Understanding ‘Batik Belanda’ in Dutch Society via Co-Creation Experience of Creative Tourism Practice

Batik Belanda is a long-established acculturated cultural heritage from the Dutch East Indies era. Some examples of Batik Belanda can be seen in Batik Buketan (bouquet) and Batik Snow White (folklore). However, the representation and understanding of Batik Belanda remain deceptive. Additionally, this specific batik is still underrepresented in modern society, losing its dialogical purpose as a heritage and its connection to Indonesian and Dutch individuals’ cultural identities. Developing creative tourism is one of the solutions to promote heritage – deemed to provide a better understanding via in-depth learning and personal contact. This qualitative research was conducted in the Netherlands to analyze the potential of Batik Belanda and creative tourism practice. The creative tourism practice was done by creating an immersive batik workshop with the goal of generating interest in both Indonesian and Dutch communities in the Netherlands to connect with their cultural heritage from Indonesia. Participants’ observations and interviews with 10 workshop participants served as the main methodology. This research indicated how participants’ experiences increased their understanding of cultural heritage and fulfilled their emotional needs through the workshop, giving them motivation and shaping their interest in the pre-visit stage of cultural tourism in Indonesia. On the other hand, their interest in culture and tourism in Indonesia was divided, determined by how they perceive post-colonial subjects and their cultural identities as a community in the Netherlands

Sebuah Penelitian Tentang Pan-Sensualisme Sebagai Bentuk Silang Budaya: Karya Seni Oleh Jim Supangkat; Ken Dedes (1975)

This study examined the use of the term ‘Pan-Sensualism’ in the discourse on contemporary Indonesian new art and how this manifested itself in artworks created at the beginning of the Indonesian New Order era (1966-1998). Jim Supangkat was one of the artists and initiators in forming the artist group Gerakan Seni Rupa Baru Indonesia (Indonesian New Art Movement), which then organized the first Seni Rupa Baru 75 exhibition in 1975. Jim Supangkat presented six installation works with different narratives, but Ken Dedes was the only one that presented the dialectic of traditional and modern culture. The Prajnaparamita, or Ken Dedes statue is presented with a drawing of the body of a woman wearing jeans with the buttons open. In looking at the formal, social-historical, cultural, feministic, and other elements in the work of Ken Dedes (1975-1996), we used the iconographic research method. This method helps to see several aspects of Supangkat’s visual works related to the aesthetic paradigm of Pan-Sensualism and the intersection of two cultural elements, i.e., high and low art, which may be distinguished based on social class appreciation.Artikel ini membahas mengenai penggunaan istilah Pan-Sensualisme dalam khasanah seni kontemporer Indonesia dan bagaimana istilah tersebut termanifestasikan dalam karya seni yang dibuat pada awal era Orde Baru di Indonesia (1966-1998). Jim Supangkat merupakan salah satu seniman dan inisiator dalam pembentukan kelompok Gerakan Seni Rupa Baru Indonesia pada tahun 1974. Kemudian kelompok ini membuat pameran berjudul Seni Rupa Baru pada tahun 1975 dengan latar belakang kejadian "Desember Hitam". Pada pameran ini, Jim Supangkat menghadirkan enam karya seni instalasi dengan narasi yang berbeda-beda, namun karya "Ken Dedes" adalah satu-satunya karya yang merepresentasikan dialektika budaya modern dan budaya tradisional. Patung Prajnaparamitha atau Ken Dedes dihadirkan dengan sebuah objek yang menyerupai bentuk tubuh seorang wanita yang mengenakan celana jeans dengan kancing yang digambarkan terbuka. Dalam melihat unsur formal, sejarah sosial, budaya, feminisme, dan unsur lain dalam karya “Ken Dedes” (1975-1996), kita akan menggunakan metode penelitian ikonografi. Kajian mengenai karya “Ken Dedes” (1975-1996) belum pernah dilakukan sebelumnya. Oleh karena itu, metode ini membantu melihat beberapa aspek karya visual “Ken Dedes” terkait dengan paradigma estetika Pan-Sensualisme dan persinggungan dua unsur budaya

Representation of Multicultural Identity Through Old Houses and Displays: Case Study of Lasem, Indonesia

Lasem, located in Central Java, Indonesia, is an area where diverse cultural and religious groups, such as Javanese, Chinese, and Muslim communities coexist. In recent years, old houses that are considered heritage in Lasem have been revitalized and opened as commercial spaces such as guest houses, restaurants, and/or museums, displaying their collections to the public. This paper discusses cultural representation through the display of heritage buildings or artifacts. Employing qualitative methods with purposive sampling, three specific old houses located in Lasem were chosen as case studies: Rumah Oei, Rumah Merah, and Nyah Lasem. Similarities can be drawn between the three houses, in that they displayed old and new objects, combined to construct and represent the values, ideas, and meanings that are wanted to be exhibited by the exhibitors. Further research is needed to analyze the actual selections and curatorial system for the displays in each house

Japanese and Western Influences on the Local Animation Character Design Identity in Malaysia

Identity is regulated by culture and can be delivered meaningfully in numerous expressions, among which animated designs. In tandem with technological evolution, animation today shows fusions of various cultures. Two main influences in the Malaysian animation industry are Japan and Western countries due to their status as pioneers in animation. Therefore, this study aimed to examine the influence of Malaysian, Japanese and Western animated character designs on the local university students’ production of their character designs. This study was conducted based on semiotic theory, followed by a research method that employed a content analysis approach using the SPSS software. Through the analysis of cross-distribution and Chi-Square, it was found that the criteria of physique, national characteristics, and colors in the students’ work showed similar characteristics to both local and foreign animations. Consequently, further studies should be conducted to comprehend why the students are inspired by Japanese and Western styles. These influences also raise the question of whether these cross-cultural forms lead to a new identity of Malaysian animation or only a trend

