AESCIART: International Conference on Aesthetics and the Sciences of Art 28 September 2020

Analysis of Institut Ruangrupa’s Alternative Art Education During 2015-2018

Bhakti Tanza Lutfi, Agung Hujatnika, Irma Darmajanti

Visual Art Master Program, Faculty of Art and Design, Institut Teknologi

bhaktitanzalutfi@gmail.com

Abstract

Since 2000, ruangrupa (-based art collective) has had an alternative art information distribution (alternative of the formal art education). "ey offer values which arise from collective processes such as mutual sharing. "e establishment of Institut Ruangrupa in 2015-2018 focused on the topic of art education through discursive and collaborative arts practices. "e collaboration carried out with Dewan Kesenian Jakarta at the Jakarta Biennale 2015 produced a program called ‘Maju Kena Mundur Kena Academy’. "is paper will analyze the method of the Institut Ruangrupa’s alternative art education which utilize a joint network with Arts Collaboratory (an art organization consisted of more than 20 organizations from Africa, Asia, Latin America and the Middle East). "e purpose of this research is to provide a detailed description of the background and methods of ruangrupa’s alternative art education.

"is research built upon the theory of collaborative learning initiated by John Dewey, a learning concept that place community as the center. Ruangrupa through dynamic education styles exercise collaborative artistic projects with already established national and international connections and resources. In conclusion, the art education practice of Institut Ruangrupa by placing collectivism as the main idea, utilizing communication network relationships and collaborative work that is oriented towards problem solving, is able to become one of the alternative methods in an effort to reformulate the practice of art education, especially in .

Keywords: art education; collaborative; ruangrupa.

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1 Introduction

Humans need art to make ends meet. Art in a social context is used as a medium for entertainment and recreation, information media, education to mediate religious events. [11] Various factors along with its development have brought today’s art to be so very complex. In addition, the tendency of society in seeing art today, especially in the realm of fine arts, needs to be balanced with the intake of competent aspects of knowledge as an effort to develop individual capacities to help fulfill their needs. "e paradigm of art today cannot be clearly explained, nor can it be seen in black and white, art and not art. [4] "e perspective of each individual in giving meaning to art is more diverse, so that today’s society is expected to pay more attention to the importance of art knowledge as a basis for individual development in balancing the increasingly dynamic

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inclination of art. "is is closely related to the role of art education as an agent for the distribution of knowledge. "e principle of learning cultural arts - fine arts is recreational to form a harmonious personality of students. Fine arts education has an important responsibility to invite students to develop multicultural characteristics through appreciation and creation activities. "e richness and diversity of Indonesia’s culture are great assets for building democratic, tolerant, mutual respect, cooperation and mutual cooperation. "e principle of respecting diversity and plurality is a manifestation of the pluralism view which is the basic principle of postmodernism. Postmodernism, which is identical with pluralism, is the guideline for contemporary art practice. Contemporary art teaches the principles of diversity, equality, democracy, tolerance, relationalism, and so on. Fine art activities that provide opportunities for students to appreciate and create with collaborative and relational models need to be developed by art teachers. However, the principles and theories that underlie the practice of contemporary art are still not widely practiced by Indonesian art teachers or teachers, especially in the realm of formal education. "ey carry out art learning according to their interpretation of the applicable curriculum (2013/2016) more explicitly than implicitly. On the other hand, non-formal art learning is considered capable of having the potential to help develop fine arts education, especially in Indonesia. As has been done by ruangrupa. Since 2000, ruangrupa as a contemporary art collective in Jakarta has been interested in issues in art education. Based on collectivism, they try to present an alternative method or form of distribution of artistic knowledge by offering values that emerge from a collective process such as mutual cooperation. "e establishment of the Institut Ruangrupa in the 2015-2018 period focuses on the realm of art education through discursive and collaborative art practices. "e collaboration with the Jakarta Arts Council at the Jakarta Biennale 2015 formed a program called “Maju Kena Mundur Kena Academy” by leveraging the network that has been established with the Arts Collaboratory (an arts organization with more than 20 members from Africa, Asia, Latin America and the Middle East) . Alternatively, art education is interesting to discuss, especially considering the problem of seeing the extent to which art education practices in Indonesia have been in building the capacity for public understanding of the development of art today which is very complex and increasingly dynamic. "is paper seeks to see how alternative art learning methods or practices are carried out by the Institut Ruangrupa and their role in helping improve the quality of art education, especially in Indonesia. "e emergence of a fundamental question about how the methods of practice carried out by the Institut Ruangrupa based on the values in collectivism are able to present new alternatives in creating strategies for the distribution of artistic knowledge more effectively? "is research will provide a detailed description of the background and alternative learning methods used by ruangrupa, based on the collaborative learning theory initiated by John Dewey, focusing on a learning concept that makes the community the center. By using the literature study method based on books, scientific papers, catalogs, and online sites, it is hoped that it will be able to bridge the formulation of problems and expected answers.

