The Art Education Construction of Woven Craft Society in Kudus Regency

HARMONIA : Journal of Arts Research and Education 17 (1) (2017), 87-95 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v17i1.8837

The art education construction of woven craft society in Kudus Regency

Eko Sugiarto1, Tjetjep Rohendi Rohidi1, Totok Sumaryanto Florentinus1, Dharsono Sony Kartika2

1Post-graduate of Art Education, Universitas Negeri Semarang, Indonesia 2Post-graduate, Institut Seni Indonesia Surakarta, Indonesia

Received: February 22, 2017. Revised: March 8, 2017. Accepted: May 12, 2017

Abstract

One example of society-based local art which is constantly enculturated is woven craft of Desa Jepang (Jepang Village) Kecamatan Mejobo in Kudus Regency. This paper aims at explaining the enculturation of woven craft grown in Jepang village Kudus Regency Central Java Province Indonesia as a form society-based art education. The approach employed in this study was qualitative with the cased study as the research design. Data were collected through observation, non- structural interview, as well as documentation study with interactive model analysis. Research results show that art education grows within the society as the result of enculturation process of woven craft art in Jepang Village that takes place in the forms of: (1) the transmission of the craft skill and (2) the transmission of socio-cultural values. The transmission process is done between the old and young generations both in informal and non-formal ways. The woven craft of Jepang Village as an art product that has been enculturated is unique in terms of its form, media, technique, idea, as well as the modification aspects.

Keywords: woven; enculturation; society; art education

How to Cite: Sugiarto, E., Rohidi, T. R., Florentinus,T. S. & Kartika, D. S. (2017). The art education construction of woven craft society in Kudus Regency. Harmonia: Journal of Arts Research And Education, 17(1), 87-95. doi:http://dx.doi. org/10.15294/harmonia.v17i1.8837

Introduction and non-formal situations. These situations or scopes of education underlie the Culture and education are two series implementation of art education that re- of chain that cannot be separated from one sults in the orientations of: (1) subject mat- to another. Education is even considered ter, (2) students, and (3) society (Soehardjo, as a special means to pass certain cultu- 2011, p. 56). In the society-based education re down from one generation to the next orientation, the art expression in a certain generation (Rohidi, 2000). The definition sub culture will be more developed, sedi- implicitly means that the divertion of cul- mented, and also rooted as a new life gui- ture happens through the process of edu- dance. The life guidance here shows the re- cation. lationship strength between human living Education is not only limited in a for- in a certain culture with its environment, mal situation (education in public schools), so that knowledge, practice, and belief are but also includes education in informal formed and adaptively developed through

 Corresponding author: Jl. Kelud Utara III Semarang 50237 E-mail: [email protected]

