The Bugis people, specifically the Wajo is one of the tribes in the archipelago which plays an important role in world trade, shipping and handicraft industries. The role was motivated by their spirit as tough sailors and their adaptability to the new lands they settled in. The impact of global economics has influenced the value and product quality in competitive industry. Many craft business with imported raw materials fall into bankruptcy. However, some craft industries are still able to survive in the middle of an economic crisis. One of these is Tenun Pagatan. This paper describes one of the Bugis' trace technologies in Tanah Bumbu area in South Kalimantan, synonymous with Tenun Pagatan. Tenun Pagatan was brought with the arrival of Bugis who wandered from their native South Sulawesi in 1750. The traditional methods of producing Tenun Pagatan are still used to this day. Bugis in this region are also able to maintain the tradition of the Tenun whilst adopting motifs, colors and traditional customs of local communities.
See Full PDF See Full PDFJournal of Korean Traditional Costume
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During 2014 I gathered information on traditional weaving practices from 26 weavers from the islands of Flores, Solor and Lembata in Indonesia, including conversations on the topic of 'how did you learn to weave'. I discuss the findings, which shed light on how a traditional weaving apprenticeship works, and how the 'contract between the generations' is forged. I also discuss how this contract is changing, and what this means for the survival of traditional ikat weaving in the 21 st century. Buckley C 2017 A cultural inheritance: the transmission of traditional ikat weaving in the islands of Indonesia. Proceedings of the 10th International Shibori Symposium, November 15 – November 20 2016, Oaxaca, Mexico.
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Asian Social Science
Discussing about traditional communication, it is commonly connected to the tradition concept, which contains a meaning that the concept is a kind of the past finding, but it is commonly reputed as a normative thing by each part of the society. Based on the explanation, it can be concluded that the definition of traditional communication is commonly connected to the folk art performance as a traditional media that is owned by a certain society, as the result it can be identified and understood that a folk art performance is owned by that society and exist as a local wisdom for the society.Therefore, it can be cleared that discussing about traditional communication is cannot be separated with the traditional folk art performance as a media, a kind of art that is based on the folk story by using media that appears and develops in a certain society. The effort of source finding of this folk story is not only purposed to be performed in the form of art performance, but also it is furthe.
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International Journal of Culture and History (EJournal)
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International Journal for Multidisciplinary Research (IJFMR)
This research aims to look at the material changes that occur among craft makers in Saribas, Sarawak which focuses on the development of the use of materials to produce handicrafts in the modern era that faces the challenge of deficiency natural resources. Handicraft means the production of useful tools (Utility), or decorative tools using hand skills or the help of simple tools traditionally. In the modern era, handicrafts in Saribas are still traditional products produced individually or in groups for commercial purposes on a small scale. The results of the field study, found that the production and sale of handicrafts is one of the sources of income for a handful of villagers. The production of handicrafts usually uses forest products, but recently craft makers have been found to be more creative in utilizing alternative materials to replace the original one. Based on the qualitative methods that have been carried out, the results of observations clearly there are some significant changes in craft materials where more use of plastic-based material sources or other alternative materials that are similar in nature to the original material. The study concludes, modern era handicrafts have undergone a process of innovation due to the development of crafts which have marked changes from traditional crafts, especially on artificial materials which have undergone almost 90 percent change, while functions in modern society have also undergone significant changes and need reinterpretation from semiotic point of view. This field of handicraft production is seen to have great potential to be developed more comprehensively in the future. Especially in small districts such as Saribas, which can indirectly open up more job opportunities to locals.
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International Journal of Multicultural and Multireligious Understanding
The development of tourism in Bali, especially in Tenganan Village, Karangasem, has caused the double ikat gringsing woven cloth which was previously used as a means of complementing ceremonies, wrapping sacred objects, and as traditional clothing of the Tenganan Pegringsingan community, now seems to be experiencing a shift. Internal factors and external factors the stronger influence on the Tenganan community, especially the gringsing double ikat weavers. This study aims to understand the form of commodification of double ikat gringsing woven fabrics in Tenganan, Karangasem in the era of globalization. Data obtained through interviews, observation, and document study. The data analysis applied descriptive analytical approach, namely data reduction, data presentation, verification, and data interpretation. The study revealed that the forms of commodification of the Tenganan gringsing double ikat woven cloth, Karangasem are the commodification of production, distribution and consumpt.
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International Research Journal of Engineering, IT & Scientific Research
In the globalization era, Bali became the trade center at many crafts products from various regions in Indonesia, was included pottery products trading. The pottery products recently from outside Bali that was marketed in Bali, the production itself was done outside of Bali, merely the distribution and consumption in Bali, for instance, Lombok pottery, Kasongan Yogyakarta, Jepara of Central Java, West Java, and Serang Banten and others. The last few years, there was something different i.e. a typical pottery of Serang Banten, West Java, which was originally produced in West Java, is now produced in Bali, consequently, the distribution process from West Java to Bali was stopped. The research was intended to determine the factors that encourage the production, distribution, and consumption the craft of typical pottery Serang Banten in Bali. The research approached applied a qualitative method, based on the deconstruction and an ideology of capitalism theories. The research location wa.
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Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia
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