Sektiadi, Sektiadi
Departemen Arkeologi, Fakultas Ilmu Budaya, Universitas Gadjah Mada

Published : 4 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 4 Documents
Search

BOOK REVIEW: MAJAPAHIT IN TWO PERSPETIVES Sektiadi Sektiadi
Humaniora Vol 28, No 1 (2016)
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (646.594 KB) | DOI: 10.22146/jh.11509

Abstract

The two books mentioned above were published in conjunction with a seminar on Majapahit, commemorating its 721st anniversary. The great kingdom indeed withheld mysteries that have always been discussed since the late 19th century. At the least it was noted that N.J. Krom reported the relics of the kingdom two hundred years ago. The following intensive studies generated enough knowledge about this area, but they also presented the myths because not the studies could not unfold every aspect of the kingdom. These included the authorities in the kingdom’s era as well as other figures who ever lived in this region. Manuscripts such as Nagarakretagama have made scholarly and everyday discussions more interesting by making connections various aspects of the texts with archaeological findings in Trowulan area.
Pemberdayaan Masyarakat di Sekitar Cagar Budaya Melalui Pameran Museum Sektiadi Sektiadi; Djaliati Sri Nugrahani
Bakti Budaya: Jurnal Pengabdian kepada Masyarakat Vol 1, No 1 (2018)
Publisher : Faculty of Cultural Sciences

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (294.987 KB) | DOI: 10.22146/bb.37920

Abstract

One of the efforts to utilize the cultural heritage is to make it as a source of inspiration. In this case, the cultural heritage of Sojiwan Temple is used as an inspiration for the development of surrounding communities. People are encouraged to take advantage of the existence of the temple, namely by using it as a source of design inspiration cloth motif which later developed into batik craft. Te next step, crafters need to be presented directly to the batik community, both designers, manufacturers, and consumers. Terefore, it is necessary to do the exhibition with the need for the resulting batik gets appreciation from the wider audience. Batik exhibition is done by museum exhibition model, which has specifcation especially in delivery of story, or object as part of showing ideas. Te exhibition was held at the UGM Museum to reach out to people who have not been in direct contact with the craftsmen, the batik community and academics.
POLITICS AT THE MUSEUM: THE APPEARANCES OF MUSEUM SONOBUDOYO AND MONUMEN YOGYA KEMBALI, YOGYAKARTA Sektiadi Sektiadi
Berkala Arkeologi Vol 31 No 2 (2011)
Publisher : Balai Arkeologi Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2610.362 KB) | DOI: 10.30883/jba.v31i2.401

Abstract

Museum was a man-made thing, a culture. This situation made the museum polluted with many tension, especially for the museum founded or managed by the government. This paper tried to evaluate the appeareance of the State Museum of DIY "Sonobudoyo" as a general museum and Jogja Kembali Monument as a tematic museum, and found some political aspects involved in their buildings, collections, exhibitions and other things
Tinggalan Arkeologi Kalumpang untuk Edukasi dan Peluang Pengembangan Seni Kriya Anggraeni, Anggraeni; Sektiadi, Sektiadi
Bakti Budaya: Jurnal Pengabdian kepada masyarakat Vol 6 No 1 (2023): 2023: Edisi 1
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/bakti.7784

Abstract

Kalumpang is one of the important regions for archaeology related to the existence of Neolithic and the Early Metal Age settlement remains. The finds provide knowledge about the history of early habitation of the Indonesian Archipelago by the Austronesian speaking people. One of the important finds from three prehistoric sites in the Kalumpang area, namely the Minanga Sipakko, Kamassi, and Palemba sites, is potsherds with various decorations. Pottery is still survives today in the Kalumpang area, although its production is only based on consumer demand. On the contrary, handwoven production tend to increase significantly. Considering that pottery has played an important role in daily lives and rituals since the Prehistoric Period, this cultural heritage needs to be preserved. So far, there is no one who are interested in finding strategies to increase pottery production and attract the public's attention. Therefore, the team of research and Community Service from Archaeology Department Universitas Gadjah Mada need to identify: (1) the types of pottery that are still being produced by potters in the Kalumpang area; (2) early Neolithic-Metallic pottery decorative motif elements that can be applied to Kalumpang pottery that is still being produced; (3) new types of products related to the production of Kalumpang pottery. The results of identification are then set forth in the pottery motif design development module. This module can be used by various parties as an initial reference for developing pottery products. Agents of change, such as teachers and members of Karangtaruna, are expected to be able to use the modules to inspire traditional potters to continue their production by utilizing local cultural heritage. It is hoped that the production of Kalumpang pottery will be sustained and open up insight and concern for the wider community towards the cultural wealth of their ancestors. ==== Kalumpang merupakan salah satu wilayah penting dalam kajian arkeologi terkait adanya temuan sisa permukiman Neolitik dan Masa Logam Awal yang dapat memberikan sumbangan pengetahuan tentang sejarah penghunian Kepulauan Indonesia oleh penutur bahasa Melayu Polinesia (rumpun bahasa Austronesia). Salah satu temuan penting dari tiga situs Prasejarah di wilayah Kalumpang ialah Situs Minanga Sipakko, Kamassi, dan Palemba, yaitu fragmen tembikar dengan berbagai ragam hias. Di wilayah tersebut, tembikar masih diproduksi, tetapi hanya bila ada pemesan. Hal ini berbanding terbalik dengan produksi tenun yang cenderung meningkat secara signifikan. Mengingat tembikar sejak Masa Prasejarah menjadi barang penting dalam kehidupan sehari-hari dan ritual serta masih ada pembuatnya, warisan budaya ini perlu dilestarikan. Sejauh ini, belum ada pihak yang peduli dan berminat untuk mencari strategi agar produksi tembikar kembali meningkat dan diminati masyarakat luas. Oleh karena itu, Tim Penelitian-Pengabdian kepada Masyarakat Arkeologi UGM melakukan identifikasi terhadap: (1) jenis tembikar yang masih diproduksi oleh perajin di wilayah Kalumpang; (2) elemen motif hias tembikar Masa Neolitik-Logam Awal yang dapat diterapkan pada tembikar yang masih diproduksi; (3) bentuk produk baru terkait dengan produksi tembikar Kalumpang. Hasil identifikasi tersebut selanjutnya dituangkan dalam modul pengembangan desain motif tembikar. Modul tersebut dapat dipakai oleh berbagi pihak sebagai acuan awal untuk melakukan pengembangan produk tembikar. Agen perubahan, seperti guru dan anggota Karangtaruna, diharapkan dapat menggunakan modul tersebut untuk menginspirasi para perajin tembikar tradisional agar tetap berproduksi dengan memanfaatkan warisan budaya setempat. Dengan demikian, diharapkan produksi tembikar Kalumpang tetap lestari dan membuka wawasan serta kepedulian masyarakat luas terhadap kekayaan budaya nenek moyang.