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Program Studi Pendidikan Seni Rupa, Fakultas Keguruan dan Ilmu Pendidikan, Universitas Sarjanawiyata Tamansiswa Kompleks Pendopo Agung Taman Siswa Jl. Tamansiswa No.25, Wirogunan, Kec. Mergangsan, Kota Yogyakarta, Daerah Istimewa Yogyakarta Indonesia 55151
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Cilpa : Jurnal Ilmiah Pendidikan Seni Rupa
Published by Universitas Sarjanawiyata Tamansiswa
ISSN : 23559691     EISSN : 28092260     DOI : 10.30738
Core Subject : Education, Art, Social,
Arts Education Social Sciences
Cilpa: Jurnal Ilmiah Pendidikan Seni Rupa is a blind peer-reviewed journal dedicated to the publication of quality thoughts and research results in the field of Fine Arts and Fine Arts Education, the study or creation of fine arts but is flexible and not implicitly limited. All publications in CILPA are open access, allowing articles to be freely available without any violation.
Arjuna Subject : Ilmu Sosial - Pendidikan
Articles 130 Documents
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Drawing Beyond Technique: Persepsi Calon Guru Pendidikan Seni Rupa Terhadap Aktivitas Menggambar Dalam Perspektif Neurosains Kognitif Muhammad Suyudi; Muhammad Syafruddin Akmal
CILPA Vol 11 No 2 (2026): July
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i2.22610

Abstract

Abstrak Menggambar tidak hanya merupakan keterampilan artistik, tetapi juga aktivitas kognitif kompleks yang melibatkan integrasi sistem visual, motorik, emosional, dan fungsi eksekutif otak. Namun, calon guru pendidikan seni rupa seringkali masih memandang menggambar sebagai aktivitas teknis semata, dengan pemahaman terbatas terhadap dimensi kognitif dan neurosainsnya. Penelitian ini bertujuan untuk menganalisis persepsi calon guru pendidikan seni rupa terhadap aktivitas menggambar dalam perspektif neurosains kognitif serta mengkaji implikasi pedagogisnya. Penelitian ini menggunakan pendekatan mixed-method dengan subjek mahasiswa program pendidikan seni rupa. Data dikumpulkan melalui angket dan dianalisis menggunakan analisis deskriptif-tematik. Kebaruan penelitian ini terletak pada integrasi data empiris persepsi dengan kerangka neurosains kognitif dalam pendidikan seni rupa. Hasil penelitian menunjukkan bahwa lebih dari 80% responden memiliki persepsi positif terhadap fungsi kognitif aktivitas menggambar. Sebanyak 70% responden menilai menggambar efektif sebagai metode pembelajaran, namun hanya 50% yang menggunakannya secara rutin. Selain itu, lebih dari 85% responden mengakui fungsi menggambar dalam regulasi emosi dan sekitar 90% menyatakan bahwa aktivitas menggambar mendukung kreativitas. Temuan tersebut menunjukkan bahwa persepsi positif calon guru masih lebih banyak didasarkan pada pengalaman praktis dibandingkan pemahaman konseptual mengenai neurosains kognitif. Persepsi tersebut sejalan dengan temuan penelitian neurosains yang melaporkan bahwa aktivitas menggambar melibatkan kordinasi berbagai area otak. Penelitian ini menyimpulkan bahwa penguatan pemahaman calon guru terhadap dasar kognitif dan neural dari aktivitas menggambar sangat penting untuk mengoptimalkan praktik pembelajaran seni rupa. Abstract Drawing is not only an artistic skill, but also a complex cognitive activity that involves the integration of the visual, motor, emotional, and executive systems of the brain. However, aspiring art education teachers often still view drawing as a purely technical activity, with a limited understanding of its cognitive and neuroscientific dimensions. This study aims to analyze the perception of prospective fine arts education teachers towards drawing activities from the perspective of cognitive neuroscience and examine its pedagogical implications. This study uses a mixed-method approach with the subjects of students of the art education program. Data were collected through questionnaires and analyzed using descriptive-thematic analysis. The novelty of this research lies in the integration of empirical data of perception with the framework of cognitive neuroscience in fine arts education. The results showed that more than 80% of respondents had a positive perception of the cognitive function of drawing activities. As many as 70% of respondents consider drawing effective as a learning method, but only 50% use it regularly. In addition, more than 85% of respondents acknowledged the function of drawing in the regulation of emotions and about 90% stated that drawing activities support creativity. The findings show that the positive perception of prospective teachers is still based more on practical experience than on conceptual understanding of cognitive neuroscience. This perception is in line with the findings of neuroscience research that reports that drawing activities involve the coordination of different areas of the brain. This study concludes that strengthening the understanding of prospective teachers on the cognitive and neural basis of drawing activities is very important to optimize fine arts learning practices
Implementasi Pilar UNESCO Melalui Pembelajaran STEAM Batik Jumputan Tina Setiyani Susanto; Zakarias Sukarya Soeteja; Tri Karyono
CILPA Vol 11 No 2 (2026): July
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i2.22662