2 Problem Formulation

Based on the background above, the problem formulation is:

The Impacts of Industrial Revolution 4.0 56 to Creative Practices in Indonesia AESCIART: International Conference on Aesthetics and the Sciences of Art 28 September 2020

How can the methods and practices carried out by the Institut Ruangrupa based on values in collectivism be able to present alternatives in creating strategies for the form of distribution of artistic knowledge effectively?

3 Limitation Problem

"is research only examines the practice of Institut Ruangrupa for the period 2015-2018 in collaboration with the Jakarta Arts Council, especially at the Jakarta Biennale 2015 to form a program called “Maju Kena Mundur Kena Academy”.

4 Research Methodology

"e method used in this research is a descriptive research method with a qualitative approach supported by literature studies. Based on the collaborative learning theory proposed by John Dewey. A learning concept that makes the community the center. "is theory is used to see the extent to which the practice carried out by the Institut Ruangrupa is able to become an alternative form of art learning.

5 Analysis

"e existence of the art world is able to give birth to a sociological approach to art which is not only an assessment of aesthetics, but also produces a complex understanding of the network of cooperation in producing works to be distributed as part of knowledge. As stated by Howard S. Becker in Art World (1982) that, all art activities should be human activities that involve a large number or group of people in it. [2] In addition, referring to Maria Lind’s idea of describing collaborative work in the dynamics of today’s art refers abstractly to all forms of processes in which people work together - applying them to larger aspects of individual and collective work. Collaborative learning assumes a shared focus, shared responsibility for learning, and a disciplined approach to achieving the desired goals (Wald and Castleberry, 2000: 4). According to Balta and Awedh (2017) collaborative learning is a method in which groups of students work together in small groups and each group member is responsible for their group learning as well as their own learning. Damon and Phelps (1989) suggest that collaboration as partners is equal to the same competence in communicating and sharing ideas to solve problems together. [1] "e collaborative model is based on a paradigm in learning theories. "is model is based on the social constructivist theory of Lev Vygotsky with the zone of proximal development (ZPD) and the scaffolding theory of Jerome S. Bruner and the theory of humanistic psychology. According to John Dewey’s argument, education and learning are social and interactive processes and schools are laboratories for social renewal that can develop (Warsono and Hariyanto, 2016). [10] Construction knowledge according to Driver, Asoko, Leach, Scott, & Mortimer, (1994) is a concept from cognitive psychology. Constructivist learning theory views that by interacting socially, students are expected to jointly build cognitive aspects in each other in a better direction. "e main purpose of collaborative learning is to help students test the quality and value of what they know by trying to understand it to others (Bruffee, 1981). [3] In the context of art, collaboration refers to the interconnection space between art and non-art, art and other disciplines, which constantly examines social boundaries - where, how, with what, and with whom art can be created. (Roberts

The Impacts of Industrial Revolution 4.0 to Creative Practices in Indonesia 57 AESCIART: International Conference on Aesthetics and the Sciences of Art 28 September 2020

