cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Regina Veronica Edijono
Contact Email
wacana@ui.ac.id
Phone
+6221 7863528
Journal Mail Official
wacana@ui.ac.id
Editorial Address
Faculty of Humanities, University of Indonesia Gd 2 , Lt 2 , Depok 16424, Indonesia
Location
Kota depok,
Jawa barat
INDONESIA
Wacana: Journal of the Humanities of Indonesia
Published by Universitas Indonesia
ISSN : 14112272     EISSN : 24076899     DOI : https://doi.org/10.17510/wacana
Core Subject : Humanities, Science, Education, Art, Social,
Arts Humanities Languange, Linguistic, Communication & Media Library & Information Science Social Sciences
Wacana, Journal of the Humanities of Indonesia is a peer-reviewed, open-access journal published by the Faculty of Humanities, University of Indonesia. It invites original articles on various issues within humanities, which include but are not limited to philosophy, literature, archaeology, anthropology, linguistics, history, cultural studies, philology, arts, library and information science focusing on Indonesian studies and research. Wacana seeks to publish a balanced mix of high-quality theoretical or empirical research articles, case studies, review papers, comparative studies, exploratory papers, and book reviews. All accepted manuscripts will be published both online and in printed forms. The journal publishes two thematic issues per year, in April and October. The first thematic issue consists of two numbers.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 9 Documents
 1 
Search results for , issue "Vol. 23, No. 1" : 9 Documents clear
Matters of perspective; Local visual expertise and natural history drawings in Java, 1820-1850 Weber, Andreas; Zanen, Sylvia van
Wacana, Journal of the Humanities of Indonesia Vol. 23, No. 1
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This essay examines how local draughtsmen using their visual expertise shaped natural historical knowledge production in colonial Indonesia in the early nineteenth century. The persons at the core of this essay are Tsing Wang Ho and Pieter van Oort, both draughtsmen who worked for the Natuurkundige Commissie voor Nederlandsch-Indië (Committee of Natural History of the Netherlands Indies). By zooming in on the Committee’s fieldwork in Java in the 1830s, this essay highlights that producing scientific drawings of animals and plants was a challenging endeavour. Despite detailed instructions from Europe and the logistical support of the colonial government in Batavia, the success of the Committee’s fieldwork also depended on local visual and natural expertise. By shifting the analytical focus from European draughtsmen and naturalists to local visual and natural expertise, this essay offers readers glimpses on a cross-cultural learning process which, in the long run, reshaped the visual repertoire on which taxonomic and biodiversity research has since then built on.
Animals in Javanese manuscript illustrations Meij, Dick van der
Wacana, Journal of the Humanities of Indonesia Vol. 23, No. 1
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Most Javanese manuscript illustrations of narrative poems and (pseudo)-historical chronicles (babad) depict only one part of the natural world: animals. Animals are portrayed in relation to the characters in the text they illustrate. Some illustrated Javanese manuscripts are discussed below in relation to the way in which they illustrate the natural world: these are the fictive narrative poems Serat Selarasa, Serat Panji Jayakusuma, Serat Asmarasupi, Serat Jayalengkara Wulang, and Serat Damar Wulan, and the poetic (pseudo)-historical chronicle Babad Perang Demak. It appears from the illustrations in the manuscripts discussed that in the narrative poems the wayang style is preferred and they depict animals differently from the babad for which the wayang-style is not used and whose illustrations tend to be more “realistic”. The focus in the narrative poems discussed here is on serpents, crocodiles, and elephants, and in the babad on all the animals featured.
Language distribution and variation in the urban area; A case study in Depok, a socio-dialectological perspective Munawarah, Sri
Wacana, Journal of the Humanities of Indonesia Vol. 23, No. 1
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Loving nature, praising the creator; The visualizations of the natural world in the Islamic magazine <i>Pandji Masjarakat</i> Zara, Muhammad Yuanda
Wacana, Journal of the Humanities of Indonesia Vol. 23, No. 1
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This study examines previously unexplored visual representations of the natural world published in Pandji Masjarakat magazine in 1960. Known at the time as the most popular Islamic magazine in Indonesia, this publication not only discussed Islamic teachings as hitherto understood, but also provided ample space for the publication of drawings, paintings, and photographs of the natural world. This study argues that the visualizations of the natural world in Pandji Masjarakat were aimed at providing its Muslim readers all over Indonesia and in the wider Malay world with guidance on how to see the natural world and people’s place in it in proper perspective, namely beautiful nature is Allah’s creation and people are welcome to use it taking full responsibility and expressing proper gratitude for it. This study sheds light on the changing attitude of Muslims to the portrayal of living things by presenting how progressive Muslims represented the natural world visually amid the throes of the rapid physical development in increasingly modernized Indonesia.
On the nature of botanical gardens; Decolonial aesthesis in Indonesian contemporary art Boonstra, Sadiah
Wacana, Journal of the Humanities of Indonesia Vol. 23, No. 1
