KI HADJAR DEWANTARA: TOKOH AVANT GARDE KEBANGKITAN NASIONALISME PENDIDIKAN DI INDONESIA

KI HADJAR DEWANTARA: 

TOKOH AVANT GARDE KEBANGKITAN NASIONALISME

PENDIDIKAN DI INDONESIA

Ki Moh. Rusnoto Susanto, S.Pd, M.Sn

(Tim Pamong Ketamansiswaan Universitas Sarjanawiyata Tamansiswa Yogyakarta)

Setiap tahun bangsa Indonesia dengan heroik menyanyikan lagu Indonesia Raya dalam momen penting peringatan hari besar negara yang kita cintai, khususnya pada saat upacara Hari Pendidikan Nasional setiap tanggal 2 Mei. Namun, sudahkah kita betul-betul menghayati dan meresapi dengan segenap jiwa raga bahwa lagu Indonesia Raya hadir di setiap awal upacara peringatan hari sakral ini? Seberapa dalam kita mampu menyelami bait demi bait dan kata demi kata padayang begitu padu dan selaras dengan nafas perjuangan pendahu kita? Bagaimana lagu ini begitu penting sebagai lagu wajib yang bersenyawa dengan lagu Hymne Guru dalam ritual sakral ini kalau bukan karena adanya kehendak anak negeri yang ingin mendudukan pentingnya pendidikan dan kemerdekaan yang diperjuangkan Pahlawan Pendidikan Nasional Ki Hadjar Dewantara yang secara lantang mendirikan perguruan untuk mengajarkan budi pekerti dan ilmu pengetahuan agar dapat melawan dan mengusir penjajah dari nusantara. Kesadaran anak bangsa yang luar biasa kendati berisiko tinggi karenanya secara terang-terangan dapat berhadapan kapan saja dengan Belanda ketika itu. Kegigihannya membuktikan rasa cintanya terhadap rakyat Indonesia sebagai impiannya melepaskan bangsa dari ketertindasan dan hak sebagai manusia yang menerdeka menuntut ilmu maupun merdeka untuk memiliki diri danmenentukan masa depannya sendiri.

Beliau mengorbankan rasa aman, kenyaman dan kenikmatan hidupnya untuk memperjuangkan hak rakyat untuk dapat mengenyam pendidikan setara dengan bagsa-bangsa lain. Ki Hadjar Dewantara memimpikan bangsanya memiliki kepribadian, bermartabat dan meninggikan derajat budaya bangsanya yang diperoleh dari proses pendidikan. Pertanyaan selanjutnya, sudahkah kita meyakini bahwa apa yang dicapai bangsa ini bukan sekedar bentangan sejarah dan untaian harapan semata tetapi sebagai bentangan harapan masa depan ‘merah-putih’ yang ditebus jiwa patriotik pendahulu kita. Lantas, bisakah kita berterima kasih pada jasa-jasanya dengan mewarisi jiwa merdeka sebagai pendidik dari seorang Avant Garde kebangkitan nasionalisme pendidikan di Indonesia? Konsep pendidikan yang berjiwa nasionalisme dan berakar pada ruh kebudayaan serta nilai-nilai luhur bangsa Indonesia dalam membangun karakter bangsa yang tangguh dan mandiri berazaskan Pancasila dan Panca Dharma Tamansiswa. Karena kedua azas ini menyatu dalam ikatan sejarah, falsafah, nilai, dan ideologi. 

Hardiknas : Spirit Ki Hadjar Dewantara dan Ruh Pendidikan Nasional

Hari pendidikan Nasional tak dapat dipisahkan dengan tokoh Pendidikan Nasional Ki Hadjar Dewantara. Dalam dunia akademi Dr. (HC) RM. Soewardi Soerjaningrat memperoleh gelar Doctor Honoris Causa dari Universitas Gajah Mada Yogyakarta pada tahun 1957 yang memperoleh kehormatan dengan dihadiri Presiden RI Dr. (HC) Ir. Soekarno adalah momentum istimewa dalam sebuah upacara penganugerahan gelar kehormatan. Dalam pidatonya Ki Hadjar Dewantara mengaskan kembali mengenai konsep-konsep pendidikan nasional yang diperjuangkannya. Ki Hadjar Dewantara dikenal sebagai tokoh avant garde (garda depan) Pendidikan Nasional yang memperoleh penghormatan sebagai Pahlawan Pergerakan Nasional yang ditetapkan pada 28 November 1959 melalui Keppres No. 305 Tahun 1959 sesaat kemudian disusul Keppres No. 316 Desember 1959 pada tanggal 16 Desember 1959 yang menetapkan penghargaan sebagai tokoh pendidikan nasional menetapkan tanggal 2 Mei sebagai Hari Pendidikan Nasional. Penetapan tanggal 2 Mei sebagai Hari Pendidikan Nasional diambil dari tanggal lahir Ki Hadjar Dewantara tepatnya hari Kamis Legi, 2 Mei 1889 di Yogyakarta sebagai penghargaan atas baktinya dalam dunia pendidikan di Indonesia.

Pendidikan Nasional memiliki sejarah panjang sejak jaman penjajahan, revolusi, masa kemerdekaan, masa pembangunan, hingga masa reformasi saat ini tak lepas dari spirit yang diwarisi Ki Hadjar Dewantara dan ruh pendidikan nasional. Sistem pendidikan nasional dirintis oleh tokoh-tokoh bangsa melalui karya sastra, pendidikan, agama, pergerakan pencerdasan bangsa yang tersebar dipenjuru nusantara dari Ki Hadjar Dewantara, Abdul Muis, RA. Kartini, RM. Soerjopranoto, KH. Ahmad Dahlan, KH. Agus Salim, KH. Hasyim Ashari, Jelantik, Buya Hamka, Hazairin, Mustopo, Sardjito hingga tokoh pendidikan masa kini Arief Rachman, Ahmad Syafii Maarif, Seto Mulyadi, dan Anies Baswedan serta tikoh-tokoh pendidikan lainnya yang mendedikasikan ilmu dan mengabdikan dirinya untuk mencerdaskan kehidupan bangsa serta memuliakan bangsanya melalui kontribusi berharganya dalam membentuk karakter bangsa yang kuat.

Tokoh-tokoh pendidikan nasional secara historis meletakkan dasar-dasar pendidikan nasional berbasis pada nasionalisme dan karakter budaya Indonesia. Pendidikan yang lahir dan tumbuh dari hasrat memerdekakan bangsa dari belenggu penjajah dan hasrat mencerdaskan kehidupan bangsa. Seperti Ki Hadjar Dewantara meletakkan dasar pendidikan melalui nilai-nilai, ajaran pekerti luhur, diktum, doktrin filosofis, dan berbagi fatwa untuk meninggikan harkat martabat, dan derajat budaya bangsa sendiri. Ki Hadjar Dewantara dalam buku I Pendidikan: Pemikiran, Konsepsi, Keteladanan, Sikap Merdeka (2013: 15) secara tegas menyatakan bahwa pendidikan nasional menurut faham Taman Siswa ialah pendidikan yang beralaskan garis-hidup dari bangsanya (cultureel nationaal) dan ditujukan untuk keperluan perikehidupan (maatschappelijk) yang dapat mengangkat derajat negara dan rakyatnya, agar dapat bekerjasama dengan bangsa lain untuk kemuliaan segenap manusia di seluruh dunia. 

Sehingga nilai ini dapat dimanifestasikan bahwa pendidikan nasional tidak menemukan kebingungan ketika menentukan langkah dan penetapan kurikulum pendidikan nasional. Hal ini juga dikuatkan dengan pernyataan Ki Hadjar Dewantara melalui buku Puncak-Puncak dan Sari-Sari Kebudayaan di Indonesia (1927: 3) bahwa kebudayaan nasional ialah segala puncak-puncak dari kebudayaan yang terdapat di seluruh kepulauan Indonesia, baik yang lama maupun baru yang berjiwa nasional itulah kebudayaan nasional. Ketika itu dapat diartikan ada suatu kebangkitan nasionalisme pendidikan di Indonesia.

Kemudian saat ini sistem pendidikan berada pada upaya reorientasi nasionalisme mengenai konsep pendidikan melalui pendidikan karakter meskipun muatan lokal yang merepresentasikan pendidikan karakter tetap tidak diposisikan secara strategis dalam praktik pendidikan secara riil. Terbukti bahwa kurikulum dan sistem pengajaran yang masih kebarat-baratan dengan mencaplok metodologi dan ideologi pendidikan Barat. Bagaimana dengan sistem pendidikan nasional kita saat ini yang telah mereduksi pentingnya kebudayaan kendati sistem kurikulum kita masih tetap mondar-mandir memperkarakaran basis dan disibukkan dengan penggalian nilai-nilai kokal dalam memperkuat pendidikan yang berbasis karakteristik budaya nasional. Konsep pendidikan nasional terasa kehilangan orientasi, maka seyogyanya semua pihak pemangku kepentingan pendidikan di Indonesia selekas mungkin melakukan pembenanhan dan reorientasi pada sistem dan konsep pendidikan nasional yang digagas oleh Ki hadjar Dewantara.

Pendidikan Berakar pada Nilai Budaya dan Nilai Estetika

Secara eksplisit Ki Hadjar Dewantara menegaskan bahwa sistem pendidikan nasional harus berdasarkan sistem, tata nilai, azas, dan bersumber dari akar budaya nasional. Sehingga dalam konsep pendidikan nasional memberikan kerangka sistem pendidikan yang berkebudayaan dengan sistem among, panca dharma, tri pusat pendidikan, trikon, trilogi kepemimpinan, trihayu, dan fatwa hidup tamansiswa. Pendidikan yang bertumpu pada upaya memerdekakan bukan memaksakan karena Ki Hajar Dewantara menekankan pamong dalam melakukan proses pendidikan mengacu pada proses belajar yang menyenangkan dan membahagiakan. Menekankan sistem among dan among sistem dalam kultur ke -Indonesiaan. 

