The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) , – March 16,17, 2016 ISBN: 976-979-9234-57-5

REPORT FROM THE ICCIS 2016 COMMITTEE CHAIR

The 1st International Conference on Chinese Indonesian Studies (ICCIS) was held in Semarang on 14-16 November 2013. The 2nd ICCIS (2015) was held in . During this event, five universities (Maranatha Christian University, Bandung; Petra Christian University, ; Soegijapranata Catholic University, Semarang; University, Jakarta; and Xiamen University, Xiamen, China) reconciled and concurred to organize the 3rd ICCIS in Jakarta with Tarumanagara University as the host of the conference. The 3rd ICCIS is also supported and joined by (Jakarta) and Rikkyo University (Tokyo, Japan).

The ICCIS’ target audiences and participants are various groups of academics, professionals and practitioners, government officials, and individuals in the society. In this 3rd ICCIS, the speakers, presenters, and participants are from China, Germany, Japan, Malaysia, Netherlands, USA, and Indonesia. In this conference, there will be 45 presentations, 20 in English, 8 in Chinese, and 17 in Bahasa Indonesia. All abstracts and papers have been reviewed and accepted by the scientific committee.

The accomplishment of the conference as well as this Proceedings is the result of efforts by many people. On behalf of the ICCIS committee, I would like to thank all collaborators, speakers, presenters, participants, steering committee, scientific committee, organizing committee, supporters and sponsors, for their ongoing support and participation. Finally, we hope that this conference can facilitate the exchange of knowledge, research, and network on the topic of Chinese Indonesian studies.

The ICCIS 2016 Committee Chair

Jap Tji Beng, Ph.D.

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The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) Jakarta, Indonesia – March 16,17, 2016 ISBN: 976-979-9234-57-5

OPENING SPEECH FROM RECTOR OF TARUMANAGARA UNIVERSITY

Distinguished Guests, Ladies and Gentlemen, I am delighted to have the opportunity to write a brief opening speech on this International Conference on Chinese Indonesian Studies where the contributions of Chinese Indonesian to Global Communities in the Past, Present, and Future will be addressed. And I believe these issues are paramount important not only for the unity but also for building the spirit of the future generation to face globalization. First of all, I would like to welcome all contributors who come from different parts of Indonesia and other countries. I hope you have a good stay in Jakarta. My special thanks go to Ibu Shinta Nuriyah Wahid for her support and presence to declare the official opening of this conference. I would like to welcome the conference keynote speakers, Prof. Willem van der Molen from Netherlands, Prof. Shi Xueqin from Xiamen and Prof. Dali Santun Naga from Tarumanagara University. And also thanks to the speakers and moderator of the talkshow, Bapak Tan Joe Hok, dr. Lie A. Dharmawan, Bapak Irwan Hidayat, Ibu Anne Avantie, and Ibu Susan Bachtiar. The relationship between China and Indonesia had been started over thousand years and many aspects may be explored and discussed from this topic. We can start from culture, knowledge, tradition, religions and many others. Hence, this conference becomes interesting for all of us. The progressive development in technology particularly in the 21st century has changed the lifestyle of human beings included in research and education. All information in many aspects of research included the history can be obtained as far as a fingertip. However, at the same time our achievement, the success, and the failure also can be accessed by other people from different parts of the world. This makes the competition among the nations is prohibitively high. In this respect, we have to optimize our capacities and to build synergy among groups, nations, so that the sustainability of the world can be maintained. The question is: How to build synergy among academics, practitioners and government. In the attempt to find the answer, many papers are presented here from the various contributors. And today we are proud to present the collaboration of University of Indonesia, Maranatha Christian University, Petra Christian University, Rikkyo University, Soegijapranata Catholic University, Tarumanagara University, and Xiamen University. We can learn and have a good time in this conference because a group of people are behind it. Therefore, I would like to express my great thanks to the team who have worked tirelessly to materialize this conference. And also thanks to the sponsors who have contributed in this special event. Finally, we all meet in this conference to exchange the knowledge and the information in many aspects of the culture. I hope in this conference the participants not only can share but also can learn from each other. Have a good time.

Prof. Ir. Roesdiman Soegiarso, M.Sc., Ph.D.

Rector of Tarumanagara University

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The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) Jakarta, Indonesia – March 16,17, 2016 ISBN: 976-979-9234-57-5

VENUE

The Third International Conference on Chinese Indonesian Studies (ICCIS) 2016 is held at: Tarumanagara University Jl. Let. Jend. S. Parman No.1, Jakarta 11440, Indonesia

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The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) Jakarta, Indonesia – March 16,17, 2016 ISBN: 976-979-9234-57-5

CONFERENCE SPEAKERS

Prof. Willem van der Molen (KITLV/Royal Netherlands Institute of Southeast Asian and Carribean Studies, Leiden, the Netherlands)

Prof. Shi Xueqin (Research School for Southeast Asian Studies, Xiamen University, China)

Prof. Dali Santun Naga (The Center for Chinese Indonesian Studies, Tarumanagara University, Jakarta, Indonesia)