Abstract

Abstrak Penelitian ini bertujuan untuk menjelaskan implementasi empat pilar UNESCO dalam pembelajaran batik jumputan sebagai pendekatan pendidikan seni yang holistik. Empat pilar tersebut meliputi Learning to Know, Learning to Do, Learning to Be, dan Learning to Live Together. Fokus dari penelitian ini adalah pada integrasi keterampilan teknis, nilai-nilai budaya, dan pembentukan karakter melalui proses pembelajaran seni batik jumputan bagi peserta didik. Penelitian ini dilakukan dengan pendekatan kualitatif, melalui pendekatan deskriptif kualitatif. Teknik pengumpulan data dilakukan melalui studi literatur, dan observasi. Hasil penelitian menunjukkan bahwa implementasi pembelajaran yang berbasis pada empat pilar ini tidak hanya meningkatkan pemahaman siswa tentang teknik batik jumputan, tetapi juga memperkuat aspek kolaborasi, kreativitas, dan penghormatan terhadap warisan budaya. Warisan budaya yang dihasilkan melalui teknik tradisional ini adalah contoh pembelajaran dengan pendekatan STEAM (Sains, Teknologi, Teknik, Seni, dan Matematika), terutama dalam aspek seni dan teknologi serta penerapan konsep matematika dalam pembelajaran sosial budaya . Selain itu, warisan budaya ini juga mencerminkan bagaimana batik jumputan, yang umumnya ditemukan di Jawa Tengah dan Palembang, dapat menjadi bagian dari budaya di Jawa Barat. Abstract  This article aims to explain the implementation of the four UNESCO pillars in batik jumputan learning as a holistic approach to arts education. The four pillars consist of Learning to Know, Learning to Do, Learning to Be, and Learning to Live Together. The study focuses on the integration of technical skills, cultural values, and character development through the learning process of batik jumputan among students. This research employed a descriptive qualitative approach. Data were collected through literature review and observation. The findings indicate that the implementation of learning based on the four UNESCO pillars not only enhances students’ understanding of batik jumputan techniques but also strengthens collaboration, creativity, and appreciation of cultural heritage. Furthermore, batik jumputan learning can be integrated with the STEAM approach (Science, Technology, Engineering, Arts, and Mathematics), particularly in the aspects of arts, technology, and the application of mathematical concepts within socio-cultural contexts. In addition to serving as a learning medium, batik jumputan also contributes to the preservation and development of local culture, making it relevant to the needs of 21st-century education.
Transformasi Pamor: Negosiasi Makna Dan Kebendaan Dalam Keris Kamardikan Berbasis Logam Daur Ulang Mohammad Ubaidul Izza; Devi Nirmala Muthia Sayekti; Sugiyamin Sugiyamin; Lingga Nugraha
CILPA Vol 11 No 2 (2026): July
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i2.22678