 Sistem Among merupakan sistem pendidikan yang pada pelaksanaan pembelajaran menamkan jiwa kekeluargaan, meyakini secara kodrat alam seorang anak memiliki potensi cerdas lahir bathin dan menamakan jiwa merdeka. Dalam praktiknya sistem among menuntut setiap pamong (guru) sebagai pemimpin dalam proses pendidikan dengan memanifestasikan diktum Ing Ngarsa Sung Tuladha, Tut Wuri Handayani, Ing Madya Mangun Karsa, dengan menekankan ajaran perilaku jujur, tertib, damai, salam, dan berpekerti luhur. Sitem among berfungsi menopang segala potensi didik melalui asah, asih, asuh dan ngerti, ngroso, nglakoni untuk dapat mengembangkan individu yang berkarakter. Sistem ini menjadikan anak didik bebas menemukan potensi dirinya dan segala yang menjadi impiannya. Peran pamong membimbing, mendampingi, memupuk, menyemangati, dan mengantarnya ke dalam dimensi-dimensi tertentu pilihannya tanpa menekan, mengintervensi, dan melukai apa yang menjadi harapan maupun impian masa depannya. 

Untuk mewujudkan Sistem Among, menurut Ki Hadjar Dewantara (1952:55-56) pendidikan berdasar pada kodrat alam dan kemerdekaan. Dasar kodrat alam perlu untuk mengganti system pendidikan cara lama yang menggunakan perintah, paksaan dan hukuman. Pendidikan tak sekedar mencerdaskan aspek intelektualitas (IQ) anak didik semata namun harus pula mampu mencerdaskan aspek emosional (EQ) dan spiritualitas (SQ). Jika semua aspek dicerdaskan maka anak didik menjadi pribadi yang memiliki mental sempurna sebagai manusia yang berkepribadian. Di sinilah pentingnya konsep pendidikan karakter yang dicita-citakan Ki Hadjar Dewantara. 

Berkaitan dengan dukungan kurikulum yang berorientasi pada konsep membangun karakter manusia Indonesia seutuhnya maka kita selekasnya menggali dan mengkaji ulang baik-baik dasar-dasar pemikiran Ki Hajar Dewantara mengenai Pendidikan Nasional yang berbais pada kebudayaan dalam buku induk jilid I Pendidikan dan jilid II Kebudayaan. Menilik sejenak Disertasi Hajar Pamadi yang berjudul Dimensi Estetika Seni Ruang Publik di Yogyakarta Relevansinya Bagi Pengembangan Pendidikan Seni di Indonesia (2015: 32) dalam meraih predikat Doktor Ilmu Filsafat menyatakan bahwa strategi penyusunan kurikulum harus berangkat dari asumsi: (a) kurikulum menyesuaikan kondisi politik, ekonomi, dan teknologi, (b) kurikulum berangkat dari analisa sejarah, maka kurikulum harus selaras dengan sejarah keberadaan negara, (c) kurikulum berangkat dari kebutuhan dasar perkembangan jiwa dan filsafatnya. Pengembangan psikologis pendidikan pada ranah cipta, rasa, dan karsa sedangkan filsafat menguatkan berpikir kritis melalui ranah epistemologi, ontologi, dan aksiologi. Pada praktiknya pendidikan melatih kepekaan rasa melalui pengalaman empirikal untuk mengurangi natural deficit disorder yang secara prinsip mengaitkan langsung dengan persoalan sosiokultural dan lingkungannya, seperti prinsip tujuan pendidikan estetika menurut Swayer dan Italio (1974: 4) bahwa prinsip pengajaran secara kontekstual terkait dengan lingkungan pikiran dan perasaan dapat disatukan untuk membaca masalah (problem based learning) dan memahami isi berdasarkan pengamatan (research based learning). 

Konklusi dan Rekomendasi

Pendidikan akan lebih indah ketika sistem yang dibangun adalah kedalaman ruh kebudayaan dan keelokan estetika. Indonesai memiliki keanekaragaman kebudayaan yang luar biasa sehingga pendidikan di Indonesia haruslah bertumpu pada kekayaan pendidikan multikulturalisme. Semua aspek yang melekat pada semangat multikulturalisme bangsa kita menjadi modal untuk melakukan proses pendidikan dengan ideal.

Saya teringat diskusi panjang lebar dengan Ki Sutikno di Perpustakaan Museum Dewantara Kirti Griya, beliau menginterpretasi gagasan pendidikan nasional menurut Ki Hadjar Dewantara ialah pendidikan yang diselenggarakan secara non diskriminatif, modern, religius, dan tematik (disesuaikan dengan tuntutan kebutuhan dan jiwa jaman). Hal ini hanya bisa diimplementasikan dan dilembagakan pada jiwa pamong di era teknologi digital harus mampu melakukan proses pembelajaran dalam paket edutainment (pendidikan yang menghibur) sesuai semangat Ki Hajar Dewantara bahwa pendidikan yang didalamnya dilaksanakan oleh jiwa-jiwa merdeka tidak perlu memerintah, tidak memaksa, mengintervensi, dan tidak menghukum karena akan memerkosa jiwa anak dalam belajar. Pendidikan yang menyenangkan, menggairahkan, dan tepat guna dalam mengisi kekosongan kebutuhan jiwa yang dibutuhkan saat itu. Pendidikan yang kontekstual dan menyatu secara alami dengan kebutuhan perkembangan psikologis anak. Mengingat kembali falsafah Ki Hadjar Dewantara (ojo nunggang motor ning mbrebes mili ning mikulo dawet rengeng-rengeng) ‘Jangan naik mobil tetapi bersedih hatinya lebih baik hidupnya berat tapi hatinya bernyanyi karena bahagia batinya’. Pendidikan yang bertumpu pada kebahagiaan jiwa merdeka karena pada jiwa yang merdeka disana kejujuran pada diri terhadap kebutuhan psikologisnya sebagai peluang besar untuk menyerap ilmu pengetahuan dan pengembangan kepribadian lainnya. Sehingga seorang anak senantiasa memahami kebutuhan dan bertanggungjawab atas segala sesuatu yang dibutuhkannya. Di sinilah titik tolak sebuah perencanaan kurikulum dititik beratkan.

Sistem pendidikan hendaknya dibangun atas dasar cinta kasih, kebudayaan, dan basis estetika luhur. Bukan berdasarkan kehendak manusia dewasa semata tanpa memahami kebutuhan jiwa anak, tanpa sentuhan kasih sayang (Asah, Asih, Asuh), target nilai tertentu tanpa sentuhan estetika sistem pendidikan. Jika ini yang terjadi maka sistem pendidikan nasional mengutamakan wadag dari jiwa kosong dan pendidikan yang hanya mampu menciptakan manusia-manusia cerdas secara intelektual tanpa memiliki perilaku kepribadian yang baik warisan pekerti luhur dan keringnya tata nilai spiritualitas bangsa yang religius dan bertabat. Sikap jujur, saling menghormati, gotong royong, tepo sliro, anggah-ungguh, sopan santun, menghargai hak orang lain, dan lain sebagainya sehingga produk pendidikan kita tidak hanya cerdas intelegensi tetapi bangga ketika melakukan tindakan korupsi, tanpa merasa berdosa ketika melakukan pelecehan seksual maupun pembunuhan. Ini merupakan potret nyata masyarakat sekarang yang memprihatinkan, semoga ini teratasi dengan pembenahan sistem pendidikan nasional yang lebih berkarakter ke-Indonesiaan. Dan, Perguruan Taman Siswa akan mendukung sepenuhnya mengawal melalui jalur pendidikan pekerti yang kini terabaikan. Semoga jauh di hadapan kita ke depan akan tumbuh jiwa-jiwa Dewantara yang memiliki peran penting dalam membangun mutu dunia pendidikan nasional Indonesia yang lebih baik.

Referensi:

Dewantara, Ki Hadjar. 2004. Pendidikan. Cetakan ketiga. Majelis luhur Persatuan Tamansiswa. Yugyakarta

_________________. 1952. Tamansiswa 30 Tahun. Majelis Luhur Persatuan Tamansiswa. Yogyakarta.

_________________. 1927. Puncak-Puncak dan Sari-Sari Kebudayaan di Indonesia, Yogyakarta: Percetakan Taman Siswa.

Pamadi, Hajar. 2015. Dimensi Estetika Seni Ruang Publik di Yogyakarta Relevansinya Bagi Pengembangan Pendidikan Seni di Indonesia (Ringkasan Naskah Disertasi Ujian Terbuka Doktor Ilmu Filsafat UGM), Yogyakarta: Fakultas Ilmu Filsafat UGM Yogyakarta.