87 88 HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 87-95 inherited process by a culture transmission conception. The result shows that craft (Bequette, 2017, pp.360-374). art is explored as a basic human activity. As part of a bigger culture, art and Further, Pöllänen (2009) also conducted a education in a society cannot be separated research entitled “Contextualising Craft: from the dynamics and development caus- Pedagogical Models for Craft Education”. ed by modernization. Clashes between It tells about craft education in Finland one culture to another culture, or between which is seen from many aspects. These traditional culture and a more popular cul- changes are related to the independent po- ture also contribute to the development of sition of art as school subject which con- arts in a society (Rohidi, 2000). Relation- tains the lesson about textile and technical ship between art expression and its envi- work as an implementation of the holisti- ronment is actually not only resulted from cal process of art in curriculum. This is, in the dependency of human to their envi- the end, related to the question about how ronment, but also the vice versa (Graham, craft should be taught at school. 2007). State of the art of the present rese- One of the society-based art product arch as the paradigmatic aspect and the that is always preserved and developed implementation of art education in the through society education is woven craft society of woven craft artists living in Je- in Jepang Village, Kecamatan Mejobo, Ku- pang Village which mainly focuses on the dus Regency from bamboo as its main ma- scope of knowledge enculturation, values, terial. Bamboo has more than 1,250 varied and skills from one generation to the next. species. They are different in its structure The woven art in Jepang Village basically and form. The difference is caused by the shows two basic dichotomic issues. In one ecological condition of the country, whet- perspective, the woven craft artist commu- her the region belongs to tropical and sub nity in society faces the challenge of mo- tropical or climated area (Setiawati, 2017). dern product which becomes the rival of The bamboo woven craft of Jepang traditional woven art product which is no Village is a manifestation of art educati- longer famous in society. In other sides, on existence in society. This is an informal there is also a continuous attempt from the form of art education which has been exis- artist community to maintain the existence ting in society for a long time. Previous re- of woven craft from old generation to the searches related to art education represen- young one. This condition then builds the tation in society has been informally done construction of art education. and concerned with various focuses. This paper will discuss the woven Research from Joedawinata (2005) art enculturation within the society living discussed the aspects of artefact manifes- in Jepang Village, Kudus Regency, Central tation in Cirebon. Woven artefact as a dri- Java Province, Indonesia, as a form of so- ver aspect from the local natural ecology ciety-based art education. Therefore, based aspect comprises the aspects of water, soil, on the context of socio-cultural transfor- air, and abiotic components, as well as ot- mation explained in this present study, it her biotic components. The artefacts of et- is seen that the hereditary system of wo- no-cultural-ecophenotipic as a utensil arte- ven craft in Jepang village is considerably fact is an idea and attitude transformation important to be discussed since it is able to process of a community to be manifested give a concrete understanding and a clear as certain objects. picture of the representation of art educa- Karppinen (2008) in a research entit- tion in local community, especially the so- led “Craft-Art as a Basis for Human Ac- ciety lives in the sub-cultural area of Jawa tivity” discusses craft and its correlation Pesisir lor-tengah (The Mid-Northern Coast with art education in Finland through the of Java). conception of action. The aim of the research creates the model of skill education Eko Sugiarto, et al., The art education construction of woven craft society in Kudus Regency 89

Method technique that can be used to make craft objects (both in two and three dimensions) This research employs qualitati- through creating and forming bamboo ve method. Researcher understands the sheets that are done by using the structu- phenomena of woven art inheritance in the ral-constructive structure by referring to field, describes it deeply and thoroughly, “even distribution of load” in a high level and analyzes it from the context of its so- of flexibility. Most of this woven technique ciety (emic) and conceptual by the resear- is applied in bamboo material (Joedawina- cher (ethic). Design of the present research ta, 2005, p. 88). is case study on the collaboration between Anyaman or woven is an old craft the school and the society. The research lo- art. The existence has been found since cation is mapped in two big areas, from the the establishment of humankind civiliza- geographical and cultural perspectives. tion. The first woven craft used bamboo Geographically, this research is located as its material. The type of bamboo tree in Kudus Regency in Central Java, while used to do the weaving was bamboo apus from the cultural perspective, this rese- or Gigantochloa Apus and bamboo wulu or arch is located in the sub cultural area of Gigantochloa Atroviolacea. These types of the Mid-Northern (lor-tengah) side of Jawa bamboo plants were considered strong, Pesisir (Marshall & Rossman, 2006; Miles, flexible, and straight. It had a good quality 1992; Lincoln & Denzim, 2009). to be used as the material of woven craft Researcher uses the qualitative ap- since the plant fiber was long, strong, and proach with case study design (see Den- flexible (Setiawati, 2017). zim & Lincoln, 1994; Sugiyono, 2008; Mi- The weaving technique is visually les, 1992). There are four main subjects of interlaced, without a beginning and wit- the research, (1) the community of artist, hout an end in construction. Similarly, the (2) the community of user, (3) the local pattern and the weaving structure is not public figure, as well as (4) teacher and segmentaristic, but it is intertwined form student at school (the source implicature one side to another side, so altogether they of local wisdom). will form a certain pattern. In a formal ae- The research location is focused on sthetic way, the forming structure of the the area in Jepang village Kecamatan Me- weaving is considered rigid and made a jobo Kudus Regency. The data is collected recurred pattern. Futher, in terms of its through observation technique, deep in- aesthetic-formal, the form and structure of terview, and documentation study. Me- the weaving are very formalistic (See Bell anwhile, to validate the study results, in Sahman, 1993; Dharsono, 2004). The ae- source triangulation is employed. Data in sthetic-formalist builds the art excellency this research is qualitative. Therefore, the criteria on the quality of integrative formal analysis technique used in the study is the arrangement of artwork that emphasizes interactive analysis model, comprising: (1) on relations between visual aspects that is data reduction, (2) data presentation, and interconnected in a product of art. (3) verification (Miles & Huberman, 1992, The woven craft product in Jepang p. 17). village is considered varied. The following is the matrix of woven craft products from Results and Discussion Jepang village. From the analysis results, it is found The Woven Craft of Jepang Village in Kudus that the woven craft made in Jepang vil- Regency lage in Kudus Regency can be divided Anyaman or woven in the context of into two groups, based on the technique/ craft art actually refers to the “technique media used to create the woven craft, and of making” that can be given an analo- based on the purposes of weaving. First gy as carving. The woven technique is a analysis will be about the weaving techni- 90 HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 87-95