Tan Joe Hok (The Indonesian Maestro)

dr. Lie A. Dharmawan, Ph.D., Sp.B, Sp.BTKV (The Founder of “Rumah Sakit Apung” doctorSHARE)

Irwan Hidayat (CEO PT. Sido Muncul)

Anne Avantie (Inspiring Female Entrepreneur)

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The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) Jakarta, Indonesia – March 16,17, 2016 ISBN: 976-979-9234-57-5

STEERING COMMITTEE

Prof. Roesdiman Soegiarso Tarumanagara University, Indonesia

Prof. Dali Santun Naga Tarumanagara University, Indonesia

Jap Tji Beng, Ph.D. Tarumanagara University, Indonesia

Dr. Sugiri Kustedja Maranatha Christian University, Bandung, Indonesia

Dr. Krismanto Kusbiantoro Maranatha Christian University, Bandung, Indonesia

Prof. Esther Harijanti Kuntjara Petra Christian University, Surabaya, Indonesia

Setefanus Suprajitno, Ph. D Petra Christian University, Surabaya, Indonesia

B. Danang Setianto, SH, LLM, MIL Soegijapranata Catholic University, Semarang, Indonesia

Dr. Tyas Susanti Soegijapranata Catholic University, Semarang, Indonesia

Prof. Nie De Ning Xiamen University, Xiamen, China

Prof. Shi Xueqin Xiamen University, Xiamen, China

Prof. Satoshi Masutani Rikkyo University, Tokyo, Japan

Prof. Masashi Hirosue Rikkyo University, Tokyo, Japan

Nurni W. Wuryandari, Ph. D. University of Indonesia, Jakarta, Indonesia

Dr. Ali Akbar University of Indonesia, Jakarta, Indonesia

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SCIENTIFIC COMMITTEE

Prof. Dali Santun Naga Tarumanagara University, Jakarta, Indonesia

Jap Tji Beng, Ph.D Tarumanagara University, Jakarta, Indonesia

Dr. Sugiri Kustedja Maranatha Christian University, Bandung, Indonesia

Dr. Thung Ju Lan Indonesia Institute of Science, Indonesia

Monika Lohanda, Ph.D. Researcher, Indonesia

Prof. Esther Harijanti Kuntjara Petra Christian University, Surabaya, Indonesia

Setefanus Suprajitno, Ph.D Petra Christian University, Surabaya, Indonesia

Prof. Benjamin Soenarko Researcher, Indonesia

Dr. Yeo Kang Shua University of Technology and Design, Singapore

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EXECUTIVE COMMITTEE

Patron : Rector of Tarumanagara University Chair : Jap Tji Beng, Ph.D. Co-Chair : Dr. Keni Secretary : 1. Sri Triatri, Ph.D. 2. Viny Christanti Mawardi 3. Sofia Prima Dewi

Treasurer : 1. Dr. Miharni Tjokrosaputro 2. Mei Ie Sponsorship Coordinator : 1. Herlina Budiono 2. Paula Tjatoerwidya Anggarina 3. Joyce A. Turangan 4. Lydiawati Soelaiman 5. Meiske Yunithree Suparman Event and Logistic Coordinator : 1. dr. Shirly Gunawan 2. Vera Wheni S Soemarwi 3. Widya Risnawati 4. Dr. Fransisca I. R. Dewi 5. Meike Kurniawati Design Coordinator : 1. Mekar Sari Sutedja 2. Rio Sanjaya Exhibition Coordinator : Anny Valentina Publication & Documentation Coordinator : 1. Agus Budi Dharmawan 2. Yugih Setyanto 3. AR. Johnsen F. 4. Agustinus Yulianto

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TOPICS AREA

Topics include but are not limited to the following fields of study:

1. Philosophy 2. Language and Culture 3. Art and Design 4. Architecture 5. Medicine 6. Popular believes, religion 7. Economics 8. Technology 9. Laws 10. Psychology 11. Sociology and Anthropology 12. Agriculture 13. Industry 14. Education

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TABLE OF CONTENTS

REPORT FROM THE ICCIS 2016 COMMITTEE CHAIR ...... i

OPENING SPEECH FROM RECTOR OF TARUMANAGARA UNIVERSITY ...... ii

VENUE ...... iii

CONFERENCE SPEAKERS ...... iv

STEERING COMMITTEE ...... v

SCIENTIFIC COMMITTEE ...... vi

EXECUTIVE COMMITTEE ...... vii

TOPICS AREA ...... viii

TABLE OF CONTENTS ...... ix

KO HO SING (1825-1890) AND MODERNITY Willem van der Molen ...... 1

INDONESIAN CHINESE MUSEUM AND THE CONSTRUCTING OF INDONESIAN CHINESE COLLECTIVE MEMORY Shi Xueqin ...... 6

EDUCATION DIVIDE: THE CASE OF INDONESIAN CHINESE COMMUNITY Dali Santun Naga ...... 17

STREET CARNAVALS OPEN VISUAL COMMUNICATION SPACE BETWEEN CHINESE INDONESIAN CULTURE WHICH ARE DIALOGUE WITH LOCAL CULTURE Lois Denissa, Yasraf Amir Piliang, Pribadi Widodo, Nuning Yanti Damayanti Adisasmito ...... 22