Abstract

Abstrak Transformasi pamor pada keris kamardikan berbasis logam daur ulang menandai perubahan signifikan dalam cara makna, nilai, dan kebendaan keris diproduksi dan dinegosiasikan oleh perajin kontemporer. Jika pamor tradisional mengandalkan pola material alamiah melalui teknik lipatan tempa berlapis, maka pamor daur ulang menghasilkan tekstur dan kontras yang tidak dapat sepenuhnya dikontrol, sehingga menciptakan kondisi thingness—kebendaan yang memiliki otonomi dan karakter materialnya sendiri. Penelitian ini bertujuan menelaah bagaimana material non-konvensional tersebut membentuk ulang relasi antara empu, pamor, dan makna simbolik keris; serta bagaimana kerusakan semiotik (semiotic disruption) terjadi ketika pola pamor tidak lagi mengikuti kaidah klasik yang mapan. Pendekatan dilakukan melalui observasi praktik tempa, dokumentasi visual, serta wawancara dengan perajin yang mengeksplorasi logam limbah sebagai sumber pamor. Temuan menunjukkan bahwa pamor daur ulang tidak hanya melahirkan estetika baru dalam keris kamardikan, tetapi juga memicu negosiasi identitas antara tradisi dan inovasi. Kerusakan struktur tanda justru membuka ruang naratif baru yang menggeser pamor dari simbol kosmologis menjadi ekspresi material kontemporer yang menandai dinamika budaya kriya saat ini. Abstract The transformation of pamor in keris kamardikan based on recycled metal marks a significant change in how the meaning, value, and materiality of keris are produced and negotiated by contemporary artisans. While traditional pamor relies on natural material patterns through layered forging techniques, recycled pamor produces textures and contrasts that cannot be fully controlled, thus creating a condition of thingness; materiality with its own autonomy and material character. This research aims to examine how such non-conventional materials reshape the relationship between the empu, pamor, and the symbolic meaning of the keris, and how semiotic disruption occurs when the pamor patterns no longer adhere to established classical norms. The approach involves observing the forging practice, visual documentation, and interviews with artisans exploring waste metal as a source for pamor. The findings show that recycled pamor not only gives birth to a new aesthetic in keris kamardikan but also triggers a negotiation of identity between tradition and innovation. The disruption of structural signs actually opens up new narrative spaces that shift pamor from cosmological symbols to a contemporary material expression that reflects the dynamics of current craft culture
Batik Sebagai Warisan Budaya Di Tengah Modernisasi Isna Nabila Alfadwa; I Ketut Sunarya
CILPA Vol 11 No 2 (2026): July
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i2.22710

Abstract

Abstrak Batik merupakan warisan budaya Indonesia yang diakui UNESCO sejak 2009 dan memiliki makna filosofis mendalam dalam setiap motifnya, seperti Sido Mukti, Tambal, dan Slobog. Keberadaan batik sangat lekat dengan siklus hidup masyarakat Jawa. Namun, di era modernisasi, batik tradisional menghadapi tantangan serius berupa pengaruh globalisasi, tren fast fashion, dan berkurangnya pengetahuan Generasi Z akibat kemajuan teknologi. Selain itu, maraknya batik printing murah berpotensi mengikis keaslian batik tulis dan cap. Meskipun demikian, tantangan ini mendorong industri batik untuk berinovasi dan beradaptasi. Banyak pengrajin dan desainer berhasil memadukan motif tradisional dengan elemen modern agar tetap relevan bagi generasi muda tanpa kehilangan esensi budayanya. Pemanfaatan teknologi digital serta media sosial kini menjadi krusial untuk promosi yang lebih luas. Melalui kolaborasi multi-pihak antara pemerintah, pengrajin, desainer, dan komunitas, batik dapat terus dilestarikan. Dengan strategi ini, batik tidak hanya menjadi warisan masa lalu, melainkan juga bagian integral dari masa depan budaya Indonesia yang dinamis. Abstract Batik is an Indonesian cultural heritage recognized by UNESCO since 2009, carrying deep philosophical meanings in motifs like Sido Mukti, Tambal, and Slobog. Its existence is deeply intertwined with the Javanese life cycle. However, in the modernization era, traditional batik faces serious challenges from globalization, fast fashion trends, and declining knowledge among Generation Z due to technological advancements. Furthermore, the rise of cheap printed batik threatens to erode the authenticity of hand-drawn (tulis) and stamped (cap) batik. Nevertheless, these challenges drive the batik industry to innovate and adapt. Many artisans and designers have successfully blended traditional motifs with modern elements to remain relevant for the younger generation without losing its cultural essence. Utilizing digital technology and social media is now crucial for broader promotion. Through multi-stakeholder collaboration involving the government, artisans, designers, and communities, batik can be sustained. With these strategies, batik remains not just a past heritage, but an integral part of Indonesia's dynamic cultural future.
Analisis Hermeneutika Filosofis Gadamer Terhadap Karya Keheningan Transformatif Eka Nur; Cipto Budi Handoyo; Zulfi Hendri
CILPA Vol 11 No 2 (2026): July
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i2.22719