Karya Fotografi Kontemporer by Agung Prabowo

Karya Fotografi Kontemporer

Saya teringat dengan komentar yang bernada agak "sinis" yang keluar dari mulut seorang pengunjung saat menyaksikan karya Davy Linggar dalam sebuah pameran fotonya tahun 1999 lalu. Hal yang sama pun terjadi saat pameran fotografi karya-karya mahasiswa ISI Yogyakara di GFJA, yang bertajuk Revolution #9, yang menurut saya benar - benar sangat revolusi (sesuai dengan tajuknya) . Menurut saya kata sinis tersebut harus keluar karena ia harus menikmati karya brillian tadi ditengah pengetahuannya selama ini bahwa karya foto harus selalu indah-indah, atau kata itu harus terlontar karena ketidak biasaanya melihat karya-karya tadi ditengah karya-karya yang bisa dilihat yang selalu bernuansa indah, salonis dll. Kata sinis seharusnya tidak keluar jika kita menengok dan sadar inti dari penciptaan seni sendiri (yaitu ekspresi), maka kita akan paham dan harus mulai tidak bersikap menganak tirikan karya-karya tersebut. (Baca : Fotografi adalah seni). Dan sepanjang jalan sejarah fotografi diIndonesia belakangan ini sebelum dua pemeran yang saya sebutkan itu, telah banyak karya-karya yang mucul dengan nada-nada yang sama seperti itu, tentu kita tidak lupa dengan Arkeologi Abad Mesin karya Nico Dharmajungen yang menurut saya sangat brillian. Dan mendapat pujian diluar negeri. Jika kita ingat dan sadari apa yang kita ekspresikan melalui karya-karya kita, maka karya tersebut akan bicara tentang manusia (si penciptanya) yang sedang menyampaikan sesuatu kepada dunia melalui karyanya. Si pencipta berupaya menyimbolkan (dalam fotografi) & mentransformasikan (dalam seni rupa), tentang apa yang dirasakanya dalam dirinya (perasaan, kejiwaan,emosi dll) dan diluar dirinya (komunitas, sosial, budaya dll), yang semua itu dituangkannya kedalam media yang dipilihnya. Dan kadang apabila ia berusaha untuk menjelaskan tentang segala sesuatu yang ada diluar dirinya ia akan cenderung mengunakan kajian atau presepsi dirinya sendiri untuk mentransformasikan atau menyimbolkan hal tersebut. Subyektif. Andres Serrano The Morgue Series: Rat Poison Suicide II Courtesy Paula Cooper Gallery Hal itu saya sebut dengan proses kreatif (konseptual), bahwa pengekspresian sebuah karya pasti berasal atau melalui proses kreatif si seniman, bahwa si seniman pasti dapat melalui salah satu atau beberapa proses-poses ini, sebelum menciptakan karyanya ia akan : membanyangkan atau mengimajinasikan, kontemplasi atau perenungan, merasai, meresapi, menciptakan presepsi sendiri, memikirkan & mengkonsepkan, karya yang hendak diciptaknnya. Saat karya berbicara tentang si pencipta yang sedang mengambarkan apa yang dirasakanya atau apa yang dialaminya maka, melalui proses kreatif itu kita akan menyadari bahwa semua itu akan sangat subyektif dan relatif, karena proses kreatif itu berasal dari diri si seniman. Maka segala hal bisa ekspresikan, keindahan pun menjadi subyektif, aturan dan golden rule pun menjadi satu yang subyektif, akhirnya seni menjadi abstrak, universal dan bebas. Dan kebebasan itu akhirnya membuat belengu keteraturan, kemapanan, komposisi, golden rule dan lain sebagainya dengan sengaja diporak - porandakan (memberontak), yang akhirnya kita akan mengenal banyak sekali aliran dalam karya seni (khususnya seni rupa). Yang berasal dari pemberontakan tatanan yang sebelumnya ada. Contoh pada masa klasik di masa selanjutnya muncul realism selanjutnya impresionisme, selanjutnya ekspresionisme dan selanjutnya muncul suryalis, dadais dan lain sebagainya. Masing-masing memiliki ciri yang berbeda-beda, tapi yang satu akan mendobrak yang lain, yang baru mendobrak kemapanan. Wols (Alfred Otto Wolfgangschulze) Pada masa sekarang apa yang dimunculkan oleh karya fotografer yang saya sebut diawal adalah bentuk perkembangan seni menurut konteks masanya. Menurut saya pada konteks dasar atau awal, karya Conetemporary art (seni kontemporer) atau karya fotografi kontemporer adalah seni berusaha mendobrak tatanan dan kemapanan yang telah ada, ia memberontak aturan-aturan dan mengangapnya sebagai belengu yang membelengu kebebasan (golden rule/komposisi dll), ia berusaha memberontak dari keindahan yang oleh seniman dulu keindahan malah dipuja (padahal keindahan tidak selalu berasal dari hal yang indah tapi dari apa yang kusam dan selanjutnya dengan segaja ditampilkan indah (dihiasi), itu semua terkesan menjadi tidak jujur dan munafik). Apalagi pada era globalisasi saat ini, seniman dapat menjadi jemu dan jenuh, mungkin karena pengaruh dari dinamika dunianya, sosial atau komunitasnya, atau tekanan yang menekan dan memarjinalkan kesenimanan (khususnya seniman kontenporer), tapi memang yang paling klasih adalah ia menjadi jemu untuk mengikuti aturan dan menampilkan keindahan (yang munafik menurutnya), ia secara berani menampilkan ketidak indahan karena memang itu adanya atau sesuatu yang benar-benar tidak indah menjadi tujuan, hal ini dikatakan oleh Herbert Read (1893-1968) "Seni rupa pada akhirnya adalah penyingkapan kesadaran secara tidak senonoh...karena itu dalam seni rupa kontemporer keindahan bukan lagi tujuan", Selanjutnya apa yang secara tak sengaja/sengaja di lakukan oleh seniman kontemporer dengan menampilkan ketidak indahan, memberontak dari kebisasaan atau ketidak laziman, atau bahkan nyeleneh (aneh) dll sepertinya akan menimbulkan daya tarik atau sengaja dilakukan untuk menarik perhatiaan dari audiance atau penonton, memberikan satu kejutan, sesuatu yang lain dari pada yang lain. Karya Seni rupa V-yramid (1982), a pyramid of 40 working television sets, is an example of the work of Nam June Paik, an experimentalist in television imagery and an enthusiastic participator in musical and multimedia happenings. (Whitney Museum of American Art, New York Karya Seni rupa Non-Site (1965), by Robert Smithson Dan menurut budayawan kita Dick Hartoko dalam bukunya Manusia dan seni, penerbit Kanisius, ia mengatakan "Sifat umum yang dewasa ini sering nampak dalam kesenian dunia barat tak lain adalah tak bukan ialah usaha untuk menimbulkan efek "shock", memperlihatkan rasa fustrasi, dan kejemuan yang dirasakan oleh sang seniman dan .....sebagian masyarakat. Baik dalam seni sastra, seni drama, seni pahat, seni film , dimana-mana kita jumpai gejala-gejala serupa itu, " Shock " : menggoncang (istilah saya memberontak) yang dulu dianggap mapan dan stabil, melemparkan batu ke kaca-kaca yang melindungi harta nilai-nilai tradisional, dengan sengaja menertawakan dan mencemoohkan apa yang oleh angkatan-angkatan dulu diangap suci dan keramat, memberontak terhadap tata tertib yang dulu tak pernah diragu-ragukan serta membubuhkan tanda tanya dibelakang setiap pernyataam dam ucapan. Gejala frustasi nampak dari suasana keabu-abuan yang meliputi banyak karya seni koentemporer rupanya tak ada gairah, ditonjolkan tanpa emosi secara faktual saja". Andrea Modica "Treadwell, New York" Courtesy Julie Saul Gallery, New York Tapi dalam perkembangan selanjutnya menurut saya karya kontemporer bukan lagi bicara pemberontakan kepada keindahan (dalam seni) atau upaya untuk memberontak dari aturan baku (tatanan yang ada komposisi, golden rule dll) dalam seni, tapi memang tidak dimungkinkan unsur itu akan selalu ada. Dan selanjutnya pada perkembangan saat sekarang dan nanti karya kontemporer akan selalu menurut pada dinamika waktu, karya kontemporer itu sendiri akan berusaha terus memasukan kejemuan, frustasi, unsur sindirian, protes dan yang terpenting ia akan selalu memasukan unsur pada masa itu atau masa sekarang/masa kekinian, selanjutnya sesuai dengan masanya ia akan berusaha memasukan dan mengikuti trend atau gaya pada saat itu, teknologi (contohnya video dan Tv), bahkan berusaha memasuk-masukan unsur metropolitan / kosmopolitan yang berlaku saat itu dan yang terakhir yang saya tahu bahwa karya kontemporer mencoba kembali kepada alam dan kesederhanaan, dengan memasukan unsur alam dan etnikal. Sepertinya ada kefrustasiaan kepada moderenisme. Sedangkan karya fotografi kontenporer lebih berbicara pengunaan kamera utuh untuk secara realistis merekam konseptual pemikiran si fotografer, ia akan selalu tampil jujur apa adanya, mempertontonkan ketidak indahan, subyektifitas, keburaman (out of focus seperti karya David Amstrong), blur, kesengajaan dalam proses pencucian dan pencetakan (seperti karya Ernst Hesse), kesederhanaan subyek yang menjadi obyek rekamnnya, kadang kesimpang siuran entah itu bidang atau garis diagonal dari benda yang ditemuinya (seperti karya Nico Dharmajungen), itu semua dijadikan satu alternatif untuk menentang keteraturan dan semua itu masuk dan berdampingan dengan fotografi yang merekam keindahan (salonis) dalam dunia fotografi sejak fotografer seperti Walker Evans, Man Ray atau Stern mulai mengabadikan sesuatu yang dimasa itu disebut aneh dan di masa sekarang karya mereka dihargai sebagai karya fotografi kontemporer yang brillian. Saya lebih melihat ini semua sebagai gejala proses perkembangan karya seni sesuai dinamika yang terus berubah. Maka di era musik Alternatif, karya foto kontemporer adalah alternatifnya dunia fotografi. Jika kita pahami karya-karya itu sebagai satu ragam yang baru dan apresiasi yang baru, segar dan modern maka kita akan sadar bahwa karya-karya itu akan benar-benar dikemudian hari akan memperkaya khasanah seni fotografi di Indonesia dan pada akhirnya dapat diterima. http://apphoto.8m.com/note05.htm

Wimo Ambala Bayang :Menelisik Fotografi Kontemporer [Agung Frigidanto]

Wimo Ambala Bayang :Menelisik Fotografi Kontemporer

Desember 5, 2011 by frigifrigiwrite in Uncategorized

Sekarang fotografi sudah tidak peduli lagi pada bagaimana mengambil obyek dengan gaya tertentu, obyek tidak menjadi patokan dalam membuat foto menjadi indah. Bagaimana sudut pandang obyek harus dikuasai? Ini yang menjadi penekanan kontemporer. Ataukah cara lain memperlihatkan benda itu sebagai obyek foto. Vitalisasi obyek inilah yang membedakan dalam fotografi kontemporer. Bahwa obyek tidak begitu diperhatikan dalam pengambilan gambar. Benarkah?

