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 Bandung bhaktitanzalutfi@gmail.com Abstract Since 2000, ruangrupa (Jakarta-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 Indonesia. Keywords: art education; collaborative; ruangrupa. ! 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 The Impacts of Industrial Revolution 4.0 to Creative Practices in Indonesia 55 AESCIART: International Conference on Aesthetics and the Sciences of Art 28 September 2020 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