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This article examines decolonial approaches to the nature of botanical gardens in Indonesia in the artworks of nine artists featured in the exhibition On the nature of botanical gardens: contemporary Indonesian perspective at Framer Framed, Amsterdam in 2020. Zico Albaiquini, Arahmaiani, Ade Darmawan, Edwin, Samuel Indratma, Lifepatch, Ipeh Nur, Elia Nurvista, and Sinta Tantra presented works which confronted the coloniality of botanical gardens. This article provides a historical reading of the content matter of the artworks presented from a decolonial standpoint as conceptualized by Aníbal Quijano, Walter Mignolo, and María Lugones. The article will demonstrate that the artists have applied various strategies and methods to uncover, criticize, and decolonize botanical gardens and their role in empire-building, knowledge development, and the exploitation of nature. Some artists take this farther and develop a decolonial aesthesis or sensibility in order to re-appropriate Indigenous knowledges and ways of being which were silenced and erased by coloniality.
The colonial legacy of <i>Mooi Indië</i> and the captive mind in the environmental policy of Citarum Harum Hapsoro, Chabib Duta; Yeru, Aulia Ibrahim
Wacana, Journal of the Humanities of Indonesia Vol. 23, No. 1
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Mooi Indië paintings represented the orientalist-colonial imagination of the picturesque Netherlands East Indies, with the obfuscation of the social realities on the ground and the silencing of the adverse effects of colonial capitalism. This article discusses the colonial legacy of Mooi Indië paintings on contemporary environmental policy in Indonesia, with a case study of the policy of the Citarum Harum Taskforce. This Taskforce was formed in 2018 and marked the national government’s attempt to rehabilitate the Citarum after it was declared one of the most polluted rivers in the world. It provides an analysis of several Mooi Indië paintings which depict the Citarum River and were created by European painters (such as Antoine Payen and Isaäc Groneman), before looking at the contemporary effects of the Citarum Harum’s beautification-oriented policy. The article also analyses some particular stereotypes of Netherlands East Indies natives as depicted in Mooi Indië paintings for comparison with the Taskforce’s policy implementation on the residents along the Citarum River. Ultimately, such a comparison demonstrates a form of colonial captivity at work today. The ideas of the Citarum Harum Taskforce demonstrate a captive mind, which continues to hide the socio-environmental problems which persist. This to the exploitation of the environment and people in the wake of the contemporary neoliberal system which dominates our worldview.
Mount Merapi in drawings and paintings; A dynamic reflection of nature, 1800-1930 Mohammad, Ghamal Satya
Wacana, Journal of the Humanities of Indonesia Vol. 23, No. 1
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Mount Merapi in Central Java is one of the world’s most studied volcanoes. The frequent eruptions of this volcano and the densely populated areas on its slopes make Merapi particularly important to scholars of the natural and social sciences. Considerable attention has been devoted to contemporary aspects of this volcano, including research into forecasting and monitoring possible volcanic activity and eruptions. However, research investigating artistic representations of Merapi in a historical context, particularly local artworks referring to how people responded to a natural hazard such as a volcanic eruption, is still rare. In this paper, I explore how artists in the period 1800-1930 have portrayed the volcanic activities in their drawings and paintings. Various historical data, including newspapers, reports, and records of volcanic eruptions, will be used to help interpret the accuracy of the paintings which depict Merapi at different moments in time. I argue that artists in the period under investigation were acutely aware of Merapi’s volcanic activities and depicted these in their drawings and paintings, because of the influence of science, which invokes interest in Merapi, landscape art, and a sense of humanitarianism. Their artworks are dynamic visual historical reflections of Merapi which testify to the power and beauty of nature.
The tropics and the East-Central European gaze; The natural world of Southeast Asia in Polish and Serbian travel writings Ewertowski, Tomasz
Wacana, Journal of the Humanities of Indonesia Vol. 23, No. 1
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The article analyses representations of the natural world in Indonesia and mainland Southeast Asia in a corpus of Polish and Serbian travel writings for the period between the opening of the Suez Canal (1869) and the outbreak of the First World War (1914). The research is based on travel writings by twenty Polish and Serbian authors, who visited Southeast Asia during the period 1869-1914. Scrutinizing a corpus of such narratives should contribute to the study of perceptions of Southeast Asia, especially among travellers from very diverse backgrounds. The theoretical and conceptual framework of the article draws on works by other scholars who have analysed travel writings, imaginative geography, representations of Southeast Asia, and tropicality. The study focuses on four areas: 1) images of the luxuriant tropics, 2) images of the perilous tropics, 3) exploitation of its natural resources, and 4) nature and identity.
Animal motifs on rock art in Papua and West Papua Permana, R. Cecep Eka; Mas'ud, Zubair
Wacana, Journal of the Humanities of Indonesia Vol. 23, No. 1
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Most of the rock art in Indonesia is found at prehistoric sites, specifically caves or cliffs in South Sulawesi, Southeast Sulawesi, East Kalimantan, Maluku, Papua, and West Papua. Most rock art with animal motifs is mainly located in Papua and West Papua. Therefore, the data in this paper are mostly based on the results of research conducted during the last ten years at rock art sites in Papua Province (with hinterland and mountainous characteristics) and in West Papua Province (with coastal and archipelagic characteristics). An analysis of these animal motifs has demonstrated that lizard and fish motifs dominate rock art in these provinces. However, rock art in Papua and West Papua also depicts turtles, snakes, birds, and several types of marine animals. The depiction of animals in rock art in Papua and West Papua has generally been interpreted as ancestor worship. However, this research argues that the interpretation of animal motifs is also related to the ongoing communal concerns and traditions, such as the fertility of the fields, success in fulfilling daily needs, and healing diseases.