& Wright, 2004). "e first collaboration model in the art world that is presented is what Kester (2008) calls “technical collaboration”. To put it simply, collaboration is an open concept that in principle embraces everything else. “Cooperation” as the main keyword emphasizes the idea of working together and in this case is mutually beneficial to one another, the emphasis is on matters related to solidarity, so that in the end the word “collective” becomes a cover for forms of work in a system social. Collaboration is one of the central methods in the dynamics of contemporary art today. At the same time, this collaborative practice is often a response to certain situations, influenced by the conditions of the socio-political locality. Over the following decades, art redefinition tended to go hand in hand with its collaborative practice. According to curator Angelika Nollert, the first group of artists known to have worked together were the Nazarene in Rome in 1810-1830. He explained that this type of artistic collaboration can develop into a strategy that is realized when the condition of a large institution, in this case the creator of the art canon, disappears or no longer functions properly, there is an imbalance and thus the artists come to the surface, bringing the idea of this collaborative practice as part of an alternative in dealing with it. Focusing on the development of contemporary art theory and practice today, intersecting with art knowledge and education, as well as the state of the Indonesian art field in its recent ups and downs. Referring to the ideas of Paul O’Neill & Mick Wilson in his book “Curating and the Educational Turn”, it is explained that the learning system adopts a counter-institutional ethos, a discursive production process that implements a durational dialogical process. [7] In other words, the dominance of the instructor does not seek the production of expert craftsmanship and authoritative statements of truth, but rather the result of questioning, ambiguity, and inquiry, often determined by the simple possibilities in which people initiate conversations. In this case, Institut Ruangrupa’s praxis tries to develop a collaborative working model, by utilizing a joint Arts Collaboratory network. Especially in the activities held at the Jakarta Biennale 2015 called “Maju Kena Mundur Kena Academy”. "ey try to move on from a major problem that is related to other individual problems. Participants with different cultural backgrounds, especially in the Arts Collaboratory (an arts organization from Africa, Asia, Latin America, and the Middle East), face various perspectives on a matter, problems and so on, are faced together, formulating ideal solutions for them to get a mutual agreement and can educate the public more broadly. Since colonial times Indonesia has implemented a modern education system with a structured curriculum and tiered levels, art education in Indonesia has been introduced in a limited way in the form of drawing lessons. "e purpose of giving this subject is to produce skilled personnel in the field of drawing that is more technical in nature. Drawing skills are taught not for the purpose of expression (artistry) but are used to support other fields of work (Soehardjo, 2005). [8] "e idea of the implementation of art education that developed in schools in Indonesia before independence refers to the education system that took place in Europe, especially in the . After independence, the Western influence in the art education system in Indonesia continued. "is influence was later enriched by the thought of art education that came from America (especially since the 1960s) when many Indonesian art educators studied at American universities. Changes in thinking in the world of education influenced by the development of psychology, especially developmental psychology, have colored changes in thinking in art education, thus

The Impacts of Industrial Revolution 4.0 58 to Creative Practices in Indonesia AESCIART: International Conference on Aesthetics and the Sciences of Art 28 September 2020