A PRELIMINARY INVESTIGATION OF INDONESIAN TRANSLATIONS OF THE TAO TE CHING TEXT FOR THE SAKE OF CHINESE LANGUAGE AND CULTURE Pauw Budianto ...... 31

"TAN TJWAN BIE’S MANSION IN SURABAYA: A COLLABORATION WORK OF A WELL-KNOWN ARCHITECT, FAMOUS PAINTER, AND PROMINENT CONTRACTOR" Joko Triwinarto Santoso ...... 37

VISUAL HYBRID STUDIES OF PROMOTIONAL MEDIAS IN INTERNATIONAL FRANCHISE CULINARY Monica Hartanti ...... 51

THE EVOLUTION OF CHINESE KAMPONG IN BATAVIA DURING THE DUTCH COLONIAL PERIOD: ON THE BASIS OF KONG KOAN (CHINESE COUNCIL OF BATAVIA) ARCHIVES Nie Dening ...... 62

WEST PROVINCE’S CONDITION OF CHINESE LANGUAGE (HAN YU) LEARNING AND EDUCATION Ina ...... 80

THE DEVELOPMENT OF INDONESIAN (INDONESIAN AND CHINESE-INDONESIAN) STUDENTS’ LEARNING INTEREST IN CHINA STUDY CASE: XIAMEN UNIVERSITY Elizabeth Susanti Gunawan ...... 88

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THE ROLE OF INDONESIAN CHINESE ENTREPRENEUR ASSOCIATION IN THE NATIONAL ECONOMIC DEVELOPMENT OF INDONESIA Chan Wing Wah, Joseph ...... 98

THE DISCOURSE OF CHINESE-NESS IN ALLAN LUNARDI’S KARMA Anton Sutandio ...... 109

HIERARCHICAL POSITIONING WITH YIN-YANG MICRO-COSMOS MODELING IN CHINESE TRADITIONAL TEMPLES (CASE STUDY: XIE TIAN GONG 協天宫 TEMPLE IN BANDUNG, INDONESIA) Sugiri Kustedja ...... 117

TIONGHOA STUDENTS'S INTERPRETATIONS OF THE CROSS-CULTURAL HYBRIDITY THAT SEEN IN VISUAL STYLE OF "CHINESE ZODIAC" GRAPHIC DESIGN WORKS Christine Claudia Lukman ...... 123

COSMOLOGICAL POND AS A SYMBOLIC ELEMENT FOR ANCIENT CHINESE VERNACULAR ARCHITECTURE Hendra Lukito ...... 133

LINGUISTIC VITALITY OF INDONESIAN HOKKIEN: FOCUS ON MEDAN AND SURABAYA Wang Xiaomei, Thock Ker Pong ...... 144

STATUS #2 AN ART PIECE THAT REPRESENTS THE CULTURAL ASSIMILATION BETWEEN CHINESE AND INDONESIA Sandy Rismantojo ...... 152

EXISTENCE OF CHINESE SOCIETY TO NATIONAL LIFE IN INDONESIA Seriwati Ginting ...... 161

COMMUNITY-RUN CHINESE EDUCATION OF THE CHINESE OVERSEAS IN THE ERA OF GLOBALIZATION AND RISE OF CHINA: CASE STUDY FROM INDONESIA AND MALAYSIA Thock Ker Pong, Wang Xiao Mei ...... 167

INDONESIAN CHINESE POLITICAL PARTICIPATION IN THE POST ERA --- TAKING GENERAL ELECTION AND LOCAL POLLS AS AN EXAMPLE Liao Xiao-Jian ...... 178

WHICH CHINA AND CHINESE? RESHAPING IDENTITY THROUGH STUDENT MOBILITY: A CASE STUDY OF INDONESIANS MOBILE STUDENTS IN CHINA Rika Theo ...... 184

FAMILY THÉ BOEN (鄭汶) FROM CIREBON, A CASE STUDY Steve Haryono (Yeo Tjong Hian) ...... 195

CHINESE BEKASI ADAPTATION STRATEGY IN CENGBENG FESTIVAL Dewi Hartati ...... 214

SPICES LINE: ACTIVITIES AND CONTRIBUTION OF CHINESE-INDONESIAN FOR NATURAL RESOURCES COMMODITIES DISTRIBUTION AT NUSA UTARA TO PHILIPPINES FROM 1946 TO 2000 Hendri Gunawan, Paulina E. H. Nugrahini ...... 225

HE-SHI-JIU-XIAN RELIGION AND QIONGYAO RELIGION OF CHINESE IN INDONESIA AND THEIR TRANSNATIONAL NET Shi Cangjin ...... 235

HARNESSING NATIONALISM: CHINESE EDUCATION IN THE LATE-COLONIAL , 1900-1942 Kankan Xie ...... 241

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REVOLT AGAINST TRADITIONAL CHINESE MARRIAGE CUSTOM–CASE OF TAN SIM TJONG´S FAMILY IN BANDUNG´S CHINESE PERANAKAN SOCIETY DURING EARLY 20THCENTURY Bambang Tjahjadi ...... 253

