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Mereka adalah saksi tentang geliat usaha pabrik genteng di Jatiwangi Jatiwangi kini sedang berada di masa sulit Kota yang terkenal karena produksi gentengnya yang memenuhi pasar Indonesia ini seolah harus menyerah pada modernitas Pagi hari sebelum matahari tampak sempurna sekumpulan lelaki dewasa mengendarai motor tampak bergerombol di sepanjang jalan Bandung-Cirebon Mereka adalah suami yang mengantarkan istri atau anak perempuannya bekerja di pabrik-pabrik garmen Tak sedikit pula pemuda yang mengantar adik perempuannya ke pabrik-pabrik itu Wajah-wajah perempuan muda berusia 20-30 tahun itu tampak gembira Rutinitas inilah yang akan kita temui setiap hari sejak Majalengka dikukuhkan menjadi kawasan industri Daerah ini telah menjadi surga para pencari kerja genteng Jatiwangi sudah merambah pasar internasional dan Brunei Darussalam menjadi negara-negara tujuan pengiriman genteng Jatiwangi terbuat dari bahan baku tanah berkualitas tinggi beberapa orang di Jatiwangi kaya raya berkat usaha genteng Ada 600-an jebor atau pabrik genteng yang berdiri pada waktu itu sejauh mata kita memandang akan terlihat tumpukan genteng-genteng yang ditawarkan di depan rumah warga Jatiwangi menjelma menjadi kota kecil yang kaya Jangan dibayangkan desa kecil dengan banyak penduduknya bergubuk reyot Sebagian warga yang menjadi pengusaha genteng memiliki rumah-rumah besar dan mobil-mobil mewah di pekarangan rumahnya di Desa Burujul genteng-genteng Jatiwangi yang dipajang sepanjang jalan berselimut debu karena terlalu lama menunggu pembeli Bahkan beberapa bangunan besar dan penting di Jatiwangi para pengusaha pabrik genteng menuju masa tutup usia usaha genteng Jatiwangi bermula dari Haji Umar pada 1905 Ketika itu ia berinisiatif mengganti atap suraunya pemerintah Hindia Belanda menaruh perhatian khusus mulai mengganti atap bangunan pemerintah dan perumahan pegawai pemerintah Kompas Cyber Media (Kompas Gramedia Digital Group) Baca juga: '+json_baca_juga.items[i].title+' MAJALENGKA REGENCY - Acting Governor of West Java Bey Machmudin also played roof tiles as a musical instrument in the West Java Cultural Examination Collaboration of Roof Tiles 2024 at the Ex-Ground Sugar Factory Field in Jatiwangi One of the attractions of the event is the use of roof tiles as musical instruments which usually function as building materials are transformed into instruments that produce distinctive musical harmonies this proves the limitless creativity of the people of West Java and is a special attraction for foreign tourists we are indeed very creative," said Bey This moment is a symbol of respect for nature and pride in the richness of West Java culture "Activities like this not only bring the spirit of local culture but also awaken a sense of love for the traditions we have," said Bey activities like this will be increased not only in Majalengka This activity has proven to be able to attract tourists even from abroad such as Thailand," he added West Java Cultural Review Rampak Genteng Collaboration 2024 is proof that local culture can be a bridge of friendship between nations as well as bring pride to the people of West Java From a small cottage building looks a few youths bringing Al Quran's sacred web they are preparing to fade that is usually done when the holy month of Ramadan Different from the tadarus in mosques or musalas tadarus in the place does not sound the al Quran verses but rather regular hand movements require a meaning They are the disabilities of buds who are studying at Tuli Jatiwangi House in Saturday Block The hearing loss that also makes the difficulty of speaking does not hinder them to learn to claim by accompanied by religious teachers Santri intercengkrama at the gaze of Ashar at Tuli Jatiwangi Santri disabilities of buds learns at Home Tuli According to the fulfillment of Muhammad Lutfi Bannani Rumah Tuli Jatiwangi who stood since 2013 this is true not only devoted to the tulimate So each other learns between," clear Lutfi In the case of reading Al Quran with a language Lutfi explains that Rumah Tuli Jatiwangi uses a concept that has been docked together with the Ministry of Religion Rumah Tuli Jatiwangi once invited Kemenag to look for the concept of how to learn for tuli friends Ustadz Lutfi Bannani (canan) provides Islamic science studies to santri disabilities in Tuli Santri disabilities of tunarungu learns at Rumah Tuli The object itself requires what is read in Al Quran while we require what is written in Al Quran it is enough to help santri when performing tadarus "We are invited about the formula of reading Al Quran the required Finally in the situ was born the method of learning Al Quran Rumah Tuli Jatiwangi has been fighting with a tuli friend has been running for a long time which began by the concern of Lutfi’s large family when met the community of the buds and invited them to study the home terrace until 2017 the amount of santri who claimed to grow and was built a building that then where the Rumah Tuli Jatiwangi Santri conducts preparation before the Al Quran in Jatiwangi House Rumah Tuli Jatiwangi is also not only a container for a rangu shooter to learn to hive and deepen religious sciences marjinal people who want to hijrah