giving birth to two paradigms of fine arts education for public schools and fine arts education for vocational schools. One of the dichotomies of this paradigm is known as “Education through Art” and “Education in Art”. Education through arts is carried out in public schools while education in arts is carried out in vocational schools. In public schools art education is carried out with the aim of supporting general educational goals, while in vocational schools the implementation of art education is to make graduates have specific skills (competencies) in certain fields of art. "e difference in the objectives of organizing art education certainly has implications for the learning process (planning, implementation and evaluation). Art education problems usually arise from the implementation or this learning process. "ese problems (with varying levels of difficulty) can be categorized into the following aspects; Teachers, Students, Facilities and Infrastructure, Curriculum and Learning Materials, Administration, Parents and also the community. Of the six aspects, the most crucial things are usually three aspects, namely the aspects of teachers, students, and facilities and infrastructure. It cannot be denied that teaching is the dominant aspect in determining the “success” of the learning process of art in schools. In various literatures, it is stated that the teacher is the spearhead of curriculum implementation (Sukmadinata, 2002). [9] Whatever the paradigm or thinking behind a curriculum, regardless of its form and content, the success of a learning process really depends on the “intelligence” of the teacher or instructor in dealing with various problems that arise. On the other hand, the role of non-formal institutions, such as collective activities that focus on the world of arts education, is quite helpful in coloring the strategy of government agencies to be more open to the presence of local initiatives that prove their public function in a more relevant way. As has been done by the Institut Ruangrupa in Jakarta. Institut Ruangrupa was founded in 2015, is a fine arts education program that is not accredited, does not award any degrees, and does not have a definite curriculum. "is institute is one of ruangrupa’s efforts, after a dozen years to become a contemporary art collective that plays an active role in the development of arts and culture, to conquer new challenges in the realm of education. On the way, for approximately 3 years running (2015-2018) they are constantly looking for a form of art learning method that is effective for them. Understanding the nature of education, in ancient Greek culture, education can be illustrated as cultivating agricultural land where seeds can grow well and bear fruit. Education is an integrated effort to humanize young people, shape character so that students become individuals who have priority, respect because they have an intellectual culture and arête. In other words, education is a process of humanization, in the sense of cultivating one’s potential to become more human. Education can be understood as the process of liberation in the sense that through education, students experience a process of emancipation and are freed from various forms of oppression, dogmatism and fatalism. "rough education, students are formed and equipped with knowledge and skills so that they are able to become agents of liberation for themselves and for others. Education is a process of self-transformation of ignorant attitudes towards self-critical awareness of what is happening in themselves and their environment. In this context, education is a vehicle for reviving memories and narratives that have been buried and silenced by oppressive structures and systems. "is will be the driving force for social change. "rough transformative and participatory education, students are expected to be able to develop their individual and social dimensions in a

The Impacts of Industrial Revolution 4.0 to Creative Practices in Indonesia 59 AESCIART: International Conference on Aesthetics and the Sciences of Art 28 September 2020

balanced manner. In connection with the social dimension in humans, education can help raise awareness of students to realize themselves that they can grow and develop in the context of being with other people in a community. "e awareness that humans live and develop in social networks will foster an individual’s awareness that he is an integral part of the community. As an integral part of the community, individuals have a duty, responsibility and obligation to contribute to the good and welfare of the community. Individuals are made aware not only of their rights, but also of their obligations. Individual relationships with other people also bring students to the understanding that other people are sociuses, friends, friends and relatives who must be cared for. "is awareness can be built through personality education, which is to change the paradigm of antagonistic thinking that divides humans into our groups and them, me and you. "e antagonistic paradigm must be replaced with a synergic and cooperative paradigm, creating “our” culture, promoting inclusiveness. In conjunction with this, ruangrupa’s collective programs are used as tools and methods for the Institut Ruangrupa’s learning process that will respond to community needs. "ey believe that the teaching model that has been applied has always changed is a freedom that needs to be cared for in response to the various contradictions in our daily lives: the poor city conditions but we still love, our public education system which is foolish yet lulling, our desire to prosper ourselves ourselves by tricking others, to our desire as well as our reluctance to become part of the wider community. At “Maju Kena Mundur Kena Academy” they work with a more fluid method. "is non-formal learning process has values that are rarely found in formal schools in general. Like the culture of hanging out while studying. "ey try to deconstruct the practice of learning with new experiments. "rough a more transformative and participatory learning process, they try to make students and their life situations the starting point for the learning process. Education and inculcation of values is not only a matter of knowledge, but a question of how knowledge of these values can be internalized and made into the personal property of the person concerned and of course will influence the way of thinking, how to feel and how to act (changing the habitus). "e learning process they do is not only using traditional-scholastic methods. Problem solving method as developed by John Dewey, students are trained to be aware that there is a problem, then identify and understand the problem, analyze it with the aim to explore the root cause, create a hypothesis on the solution offered and test it in praxis, what is the solution that is it is anticipated that it really solves the problem at hand? "rough the problem-solving method, students and teachers together are triggered by their creativity and imagination to find a way out of the problems they face together. "is learning method requires a willingness and ability to continue learning. Utilizing the joint Arts Collaboratory network, the concept of “bank-style education” (depositing information and knowledge) has changed to a problem-solving-oriented educational concept using collaborative methods. "e “Maju Kena Mundur Kena Academy” program, which is a temporary exchange zone - a stopover space to share stories, insights, and perspectives presents a new effort in presenting learning outcomes, expanding its function, from an art exhibition to a storehouse of artistic knowledge and experience. Become a meeting point between artists, curators, researchers, and selected invitees with the audience through a series of meetings, discussions and workshops. Promoting collaborative and experimental values during their process. Each participant in this program is required to discuss, express problems and their responses to find solutions to problems

