Hasil untuk "Handicrafts. Arts and crafts"

I. G. B. N. P. Putra, Ida Ayu Dinda Priyanka Maharani, Dewi Soraya et al.

The people of Budaga Village preserve their ancestral heritage by engaging in handicraft arts, especially those made from brass metal. The types of handicraft products produced are generally related to Balinese Hindu ceremonial and ritual facilities such as the Dewata Nawa Sanga, Shiva Krana, sangku, anteg-anteg, gongseng and tray (bokor) weapons. However, the superior and typical craft product of Budaga Village is the bajra or bell craft. The bajra craft business that is carried out by the majority of the people of Budaga Village is still classified as a Micro, Small and Medium Scale Business, a home industry. Along the way, businesses with a small scope, such as the bajra craft business in Budaga Village, often experience business ups and downs. The main problem faced is increasingly tight product competition. The emergence of competitors for bajra producers from other areas, including outside Bali, is something that should be paid attention to. The second problem faced is limited capacity in recording financial transactions. Bajra entrepreneurs in Budaga Village often experience difficulties in determining cash inflows and outflows appropriately. The process of recording transactions is still done manually. The solutions offered for this problem are 1) Training in Recording Financial Transactions and Providing a Digitalized Financial Recording System; 2) Providing a Website as a Form of Marketing Strategy and Online Marketing Strategy Training.

Chen Zhou

In Huangmei, Huangmei cross-stitch, Huangmei opera and Zen Buddhism are called "The three most precious treasures of Huangmei". As an important part of the intangible cultural heritage of Jingchu, Huangmei cross-stitch is defined as a traditional folk embroidery craft with a long history and strong decorative effect. The handicraft form of folk art is produced by the traditional natural economy of farming society. Throughout the development history of folk art in the traditional society, it not only truthfully reflects the living customs of the traditional society at that time, but also conveys to us the aesthetic taste and emotional pursuit of the traditional handicraftsman. Due to the influence of local and surrounding areas cultural arts and humanistic aesthetics for a long time, Huangmei cross-stitch has gradually been endowed with more profound significance under the background of the integration and infiltration of various cultures. Huangmei cross-stitch not only reflects the powerful creativity of human beings, but also shows the extraordinary wisdom of human beings. Through the classic cross-stitch works with the beauty of practicality, decoration and humanity, we can find that the colorful and far-reaching patterns and themes not only show the aesthetic taste of the workers, but also show their positive attitude and spiritual sustention for the pursuit of a better life.

Alfi Yusrina Farikha

: Art, especially crafts or known as seni kriya in Indonesia, has become part of the lifestyle of Indonesian people. Indonesian art of craft in the millennial period is increasingly developing in line with the times. The development of craft creates many derivative terms, one of which is, do it yourself craft or better known as DiY craft. Handicraft products, especially products labeled DiY craft are considered as something cool, unique and have their artistic value. This assumption eventually led to a new trend and taste in millennial society. The development of techniques, materials, and uses of DiY craft also influenced the development of the Indonesian art of craft. This paper was created to see a comprehensive picture of the existence of Indonesian craft or seni kriya and DiY craft in the millennial community, and explain about how DiY Craft's give some effect on developing Indonesian craft related to social and cultural contexts that occur in the Millennial community today.

Mitali Pandey Minare

The world of arts and handicrafts represents a great saga of culture, traditions and historical legacy associated with each particular region. India, in general and Madhya Pradesh, in particular are known for the impressive range of hand-made artifacts that enthrall onlookers, buyers and collectors of art. The innate are honored with the characteristic specialty of cutting and make extremely appealing things. There are wooden chowkies made for estimating grains. Wedding mainstays of Bharia and wooden entryways of Gonds and Korkus are extremely appealing and unordinary. Machines turned and lacquered toys in splendid hues and at moderate costs are famous everywhere throughout the state. Cut wooden toys, dolls and elephants displaying the abilities of the craftsman are likewise made. The Woodcrafts of Madhya Pradesh are self-viable and have contributed in maintaining the environment healthy by using all the natural colors and polishes. Moreover, it generates the employments to the artisans, which encourages them to design and produce the products as per the market demands.  And as per the demand it encourages the Social-distance which is much need in present scenario.