Table 1. Matrix of Webbing Craft Types The Woven Craft Descriptions Products Ekrak A bamboo woven used as a trash can. The motive characteristic is thick and thin bamboo incision with a tenuous distance.

Besek This type of woven craft is used as food packaging, usually rice. It uses motif of stairs.

Tambir Tambir is used as a special container to dry foods under the sun shine. The diameter of a tumber is between 60-80 cms.

Kemlu Kemlu is a woven craft product used as a special container to wash vegetables and fruits. The characteristic of kemlu is a tight and small motif. The diameter of a kemlu is between 25-35 cms.

Kranjang Kranjang is used as a trash can. However, in the context of Javanese culture, kranjang can also be used as a special container to keep any mithology needs and offerings.

Tampah Tampah is used as a special container to select and sort out food materials, like, grains, peanuts, soya beans, etc.

Bodhak Bodhak is a non-permanent container to place rice. It usually can only keep the rice for a short time and not for the permanent container.

Kipas Kipas or fan is a traditional tool made from bamboo weaving.

Dunak Dunak is like bodhak. It is used as a container to keep food. The diameter is between 20-30 cms. Eko Sugiarto, et al., The art education construction of woven craft society in Kudus Regency 91 que/media which is further divided into, In addition to this is caping (custom purpo- basic weaving, creation weaving, and in- ses) as the complimentary hat for Kudus novation weaving. traditional outfit. Essential weaving is a kind of woven Based on the findings and analysis craft made as a complimentary product to mentioned and described earlier, the wo- fulfil the basic needs of Kudus people. This ven craft products from Jepang village can type of craft emphasizes on the domination be syntesized into the following figures. of function or in another word, applicab- The figure is created to show the conceptu- le. This product is widely known among al mapping of woven craft types. Kudus people and the motif used is basic without modification. Usually, this type of weaving is used as household utensils and widely used as kitchen equipment and cleaning tools. Second, the creation weaving. This type of weaving has been added by modification and motifs. This type of weaving has both aesthetic and functional aspects in it. However, the creational woven craft products have similar forms with Figure 1. Mapping of Woven Types of Jepang its basic shape. The third is the innovation village weaving. Innovation weaving is a type of woven craft which has been significantly The Ert Education Process in Woven Craft En- modified, both in terms of the technique culturation in Jepang village of Kudus Regency used to create it and the materials used to Woven craft from Jepang village is make it. The innovation weaving is a trans- inherited from the ancestors to the next ge- formative product. The most significant neration in the scope of family and society. transformation lies on the use of materials The inheritance process shows the presen- to make it. The materials used to produce ce of enculturation. the woven craft product tends to be a plas- The enculturation of woven craft in tic waste or other wastes. The orientation Jepang village society is a form of society- of production is shifted, from private con- based art education. The inheritance pat- sumption to mass consumption; and natu- tern of the craft is actually a representation rally profit oriented. of art education (that tends to be inter- Second, based on the puposes of preted as skill transfer) that goes on expli- production, the woven craft from Jepang citly. In inheritance system of woven craft village can be divided into basic-needs in Jepang village society, there are two weaving, aesthetical-needs weaving, and substansial transmissions attached, (1) the custom/belief-needs weaving. The woven skill-technic transmission and (2) the value craft production for basic needs manifests (enculturation) transmission. For Pöllänen in the form of products used to help the (2009), art education in the society fully people to do daily activities. Meanwhile, supports the contextualization of crafting aesthetical weaving is closely related to education with a pedagogical model that the social