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together. As pioneered and developed by Paulo Freire with a dialogical method. What is done by Institut Ruangrupa in this case by prioritizing aspects of collaboration in the learning process to bring all the individuals who are in it, giving each other space and filling in the gaps in capacity within oneself. "e transformative and participatory learning process carried out by ruangrupa assumes a change in understanding of the teacher as the only source of information (Superior) and students are only recipients of information (Inferior) towards the understanding of teachers and students exchanging information (consultative), together criticizing information and based on the information and knowledge shared, teachers and students enrich and enlighten each other. In addition, in the transformative learning process, teachers who act as “transformative intellectuals” help students become agents of change in society through critical attitudes towards various ideologies that often blind society.

6 Conclusion

Based on the study above, it can be concluded that the practice of the educational method carried out by the Institut Ruangrupa by utilizing the communication network linkages and collaborative work carried out so far can be an example of an alternative method as an effort to improve the quality of art education, especially in Indonesia. In touch with this, diversity as one of the paradigms of contemporary art can be seen in the artistic methods employed by ruangrupa by relating it to their collectivism ideas, where they apply the values of collectivity to the realm of education. Directly or indirectly, it is felt that the Institut Ruangrupa as a non-formal institute is able to reformulate the praxis of art education in Indonesia. "e global cultural context has created strategies in alternative educational practices that can be developed into teaching materials for students. "e learning process implemented by the Institut Ruangrupa in the end provides space for freedom of expression for its students for the emergence of new innovations. "e educational method with the idea of collectivism and problem solving-oriented collaborative work seeks to develop the ability of participants to critically understand their way of being, learning with this method ultimately leads them to see the world not as a static reality, but dynamic, in a process of change. In addition, the concept of education enables students to think critically about what is happening in their environment, expose ideological falsehoods and lies that have fooled and tormented the oppressed and weak.

7 References

[1] Balta, Nuri & Awedh, M. H. (2017). !e Effect of Student Collaboration in Solving Physics Problems Using an Online Interactive Response System: European Journal of Educational Research. Volume 6, Issue 3. [2] Becker, Howard Soul. (1982). Art Worlds, University of California Pres, California [3] Bruffee, K. 1981. Collaborative Learning. National Council of Teachers of English. JSTOR Vol. 43, No. 7. [4] Danto, Arthur C. 1997. After the End of Art, Contemporary Art and the Pale of History, Princeton, New Jersey, Princeton University Press. [5] Freire, Paulo (2016).Pendidikan Kaum Tertindas. Jakarta: LP3ES [6] Kemendikbud, 2016. Silabus Mata Pelajaran Seni Budaya SMA/SMK/MA/MAK, Jakarta.

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[7] O’Neill, Paul, (2010) Wilson, Mick, (editor of compilation.) Curating and the educational turn. Appel Arts Centre, London : Open Editions ; Amsterdam : de Appel, 2010. [8] Soehardjo, 2005, Pendidikan Seni dari Konsep Sampai Program, Malang: Balai Kajian Seni dan De- sain Jurusan Pendidikan Seni dan Desain, Universitas Negeri Malang. [9] Sukmadinata, N.S., 2002, Pengembangan Kurikulum: Teori dan Praktek. Bandung: Remaja Rosda Karya. [10] Warsono dan Hariyanto. 2016. Pembelajaran Aktif Teori dan Asesmen. Bandung: PT Remaja Rosda Karya [11] Wolff, Janet. (1981) !e Social Production Of Art. New York : New York University Press

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