Ada pengertian mendasar bagaimana memahami fotografi kontemporer dalam pameran Wimo ini. Selain itu obyektivitas melihat fotografi secara kekinian. Mungkin, bisa dilihat obyek mempunyai nilai dalam ranah fotografis, dilihat atau di foto secara apa adanya, atau melalui reka visual subyektif. Wimo mencoba meletakan pembacaan fotografis melalui benda-benda yang dihadapinya.

Wimo dan Obyek Fotografi

Melalui foto yang dipamerkan Wimo Ambala Bayang dengan judul pameran: Not So High (Heels), tempat:  D gallerie, Jalan Barito , Jakarta, pada tanggal: 27 Juli – 10 Agustus 2010. pertanyaan diatas menjadi bagian dari visual foto. Interpretasi terhadap foto merupakan bagian kontekstualisasi terhadap konsep apa yang dibawa oleh juru foto. Penekanan konsep karya dan konsep pameran menjadi sesuatu yang fragmentatif. Bagian karya, foto, bukan lagi diluar pameran tetapi menyatu dengan pameran tersebut. Sehingga apa yang diungkapkan dalam karya dengan konsep tidak ada batas.

Pada pameran ini Wimo mengungkapkan tentang bagaimana sepatu dengan tumit tinggi terlihat dari berbagai sisi, atau diberbagai tempat dimanapun berada. Seperti di atas tanah, bahkan dilumpur. Terlihat bagaimana permainan dengan benda-benda itu menjadi sesuatu yang menarik untuk dilihat lebih jauh. Karena tidak setiap saat benda itu atau sepatu high heels berada di lumpur. Layaknya permainan yang dilakukan oleh anak-anak menghadapi situasi alam. Tetapi sepatu yang digunakan Wimo untuk membuat visual fotografis lebih monumental dalam meletakan high heels tersebut. Sebab latar belakang dimana high heels ada merupakan keberadaannya.

Selain itu penutup kepala yang wujudnya seperti bulu kambing. Menutup kepala, dan seluruh rambut tertutup rapat, hingga terlihat bahwa kepala tergantikan oleh penutup mirip bulu domba tersebut. Melalui gaya pemotretan dengan latar belakang gedung dan kolam renang, serta model menggunakan baju renang, memperlihatkan keberadaan di tempat yang, mungkin, tidak semestinya. Karena bulu-bulu yang menempel dan menutup seluruh kepala seperti tidak tahan air. Tetapi kondisi model masih diatas air, sedang mempersiapkan diri diatas kolam renang.

Pameran ini memperlihatkan konteks bagaimana menggunakan benda yang subyektif dalam wilayah pemotretan. Apa yang diperlihatkan secara obyektif bukan cara memotret, tetapi apa yang dipotret. Sedangkan sudut pandang juru potret adalah subyektif, dan memberi pemaknaan bagaimana melihat benda diluar konteks setiap harinya. Inilah yang memberi pemaknaan baru terhadap benda, serta sudut pandang visual yang lebih atraktif.

Menafsir Obyek Non Permanen

Ketika kita mengunjungi pameran dan belum dibuka atau masih dalam tahap persiapan pembukaan, apa yang kita lakukan? Pertanyaan ini merupakan motif utama ketika Wimo mengerjakan proyeknya. Saat dia mengunjungi ArtStage, Singapore dan ArtHongkong tahun lalu. Wimo mencoba membuat foto-foto persiapan pembukaan, foto dengan obyek karya-karya yang hendak dipamerkan, atrau yang sedang ditata di booth, dijadikan obyek oleh Wimo Ambala Bayang.

Pada tahun 1990 Wimo Ambala Bayang mendirikan MESS56, kelompok fotografi di Jogjakarta. Karya-karya mereka yang tergabung dalam kelompok ini banyak dipamerakn di luar negeri, seperti di Australia, Jepang dan Korea. Berbagai pameran di Eropa sudah mereka jelajahi, bahkan menjadi artis in resident di berbagai negara. Fotografi kontemporer menjadi karya yang menarik, bahkan balai lelang Sothebys dan Christie’s melelang fotografi kontemporer dengan harga yang lumayan tinggi.

Melalui pameran: IsHot, dibuka pada tanggal 12 November 2011, bertempat di The Goods Dept, lantai 4, Plaza Indonesia, Jakarta. Wimo Ambala Bayang memajang karya hasil proyek pemotretan di art fair: ArtStage, Singapore dan Art Hongkong. Apa yang ada dalam pameran tersebut, terutama karya yang dipamerkan menjadi obyek utama Wimo dan dipamerakan dalam pameran kali. Berbagai karya yang ada di pameran itu menjadi obyek fotografis.

Melalui dua pameran tunggal diatas Wimo mencoba menjembatani bagaimana fotografi digunakan untuk membuat obyektivitas melihat benda dengan kenyataan dan lingkungan yang menjadi tempatnya. Atau bagaimana benda itu berada di suatu tempat dengan kondisi apa adanya. Disini pengertian fotografi kontemporer menjadi telaah yang mendasar, bukan bagaimana mengejawantahkan obyek tetapi apa yang ada secara nyata dalam obyek.(Frigidanto Agung)

THE DISPOSITION AND REPOSITION OF THE JAVANESE CULTURAL EXISTENCE IN CYBERCULTURES PRACTICE

THE DISPOSITION AND REPOSITION OF THE JAVANESE CULTURAL EXISTENCE IN CYBERCULTURES PRACTICE [1]

Moh. Rusnoto Susanto

PhD Candidate at Indonesia Institute of the Arts, Yogyakarta. Lecture at Art Education, SarjanawiyataTamansiswa of University, Yogyakarta. Email: m_rusnoto@yahoo.com

Abstract

The simulation of communication technology developments in cybernetic discourse and cybercultures praxis is very interesting to learn the material, especially in the context of Javanese culture in terms of culture, of course, glorious of civilization. This phenomenon is very impotant to given the rapid development in the next 5 to 10 years, especially in building and developing internet network.  The technological rapid increasingly changes the explosion of visual culture through a variety of fantasy and also the visualization which have dominant element in the reality of mechanical cybernetic system.

The contemporary culture is very popular, with those applications that easly and instantly, anyone can use without special skills.  The program has received wide coverage through advertising supplier of mobile technologies, the company’s mobile technologies such as PDA’s, mobile phones, Ipad compatibility mode or compatible system.  All the technology specially designed which enables internet application was so easy and always within them grasp.

Actually Java has compatible cyber aspects in a special sense, Java has a remarkable history of technological telepathy sophistication, and the transfer suggestion, even threw the origin of quantum life’s pace.  When we speak of cyberculture and the provision of the existence of the real culture centre of Java, then explore the past Java history and figures marked implicit cultural glories.  How quantum leaps by Sri Sultan Hamengku Buwono I (HB I) which change the calendar system and specially named (legi, pahing, wage, pon, and kliwon) which is different and follow the Saka year, is n ot A-D and A-H in specific disposition of the Javanese culture.

The disposition  same thing when we see the ancient painting in  caves un til the emergence of contemporary puppet (puppet condoms, puppet plastic, and puppet suket by Slamet Gundono, akapela puppet Sujiwo Tedjo, and puppet naughty by Enthus Susmono and Jaya Suprana opera puppet show with 60 dancers bring to Sydney. This is the actual fact that the phenomenon of cyberculture that imaginative people dissolve entry into a puppet story.

Enjoying mocopat, gendhing literature, pangkur and puppet; as if we re a flat-screen optical fiber into the imagianry dimension and simulation af multi-layered illusive presence brings usto the land of Alengka, Chandra Dimuka crater expense, the Mahabharata war and allows us to contemplate the character of Krishn inspiration.  Javanese cyberculture is not have surpassed the graet idea, isn’t?  So Java, sociaty and culture adapted the contextual relevance of cyberculture that emerged today.  I believe that people in Central Java and the corners of the area are almost entirely enjoys products of cyberculture, which are television, mobile phone, telephone, internet, social media (twitter and facebook) even a majority of actinve system users.

Key Word: Javanese culture, cybernetic, disposition, and cybercultures

Introduction

The cultural transformation happened in Java is not only because of the influence from Europe, but also from India, and China.  Indonesia and Java, particularly during two thousamd year in history, has become a cross culture, from the important world civilizations, met, received, processed, developed, and updated.  (Denys Lombard)

Socio-cultural transformation which is a part of historical imperatives give the effective contribution to the emergence of contuinity orientation that-move-split, for the development of several perspectives, disposition, reposition, and socio-cultural delocalization.  The delocalization causes a depraved of any spiritual format and the implementation of ethic principles and moral truth that pointed in the procces of social identity reduction and cultural values.  Then it emerges a consciousness that needs reposition and redefinition procces of our culture.

However, the problem is the elements of cultural cotruction have to put back local culture aspect, as a pattern to estimate any consciousness.  This consciousness sharpens the orientation of human natural tendency as the actor of change.  If we talk about disposition or reposition, it may pay attention implicity to the aspect of identity terminology, enter to certain enxiently, and tend to act defensively in the position of national identity (local genius) and the global (cybercultures).