aspect of Kudus society (Dharso- establishes the holistical art conception. no, 2004). Lastly, woven craft produced for First, the inheritance system of wo- custom or beliefs purposes is closely rela- ven craft (the transmission aspect of techni- ted to the tradition done by Kudus society cal skill) can not be separated from the eco- in general, like, the tradition of burying logical aspect in the context of sub-culture baby’s placenta after born which uses the area of Javanese mid-western coast (pesisir kranjang weaving, the tradition of kenduri lor-tengah). The cultural ecology tends to which uses besek weaving, as well as tum- explain about causes of similarities and pengan tradition that uses tampah weaving. differences of socio-culture, as well as the 92 HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 87-95 connection between the ecology problem on through the process of education wit- with the culture of a human. In the ecolo- hin the society. It gives implications to the gical culture perspective, the inheritance system of behaviour, attitude, and values system of woven craft in Jepang village attached in the inheritance process of a cul- comprises the relationship between envi- tural product that is inserted into the pro- ronment and technology, the relationship cess of education in the middle of an exis- between behavioral pattern and technolo- ting change in society. This is directly and gy, as well as an overview of a pattern of indirectly will create a pradigmatic pattern attitude that influences the other sectors towards art education in the society in Je- within the culture. The social attitude in pang village through the inheritance (skills society always invites important meaning and values) of the woven craft. on the relation bertween the society them- selves and the environment. According to Stewrd (Irianto, 2009, p.75), the basic assumption of the ecological and cultural theory is the environmental factors that have both positive and negative potenti- als in every cultural process. Rohidi (2011, p.155) states that in cultural ecological approach, art is placed as one of the fields of study which is related to the environments and its changes. Secondly, the inheritence pattern of woven craft (value enculturation aspect) cannot be separated from the aspect of socio-cultural area context where Kudus is located in the mid-nortern coast of Java Figure 2. The Enculturation of Woven Craft in (pesisir lor-tengah). The essence of a true the Context of Art Education education is actually the value transfer in certain culture framework. In the inheri- In many social studies, the social tance system of woven art, there is an in- change encompasses a wide area and even tegration of value in inheriting the woven gives implication to the other fields. The craft skill from one generation to the next social change is defined as variation and generation. The interesting phenomenon modification in every social process aspect, is the possibility of socio-cultural value the social aspect, and social formations, shifting within the supported society. This as welll as “every modification of pattern way, the value is implicated to the change between established inter-connected rela- of inheritance system of woven craft in Je- tions and standard of attitude” (see Lau- pang village paradigmatically, comprising rer, 1993). In the case of woven craft inhe- the believed concept, strategy, and the ritance pattern in Jepang village in Kudus applied method. Regency, the society (as the doer of every The woven craft in Jepang village social interaction) with other institutions in Kudus Regency is a traditional fine art positioned as a whole, or in other words product in the sub system of the culture of is considered as a “system” that is inter- society living in the mid-northern coast of related and later form systemic relations. Java Island. This socio-cultural aspect of For Parsons (1964, p.337), the change can culture cannot be separated from the dyna- be only understood through an understan- mics and developments caused by the flow ding towards the former structures (see of change, and in that place, art is placing Rohidi, 2000). itself dynamically. Art is then inherited from one generation to the next generati- The Art Education Construction (The Woven