Abstract

Abstrak   Penelitian ini bertujuan mengungkap struktur makna yang membentuk karya seni rupa Keheningan Transformatif melalui perspektif hermeneutika Hans Georg Gadamer. Berangkat dari kecenderungan penelitian seni rupa yang masih didominasi oleh pendekatan formalistik, semiotika, dan psikologi seni sehingga karya lebih sering diposisikan sebagai objek representasi daripada sebagai pengalaman ontologis. Metode yang digunakan adalah studi pustaka (library research) dengan pendekatan hermeneutik Gadamer. Objek material penelitian adalah karya Keheningan Transformatif, sedangkan objek formalnya adalah proses pemaknaan karya melalui konsep spiel, symbol, fest, Wirkungsgeschichte, dan Horizontverschmelzung. Data diperoleh melalui dokumentasi visual karya dan kajian pustaka, kemudian dianalisis menggunakan prinsip lingkaran hermeneutik secara dialogis. Hasil penelitian menunjukkan bahwa karya seni tidak hadir sebagai objek estetis yang memiliki makna tetap, tetapi sebagai dialogic unfolding of truth yang memungkinkan lahirnya pengalaman pemahaman melalui dialog antara karya dan penafsir. Mata terpejam dimaknai sebagai simbol kesadaran kontemplatif, kupu-kupu merepresentasikan transformasi eksistensial yang terus berkembang melalui sejarah budaya dan pengalaman penafsir. Teknik pointilis, komposisi visual, serta relasi warna membentuk struktur pengalaman yang memungkinkan terjadinya peleburan cakrawala antara karya dan penafsir. Penelitian ini menegaskan bahwa hermeneutika Gadamer merupakan pendekatan yang relevan untuk memahami karya seni rupa sebagai pengalaman ontologis yang dinamis, sekaligus memperluas kajian interpretasi seni visual melampaui dikotomi objektivisme dan subjektivisme. Abstract This study aims to uncover the structure of meaning that forms the artwork Transformative Silence through Hans Georg Gadamer's hermeneutic perspective. Departing from the tendency of art research that is still dominated by formalistic approaches, semiotics, and art psychology so that works are more often positioned as objects of representation rather than as ontological experiences. The method used is library research with Gadamer's hermeneutic approach. The material object of the research is the artwork Transformative Silence, while the formal object is the process of interpreting the artwork through the concepts of spiel, symbol, fest, Wirkungsgeschichte, and Horizontverschmelzung. Data were obtained through visual documentation of the artwork and literature review, then analyzed using the principle of the hermeneutic circle in a dialogical manner. The results of the study show that the artwork is not present as an aesthetic object with a fixed meaning, but as a dialogic unfolding of truth that allows the birth of an experience of understanding through dialogue between the artwork and the interpreter. Closed eyes are interpreted as a symbol of contemplative awareness, while the butterfly represents an existential transformation that continues to develop through cultural history and the interpreter's experience. Pointillist techniques, visual composition, and color relations form an experiential structure that allows for a fusion of horizons between the work and the interpreter. This research confirms that Gadamer's hermeneutics is a relevant approach to understanding works of art as dynamic ontological experiences, while also expanding the study of visual art interpretation beyond the dichotomy of objectivism and subjectivism.
Pembelajaran Berbasis Lingkungan Melalui Berkarya Ecoprint Oleh Siswa Kelas VII H SMPN 2 Semarang Rina Apriliani; Ratih Ayu Pratiwinindya
CILPA Vol 11 No 2 (2026): July
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i2.22833