HUANG YURONG: THE ERA BETWEEN OLD ORDER AND NEW ORDER Livia Vasantadjaja ...... 263

INFLUENCE OF HOKKIEN AND WESTERN NOTATION IN UNIQUE NUMERICAL TIONGHOA INDONESIA Aji ‘Chen’ Bromokusumo (陈贵福)...... 270

CHINESE LANGUAGE AS THIRD LANGUAGE– PAST, PRESENT AND FUTURE – Susanne B. Su (苏为群), Aji ‘Chen’ Bromokusumo (陈贵福) ...... 273

BREAKING THE STEREOTYPES CHINESE INDONESIAN IN INDONESIA Kurnia Setiawan, Ninawati , Meiske Yunithree Suparman ...... 278

DESCRIPTION OF CHINESE-INDONESIAN ADOLESCENT WISDOM THROUGH REFLECTION Riana Sahrani ...... 282

INDONESIAN CHINESE WOMEN AS PART OF INDONESIAN BEAUTY (VIDEO COMMERCIALS BEAUTY PRODUCTS AS CASE STUDY) Berti Alia Bahaduri ...... 287

PREPARING TO DIE (CASE STUDY IN : TIONGHOA,S PARENTS WITH CHRISTIAN CULTURE’S CHILDREN) Meike Kurniawati ...... 294

TARI TOPENG BETAWI PERFORMER’S HARDINESS SUSTAINING ACCULTURATION BETAWI AND CHINESE CULTURE Rahmah Hastuti ...... 297

THE PROFANATION OF RELIGIOUS VALUES OF CHINESE CULTURAL HERITAGE IN LION DANCE PERFORMANCE AT PASAR PAGI ASEMKA, (PHENOMENOLOGICAL STUDY OF DERRIDA IN COMMODIFICATION OF THE BUSKING LION DANCE IN POSTMODERNISM PERSPECTIVE) Herlika Fransisca Wijaya ...... 303

REFLECTION OF IDENTITY: THE DILEMMA OF CHINESE INDONESIAN IN THE NATIONAL FILMS AS IMPLICATION OF GOVERNMENT PROPAGANDA IN NEW ORDER ERA (ANALYSIS OF DHA BY WODAK ON FILM MEI LAN-1974 AND PUTERI GIOK-1980) Rustono Farady Marta (蔡益安) ...... 311

CHINESE LIFE PADANG COMMUNITY DYNAMICS IN MINANGKABAU Erniwati ...... 319

DIFFERENT GENERATIONS OF CHINESE INDONESIAN Roesdiman Soegiarso, Keni, Shirly Gunawan, Herlina Budiono, Yugih Setyanto, Meiske Yunithree Suparman ...... 328

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TIONGHOA STUDENTS'S INTERPRETATIONS OF THE CROSS-CULTURAL HYBRIDITY THAT SEEN IN VISUAL STYLE OF "CHINESE ZODIAC" GRAPHIC DESIGN WORKS

Christine Claudia Lukman

Maranatha Christian University, Bandung, Indonesia

[email protected]

Abstract

Most of the students in Visual Communication Design Program in Faculty of Art and Design, Maranatha Christian University are Tionghoa. As a member of Indonesian society from Chinese diaspora, they hybridize China and Indonesia culture into a unique new culture. This diaspora's cultural hybridity can be seen as a source of artistic potential, which can be applied to graphic design works. One of assignments that were used to explore artistic potential sources which originating from this cultural hybridity was the making of a serial design depicting Chinese zodiac by using Indonesian decorative visual style. Hybridity of these two cultures produce unique works of graphic design because implementing sensibility originating from Chinese and Indonesian cultures. However, it should be noted that each student has a different interpretation of the cultural hybridity, which would influence the visual style of the graphic work. These graphic design works were classified into three groups according Steiner's theory on cross-cultural design: works which are quotations from images originating from China and Indonesia culture, works which are mimicry of Indonesia culture, and works which are the result of transformation of both cultures. After these works were classified into 3 main types, the semiotic analysis on signs, and texts were made. From the result of this analysis, each major group can be subdivided into several types. Especially from the 'quotation' group and 'mimicry' group. This division based on China and Indonesia culture's influence on the visual style of the graphic design works. Every types of the work reflect students' interpretation on hybridity.

Keywords: Interpretation, Tionghoa, Cross-Cultural Hybridity, Visual Style, Graphic Design Work

Introduction Since its establishment in 2005 until today, Visual Communication Design Program, in Faculty of Art and Design, Maranatha Christian University, most of the students are Tionghoa (descendant of Chinese diaspora in Indonesia) from various places in Indonesia. As a member of Indonesia society from Chinese diaspora community they experience cultural hybridization derived from their ancestral country (China) and their homeland (Indonesia). This cultural hybridity produce new culture that comes from the recognition of the cultural differences between China and Indonesia, and can be seen as a source of artistic potential. We could use this new form of culture to enrich the work of graphic design. One of the assignments that intended to display this hybridity phenomenon was the making of graphic design work of Chinese zodiac in Indonesia traditional visual style. Students were given the freedom to choose their favorite Indonesia traditional visual style (decoration from , , Papua, Sumatera, Kalimantan, and so on). Through this assignment student will create a work that shows the cultural hybridity that comes from Chinese and Indonesia's cultures, which are mythologies and visual styles. The works will show student's interpretation spectrum on this cross- cultural hybridity.