Society Eko Sugiarto, et al., The art education construction of woven craft society in Kudus Regency 93 on through the process of education wit- Craft) in the Society the culture of local society both from the hin the society. It gives implications to the Art Education is an integral part of form of the arts and its the visual structure, system of behaviour, attitude, and values education which generally accomodates as well as to persuade the society. Based attached in the inheritance process of a cul- the capacity of creative capacity and cul- on the fact mentioned, therefore, the con- tural product that is inserted into the pro- tural awareness (Unesco, 2006). The term ception of art education in art education cess of education in the middle of an exis- fine arts education in Indonesia has a simi- contains two substances, (1) an art skill as ting change in society. This is directly and lar understanding with the “Art Educati- an ability that has to be inherited, and (2) indirectly will create a pradigmatic pattern on” which is widely used in the U.S. and an inheritance system and pattern. There towards art education in the society in Je- Europe. In conceptual understanding, the is always values of life attached to it that pang village through the inheritance (skills term Arts Education has grown and de- has to be enculturated. In this conception, and values) of the woven craft. veloped earlier in Western countries. An the cognitive aspect is reduced, the art skill expert of Arts Education from America, aspect is explicitly dominant, and the va- Lansing (1969, p.268) in his book entitled lue aspect is implicitly integrated into the “Art, Artist, and Art Education” state that to teaching and learning process. accomplish the absolute purposes of edu- Paradigmatically, the believed con- cation through arts, one (student) should ception will in the end result in the stra- have the experience to work creatively and tegic implication and inheritance method to appreciate the arts itself. pattern. First, the skill of doing arts is Another famous expert namely Read taught (1) non-formally from the generati- (1970, p.1) in his book entitled “Education on who had previously learnt directly from Through Art”, referred his understanding the sources or nyantrik, (2) infromally from towards Art education by citing Plato’s parents to the children by watching and idea which says that ‘arts has to be the ba- immitating, (3) informally from the society sic of education’. Plato (Read, 1970, p.1) un- living in surrounding neighbourhood, and derlines the ideal potency and position of (4) integrally from the art subject at school art education. In general, the art education by involving the society and parents in it. Figure 2. The Enculturation of Woven Craft in conception which is based on the society Second, the value is inherited through the the Context of Art Education needs sees that art education aims to fulfil attitudes that are deliberately given to the the need of the society (Salam, 2001,p.13). next generation (the learners) from the el- In many social studies, the social Arts and art education cannot be separa- der generation (the teacher). Sillis (2000) change encompasses a wide area and even ted from the perspective of culture. Koentjara- mentions that the practical development in gives implication to the other fields. The ningrat (1974) defines culture as a whole hu- fine art education can be obtained through social change is defined as variation and man activity formed by their ordered behavior cross occupation cooperation between art- modification in every social process aspect, and results of the behaviour that has to be ob- work project and mentor. the social aspect, and social formations, tained from learning and the society rules. The Hosang (2010) mentioned earlier that as welll as “every modification of pattern enculturation of woven craft in Jepang village the relation between the art educators and between established inter-connected rela- as part of certain cultural products definetely the craft artists also gives a contribution tions and standard of attitude” (see Lau- gives implications in the practice of craft edu- towards the existence of art education. In rer, 1993). In the case of woven craft inhe- cation both informally and non-formally. The woven craft education that happens wit- ritance pattern in Jepang village in Kudus craft art education in the area of Jepang village hin the society of Jepang village, there are Regency, the society (as the doer of every is, besides developes the technical skill of each several basic philosophical understan- social interaction) with other institutions individual while working, also emphasizes the ding that has to be answered: “who learns positioned as a whole, or in other words aspect of artistical approaches and ideas. This what?” and “who learns from whom?”. is considered as a “system” that is inter- is supported by Karppinen (2008) who states First, crafting artists learned the skill of related and later form systemic relations. that craft education is a part of art education woven craft by invloving the aspect of the For Parsons (1964, p.337), the change can system that naturally has basic differences than idea and media exploration (tool, material, be only understood through an understan- the skills made in schools (formal education). and technique), so that the woven craft can ding towards the former structures (see Woven craft is an art which has two be established. Second, the artists learned Rohidi, 2000). major functions: as a cultural product (art) from the (1) consumers, about the taste of and as an educational media. The woven arts liked by them; (2) ancestors or previo- The Art Education Construction (The Woven craft is supposed to be able to represent us generations about the skill of weaving;