Abstract

Abstrak Penelitian ini bertujuan untuk meningkatkan kualitas karya seni rupa ecoprint melalui penerapan pembelajaran berbasis lingkungan pada siswa kelas VII SMP Negeri 2 Semarang. Penelitian ini menggunakan metode Penelitian Tindakan Kelas (PTK) model Kemmis dan McTaggart yang dilaksanakan dalam dua siklus, meliputi tahap perencanaan, pelaksanaan tindakan, observasi, dan refleksi. Subjek penelitian berjumlah 30 siswa. Teknik pengumpulan data dilakukan melalui observasi, wawancara, dokumentasi, dan penilaian hasil karya. Analisis data menggunakan pendekatan deskriptif kuantitatif dan kualitatif. Hasil penelitian menunjukkan bahwa penerapan pembelajaran berbasis lingkungan efektif dalam meningkatkan kualitas karya seni rupa ecoprint siswa. Hal ini ditunjukkan oleh peningkatan nilai rata-rata dari 62,71 pada pra siklus dengan ketuntasan 36,67%, menjadi 69,38 pada siklus I dengan ketuntasan 50%, dan meningkat signifikan pada siklus II menjadi 84,38 dengan ketuntasan 86,67%. Peningkatan kualitas karya terlihat pada aspek kreativitas, komposisi visual, ketepatan teknik ecoprint, kerapian, serta kemampuan memanfaatkan bahan alami.Dengan demikian, pembelajaran berbasis lingkungan dapat menjadi alternatif strategi pembelajaran yang efektif dalam meningkatkan kualitas karya seni rupa siswa. Abstract This study aims to improve students’ visual art quality through the implementation of environment-based learning in ecoprint material for class VII H students of SMP Negeri 2 Semarang. The study used Classroom Action Research based on the Kemmis and McTaggart model consisting of planning, action, observation, and reflection stages conducted in two cycles. The subjects of the study were 30 students. Data were collected through observation, interviews, documentation, and artwork assessment. The data were analyzed using quantitative and qualitative descriptive approaches. The results show that the implementation of environment-based learning improves the quality of students’ ecoprint artworks. The average score increases from 62.71 in the pre-cycle stage to 69.38 in cycle I and reaches 84.38 in cycle II. Learning completeness also increases from 36.67% in the pre-cycle stage to 86.67% in cycle II. The improvement is evident in students’ creativity, visual composition, accuracy in ecoprint technique, neatness, and ability to utilize natural materials. Therefore, environment-based learning with ecoprint materials is effective in improving students’ visual art quality and in creating a more active, contextual, and meaningful learning process.
Pembelajaran Batik Kudus Berbasis Culturally Responsive Teaching (CRT) Melalui Kolaborasi Guru Dan Pengrajin Emaretta; Syakir
CILPA Vol 11 No 2 (2026): July
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i2.22931