Formulation of Issue: a. Most of students in Visual Communication Design Program in Faculty of Fine Art and Design, Maranatha Christian University are Tionghoa (descendant of Chinese diaspora in Indonesia), which tend to have a hybrid culture from China and Indonesia. b. This cultural hybridity can be used in making of unique graphic design works. c. Through the assignment designed to show cultural hybridity we could see the spectrum of students’ interpretation on cultural hybridity between China and Indonesia.

Objectives Research: Able to map out the spectrum of students’ interpretation on cultural hybridity based on their visual style of graphic design works.

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Research Methodology This research used semiotic method, which had a qualitative-interpretative character. The focus of the study lies on 'sign' and 'text', and how researcher 'interprets' and 'understands code' (decoding) located behind the sign and text. This method operates on two levels of analysis: (a) analysis of sign individually (typology, structure, and meaning), (b) analysis of signs as a group or combination of signs that make up 'text'. Typology of sign comes from Charles Sanders Peirce notion, which are index (sign that have causal relationship between the signifier and signified), icon (sign that have resemblance relationship between the signifier and signified), and symbol (sign that have conventional relationship between the signifier and signified). In the text analysis, the signs are not analyzed individually but in combination with another signs or in bigger pattern, which represent attitude, ideology, or mythology, which underlying the combination of signs (Piliang in Christomy, 2004: 99-101).

Reviews on References: 'Diaspora' and 'Hybridity' Basically diaspora community living in 'exile', because they have experienced displacement from their origin place to a new place that was carried out voluntary or as result of economic difficulties and political problems. This community lives in external and internal tensions. The internal tension is the conflict between the desire to 'go home' and to settle down in new place: between old and new identity. While the external tension related to the issue of power distribution between minority and majority. These tensions produce diaspora space, which is a competing boundary between inclusion and exclusion. Conceptually, Sardar and van Loon (2001: 133-134) argued that diaspora space not only inhabited by 'newcomers', but also by other community that is constructed and represented as 'natives'. Brah (1996: 183, 196, 209) mentioned that diaspora identity has local and global character because it is a cross- nation network, which includes the imagined community (community from origin country) and encountered community (community from current homeland). Diaspora is relational concept that refers to power configuration that differentiated diaspora internally as well laying the relationship between each other. Diaspora space covers mixing and twisting distribution and residential lineage; this space is a site where native equal with diaspora, and diaspora equal with native. The concept of diaspora views identity as something erratic and uncertain. Diaspora identity is the identity that continues to move and change because of the 'route' (displacement from origin place to new place) is more dominant than the root (origin place). That is why diaspora always experience hybridization (Gilroy, 1997: 335). Cultural hybridity is a term used to explain interaction between several different cultures that produce new culture. Hybridity refers to cross cultural exchange. Although the term is generally used in post-colonial studies, but also can be used in diaspora condition which is a minority who live in the midst of majority. It could be argued that hybridity is a new form of cross-cultural. Hybridity occurs when the boundaries of a system or culture deflexing to blur between the things that can and cannot do. This produce a third space, which according to Bhabha (2004), bring out specific character from each cultural form, but at the same time negating specific character of both. In this third space is formed a new culture, which may not correspond to the original. Therefore, the process of cultural hybridity allows the formation of different, new cultures, even not known before as a result of negotiation of meaning and representation. Henry Steiner (1995:2) stated that in the field of graphic design, cross-cultural hybridity process occurs in three stages: 1. Quotation: at this stage a person uses, without comment, a foreign image because it's exotic flavor, as decoration. This stage is similar to plagiarism, using icon without need to understand it. 2. Mimicry: using the work or style of an artist or school, here a person trying to understand to some degree how and why the model is done. The direction is more to re-creation rather than reproduction. The operative adjective is influence. 3. Transformation: at this stage, the influence has been assimilated, and something that was foreign becomes personal and natural.

Discussion

Semiotics analysis on 'Chinese zodiac' graphic design works Twenty-five Tionghoa students made graphic design works about Chinese zodiac (rat, tiger, ox, dragon, rabbit, snake, monkey, horse, dog, pig, rooster, goat). However, I choose only the image of dragon as sampling for analysis because it is the same animal found in the red envelope. In addition, dragon is often associated with China culture. In this graphic design works the students combine sensibility from China (myth about zodiac) and Indonesia (traditional decorative visual style from several region as Bali, Kalimantan, Papua, Sumatera, , Java, etc.) These twenty-five works can be divided into three main groups based on the stage of cross-cultural hybridity as mentioned by Henry Steiner (quotation, mimicry, transformation). Each major group (especially quotation and mimicry groups) can subdivide into several types based on the composition of cultural hybridity: which culture more dominant than the other. These types can be seen as the spectrum of students' interpretation on hybridity of China and Indonesia cultures.