Observing the development of communication technology, practice in the cyberculture discourse and praxis cyberneticis very intersting to research studies, particularly in the context of Javanese cultural terms of civilization (Budaya Adiluhung).  It is possible just in term of cultural change.  This phenomenon is very important considering its development is very rapidly over the past 5-10 years, especially in building and developing the internet network.  The fact, Java has an adherence on cyber aspect in a special sense; it also has a remarkable history of technological sophisticationsuch as telepathy, trasfer sugestion, even to make quantum-paced life well known.  When we talk about cyberculture and disposition of the Javanese cultural existance, we record the history of Java figure and mark the glorious of Javanese cultural implicity.  How Sri Sultan Hamengku Buwono I created a quantum by changing the system of time (calender system) by naming the day ‘weton’ especially (legi, pahing, wage, pon, and kliwon follow the Saka year compelety different with Masehi and Hijriyah year) it was specially for Java.  This diposition is similar to when we look at ancient paintings in caves until the appearance of contemporary Wayang (wayang condoms, wayang plastic, wayang suket of Slamet Gundono, wayang akapela of Sujiwo Tedjo and naughty wayang of Enthus Susmono) and opera wayang show of Jaya Suprana with 60 dancers in Sydney.

The development of technology increase rapidly emerged an explosion of visual culture trough any fantasy and visualization that b eing a dominant element in mechanic reality of cybernetic system.  Temporary cultural trend with many innovative application program which is so easy and instant, can be used whoever without special skill.  That program is published broadly trough advertising by technology mobile provider, the company of celluler technology such as PDA, iPAD,  Iphone, Blackberry or comptible handphone system.  All are designed specifially possible to internet application easily and always in hand of Javanese people today in every their activity.

This is the actual fact that the phenomenon of cyberculture which imaginatvely people brought ‘katrsis’ into the stories of wayang. While enjoying mocopat, literature of gendhing, pangkur, and wayang, as if we are at the center of flat screen from the fiber optic of computer flat screen enter to the imaginary dimension and simulation multi-layered brought into the our illusive existence in Alengka Land, crater of Chandra Dimuka, Mahabharata war, and possible to allow us reflect a character of Krishna.  Is not Javanese culture has been beyond the great idea of cybercultures?  So, Java society and culture has a contextual interrelation is so adaptable to the emerging of cyberculture today.  I am sure that the Javanese in the city or in the rural area is almost entirely enjoy cyberculture products such as; television, mobile phone, telephone, internet, email, tweeter, friendster, badoo, twoo, and facebook, even they are a majority ofactive system users.

1.    The Disposition and Repostion of the Existence: the Acculturation and Chance of Javanese Cultual Change

To keep the thoughts and views of cultural changes and developments in general, till to the cultural orientation specially ‘Javanese culture’ reminds us, of course, of the procces of enculturation appearance of post-Second Vatican Council that purifies the Jessus.  It was interpreted in different perspective and meaning, by signing into local culture and make themas media of evangelism which is then called by enculturation.[2]  This procces is considered very effective and sporadic to an enrichment interpretation course in cultural approach as did by the ‘Wali Songo’ in the Java.  Indonesian culture especially that developed in Java is the cultural fact that acculturated by Church and dominated the implementation of Eucharist celebration in Java’s tradition.  This eucharis celebration enters the traditions of Java without omitting the first purpose of eucharis celebration.  In other word, the chrurch uses the enculturation formally as a way to evangelism.  In Ensiklik Rdemptoris Misio (about the Bible), Paus Yohanes Paulus II, states that through enculturation, Church creates bible in the form of different culture and at once bring the whole nation into its culture or Church federation.

The practice of syncreatism as only mixed various ideology or cultures without there is something obvious, while the enculturation using cultures or ideology-ideology as evangelization procces.  Syncretism in ancient India happened merger various origin beliefs and immigrants, then in the Green-Roman at the time of Hellenism, and in Chinese (Taoism, Buddhism-Mahayana-Confusianism) be asimple landscape that activity lasted for centuries with  extraordinary magnificence perfect.  Such a procces is happening in Indonesia such as animism, Hinduism, and Buddhism mixed in Javanese culture before Islam arrived in Indonesia.  The presence of Hindu-Buddhist culture in Indonesia has caused the emergence of acculturation.  Hindu-Buddhist culture which is in Indonesia does not take for granded but through proccesing and adjustment with the living conditions of Indonesia society without losing the original elements.  This is because the people of Indonesia especially Java already has the basics of high culture so that the entry of foreign culture into Indonesia increased treasury Indonesian culture.  Another thing is the special ability of Indonesia or local genius is the basic ability to receive foreign culture elements and proccesing eleement in accordance with the personality ‘aspect of the locality’ of Indonesia.

The influence of Hinduism’s culture is only a complement of the existing culture in Indonesia.  The merger of Hindu-Buddist culture emerged the acculturation that has been preserved until now.  The acculturation is the result of proccesing foreign cultures in accordance with Indonesia culture.  Muh. Rifqi Fauzy on his personal blog that posted on Wednesday, August 5, 2009 about the ‘Culture Acculturation Hindu-Buddhist-Islam in Indonesia’, in personal blog http://riefqie-yupss.blogspot.com/... /akulturasi-budaya-hindu-budha-islam-di.html, states in detail finding the acculturation in the form of:

1)        Social, after Hindu was in Indonesia there is a change in the social order of Indonesia.  This recognized  in the structure of society on caste in Indonesia.

2)        Economy, in economy is not so great the infuence into Indonesian society.  This is because the societyhas been familiar with shipping and trade long before the Hindu-Buddhist influence in Indonesia.

3)        Government System, before Hindu-Buddhist in Indonesia, the system of government by chieftain was chosen becauseit has certain ability compared to other group members.  When the influence of Hindu-Buddhist, the kingdom was control the society, led by a king who ruled for generations.  King is considered as a son of gods who have power, respected, and revered.

4)        Education, the Hindu-Buddist also effect the lives of the people of Indonesia in the field of education.  Indonesian people are not familiar with writing before.  But after the Hindu-Buddhist was in Indonesia, some communities in Indonesia began to recognize the culture of reading and writing.  The proof of the influence of education in Indonesia is the use of Sanksekerta and latter of Pallawa in the lives of some communities in Indonesia.  Language is primarily used among the clergy and nobility of the Kingdom.  It is also recognized Kawi as a language, the language of ancient Javanese and Balinese which is derived from Sanksekerta.

Other proves appear on the hight works of literature that that is interpretation of the tales of Hindu-Buddha (Empu Sedah and Panuluh; Bharatayudha, Empu Kanwa; Arjuna Wiwaha, Empu Dharmaja; Smaradhana, Empu Prapanca; Negarakertagama, and Empu Tantular; Sutasoma).  The influences of Hindu-Buddha also appear on the development of ethic doctrine base on the Hindu-Buddha doctrines.  The doctrines taech the affection or charity, peaced, and respectable between others.  It is known and dome by some people of Indonesia. In the begining the priests come to Indonesia to teach the education and learning about Hindu.  It caused the trade relationship  in Indonesia. Then the priests bulid the educstion center that cslled by prasmanan. In this place, the people get the education.  Because of this, there are some figures of Hindu that have many ability and high education of religion created a works and try to spread the doctrines to other place.  To get more deep understanding of the religion doctine, there are many people come to the origin place Hindu.  Then, they came back to Indonesia and teach using own language in order receivable by the people of Indonesia.   While in Buddha, we know the great master and their works such as Sriwijaya; Dharmakirti, Sakyakirti; Dharmapala.  Even, the king of Balaputra Dewa builds the education center for student before studying in Benggala (India).   

5)        Beliefs, before the influence of the Hindu-Buddhist in Indonesia, the Indonesian people know and belief to the ancertor spirits (animism and dynamism).  The arrival of Hindu-Buddhist religions encourages people of Indonesia from the Hindu-Buddhist religion, althought not abandon the original belief such  as the worship of ancestral spirits and gods of natural. There has been a kind syncretism such as the emergence of animism, dynamism, totemic in the Hindu-Buddhist for example in East Java, Tandrayan which is practised by Kertanegara from Singosari as the incarnation of Shiva. The belief in ancestral spirits still embodied in rituals og death such as 3 days, 7 days, 40 days, 100 days, 1 year, 2 years and 1000 days of ritual meal, and there are still many things that are done by Java community.

6)        Art and Culture, the influences of Indian art on Indonesian is clearly visible in the fields of arts building (Architecture), it is observable on the building of the temple as a from of a mixture of original art of Indonesian and the Hindu-Buddhist art. The temple is an embodiment of acculturation of Indonesia and India. The temple is the result of megalithic era building that is the building has stairs which is the influence of Hindu Buddhist. The fine art appears on sculpture and relief.

Literary art and letter, in the first period,in the middle of Java.  The influence of Hindu literature is so strong enough.  Then, in the middle period Indonesia began interpreted the work of India such as Bharatayudha that is the tale of Mahabharata by Mpu Sedah and Mpu Panuluh.  The content is about the war since 18 year between Pandawa against Kurawa.  the expert state that the real content is the power affairs of the Kediri kings family. The epigraphs were written by Sansekerta language and Pallawa letter.  The language of Sansekerta is much used on ancient book of India. The acculturation of Sansekerta language and the Javanese language created an ancient Javanese language by Pallawa letter modified appropriate with understanding and the taste of Javanese people, then become the ancient Javanese letter and ancient Bali.  Then, it becomes the Javanese letter and Bali letter now.  In the Sriwijaya kingdom, the letter of Pallawa develop becoming Nagari letter.

7)        Techonology, actually, the Indonesian people already have enough a high culture before Hindu-Buddhist religion came. The Hindu-Buddhist culture influence is more and more make the Indonesian culture more extendable and enhances the technology that has been previoushy owned by the Indonesian. The influence is seen on the development of Indonesian society technology in the field of maritime, contruction and agriculture. In the field of agriculture, it appears to the good management of irrigation systems were introduced and developed when Hindu-Buddhist was in Indonesia, and on temple relief depicting irrigation technology at the age of Majapahit.