Abstract

Abstrak Pembelajaran Seni Budaya di Sekolah Dasar sering terkendala keterbatasan waktu praktik dan sarana, kurang kontekstual dalam budaya lokal siswa, serta kurangnya kompetensi guru, sehingga diperlukan pendekatan pembelajaran yang mampu menghubungkan materi pelajaran dengan konteks budaya lokal siswa, salah satunya melalui pendekatan Culturally Responsive Teaching (CRT). Tujuan penelitian ini yaitu mendeskripsikan desain model pembelajaran seni Batik Kudus berbasis CRT melalui kolaborasi pengrajin dan guru untuk siswa, menguji kevalidan perangkat pembelajaran sebagai pendukung pelaksanaan model pembelajaran, serta menganalisis efektivitas model pembelajaran guna meningkatkan apresiasi kearifan lokal dan keterampilan membatik. Penelitian ini menggunakan mixed methods dengan jenis penelitian Research and Development (R&D) menggunakan model ADDIE (Analysis, Design, Development, Implementation, and Evaluation). Sintaks CRT yang digunakan yaitu pendahuluan, identitas budaya, pemahaman budaya, kolaborasi, refleksi kritis, konstruksi transformatif, dan penutup. Hasil validasi menunjukkan bahwa modul memperoleh nilai kevalidan sebesar 87% dari ahli materi (validitas sangat tinggi) dan 80% dari ahli media pembelajaran (validitas tinggi), sedangkan instrumen soal evaluasi memperoleh nilai kevalidan 88% (validitas sangat tinggi). Hasil uji wilcoxon signed ranks test menunjukkan nilai sig. 0,000 < 0,05 yang menunjukkan bahwa terdapat peningkatan signifikan setelah penerapan model pembelajaran. Hasil uji N-gain menunjukkan skor 0,60 (sedang) dan persentase 60,46% yang berarti model pembelajaran tersebut cukup efektif dalam meningkatkan apresiasi kearifan lokal. Hasil tes performance menunjukkan persentase rata-rata 88% yang berarti siswa terampil dalam proses pembuatan Batik Kudus. Abstract Art and Culture learning in elementary schools is often limited by insufficient practice time and facilities, lack of contextualization with students’ local culture, and limited teacher competence. Therefore, a learning approach that connects instructional materials with local cultural contexts is needed, one of which is Culturally Responsive Teaching (CRT). This study aims to describe the design of a Kudus batik art learning model based on CRT through collaboration between craftsmen and teachers, test the validity of the learning tools, and analyze the effectiveness of the model in improving students’ appreciation of local wisdom and students' batik-making skills in elementary school students. This research uses a mixed-methods approach with Research and Development (R&D) based on the ADDIE model (Analysis, Design, Development, Implementation, and Evaluation). The CRT syntax applied includes introduction, cultural identity, cultural understanding, collaboration, critical reflection, transformative construction, and closing. The validation results show that the module achieved 87% validity from content experts (very high) and 80% from media learning experts (high). The evaluation instrument obtained 88% validity (very high). The Wilcoxon signed-rank test showed a significance value of 0.000 < 0.05, indicating a significant improvement after implementation. The N-gain score was 0.60 (moderate) with 60.46% effectiveness, showing that the model is quite effective in improving students’ appreciation of local culture. The performance test showed an average score of 88%, indicating that students are highly skilled in the students' batik-making skills.
Dekonstruksi Canang Sari Sebagai Sumber Belajar Steam Berbasis Kearifan Lokal Dalam Pendidikan Seni Rupa Sekolah Dasar Kadek Hariana; Nugroho Heri Cahyono; Agung Danu Wijaya; Rahma Nasir; Yulia Windarsih
CILPA Vol 11 No 2 (2026): July
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i2.23034