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Type 1A: Quotation works that have heavily influenced by China visual style

Image 1. Works of Cardelia, and Yadi Cahyadi

Table 1. Semiotics analysis on signs in graphic design works (type 1A) ELEMENT OF VISUAL STYLE TYPE OF SIGN Colors: Symbol in Chinese culture: Red, yellow, gold, orange, black. Red: good fortune, happiness. Yellow/gold: glory, victory. Red-gold: double happiness. Typography: Hanzi. Index to China culture. Images from Indonesia culture: Icon: 'Gunungan' from Java, Jepara carving pattern, Cirebon 'Gunungan', leaves batik pattern ('wadasan'), batik floral pattern. Symbol in Indonesia culture: 'Gunungan': forest, world. 'Wadasan': earth. Images from China culture: Icon Dragon, circle Dragon Symbol in China culture. Dragon: benevolence, prosperity, longevity, and the renewal of life Circle: perfectness, heaven Crowded composition Index to horror vacuii.

Semiotics analysis on text: These works used several symbolic signs in China culture, include colors (red, yellow, gold), typography (hanzi), and image (dragon, and circle), but the visual styles were derived from Indonesia culture (Jepara carving pattern, gunungan, wadasan from Cirebon batik pattern). While wadasan itself resembles the auspicious shape of the lingzhi 'fungus of immortality' from China culture. The students also use flexible and graceful lines resemble to China visual style in red envelope design. Symmetrical arrangement of visual elements produced static and old fashion impression, whereas the crowded composition reflects the fear of emptiness. Combination of signs generates visual style that heavily influenced by Chinese culture.

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Type 1B: Quotation work that has moderate influenced by China visual style.

Image 2. Work of Melissa Nugroho

Table 2. Semiotics analysis on signs in graphic design work (type 1B)

ELEMENT OF VISUAL STYLE TYPE OF SIGN Color: Symbol in China culture: Red, yellow, pink, orange, black Red: good fortune, happiness. Pink: love Yellow/gold: majesty, glory. Red-gold: double happiness.

Typography: Hanzi. Index to China culture.

Image from Indonesia culture: Symbol in Indonesia culture: Carving pattern in Toraja house (paqsalaqbiq dibungai, which is crossed bamboo with spiky end). Danger repellent.

Image from China culture: Icon: Dragon, meander, lozenge. Dragon. Symbol in China culture: Dragon: benevolence, prosperity, longevity, and the renewal of life. Meander: reborn, eternity. Lozenge: lucky object, victory.

Clean composition Index (not afraid of emptiness).

Semiotics analysis on text: This work displays images derived from China (dragon) and Indonesia cultures (carving pattern in To raja house). The size of dragon and the use of typography showed influence from China culture but not as strong as in type 1A works, because it used black background and clear composition, which are not common in China visual style. But the symmetrical arrangement of visual elements produces an old fashioned and no dynamic impression.

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Type 1C: Quotation work that has little influenced by China visual style.

Image 3. Work of Mega Sylvia

Table 3. Semiotics analysis on signs in graphic design works (type 1C) ELEMENT OF VISUAL STYLE TYPE OF SIGN Color: - Peach, orange, chrome, light green, dark green, black Typography: Index to Western culture. Latin font, English language Image from Indonesia culture: Icon: Jepara carving pattern Leaves Images from China culture: Icon: The 3rd son of Chinese dragon loves adventure and The 3rd son of Chinese dragon. keeping guard. Symbol in China culture: Symbol of safety and peace. Crowded composition Index to horror vacuii.

Semiotics analysis on text: This work showed an image derived from China culture (the 'fighting dragon' is one of the nine sons of dragon) and Indonesia culture (Jepara carving pattern). The visual style of the dragon similar to the visual style of China shadow puppet or China paper-cut. It can be said that in this works the only influence from China culture was the image of dragon. Crowded composition also indicated influence from China visual style as seen on red envelope design. The colors of leaves (from Jepara carving pattern) are soft colors originated from Western culture. Western influence was also evident from the choice of Latin typography and English language. Arrangement of visual elements tend to be symmetrical produced no dynamic impression.

Visual style comparison of the graphic design woks of type 1A, 1B, and 1C: The graphic design works of type 1A, 1B, and 1C showed the form of cross-cultural hybridity at quotation stage. The students combined several images from China and Indonesia visual styles. But from the preference of visual style we can see the trace of three typologies of hybridity. In the works of type 1A, although displaying images and decoration from Indonesia culture, however, the influence of China 's visual style was very strong. This can be seen from the choice of red, yellow, and gold, crowded composition, and hanzi letter. Dragon illustrated with shape that is resemble to the picture of dragon from China culture. In the work of type 1B, student uses element of visual style from outside China culture, for example black background and clean composition. While in the work of type 1C, the visual style is very influenced by Western culture, which can be seen in preference of soft colors and English language.

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The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) Jakarta, Indonesia – March 16,17, 2016 ISBN: 976-979-9234-57-5

Type 2A: The mimicry works of Indonesia visual style but still heavily influenced by China culture.

Image 4. Works of Handy Pandini, Fanny Sutanto, Ronald (first line), Cindy, Tan Vania Edelina Adinata (second line), Valencia Flavia, and Prinya Musikamas (third line).