8)        Calendar System, adopted from the calendar system of India. This can been in the Saka year in Indonesia. The Saka calendar is the year that began in 78M ( the of the Sun, Samsiah years) at the time of King Kanishka I was crowned, the number of day in 1 year is 365 days. But on the other hand, the Balinese is not based Saka on the system Surya Pramana but on the system Chandra Pramana ( the Moon yeas, Qamariyah year) 1year is 354 days. Summer falls on the same day in March where the sun, the earth, the moon is in a straight line. The day is celebrated as the great day of Nyepi.  The Candrasangkala or  Kronogram is in order to commemorate the event with a year or calendar of Saka. Candarasangkala is the number of letters in the form of sentence structure or word description; if it must be interpreted in the form of the sentence. The Islamic sculpture is called calligraphy, which can be caeved in wood. For example, callygraphy and carvings on the front wall of the Mantingan mosque in Jepara, and in the Cirebon mosque by tigershaped sculpture that called Arabesk.

9)        Literature, it appears at works of literature in the Malaka and Java. Literary works develop (a) Suluk, literary works which contain the teaching of Sufism: Suluk Sukrasa, Suluk Wujil. (b) The Tale, the fairy tale or legend that hadexisted before Islam: the Hikayat Amir Hamzah and Hikayat Panji Semirang. (c) Chronicle, the story that sometimes includes a royal lineage of the kings Islam (chronicle of Java, chronicle of Cirebon, and chronicle of Ranggalawe).

10)    Government System used the rules of Islam in the government of the Islamic kingdoms in Indonesia.  It is proofed by the King of Islam Mataram was originaly titled Sunan or Susuhunan, meaning respected.  Raja will be given the title Sultan if it has been appointed with the approval of caliphs who ruled in the Middle East.  There is another title that is Panembahan or Maulana.

11)    Social, here it has become a popular democratic system.  It does not recognize the case system, does not know the difference group in society.

12)    Philosophy, after the birth of Islam, philosophy developed science that serves to support Islamic region.  In the 8 th century, was born the basics Science of Qalam ‘Theology’ and Mysticism theology ‘Tasawuf Qalam’, is the principal teachings ofIslam about the the oneness of God, Theology or Science of Tauhid.  The origin of Sufism is since the birth of God’s search for love and longing in God.  Sufism developed into the religious sect of belief.

Acculturation appears when urban population increase in a certain region.  Java geographically potential to be urban growth places that carry out the habitus and their local cultural background. Java community in particular whill have a culture that is referred and inherited by generations in order to change, develop, and enrich in every aspect.  When urbanization occurs on a large-scale community group (other professions), leaving the regions to the central switch as well as with the current culture crisscrossed, build a new cultural groups adapt the local aspect and adopt the global content, including cultural aspects of cybercultures.

This procces begins with the daily intensity of systemic community feel that the activities of the cybernetic world have the important role to build the culture with the imagery of modernity, then there are mixing, crossbreeding, displacement, and disposition of moves that allow the creation of a new culture.  After becoming an inevitable trend, how persistent Java community with various social strata and economy shifting their perspectives of life to ab sorb  telecommunications systems, information, business activity, self-image through a virtual world to the stage of the comfort transactional system addicted.

In that context, the sporadic ‘change’ transfer procces has to exchange the culture (cultural share), crosses, and mixed culture is always intersting to be seen related with the shift of individual models and society at large that appear in the big cities of Java as a results of modernity projection through the touch of culture (cultural encounters).  The communication tended to construct intensity of cultural contacts is so significant. If the basic assumption is the communication as a basic material of cultural process, the products of cyber-cultures make possibilities to extend the process of culture itself universally and have power to mobilize the cultures of Java on a single dispostion chance or consciousness to repositioning.  These opportunities should be based on cultural awareness  to cultural repositioning of in an Java integral position. As stated by Sarwono that the consept should  be in Javanese culture (exactly art) and tradition in the local community is by making the cultural resitioning in the era of globalization, because this era of globalization makes an interaction and cultural exchange and influence to its elements. (Sarwono, Reposisi Kreasi Budaya dalam Penggugatan Masyarakat Lokal, sarwono.staff.uns.ac.id/.../reposisi- kreasi-budaya-dalam-masyarakat-lokal)

The position of strong culture tradition will make use of the interaction in order to defend the identity, but the weak culture tradition trends to change, trnsformed and even broken in the globalization era.  Among the strenghth, the culture tradition, include the art tradition are in inside of the strenght. So, the culture tradition ‘exactly the art’ has to reposition the culture; looking for strategic alternative in constellation of time.  Thus, the culture tradition ‘exactly the art’ considered as a static culture, indignation must have a new position in the globalizartion era through the critical consciousness.  It aims to make the culture can develop based on its paradigm, and strenghthen the system and principle based on local in order offer to global.  This reposition context is considered as the most important thing as the way to reposition the culture, until it can develop the interesting and belonging of the local people that inherited cutural tradition, including art. The phenomena associated with cross-cultural communication happened between urban society and local communities in their daily lives. In the activities of community life, we cannot break away from cultural activities.

2.    Cyber-cultures: Facebook is world Identity and Fascism in Java’s Contemporary Lifestyle

The most exciting thing today for world community, including most of the Java community is to enjoy the convenience of communication technology facilities and cybernetic simulation, twitter and  facebook. Actually, what does make the contemporary world community interested and comfortable with facebook?  What happened with facebook or other social networking, twitter, friendster, or blogging, till they want to spent their time and money to do it?  Why the social networkings as facebook begin becoming basic need for social relationship and even defeat the physical contact directly?  One can build new worlds nd social networking system, and make the population user growth rapidhy. If you already on account of social networking such as facebook, so someone can get involved for hours just to browse the information, meet old friend and a virtual adyssey to find new relationships for interction through cyberspace.

Since 2004-2010^th is a very short time, from the emergence of facebook, and led the virtual world of friendship.  Mark Zuckerberg designer of this site, in 2004, intended as a medium to know each other for the student of Harvard University.  It just took two weeks, almost all students at Harvard University have facebook accound, and within four months, 30 campuses in the United States have been registered in this network.  Facebook started to interest some supervisors service, including friendster, and some investors.  September 2005, the facebook is open to public.  In January 2010, the facebook users in the world reached 350 million people, including active facebook users in Indonesia ranks in the second place, followed by the Philippines.

The high activity of urban society in big cities trends to fulfill the will to do the whole work more quickly and efficiently.  Then this is very likely to use the facilities of communication technology, information and digital with high population and growth very rapidhly. The use of virtual space facilities seem to be able to change the characterstics of urban society with contemporary culture in the digitalizing system.  From the data found in th field, some active users or facebookers in Indonesia creating an accound on facebook aims for promotion and information (blogs, business, and service), trends and lifestyles (networking or socializing), sensation, and controversial maker.  (Deni S. Jusmani, Facebook dan Kuasa Fasisme: Merenung Dalam Kuasa Hidup yang Palsu, upload on Thursday, September 28, 2010 at www.indonesiaartnews.or.id/artikeldetil.php?id=68)

In Indonesia, especially in Java, have shown the changes in the system (social system, system of governance and cultural system), in the context of instruments use of cybernetic sporadically.  The application of mechanical cybernetic networking system bring other social changes that give a significant influence on social change, changes in the economic system with an indication of the changing life style (the style of communicating, shopping style, style of business transactions, learning style with cyberspace facilities and cyber sex style).  All instruments that establish working system of social networks which facilited by cybernetic system.  This phenomenon activities a cultural change and shift vision gradually that arrange them selves to form a new dimension and vision.  As started by my anthropologist fiend from Germany, Anton Larenz that New York Times published  an article about weathering Capsule Tower, an apartment for single people in Tokyo.(Lorenz, 2009: xx). The New York Times published the article about Capsule Tower, an apartment building for unmarried people in Tokyo.  Every Capsule in Capsule Tower that build in 1972^th is full of modern facilities like television, tape recorder, and refrigerator.  These building are the example of Javanese Metabolistm, a movement and trend architecture involved in resurgence of Japan after war.  Their urban vison adhered to their culture after the war.  The city built and designed by float system as sign of the people that are in the transition procces of change. At the same time, the structure of Japanese people clearly showed on shift of traditional family structure and the expansion of the national worker.  This phenomenon makes the world inteerseted and expected by the architect.  Today. There is idea to build the architecture museum for the past.  Here, the influence of cyberspace and virtual space idealization are in the soul of the people of the world recently.  

Related with its growth and development that are increasingly beyond the earth’s population is almost all aspects have been taken over, though not entirely by the allure of this simulation of technology.  However, the next are able to disqualify all aspects of the world virtual information systems, and led to the formation of a new culture that is multicultural accumulation in the form cybercultures which is a response from the changes and shifts in the virtual world (virtual displacement and virtual replacement).  Then, it will give a significant effect of cultural change relations that marked by a factual phenomenon today which is constructed the people lifestyle.

According to Giddens, the development of life style and the change of structural modernity associated each other trough the intitutional reflectivity; due to the opened of social life in the present, plural contextual acting, and different outhority, the life style option more be important in identity aspect and daily activity.  He also reminded that the ideaof life style had been corrupted by consumerism, although the market, primarily, when has been an ideological theme in the politic of neoliberal, seem offering the freedom to chose, it means to promote the individualism. Giddens also state that self comodification through narration genre of media, while marketing strategic determine the style to investment cost of personal meaning. (1) To explain the idea of Giddens, related with the lifestyle in Indonesia, we have to open our mind, in order does not clash with the paradigm of east and west context. Of course, we have to understand the idea of Giddens as effort to minimizing the style and life style of non-narative people that develop in this country.  At The New Oxford Thesaurusof English explain about the style understanding. (Giddens, 1973).   (2) Fashion, style, mode: these are all about the fashion (fashion, style, and mode), but actually they were one union.  If we talk about the fashion, of course we talk about the style and something like mode.  Here, it called by way. (Giddens, 1981). (3) Style called as design of mode and style. (Giddens, 2007).(4) Mode (5) be said as vogue, current/latest style, look, trend, latest thing, latest taste; craze, rage, fad, general tendency, convention, custom, and practice. (Giddens, 2004). (6) Roland Barthes, understand this mode as an autonomy object, by the own structure, and new form; other function subtituted or added to the social functions are the analog of what found in literature and can be concluded by saying through the language in fashion style, it will lead to the mode aspect, design, ornamentation, and material that involved the creator expression, with different communication. (Giddens, 2004).  (7) Stylist can be called as acting stained or constrained. (Giddens, 1990).