Андрій Михайлович Никифоров

The article is devoted to the problem of art education formation in Ukraine, the territory of which in the XIX – early XX century belonged to two empires – Russia and AustriaHungary. The paper analyzes the leading trends in the professional training of future craftsmen in Ukraine in the XIX – early XX centuries. The author focuses on the organizational and pedagogical principles of training specialists in the field of artistic metalworking. It is stated that in order to meet the demands of the society of that time for the training of highly skilled workers in the field of artistic-industrial production, with the assistance of the governments of two empires – Russian and Austro-Hungarian (which included the lands of Ukraine in the period under study) – the schools, arts and crafts schools, complementary industrial schools, courses for masters, vocational schools, such as: art blacksmithing and metalwork, artistic metalwork and boilermaking, metal, etc. were founded. The urgency and timeliness of the study are noted, because the scientific substantiation of the formation and development of domestic art education, the study of positive historical and pedagogical experience of predecessors – artists, masters and artists-teachers are undoubtedly important in training modern specialists in visual and decorative arts. The methodological basis of the study are the laws and categories of scientific knowledge, the relationship and interdependence of phenomena, historicism, system, the relationship of historical and logical, the interaction of national and universal. It is stated that development of art education in Ukraine in the second half of the XIX – early XX century was accompanied by the expansion of the system of education institutions that provided special arts and crafts education. It is found out that the leading features of the system of arts and crafts of the outlined period were: the imitative nature of the students’ activities; use of demonstrative and explanatory method of teaching techniques of future masters-craftsmen; practical training in the workshops of the institution; predominance of practical classes over theoretical training of students; internship in production; fulfillment of orders by the apprentices; dependence of the level of the educational process on the conditions created in each individual crafts education institution; lack of consistency in the process of mastering the techniques of handicrafts.

Kumalo Tarigan, Fadlin Jafar, Hubari Gulo et al.

Workshop is a production house for many craftsmen. Siponjot village has a Silaban Margu studio which produces traditional musical instruments despite the lack of inadequate workshop. The main problem with this workshop is that the production equipment facilities are still inadequate to provide optimal work results. Even by the given limitation, this studio has produced several types of gondang as its work. The excess residual material is generally wasted so that the potential economic value of using the material is immaterialized. The main target of this community service is to empower the people of Siponjot Village. The development of this craft workshop is the provision of creative economic access through the use of material left over from the production of musical instruments into fine arts in the form of handicrafts with economic, artistic and cultural values. This service has provided science and technology transfer while providing increased artistic skills through direct training to the community. It is hoped that in the future the community and craftsmen can take advantage of this potential to form an art-based creative economy in Siponjot Village.

A. Hilton

Folk art revivals were incubators for modernist movements in painting, sculpture, architecture, applied arts, and performing arts. The upsurge of national sentiment in late Imperial Russia and official economic support of handicraft industries (known as kustar’) promoted the marketing of wood crafts and textiles made at Abramtsevo, Talashkino, and other centers in western Russia and Ukraine. Parallel developments drew upon both folk traditions and patriotic ideals in the central and eastern European countries that had suffered territorial encroachments by Russia, Prussia, and the Austro-Hungarian Empire. Artists’ groups and art colonies showed special respect for regional landscapes, peasant communities, and local artistic traditions. Their activities reflected nationalist ideologies, as well as practical, economic, and philanthropic concerns. The variety of circumstances and motivations sheds light on the phenomena of art colonies, new valuations of applied art forms, and the enduring importance of education in traditional crafts.

Zhejun Liu, Chun Huang, Qiming Rong

Dinul Akhiyar, V. Sari, Abulwafa Muhammad

West Sumatra is an area in Indonesia that has many Creative Industries, this is the reason the government places representatives of the Ministry of Creative Industries in this region. This is done to foster, oversee and develop the Creative Industries that exist today. The Creative Industries that exist today are very diverse there are 15 fields that are very potential to be developed in Indonesia, Advertising (Advertising), Architecture, Art Goods Market, Crafts (Craf), Design, Video, Film, Photography, Interactive Games (Games), Music , Performing Arts (Showbiz), Publishing and Printing, Computer and Software Services, Television and Radio (Broadcasting), Research and Development (R&D), Culinary. Of the 15 creative industries in Indonesia for the West Sumatra region there are 9 sub-sectors of potential creative industries, namely, fashion, culinary, handicraft, music, performing arts, photography, design, animation, and film, but not all creative industry sectors it is developing so that it has an impact on the marketing of its products. For this reason, it is necessary to analyze and develop the marketing of creative industries in West Sumatra that prioritizes the concept of Customer Relationship Management (CRM) so that marketing concepts that have the potential to increase marketing of creative industry products will be known. Especially now that the Provincial Government is developing the Halal Tourism Industry, of course in this field there a re very many opportunities for the development of the Creative Industries

Tea Rittig Šiško

Starting from the concept of folk art as a historical phenomenon that refers to particular civic processes of valorisation, selection and representation of peasant painting traditions, its role can be considered against the backdrop of specific economic, social and political circumstances of congenial cultural activities, which, from the end of the 19th century to the World War II, included the practices of gathering of ethnographic collections, the formation of the first museum collections and museum activities, the development of artistic crafts, encouragement of home-based handicraft businesses, as well as education in visual arts through professional education. This paper provides a historical overview of the process of affirmation of folk art, with an emphasis on musealisation and it is intended as a contribution to the interpretation of the initial collections of the Ethnographic Museum.