Abstract

Abstrak Penelitian ini berfokus pada dekonstruksi seni canang sari persembahan sakral Hindu Bali yang dibuat secara tradisional oleh anak-anak di Kecamatan Balinggi, Sulawesi Tengah sebagai media pembelajaran berbasis STEAM (Science, Technology, Engineering, Art, and Mathematics) di tingkat Sekolah Dasar (SD) dalam konteks pendidikan seni rupa. Penelitian ini bertujuan untuk (1) menganalisis elemen-elemen STEAM yang terkandung dalam seni canang sari melalui perspektif dekonstruksi; (2) mengeksplorasi potensi canang sari sebagai media pembelajaran seni rupa berbasis STEAM bagi anak usia sekolah dasar; dan (3) menganalisis model pembelajaran STEAM kontekstual berbasis kearifan lokal untuk kurikulum SD di Sulawesi Tengah. Metode Penelitian ini menggunakan pendekatan kualitatif deskriptif-interpretatif dengan teori dekonstruksi Jacques Derrida untuk menganalisis perubahan bentuk dan makna canang sari dalam konteks pembelajaran. Data dikumpulkan melalui observasi partisipatif, wawancara mendalam semi-terstruktur dengan tokoh budaya dan guru, serta dokumentasi visual proses pembuatan canang sari. Teknik analisis data yang meliputi kondensasi data, penyajian data, dan penarikan/verifikasi kesimpulan, didukung triangulasi sumber dan teknik. Temuan menunjukkan bahwa: (1) seni canang sari memuat elemen-elemen integratif STEAM secara natural (geometri, simetri, rekayasa anyaman, estetika, dan kalkulasi bahan); (2) proses kreatif pembuatan canang sari oleh anak-anak merangsang perkembangan kognitif, motorik halus, dan sensitivitas budaya; dan (3) transformasi seni tradisional ke dalam pembelajaran STEAM mampu memperkuat karakter dan identitas budaya lokal anak. Penelitian ini berkontribusi pada pengembangan kurikulum pendidikan seni rupa di Sekolah Dasar yang berbasis kearifan lokal serta menawarkan model pembelajaran STEAM kontekstual yang inovatif. Abstract This study examines the deconstruction of canang sari a sacred Balinese Hindu offering traditionally crafted by children in Balinggi District, Central Sulawesi as a STEAM-based (Science, Technology, Engineering, Art, and Mathematics) learning medium within the context of fine arts education at the elementary school level.. This study aims to: (1) analyse the STEAM elements embedded in canang sari through a deconstructive lens; (2) explore the potential of canang sari as a STEAM-based fine arts learning medium for elementary school-aged children; and (3) examine a contextual STEAM learning model grounded in local wisdom for the elementary school curriculum in Central Sulawesi. Employing a descriptive-interpretative qualitative approach, the study draws on Jacques Derrida's deconstruction theory to analyse the shifting forms and meanings of canang sari within educational contexts. Data were collected through participant observation, semi-structured in-depth interviews with cultural figures and teachers, and visual documentation of the canang sari production process. Data analysis followed the interactive model comprising data condensation, data display, and conclusion drawing/verification, supported by source and technique triangulation. Findings reveal that: (1) canang sari organically integrates all STEAM elements (geometry, symmetry, weaving engineering, aesthetics, and material calculation); (2) children's creative engagement in crafting canang sari stimulates cognitive development, fine motor skills, and cultural sensitivity; and (3) the transformation of traditional art into STEAM learning effectively strengthens children's character and local cultural identity. This study contributes to the development of local wisdom-based fine arts curricula at the elementary school level and proposes an innovative contextual STEAM learning model.
Model Pembelajaran Glokal Berbasis Creative Technopreneurship Moh Rusnoto Susanto; Setuju; Th. Laksmi Widyarini; Azhari Md Hashim; Muhammad Zaffwan Idris
CILPA Vol 11 No 2 (2026): July
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i2.23072

