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All Journal Harmonia: Journal of Research and Education Catharsis The Journal of Educational Development
Rohendi Rohidi, Tjetjep
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Arts Humanities Education Environmental Science

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Ki Hadjar Dewantara’s School of Arts Education: A Study of Philosophy on Arts Education Based on Habermas’ Critical Method Hari Pramono, Koko; Rohendi Rohidi, Tjetjep; Sumaryanto F., Totok; Djatiprambudi, Djuli
The Journal of Educational Development Vol 6 No 1 (2018): February 2018
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v6i1.20739

Abstract

Ki Hadjar Dewantara’s school of arts education: A study of philosophy on arts education based on Habermas’ critical method. There are six steps of critical methods: the empirical analysis of historical philosophy, language analysis, hermeneutics analysis, analysis of ideology criticism, functional analysis, and construction of historical materialism. The research results and discussion show that in this study: (1) Dewantara's art education is defined as an education that is oriented on a system that liberates and instills moral values through arts. (2) The results of the critical analysis: the philosophy of empirical history, language, ideological criticism, functionalism, and historical materialism, in the field of arts education, contain the meaning of selecting the philosophy of applied arts education based on the consciousness of its own cultural basis. (3) In response to the development of human resources, arts education is capable of directing the nation to be superior in the world of science, technology, and arts, based on the fundamental capital of human creativity and cultural manifestations as a source of knowledge. The scientific contributions of this research are as the following. Firstly, in the form of explanatory and ideological analysis and national education and arts education systems through political-socio-cultural explanations. Secondly, the explanation of the ideology of arts education is based on historical, social, political, and cultural bases as a critical study of national and art education practices. Thirdly, the findings of this study are the implications of arts education based on the concept of Dewantara's arts education.
Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists Casta, Casta; Rohendi Rohidi, Tjetjep; Triyanto, Triyanto; Karim, Abdul
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v21i2.30348

Abstract

This study aims to find the repertoire of aesthetic taste as a creative act and its relation to symbolic power in the arena of Indonesian cultural production of glass painting. The study used a qualitative approach with a phenomenological design. Data collection used in-depth interviews, participant observation, individual life’s history, and document examination. Data analysis used interpretive phenomenological analysis. The study finds five aesthetic taste repertoires that include: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative visualization of calligraphy pictographs of petarekatan  with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung ornaments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. The five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. The production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. The production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power.
Co-Authors Abdul Karim Aminuyati Bungsu, Ario Casta, Casta Chaniago, Efriyeni Djuli Djatiprambudi Fitri Wijayanti Hari Pramono, Koko Istanto, Riza Iswidayati, Iswidayati Kartikasari, Aprilia Sony Kartika, Dharsono Totok Sumaryanto F., Totok