Society 94 HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 87-95 and (3) society in a broad sense, about the trieved from http://www.unesco. orientation shifting and life needs. org/culture/en/artseducation/ pdf/presentation105hosangahn.pdf Conclusion Sillis, J. (2000). Non-formal training for arts education practitioners. In The 2nd The craft products made in Jepang World Conference on Arts Education village shows uniquess in terms of its sha- (Vol. 1). Seoul: Cambridge Univer- pe, media, technique, ideas, as well as its sity Press. Retrieved from http:// modification aspects that are continuous- www.unesco.org/culture/en/artse- ly developed in an inheritance pattern. ducation/pdf/presentation107jane- The inheritance system of woven craft in sillis.pdf Jepang village is actually a representation Joedawinata, Ahadiat. (2008). Unsur-unsur of a bigger art education which contains Pemandu dan Kontribusinya dalam two transmission substances, (1) the skill- mewujudkan Sosok Artefak Tradis- technical substance and (2) the value trans- ional dengan Indikasi-indikasi Lokal mission (enculturation). The construction yang Dikandung dan Dipancarkan- of art education in society, further, emplo- nya. Jurnal Ilmu Desain, 3(2). ys other two substances: (1) art skill as an Karppinen, Seija. (2008). Craft-Art as a Ba- ability which has to be inherited, and (2) sis for Human Activity. International within the inheritence system itself, there Journal of Art and Design Education. are life values attached to it that have to be 27(1). enculturated. Paradigmatically, the belie- Koentjaraningrat. (1974). Kebudayaan. Men- ved conception itself, in the end, will give talitet, dan Pembangunan. Jakarta: PT implication to the inheritance strategies Gramedia. and systems, both from generation to the Lansing, Kenneth M. (1969). Art, Artist, next generation or from the perspective of and Art Education. New York: Mc the artists who had learnt the skill of wea- Graw-Hill Book Company. ving from direct ancestors. This then forms Laure, Robert H. (1993). Perspective on So- a model of art education construction wit- cial Change. Tranlated by Aliman- hin society. dan. Jakarta: Rineka Cipta. Miles, H B. & Heberman A M. (1992). Anal- References isis Data Kualitatif (terj. Tjetjep Rohen- di Rohidi). Jakarta: UI Press. Bequette, James W. (2007). Traditional Arts Parsons, Talcott. (1964). “A Funcional The- Knowledge, Traditional Ecological ory of Change”. Dalam Social Change. Lore: The Intersection of Art Educa- Editor Emitai dan Eva Etzioni. New tion and Environmental Education. York: Basic Books. Journal A Studies in Art Education. Pöllänen, Sinikka. (2009). Contextualising 48(4), 360-374. Craft: Pedagogical Models for Craft Graham, Mark A. (2007). Art, Ecology and Education. International Journal of Art Education: Locating Art Educa- Art & Design Education (JADE), 28(3). tion in a Critical Place-based Peda- Read, Herbert. (1970). Education through gogy. Journal A Studies in Art Educa- Art. London: Faber and Faber. (Ce- tion. 48(4), 375-391. tak Ulang). Hosang, A. (2010). The art of making con- Rohidi, Tjetjep Rohendi. (2011). Metodologi nection: Creating a window for coopera- Penelitian Seni. Semarang: Cipta Pri- tion between Artists and Teachers The ma Nusantara Semarang. Case of Seoul Foundation for Arts and Rohidi, Tjetjep Rohendi. (2000). Kesenian Culture. Presented in Proceeding dalam Pendekatan kebudayaan. Band- The 2nd World Conference on Arts ung: STISI Bandung. Education (pp. 101–102). Seoul. Re- Salam, Sofyan. (2001). Pendekatan Ekspre- Eko Sugiarto, et al., The art education construction of woven craft society in Kudus Regency 95

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