Abstract

Abstrak Perkembangan ekonomi digital menuntut pembelajaran yang mengintegrasikan budaya lokal, kreativitas, teknologi digital, dan kewirausahaan. Namun, pembelajaran seni dan desain masih berfokus pada keterampilan teknis sehingga pengembangan creative thinking dan creative technopreneurship belum optimal. Penelitian ini bertujuan mengembangkan Model Pembelajaran Integrasi Budaya Glokalitas untuk meningkatkan kedua kompetensi tersebut. Penelitian menggunakan metode Research and Development (R&D) melalui tahapan analisis kebutuhan, perancangan, validasi ahli, uji coba, revisi, dan implementasi. Data dikumpulkan melalui observasi, wawancara, angket, tes creative thinking, dan penilaian produk, kemudian dianalisis secara kualitatif serta kuantitatif menggunakan statistik deskriptif dan skor N-gain. Model yang dihasilkan meliputi lima sintaks, yaitu eksplorasi glokal, ideasi kreatif, pengembangan produk digital, branding dan komersialisasi, serta refleksi dan evaluasi. Hasil penelitian menunjukkan bahwa model memenuhi kriteria valid, praktis, dan efektif, dengan peningkatan creative thinking (N-gain = 0,66) dan creative technopreneurship (N-gain = 0,64) pada kategori sedang–tinggi. Implementasi model juga memperkuat kolaborasi, literasi digital, komunikasi, serta kemampuan mengembangkan inovasi berbasis budaya lokal. Kebaruan penelitian terletak pada integrasi glokalitas, creative thinking, dan creative technopreneurship dalam satu kerangka pedagogis yang mendukung pembelajaran abad ke-21 dan penguatan ekonomi kreatif berbasis budaya. Abstract The rapid growth of the digital economy requires learning models that integrate local culture, creativity, digital technology, and entrepreneurship. However, art and design education remains largely focused on technical skills, limiting the development of creative thinking and creative technopreneurship. This study aimed to develop a Glocal Culture-Based Learning Model to enhance these competencies. The study employed a Research and Development (R&D) approach consisting of needs analysis, model design, expert validation, pilot testing, revision, and implementation. Data were collected through observations, interviews, questionnaires, creative thinking tests, and product assessments, and analyzed using qualitative methods, descriptive statistics, and N-gain scores. The proposed model comprises five instructional stages: glocal exploration, creative ideation, digital product development, branding and commercialization, and reflection and evaluation. The findings indicate that the model is valid, practical, and effective, improving students' creative thinking (N-gain = 0.66) and creative technopreneurship (N-gain = 0.64), both within the moderate-to-high category. The implementation also strengthened collaboration, digital literacy, communication skills, and the ability to develop innovations rooted in local culture. The novelty of this study lies in the systematic integration of glocal culture, creative thinking, and creative technopreneurship into a unified pedagogical framework that supports 21st-century learning and fosters a culture-based creative economy.
Pendidikan Seni Rupa Humanistik-Kritis Pada Era Kecerdasan Buatan Generatif Mufidatun Nurchasanah; Ibnu Yunianto
CILPA Vol 11 No 2 (2026): July
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i2.23127

Abstract

Abstrak Perkembangan Generative Artificial Intelligence (GenAI) menghadirkan tantangan filosofis bagi pendidikan seni rupa terkait agensi kreatif, pengalaman estetis, dan posisi manusia. Artikel konseptual ini bertujuan merumuskan kerangka normatif pendidikan seni rupa pada era GenAI melalui sintesis pemikiran Herbert Read, Ki Hadjar Dewantara, dan Paulo Freire menggunakan tinjauan literatur kritis. Kebaruan artikel terletak pada perumusan konsep critical consciousness toward AI sebagai perluasan aksiologis literasi AI. Sintesis tersebut menghasilkan Humanistic-Critical Art Education Framework (HCAEF) yang terdiri atas lima prinsip utama: Human Creative Agency, Aesthetic Experience First, Culture Before Technology, Critical Consciousness toward AI, dan Responsible AI Use. Kerangka konseptual ini menempatkan GenAI sebagai teknologi yang legitimasi pedagogisnya ditentukan oleh kontribusinya terhadap proses humanisasi. Kesimpulannya, integrasi GenAI dalam pembelajaran seni wajib mempertahankan manusia sebagai subjek kreatif, reflektif, berbudaya, dan bertanggung jawab moral. Kerangka HCAEF ini diharapkan dapat menjadi panduan aksiologis dan pedagogis bagi pendidik seni rupa pada era digital. Abstract The advancement of Generative Artificial Intelligence (GenAI) poses philosophical challenges to visual art education regarding creative agency and aesthetic experience. This conceptual article formulates a normative framework for visual art education in the GenAI era through a synthesis of Herbert Read, Ki Hadjar Dewantara, and Paulo Freire. The novelty lies in critical consciousness toward AI as an axiological extension of AI literacy. The synthesis yields the Humanistic-Critical Art Education Framework (HCAEF), comprising five principles: Human Creative Agency, Aesthetic Experience First, Culture Before Technology, Critical Consciousness toward AI, and Responsible AI Use. This framework positions GenAI as a technology whose pedagogical legitimacy is determined by its contribution to humanization. In conclusion, GenAI integration must preserve humans as creative, reflective, cultured, and responsible subjects.

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