Table 4. Semiotics analysis on signs in graphic design works (type 2A)

ELEMENT OF VISUAL STYLE TYPE OF SIGN Colors: Symbol in China culture: Red, yellow, black, white, light blue, dark blue, green, Red: good fortune, happiness. orange, gold, dark purple, dark brown. Pink: love. Yellow/gold: majesty, glory. Red-gold: double happiness Typography: Index to China culture. Hanzi, and Latin Index to Western culture. Images from Indonesia culture: Symbol in Indonesia culture Carving pattern in Dayak house (Betang house), Megamendung pattern, checkered cloth, shield and Megamendung (Cirebon): fertility. feather decoration from Papua, batik pesisir pattern. Checkered cloth (Bali): equilibrium between good and evil. Images from China culture: Icon: Dragon, meanders, and circle. Dragon Symbol in China culture: Dragon: benevolence, prosperity, longevity, and the renewal of life. Meander: reborn, eternity. Circle: perfectness, eternity. Crowded composition. Index to horror vacuii.

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The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) Jakarta, Indonesia – March 16,17, 2016 ISBN: 976-979-9234-57-5

Semiotics analysis on text: The works of this type are mimicry of Indonesia visual style (originated from several regions). Decorative visual style most widely used derived from Dayak tribe art in Kalimantan (used by Cindy, Prinya Musikamas), Cirebon's batik pattern (used by Fanny Sutanto, Valencia Flavia), Bali (used by Ronald), Riau (used by Handy Pandini), and Papua (used by Tan Vania Edelia). We must keep in mind that the Dayak, Cirebon, Bali, and Riau culture are influenced by China culture. For example, red and yellow are favorite colors for Dayak culture. Therefore, although the students created mimicry of Indonesia visual style but still look similar to China visual style. Moreover, they choose Hanzi letter from China culture. In general, students did not understand the meaning of symbolic sign used in images from Indonesia culture. Preference of the visual style was more due to the shape and color corresponding to their taste. Arrangement of visual elements tend to be symmetrical produced no dynamic impression, except at Valencia's work. All works have crowded composition similar to China visual style in red envelope. Mimicry in Indonesian visual style is imitation of lines and shapes. While the colors, and crowded composition still derived from China visual style.

Type 2B: The mimicry work of Indonesia visual style but still influenced by China culture.

Image 5. Works of Daniel Hans, and Yonas

Table 5. Semiotics analysis on signs in graphic design works (type 2B). ELEMENT OF VISUAL STYLE TYPE OF SIGN Colors: Symbol in China culture: Red, yellow, black, white. Red: good fortune and happiness. Yellow: glory and majesty. Red-yellow: double happiness. Typography: Hanzi, Latin (in Indonesia and English Index to China and Western culture. language). Images from Indonesia culture: Symbol in Indonesia culture: Carving pattern in Toraja house (paqkollong buquq), batik pattern bang-biru from Pekalongan Paqkollong buquq: honesty Images from China culture: Icon Dragon. Dragon

Symbol in China culture: Dragon: benevolence, prosperity, longevity, and the renewal of life. Crowded composition (work of Daniel Hans), clean Index to horror vacuii (in crowded composition), and composition (work of Yonas) not to horror vacuii (in clean composition).

Semiotics analysis on text: The works from this type try to mimic visual style from decorative art in several regions in Indonesia (Dayak, Toraja, Java), but still influenced by China visual style (especially in colors). But in the works type B the arrangement of visual style's elements not accordance with China visual style. Daniel Hans used carving pattern in Toraja's house for the background of his work. The image of his dragon was mimic to Dayak decorative art that was not similar with

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The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) Jakarta, Indonesia – March 16,17, 2016 ISBN: 976-979-9234-57-5

China's dragon. Yonas drew a dragon similar to China's dragon but it was actually the pattern from Bang-Biru batik from north coast of Java. His work different from China visual style since it used white background and the composition tended to be empty.

Type 2C: The mimicry work of Indonesia visual style but only slighted influenced by China culture.

Image 6. Works of Bob Darren, Felix Heryanto, and Esther Novalentina

Table 6. Semiotics analysis on signs in graphic design works (type 2C)

ELEMENT OF VISUAL STYLE TYPE OF SIGN Colors: Symbol in China culture: Gold, black, white, chrome, light brown, dark brown, light Yellow/gold: majesty, glory. blue, dark blue, purple, pink, red, light green, turquoise. Red-yellow: double happiness Typography: Hanzi, Latin (in Indonesia language) Index to China, and Western culture. Images from Indonesia culture: Symbol in Indonesia culture: Carving pattern from Dayak culture, batik pattern (parang rusak from Yogyakarta, and mega mendung from Cirebon). Parang rusak: majesty Mega mendung: fertility Images from China culture: Icon: Dragon, circle. Dragon Symbol in China culture: Dragon: benevolence, prosperity, longevity, and the renewal of life. Circle: perfectness, eternity. Clean composition. Index of fearless of emptiness.