Page 1 of 1 | Total Record : 9

 1 

Filter by Year

2022 2023


Reset
Filter By Issues
All Issue Vol. 26, No. 3 Vol. 26, No. 2 Vol. 26, No. 1 Vol. 25, No. 3 Vol. 25, No. 2 Vol. 25, No. 1 Vol. 24, No. 3 Vol. 24, No. 2 Vol. 24, No. 1 Vol. 23, No. 3 Vol. 23, No. 2 Vol. 23, No. 1 Vol. 22, No. 3 Vol. 22, No. 2 Vol. 22, No. 1 Vol. 21, No. 3 Vol. 21, No. 2 Vol. 21, No. 1 Vol. 20, No. 3 Vol. 20, No. 2 Vol. 20, No. 1 Vol. 19, No. 2 Vol. 19, No. 1 Vol. 18, No. 3 Vol. 18, No. 2 Vol. 18, No. 1 Vol. 17, No. 3 Vol. 17, No. 2 Vol. 17, No. 1 Vol. 16, No. 2 Vol. 16, No. 1 Vol. 15, No. 2 Vol. 15, No. 1 Vol. 14, No. 2 Vol. 14, No. 1 Vol. 13, No. 2 Vol. 13, No. 1 Vol. 12, No. 2 Vol. 12, No. 1 Vol. 11, No. 2 Vol. 11, No. 1 Vol. 10, No. 2 Vol. 10, No. 1 Vol. 9, No. 2 Vol. 9, No. 1 Vol. 8, No. 2 Vol. 8, No. 1 Vol. 7, No. 2 Vol. 7, No. 1 Vol. 6, No. 2 Vol. 6, No. 1 Vol. 5, No. 2 Vol. 5, No. 1 Vol. 4, No. 2 Vol. 4, No. 1 Vol. 2, No. 1 Vol. 1, No. 2 Vol. 1, No. 1 More Issue