Therefore, it was unabe to control, even it turned us precisely controlled existence.  In the context of posmodern society, urbanization does means the movement of people into the city in real space, but evolved in the direction of urbanization that is  virtual human displacement on a large scale into the center of ‘cyberspace’ digital city.

The world of facebook is in the shadow of fascism.  Fasism is also contains an ideology of distrust in the ability of the reason.  This ideology will ignore all forms of discussion, bargaining, and kill the values of deliberation to reach consensus.  Remember, facebook was created firstly by Mark Zuckerberg aims to the introduction, to facilitate the students to know each other and familiar.  Not, all information in facebook is correct, even in certain condition, facebook tell the lies, curses and obscentities, and lives in fascism.

Melville J. Herskovits and Bronislaw Malinowski points out, that everything in the society is determined by culture which the community itself owns.  So, where are the lies of the facebook and a culture of fascism in Indonesia? To discuss the culture of fascism, which also was pointed facebook culture, while the opposition is the culture that developed in Indonesia (hard to tell as the indigenous cultures of Indonesia), then we have to distinguish the characterics of both.  If facebook is in the realm of culture, then it becomes the work, taste, and the coppyright of community.  Especially when refering to the Tylor idea, the fascism is more invisible to be discussed. (Steven Best and Dauglas Kellner, 1997: 38)  

However, if we agree with the idea of Malinowski, the facebook culture does not belong to the Indonesian nation obviously.  The values of facebook trend to create a generation and group that have a high idealism, and very individualistic.

3.    The Contextual Realation of Javanese Culture and Cybercultures Practices

Before describing the relation of Javanese culture and cybercultures practics, at least coniders such as Umar Kayam that stated, “Culture is basically a dialectic process between the systems in a society where human beings as members of society will always be involved in the process of developing culture”.  Then, Dr. Radjiman state, “If the natives fully and forcibly separated from her past, so which will be formed is a man wiyhout roots, no class, and get lost between two civilization”.  Dr. Radjiman statement in the cultural congress, he give 7 reasons; (1) Ancient Javanese culture based on region sociology, (2) This foundation found in the soul of Javanese people although no people understand it, (3) An ancient Javanese culture is needed to support the social consciousness (character forming), (4) A new influence is so important and needed to associate internationally to study and learn much about knowledge, (5) The education has to appropriate with the educated ethic teaching and esthetic value, and pay attention to basic of nation tradition, (6) The practice and usage of javanese language, art, and culture, and history have to be the important point in eduaction, (7) The opportunity to learn and study about Ducth language has to keep opened in order to be useful to the international relationship.

Indonesia in the future obtained the personality primarily from the origin culture and also obtained as a modern human personality, especially of the nation culture.  Prof. Dr. Timbul Haryono in fullpaper of seminary, Kebudayaan Nusantara Di Tengah Peradaban Dunia states; changes in the national infra-scale covers the urban area, communities, families and individuals, and interactions between all levels and unit.  The change in the supra-nation scale included the region, ocean, and hemisphere, national group; and etho-racial, and global interaction with the whole elements.  It includes the union of thousand ethnic groups, linguistic and belief in one independent nation, and the adaptation of the different ethnics and place.  The progressive culture development is also along with the regression. 

The rise of population radiply that is  not with the education development and economy, it possible to rural exoduses which are not equivalent with the urban adaption.  The transmigration (the leaded internal migration) does not attention to anthropology aspect of the ethnography and settlement; economic anthropology less attention because of it follows tourism aspect.  The stability and secularuty is just for the nation not for human.  The art develop become a touristic art and commercial.  The life style wave, mode of fashion and the food are always from the west (especially from America).  The tradition, taboo become insignificant matter, and sexology exploitation is always often found for commercial purposes.  The culture exchange is not symmetric and tends to individualistic hedonism. Arise of sporadic globalization has changed the way of our society in culture.  Slowly but surely, the local culture began to erode foreign culture hegemony.  The culture of western countries which adopts capitalism is not only changing the exiting of social order, but also it affects behavior, life style and mindset of our society.  This culture develops consumerism and hedonism culture at all levels of society, men and women.  Thus, a local culture as identity and heritage of our ancestors increasingly faded, even disappear.

The culture was familiar with the term of popular culture (pop culture). Initially, the characteristic on popular culture is mass, commercial, open, born of the people, and of course like the people.  So the pop culture categorized as cultural people (folk culture) or low culture.  The mass culture or pop culture is often called popular culture has developed since the 1920 decade upward.it affects is extraordinarily to the society through television, newspapera, magazinea, radio, internet, and others.  Through mass media, public can see, and consume the information from all over the world and breaking down the barriers of all parts of the world.

Imitate and consumerism culture is more developed, making a local cultural values in creasingly eroded even threatened with extinction.  Television is a product of popular culture whose influence is very large in the community,  through television, our society began to imitate a variety of thing: speaking style, the fashion style, life style, and mindset.  The impact occurs social changes in society and the essence of local cultural values disappear.  Capitalism is a mastery of the production by the owners of capital, and produced as closely as possible to gain maximum profit.  Uncosciously, the consumerism and hedonism culture developed in Indonesia.  The decade of the 929s and 1930s is an important turning point in the review and evaluation of popular culture starting from the emergence of cinema and radio mass production and consumption of culture. The rise of fascism and the maturity of liberal democracy in a number of western countries all are take a role and bring the debate over mass culture. (Strinati, 2003: 4).

Beside, the social change is prodeced by industrial progress.  The introduction of industrial people and the shift of modern life style become parts of work time and vocation culture.  They are in the form of music, dance, theater, style, social ritual, and other form traditionally.  This culture is considered as a high culture or adiluhung and has a high standard (taste, quaity, and esthetic).  For example, low culture such as dangdut, and a high culture such as clasical music, it caused the audience of dangdut are the low level of social class, while the classical music are elite class.  Therefore, the mass culture understandable as a commercial culture prodused massively.  The pupose is just the profit.  Then, pop culture is fused between a low and high culture.

Finally, mas culture or pop culture is understood as aculture that reduces the level of public taste and lower the quality of civilization.  By its more sophisticated form, more subtle, and more enjoyable, succed to ensnare the potential market.  How pop culture is so strong gripping our mass media, especially television media is talent search contest in the field of music or movies.  Indonesian Idol and AFI adopted from the reality show of the abroad.  AFI adopted from Mexico, while the Indonesian Idol adopted  from Pop Idol which aired in the UK.  Pop Idol was only adopted by Indonesia with Indonesian Idol title, but also by other countries like in America with the title of American Idol, Australia with the title of Australian Idol.  The winner from each country competed in the World Idol.  The form of uniformity or globalization itself will bear a new culture popularly known as neo-globalism in which a region adopted the culture of other regions and forming a new culture of the old cultural acculturation.  The Asian pop culture forms youth lifestyle that is almost the same in various countries in Asia.  Now we can see almost no difference in the way artist’s fashion of Taiwan, China, Korea, and Japan.  We can also see almost no differense in the way of designingthe soap opera in Asia.  This shows indirectly the cultural homogenization process in which the uniform itself is a characteristic of globalization.

4.    Epilogue

Of course,  I am not talking about enculturation, acculturation and syncrentism in this paper focus further, extensive and detailed. However, it is as a first point how exactly the cultural positioning of java on a variety of changes in the current  view of postmodernism when put your position, disposition and reposition of javanese culture in the context of the representation of the cyberculture phenomenon existence. However, culture changes and development is an absolute think took plece in almost all cultures inthe earth. The problem is how to remap the local aspects in  local genius prespective can provide control over the global cultural that today is as an integral part of most people of Indonesia especially in Java.

This is reinforced by Prof. Dr. Timbul Haryono statement that the increase of population is not accompanied by education and aconomic growth that resulted rural exodus not equivalent with urban adaptation.  Java with a high population anf progressive has potensial user ot the cybernetic (TV, phone, PDA, IPhone, Ipod, email, twitter, freindster, facebook and others).  The graphics of user’r cybernetic product ranked highest in Indonesia, including users of social networking  facebook as  communication network friendship motifs with on old friend for romance or hartcore with certain motives to build a business network.  This pattern is slowly but surely  showing  the disposition of Javanese culture in the context of the existence and humanistic awareness among users, soan, and  sungkeman tradition with parents when Idhul Fitri immediately repiaced with cybernetic facility. The fact is that user of this facility endemic to all levels of society and beyond to all ages and social strata from the city to the corner of the village until to the extent satellite from the provider.  The World is now in the hand.  The activity of life is spent for a cycle job that runs with high acceleration  that potentially trapped for the humankind in the rhythm of acceleration as well as narrowing the space and time for journey of human life that is in spiritual meaning.  The achievement of top acceleration on the one hand increased levels of efficiency, effectiveness and comfort.  On the other hand is narrowing the level of spiritual attainment which his a direct impact on the metropolitan community to share space and time  for small talk, greeting, and interact socially.  In this situation, the concept of persence in reality would be a problem because of the declining awareness on the quality of social interaction  and loss of tolerance humanity.