Yu Chen

Dinul Akhiyar, V. Sari, Abulwafa Muhammad

L. Pierantoni

D. Howes

Chetan Baseganni, S. Suhel, H. Pujar

As the modern trend is approaching more towards handcrafted art and natural artifacts, the demand for such hand-crafted arts has increased tremendously. To meet this increasing market demand there is always a need for advancement in the conventional production techniques so as to counterbalance the ever-increasing market demand for such handcrafted arts. India is known for many cottage industries and handicrafts designs but still, continuous efforts are required to design and produce unique handicrafts to satisfy the customer demands. In most of the large-scale industries, production is achieved with the help of machines but whereas in small-scale production, the man force is a must to carry out the entire production manually which results in the increased workload on workers which ultimately affect production rate as well as quality. To overcome this and to minimize the stress on the worker, an attempt has been made to design a bamboo stick making machine, which is simple in design and even can be handled by unskilled labor. The designed Bamboo cutting machine is mainly used to cut the bamboo into required shapes which are used in small-scale industries to prepare ice cream sticks or incense sticks. Our main concern is to avoid the manual operation of cutting bamboo which is time-consuming. The cutting operation is achieved by using a pair of spur gears and rollers.

Eko Purwanto, N. Nurchim, Feri Setiyono

I. M. Suarditya, I. N. Sunarta

The research aim is to determine development strategy of Banjar Samu as a tourism village. This research used qualitative and quantitative data with source from primary and secondary data. Observation, interview and documentation are data collection techniques. The sample method used purposive sampling while data analysis used descriptive qualitative and SWOT analysis.  Based on the results, the research indicate is that Banjar Samu have tourism potential which is consisted of natural potentials include panorama of rice fields and water springs. While the potential of culture include: community activities, hospitality and attitude of mutual cooperation, temples: building architecture and religious activity, sacred art of barong landung and another arts entertainment such as joged bumbung, arja, gambelan geguntangan, as well as local craft communities such as wood carving, silver handicrafts, yoga-meditation activity and sekaa such as sekaa gong,  joged, geguntangan, arja, angklung, subak and sekaa santi. Based on the analysis of SWOT Matrix, the results obtained by SO strategies are improving the quality of tourism potential and establish tourist activity. ST strategy is improving the security services. WO strategies are increasing cooperation with the government college, arranging some promotion. WT strategies are providing education and establish a tourist village management system immediately.   Keywords: Tourism Potential, Strategy Development, TourismVillage

V. Jain

Sumanto Sumanto, Muhana Gipayana, Rumidjan Rumidjan

Abstract: The study aims at describing a variety of handicraft techniques and materials which exist in Malang. This study employed qualitative descriptive approach. The subject of this study was handicraft home industry in Malang. The data collection of this study obtained by conducting observation, documentation, and interviews. The results indicated that (1) home industry of handicraft in Malang is feasible to be utilized as a learning resource in elementary school. In addition, the variety of technique of making handicrafts noted within this study are wickerworking, carving, sewing, tie, stringing-beading, application, embroidering, batik, folding, clay crafting, spinning, rotating, printing, screen printing, painting, scratching and lathing. (2) The variety of handicrafts materials selected or used is in the form of natural and artificial materials such as clay, katu, corn husk, cloth, plastic, and paper. Keywords: technique, handicraft materials, learning resources, arts, and culture, elementary school Abstrak: Penelitian bertujuan mendeskripsikan: ragam teknik, dan bahan kerajinan tangan di Kota Malang. Pendekatan deskriptif kualitatif. Subyek home industri kerajinan tangan di Malang. Pengumpulan data: observasi, dokumentasi dan wawancara. Hasil: (1) pada produk home industri kerajinan tangan yang ada di Kota Malang dapat dipelajari sebagai sumber belajar di SD. Ragam teknik atau cara pembuatan yaitu anyaman, ukir, jahit, ikat, merangkai-meronce, aplikasi, menyulam, membatik, melipat, membutsir, pilin, putar, mencetak, sablon, melukis, menoreh danbubut. (2) ragambahan kerajinan tangan yang dipilih atau digunakan yaitu berupa bahan alam dan bahan buatan contohnya tanah liat, katu, klobot jagung, kain, platik, dan kertas. Kata Kunci: teknik, bahan kerajinan tangan, sumber belajar, seni budaya, SD