerated, cunning, subjective.The impact of art education must give a support of
education in Indonesia, the analogy cannot be separated from the process of thinking that
science and technology will bring people in the construction of structured action which
isdirected, in other words human is generated to be described as working man. However,
the mediation of art as a creative effort in art education will certainly providebalance in
addition to be able to work in a structuring, the effect of art education will make people
reflectively able to respond and create.The theoretical debate in art education lead to a
complete debate and questioning all aspects of the purpose of art education, thus the
students will no longer understand science and art as the only intellectual learning
purpose,but will also learn about the values and social life. Therefore, the actual method
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of education is none other than the set of various educational experiences that include the
problems of science, society and culture, which must be learned by students not only at
school but also outside the school, for example in the environment of family and social
environment.
Education is a teaching-learning process that the education system is always
different and changeable, from one society to another society. This is because of every
society has a particular social, philosophical and lifestyle system in line with the basic
aim and values that exist in the community itself. (Nazili, 2011: 3). The concept of art
education that has been initiated by Ki HadjarDewantara it seems have not optimized yet
in the national education curriculum. This is the basic of research that the concept of
national education by Ki HadjarDewantara can actually makeIndonesia‘s education into
an education which has character. However it still seems less optimal in addressing and
applying the concept of art education by Ki HadjarDewantara.
A minor study conducted by Ki Tato Darmanto-chairman of the central family
of ―Tamansiswa‖of 100 respondents of high school and vocational high school students
only 40% know about Ki HadjarDewantaraand only 10% know his thoughts. In
conclusion, from 100 respondents, only 4 people know about the thought of Ki
HadjarDewantara. Whereasthe Minister of Education and CultureAnis Baswedan says,
―When we always refer and admire Finnish education, Ki HadjarDewantara has
formulated and done it a century ago. Kompas, Daily, No 297 / 2016. Surabaya.
Based on the research of result by Ki Toto Darmanto (2016) it seems clear that
from 100 respondents only 4 who understand about the thought of Ki HadjarDewantara.
The greatest strength of the educational system is history. If the history cut off, it will be
uprooting of national identity. Then why the stuttering identity of education can be
eroded regardless of how the primacy of education is done. In the globalization era the
target is focused on two important things namelydevelopment of knowledge and
technology. Indonesia is one of the country that accelerates development and it is
required to follow the competitiveness of the world progress. The impact of education
which are focus on knowledge and development become the critical identity who
experienced by the student in personality values, thus there are often some cases of
violence and moral acts.On this research there are several problems as follows: (1) How
the construction of art education of Ki Hadjar Dewantara through ontology, epistimologi,
and axiology? (2) How is art education thought by Ki Hadjar Dewantara which isstudied
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with critical methodology ofJurgen Habermas? (3) How is the relevance of art education
of Ki Hadjar Dewantara to art education nowadays?
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including a review of the literature, archives, and various reports in the library. Thus, the
technique of collecting data of secondary whichis got from documentary study.
In the analysis process, the researcher uses descriptive technique, through three
activities, namely: (1) data reduction (2) data presentation, (3) withdrawal verification, as
something that related to before, during and after data collection in parallel form to build
general insight Miles & Huberman (Rohidi, 1992). For more details it will be presented
in the form of the following images:
Results and Discussion
Educational conceptof KiHadjarDewantara is not the system of ―Kejawen‖
education, it uses the term inJavanese language with two reasonable reasons. First, it is
consistent with cultural concentration. The culture(knowledge) that got universally is
applied in the cultural practitioners of the archipelago in a concentric way and not leaving
the "local wisdom". The second reason, there is no Youth Pledge with lingua franca of
Indonesian in his era (1922). So the cultural concentration is "forced" to use the Javanese
term.
Among system is inspired by Frobel‘s concept with the implementation of "tut
wurihandayani" so that the child can be independent inward and outward. Among system
is prohibit the existence of fain punishment to the child because it will inhibit the growth
of his/her free soul. The personal talent of the child are naturally born, which must be
grown and the guardian or teacher can ―handayani‖ or coaching at a certain stage. Ki
Hadjar's concept of "ngerti-ngroso-nglakoni" is identical to "cognitive-affective-
psychomotoric".
1. Character
The concept education of 2. Mind
"Taman Siswa" 3. Child's body
1. nature 2. independence
KHD
1. Ngemong
Method 2. Momong
3. Among
Functionalist Analysis
Education is an enlightenment, it is the proper meaning of education function of Ki
Hadjar, in the literal meaning of education is a tool that make people thinking about the
various meanings and functions of life as human being who hasintelligence and character.
Gen-Xer Gen-Z
Th
e
P
dy
na E
mi
cs N
of
a X G X
chi 3 4
X
ld D X
2D R A
lif R D5
e X Child
L
D R
jo 1
R DD X
R R
ur
D
A R
R D
D 6
ne X D X
y 9
M DX 7
A 8
EDUCATIONAL ECOSYSTEM
N
Adaptation that is done in this research is to show the data, besides environmental
factors that dominate the cause of the uniqueness of child who must be considered in
learning is a genetic factor. Among the nine common environmental factors for all
children of nation is state of politics, politics also determines the policy direction of a
curriculum system in learning, kalua in the era of Ki HadjarDewantara national politics
must be a character that is combined with freedom of the soul is preferred. But now the
politics of the Indonesia has changed direction and needart education is directed
according to the results of world art meetings that build creative capacity and cultural
awareness. However it must be also realized that the character of every child has a
difference. Character difference is a consequence of various culture, in this case of course
the implementation of the learning process must be adjusted.
CONCLUSION
Art education get special attention by the father of Education Ki HadjarDewantara,
because in the educational system of Ki Hadjar iscultural engineering that has meaning,
culture is the most important aspect in education, so that art education will make student
become person who has‖ kasempurnan‖or perfect life. The purpose of art education
conceptualized byKiHadjar is to teach student to be perfect human by having the
characteristics as follows: ‖kawaskitaan‖, ―kawicaksanaan‖, and ―kawiryaan‖.
Nevertheless in the world changing nowadayswe are certainly required to make a
criticism which is structurally to evaluate art education of Ki Hadjar in order to be
utilized in art education at this time. Thus we will be a nation that has characteron culture
of the archipelago.
BIBLIOGRAPHY
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