An Examination of Postmodernism in Sculptural Practices in Some Nigerian Art Schools

Postmodernism, a Western artistic concept, affects sculptural practices in Nigerian art schools. Sculptures are consequently getting extremely subjective as students use postmodernism to avoid learning classical sculptural principles. Therefore, this study examined postmodernism in sculpture in Nigerian art schools with a view to finding ways by which postmodernism can be incorporated into practice in Nigerian art schools. The study used data collected through field research at three art schools between 2010 and 2021. Nine (10%) out of 89 postmodern sculptures observed in the three art schools were randomly selected for formal analysis. The findings indicate that the exploration of found objects and the production of sculptures that provoke deeper conceptual meanings of subjects have become the norm, triggered by the socio-cultural conditions and geography in the art schools’ locations. It is concluded that postmodernism can be incorporated into sculptural training in Nigerian art schools without inhibiting the development of knowledge and skills according to classical and artistic principles and values.

Sur/Face: Self-Portrait in Porcelain

This paper discusses artworks that were created through a practice-led research approach. Considering practice-led research, the content of this paper encompasses every possible relation to the artworks, such as the perspective and statements of practice, considerations, thoughts behind the themes, observations, and interpretations of the creative process. All these aspects are grouped into two sections: the context of the practice and self-reflection on the practice. This research found that material-oriented and media-based approaches are not inseparable in ceramic art practice. Indeed, both perspectives are very valuable to understand the creative process as well as the appreciation of art works. Due to the creative process in art requiring non-linear thinking, the contents of this paper are not hierarchical in one direction. Instead, it can be conceived as offering multiple perspectives to understand the making process and the resulting artifact. In some way, this paper can be considered as a narrative style of writing, which is appropriate to reveal the creative process

Familiarity and Overcoming of Uncanny Valley towards Computer-Generated Imagery Characters in Malaysian Film

Recently, the idea of the uncanny valley has drawn interest in robotics and other scientific circles and popular culture. Several scholars have discussed its implications and reactions towards human-like robots. However, only several previous studies examined overcoming the uncanny valley for realistic looking computer-generated actors in films and animation. This seeks to examine the familiarity of participants with the use of digital characters as actors. This paper explains how computer-generated imagery (CGI) was used to create actors in Malaysian films, the uncanny valley characteristics that may affect the audience’s attention. The researcher has chosen visual stimuli consisting of 1 genuine human character and 1 less humanlike subject. A self-administered survey (n = 127) with sample film footage and photos were delivered online via email and social networks to responders. Surprisingly, based on the data, the human resemblance of the humanlike characters was substantially higher than expected. This research concluded that the artificial CGI characters had higher perceived eeriness if the character was highly familiar to the audience. As a result, the digital actor’s replacement an impression of eeriness and disbelief, which confirms the uncanny valley theory

Remappings of a Region: Popular Map Images Around and Beyond ‘Southeast Asia’

Our spatial understandings and perceptions are augmented by media representations of spaces. Whilst maps are often studied within the academic fields of geography and art history, their discussion within the context of design and design history remains insufficient. This paper delves into the study of popular maps as cross-cultural design artefacts. This is done through case studies from the perspective of graphic communication, analyzing maps along their symbolic, narrative, and discursive interpretations as well as how they interplay with lived experiences. The period from 1930s to the 1960s saw several events that led to frequent remappings of geo-entities around the loose assemblage of nations that we now know as Southeast Asia, which included the birth of new nations and the forging of alliances. This process of repeated remappings enables an interesting study on the nature of maps, their instrumentalization, and their consumption

Artificial Light as A Supporting Element to Achieve Sacredness in the Holy Spirit Cathedral Church of Denpasar

The sacred space in Catholic Church buildings is intended for people to experience the mystery of God’s work of salvation and the epiphany of faith through light as one of its design elements. Light is seen as a significant aspect of Catholic teachings, representing divine manifestation through its symbolic function. The presence of artificial light in the worship room of the Holy Spirit Cathedral Denpasar was designed to accommodate all worship activities in conveying symbolic meanings. This study aimed to determine how artificial lighting through pragmatic, psychological, and symbolic functions is present in the prayer room. The data collection techniques used were observation, interviews, and questionnaires. The study results showed that the pragmatic function of light in the worship room of the Holy Spirit Cathedral Denpasar is considered a supporting aspect, while light with its psychological and symbolic functions is considered to be the main aspect, which is very influential in creating a spatial atmosphere that facilitates the religious experience of the churchgoer. Although the presence of artificial lighting in the worship room does not fulfill visual comfort, churchgoers consider the presence of artificial light to be able to accommodate the whole procession of worship activities

Preserving Cultural Identity of Angklung Paglak through Visual Identity-based Approach

Angklung Paglak, a traditional musical instrument rooted in the rich cultural heritage of Kemiren Village, Banyuwangi, East Java, Indonesia, has played a pivotal role in entertaining farmers and expressing gratitude during the Great Harvest ceremonies. However, with the gradual decline of traditional harvest practices and the advent of modernization, the once vibrant Angklung Paglak tradition faces the risk of extinction. This study used the endogenous development theory to investigate the historical existence of Angklung Paglak and its evolution under the influence of tourism, emphasizing the structure of awareness, social relations, and practical techniques. In summary, by employing an ethnographic approach, the research involved real-world observations and interactions with local participants for one year to gain first-hand insight into the complex interplay between Angklung Paglak as a cultural asset and tourist attraction. The envisioned visual identity plays a significant role in fostering cultural continuity and unity, thus revitalizing and preserving Angklung Paglak’s significance within the community’s collective memory