Semiotics analysis on text: The works of Ester, Bob, and Felix used the image of dragon from China culture, but the colors from Indonesia culture. Bob used several soft colors from Bali painting (Pangosekan style), and Felix used black, brown, and gold from Central Java (Yogyakarta) batik. Only Bob used red and gold color, which are the symbol of double happiness in China culture, in small size. Ester used brown color (favorite color in Yogyakarta batik) for the dragon. All the layout of these works tended to be asymmetrical. Arrangement of visual elements tended to be asymmetrical produced dynamic impression. The compositions, which were clean, look modern.

Visual style comparison of the graphic design woks of type 2A, 2B, and 2C: The graphic design works of type 2A, 2B, and 2C showed the form of cross-cultural hybridity at mimicry stage. The students tried to mimic visual style from several decorative arts in Indonesia. However, the influence from China visual style still existed, especially in using red and yellow colors, graceful and flowing lines, and crowded composition. We can see all this visual style's elements used in the works of type 2A. While on type 2B, China visual style is reduced, for example Daniel used angular lines (not flowing lines) to illustrate the image of dragon, and Yonas used white background. The Indonesia visual style became stronger in graphic design works of type 2C.

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The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) Jakarta, Indonesia – March 16,17, 2016 ISBN: 976-979-9234-57-5

Type 3: The transformation works that assimilated Indonesia and China visual styles.

Image 7. Works of Nicholas, Michael K. (first line), Andreas Winata Husada, Anita Natalia (second line), Emily Ijong Dachlan, Yohanes, Putri Amelia (third line), Remigius Aldy, Billy Antakusumah, and Frederikus Anggiorius (fourth line)

Table 7. Semiotics analysis on signs in graphic design works (type 3)

ELEMENT OF VISUAL STYLE TYPE OF SIGN Colors: Symbol in China culture: Orange, red, yellow, black, white, dark red, light Red: good fortune and happiness. brown, dark brown, blue, light blue, green. Yellow: glory and majesty. Red-yellow: double happiness. Typography: Hanzi, and Latin (in Indonesia, English, Index to China, and Western culture. Bali language)

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The Third International Conference on Chinese Indonesian Studies (ICCIS 2016) Jakarta, Indonesia – March 16,17, 2016 ISBN: 976-979-9234-57-5

Images from Indonesia culture: Carving pattern in Papua shield, batik pattern from Yogyakarta/Solo, and north coast of Java, carving pattern in Dayak house or shield, decorative art from Bali. Images from China culture: Icon: Dragon, lozenge. Dragon.

Symbol in China culture: Dragon: benevolence, prosperity, longevity, and the renewal of life. Lozenge: lucky object, victory.

Crowded composition Index to horror vacuii.

Semiotics analysis on text: Graphic design works of this type showed assimilation between China and Indonesia visual styles, which produced the new and unique visual style. It seemed that the students more carefree in illustrating the image of the dragon. They also used colors that had no symbolic meaning in China culture. Nicholas used red and yellow colors, but the shape of the dragon not similar with the image from China culture.

Conclusion The assignment for the students about China zodiac designed to produce cross-culture hybridity in design works. Students were given freedom to interpret hybridity between China and Indonesia culture. The result of semiotics analysis showed 7 types of interpretations. From the works that are quotation of images from both cultures, we could see 3 types of visual styles, which are heavily, moderate, and light influenced by China culture. Although, it used images from Indonesia and China cultures, but the choice of colors and composition showed influenced of China visual style. The works, which were mimicry of Indonesia visual style also showed some influence from China culture ranging from strong, moderate, and weak. While in the works that showed hybridity transformation, we can see that the students have absorbed China and Indonesia culture. They blended the two styles and produced new visual style of their own, based on their interpretations about hybridity. As descendant of China diaspora, the students as member of Indonesia society tended to hybridize China and Indonesia cultures; even with Western culture. However the typology of their hybridity are not homogenous. For some students the influence of China culture more powerful than Indonesia, but for the other the influence of both cultures are equal. And for another students the influence of Indonesia culture more powerful. This several types of hybridity reflected in students’ graphic design works. The assignment that enabled students to reflect their culture hybridity can be used as an alternative to produce unique graphic design works that enable students to compete globally. Here hybridity regarded as a positive thing generated from students’ pluralistic culture in Indonesia.

References:

- Bhabha, Homi. 2004. The Location of Culture. London: Routledge. - Brah, A. 1996. Cartographies of Diaspora. London: Routledge. - Gilroy, Paul. 1997. The Black Atlantic: Modernity and Double Consciousness. Harvard University Press. - Sardar, Ziauddin, Borin van Loon. 2001. Introducing Cultural Studies, 2nd Edition. London: Totem Books - Steiner, Henry, Ken Haas. 1995. Cross-Cultural Design. London: Thames and Hudson Ltd.

Authors’ Bibliography Place and date of birth: Bandung, 29th of October, 1961. Author’s educational background: 1980-1987: Jurusan Desain Grafis, Fakultas Seni Rupa dan Desain ITB (under graduate: Dra.) 2001-2004: Program Studi Ilmu Seni dan Desain, Pasca Sarjana ITB (Master Degree: MDs.) 2011-now: Program Studi Ilmu Seni dan Desain, Pasca Sarjana ITB (Doctoral Degree: kandidat doktor) Author’s major study: Influence of Tionghoa culture to graphic design in Indonesia.

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