Simulation technology build on an ongoing basis as well as legitimizing inevitability of the pattern of reality presentations in cybernetic space representation of a virtual-reality-which is able in change the social and mental construction of contemporary society. By a variety  of exploration that dominated by stimulation technology role, the phenomenon of virtual worlds, cyberspace, virtual space, and virtual reality move on the Cybercultures construction. Metcalft’s in Barbara M. Kennedy (2000: 20) to share her thoughts about the Cybercultures; Cyberculture is replete with this ontology: a continual exploration of new identities, new subjectivities, their merging with machines, bodies, and technological, within the Greater machine of technological, cultural, and aesthetic evolution. Metcalf’s argument suggest that neither modernism nor postodernism can account for that dynamic force of creative potential which is emblematic of cybercultural experience.  Of course very inspring what confirmed by Barbara M. Kennedy that cybercultures as a continuous and ongoing exploration of new identities, new subjectivities, and its intergration with the engine, body, and technology within the framework of the greater technological, cultural, and aesthetic evolution. The accuracy and clarity of his perspective make the building aspects of cyberculture is very important and integral part in a variety of positioning. It is increasingly strengthen that culture developed from multi-disciplinary clusters that have the breadth of perspective. It also happened with the interreatio with contemporary cultural text that is contextually such as cyberspace.

David Bell (2000: 3) note that, An Importent component of the cultural approach to cyberspace is to find it in our imaginations, to read its symbolic forms and meanings, to cross-reference to the ways in which if is represented.  David, imaginatively, reinforce it with a view that the critical components in cyberspace a culture approach is to immediately find it in the space of our imagination, then using it to read the meaning and symbolic forms and the associate with each other in a way which is cyberspace represented. The strategic position of cyberspace culture is in response and developing  the imagination  aspect of someone in understanding and perceiving messages and impressive information. This imaginative aspect finds its space in interacting and constructing.

What we find in cyberspace is the result of this complex interplay, which work at the level of subjectivity to produce something akin to Gibson’s consensual hallucination; for if we ask the question ‘Where are we when we are in cyberspace?, we have to move beyond the simpleanswer that, physically, we are seated in front of a monitor, our fingers at work on the keyboard. With chapter 30, (Lupton, 1997: 101).  Wee are there, to be sure, but we’re simultaneously making ourselves over as data, as bits and bytes, as code, relocating ourselves in the space behind the screen, between screens, everywhere and nowhere.

The cyber-cultures and their products  bring us to discuss about the culture of fascism, which also was pointed, the facebook culture, while the opposition is the culture that developed in Indonesia, especially Java culture and we must differentiate the characteristic of both. When facebook have already existed in the realm of culture, it becomes part of community cultural facilities, if referring to the opinion of Tylor, the fascism is more invisible to discuss. However, if we look at the views of Malinowski, the facebook culture does not belong to the Indonesia obviously. Ideologically, facebook has an aspect value of not believing in  the ability of reason, no degree  of human, behavior is based on  violence, lies. Government elites, totalitarianism, racism  andimperialism. Other values are in  contradiction  with the basic of social thought of the people and communities in  Indonesia where the physical existense, psycholigical relationships, work together, of course facebook is flexible in  this perspective because it is only as a means to build social networking apparent. Facebook values tend to produce generation of and groups with a high idealism, as well as highly individualist characteristics.

Facebook, indirectly prove the power of dehumanization, the dominance of technology rather than the man himselt. Fascism is characterized by the denial of the degree of humanity, at once showed a tendency of weakening the hierarchical social souls. A contemporary society tends to integrate with these social networking systems. The denial of this degree of humanity, referring to the specificity of human values, inequality and the diversity led to the emergence of idealism of life. Ideologically, facebook and othre social networking site system will generalize the user, as a whole society that has high ideals of life which affect the formation of certain communities to build new individual worlds which erodes the most substantial humanistic value. The crisis is not impossible to create a high regional egocentric, racict, and inheritor to the values of imperialism. Here, the Javanese culture needs to determine  the strategic of reposition of cultural approach and the specific formulas that can revitalize the culture of Java n the related contexts. The applicative and integrative local aspects in the proportional discourse and practice of cybercultures that play attention to the local culture could ultimately lead to the disorientation, disposition, or dislocation of culture itself. Conversely, with cultural awareness and respect of cultural heritage, doctrines ethics, morals, work ethis and philosophy-of repositioning the Javanese culture as one important aspect in the contruction of national culture. Thus. The position of Javanese culture has a strong bargaining value of cyber culture that produced by the elevation and up to date of the digitalization era, although the community to absorb it in deeply, but the characteristic and humanistic spiritual values as the typical of Javanese culture still exist.

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Deni S. Jusmani. Facebook dan Kuasa Fasisme: Merenung Dalam Kuasa Hidup yang Palsu, upload on Thursday, September 28, 2010-09:43,www.indonesiaartnews.or.id /artikeldetil.php?id=68

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Moh. Rusnoto Susanto, S.Pd, M.Sn

Born in Tegal, Indonesia on 30 September1972. 2010 Doctoral Candidate Graduate Program ISI Yogyakarta. 2007 Master of Arts in the Graduate Program Creation ISI Yogyakarta, (cum laude in 2009). 1992 Studies in Art Education Teachers' Training Institute Jakarta (UNJ), graduating in 1997. Has taught at Art Pogram in Jakarta State University, UNJ (2006-2007) then since 2010, teaching at the University of Fine Arts Sarjanawiyata Tamansiswa Yogyakarta. Besides being active in the world of college he was active as a painter, independent curator, and author of the study of art. Active in art exhibitions since 1993-is now a solo exhibition by 8 times and 54 times the exhibit together at home and abroad. Now settled in the village Jetis No.. 999 Rt. 03 Tamantirto, Poor Bantul, Yogyakarta, Indonesia. Phone no. 081586185965 - Email: m_rusnoto@yahoo.com

Curatorial Activities. Curatorial activities engaged since 2005 and now has published 48 manuscripts in several curatorial important galleries and museums both at home and abroad including: Indonesian National Gallery, National Museum of Indonesia, Jogja National Museum, Taman Ismail Marzuki, Jakarta, Chandan Gallery Damansara, Malaysia, Vietnam Art Museum, Hanoi-Vietnam, Bentara Budaya Yogyakarta, Taman Budaya Yogyakarta, Sangkring Art Space, Langgeng Art Space, Tujuh Bintang Art Space Yogyakarta, Tembi Contemporary, Galeri Biasa Yogyakarta, and AJBS gallery Surabaya.

Research and Seminar Activities. 2012 Research of Residency Artist at Muzium & Galerry Tuanku Fauziah USM, Universiti Sains Malaysia. Panelists 'Art Sembang Malay' in Fakulty Fine Arts, Universiti Sains Malaysia. Panelists 'Artist Talk # 1' in Fakulty and Reka Art Form, Universiti Teknologi Mara, UiTM Perak, Malaysia. Panelists 'Artist Talk # 2' in Fakulty Visual Arts, Universiti Pendidikan Sultan Idris, Tanjong Malim Perak UPSI, Malaysia. Panelists 'Artist Talk # 3' in the Gardens Art & Galerry Muzium USM Tuanku Fauziah, Universiti Sains Malaysia. 2011 INTERNATIONAL SEMINARY Panelists 'Exploring Noble Values ​​of Local Wisdom and Prime Javanese Culture to Strengthen the Nation Identity' at The Institute Javanology of Sebelas Maret Univerity-UNS Surakarta. Panelist Indonesian Art Teacher Award for 2010, 'Multiculturalism CONSTRUCTION: Existence and Cultural Revitalization Image Art Educators' at PPPPTK art gallery in Yogyakarta. 2010 Panelist at the National Seminar on 'Considers Return Multiculturalism in Education Arts and Crafts' in UNY, Yogyakarta. Panelists 'Multicultural Perspectives and Empowerment of Local Content in Arts Education' in Museum Education UNY, Yogyakarta. 2009 Panelists 'Development of Motoric Creativity Fine' Department of Education Region Western Regional in Grand Pasundan Hotel Bandung. 2007 Panelists 'Abstract Art Central Testing and Assessing Spiritual Himself In Context' at the National Gallery of Indonesia, Jakarta. 1998 Panelists 'Institute of Art Expansion Base For Aesthetic Ideology' UNJ-ITB in Jakarta Education Office Plaza. Panelists '... Who, Carrying Arts Tricking Project' under the table Community, Jakarta. 1997 Panelists 'Between Identity and Ideology Artists Aesthetics' in PPIA-LIA Jakarta.

Scientific Writing and Publishing Activities. 2011 Procceding 'Life Style & Architectur' with fullpaper: CYBER-ARCHITECTURE AND THE CONSTRUCTION OF PARADIGM CYBERCULTURES LIFESTYLE IN CONTEMPORARY SOCIETY, National Architecture Conference, in Atmajaya University, Yogyakarta. 2011 International Seminar Procceding 'Exploring Noble Values ​​of Local Wisdom and Prime Javanese Culture to Strengthen the Nation Identity' at The Institute Javanology in Sebelas Maret University, Surakarta. 2010 SOULSCAPE: The Treasure of Spiritual Art, (arteries Nurjaman, Anton Larenz, Netok Sawiji_Rusnoto Susanto, Sulebar M Soekarman), Yogyakarta: Indonesian Visual Art Foundation: Jakarta. 2010 Virtual Displacement in SURYA ARTS Arts Journal Creation and Assessment, PPs ISI, Vol.6 1 February 2010. 2009 Considering Return Multicultural Paradigm in Education Arts & Craft, (Author: Dr. M Dwi Marianto, Kasiyan, MHum, Dr. Djuli Djatiprambudi, Hajar Pamadhi, Rusnoto Susanto, et al), FBS UNY Publisher: Yogyakarta. 2008 SENI ABSTRAK INDONESIA: Renungan, Perjalanan dan Manifestasi Spiritual, (AA. Nurjaman, Netok Sawiji_Rusnoto Susanto, Sulebar M Soekarman), Visual Art Indonesia Foundation: Jakarta.

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[1] Paper for presentation at International Seminary on Exploring Noble Values of Local Wisdomand Prime Javanese Culture to Strengthen The Nation Identity, at Sebelas Maret University, UNS Surakarta, March 7, 2011