in this place Ustadz Lutfi Bannani provides the material of dislamation science to the disabilities of buds in Tuli House Photo collage of a number of santri conveys the word Happy to Serve using the gesture language at Rumah Tuli Santri shows the banquet of the race reading Al Quran in Tuli Jatiwangi Santri delivers an Al Quran in Jatiwangi House The caption is automatically translated by application. Click here for the Bahasa Indonesia version Untuk Masuk dan Daftar akan kami arahkan ke laman Subscribe Investor Daily investor.id – Pengamat kebijakan publik dari Spora Communication Rizky Fajar Meirawan mengapresiasi capaian Panen Raya Padi 2025 capaian ini layak mendapat apresiasi publik yang luas karena mencerminkan kinerja konkret Menteri Pertanian (Mentan) Andi Amran Sulaiman dalam menjaga ketahanan pangan nasional “Saya kira memang wajar Mentan Amran mendapat tingkat kepuasan publik tertinggi Beliau berhasil memenuhi kebutuhan pupuk yang naik 100 persen dan menjaga produktivitas pangan nasional di tengah tantangan El Nino,” tutur Rizky dalam keterangan resmi yang diterima di Jakarta Ia juga menyoroti langkah cepat Kementerian Pertanian dalam mengimplementasikan program pompanisasi dan pipanisasi untuk mengatasi kekeringan sebagai kunci keberhasilan peningkatan produksi saya optimis swasembada pangan bisa tercapai dalam waktu dekat Kinerja Mentan Amran sangat konkret dan berdampak,” tegasnya Keberhasilan Mentan Amran dalam meningkatkan produksi pertanian nasional mendapatkan sorotan dan apresiasi luas terutama setelah suksesnya panen raya serentak di 14 provinsi Capaian tersebut dinilai sebagai bukti nyata kinerja yang terukur Presiden RI Prabowo Subianto turut hadir dalam Panen Raya 2025 Ia menyampaikan apresiasi khusus kepada Mentan Amran atas kerja keras dan dedikasinya Follow Channel Telegram Official kami untuk update artikel-artikel investor.id Often found at theaters and museums, Kwon Mee-yoo has covered a wide range of cultural fields from K-pop and dramas to theater and fine art for over a decade. 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Recommended Contents For YouTaboola 후원링크 Elly Kent Features06 July 2022ArtReview Asia Indonesian artists are developing new and diverse responses to politics centred around the conjunction of artistic autonomy and a socially-engaged commitment to responsibility Ruangrupa’s artistic direction of Documenta 15 the five-yearly art exhibition which opened in Kassel introduces a global audience to the conscious collectivity that has been a feature of modern Indonesian art since the early twentieth century ruangrupa has developed an artistic direction that fragments and delegates creative input drawing on the resources of a community of art collectives from Indonesia and around the world In Indonesia’s creative and intellectual circles collectivity’s roots are to be found in the archipelago’s rich and diverse agrarian-subsistence cultures with links also to past Hindu-Buddhist civilisations Embedded concepts like gotong-royong (mutual cooperation) and sanggar (creative communities) were elevated by the communitarian values that underpinned the anti-colonial independence movement during the first half of the twentieth century and in Indonesia’s subsequent nation-state which has also recently been appropriated by the government to describe a controversial ‘food estate’ programme for increasing agricultural production these embedded concepts that dominated the emergence of modern and contemporary art in Indonesia have remained sites of contested interpretation They encompass an intriguing conjunction of the artistic autonomy championed by modernism in Euro-American ‘centres’ and a socially engaged realism with concomitant responsibilities to society In 1969 eminent Indonesian art critic Sanento Yuliman pointed out that even if a singular framework for the ‘Indonesian-ness’ of Indonesian painting could be determined ‘there would still be artists who would deliberately deviate from it’ ‘Is it not possible that Indonesia contains rich and unknown facets and concerns… including those that are mutually oppositional?’ In his 1970 analysis of the emergence of abstraction ‘Seni Lukis Di Indonesia: Persoalan-Persoalannya Dulu Dan Sekarang’ (Painting in Indonesia: Issues Past and Present) Yuliman went on to conceptualise a complex artistic continuity that alerts us to the ways in which modernism in Indonesia diverged from the rupturing and universalist tendencies it showed elsewhere He identified its earliest precursors in the attitudes of one of the nation’s earliest modern art collectives as Indonesia’s nationalist movement was gaining momentum known as the father of Indonesian modernism Yuliman quotes PERSAGI painter Basuki Resobowo who in 1949 argued that the difference between ‘the teapot’ and ‘the painting of the teapot’ lies in their functions: ‘The teapot on the canvas has other obligations… the line and colour that we intend to arrange harmoniously (a unity of emotion) functions to fill the field of the canvas.’ This shows that ‘the development of painting in Indonesia has prepared the ideas and sensibilities – let’s say it prepared the climate – for the development of a number of abstract paintings’ Yuliman later identified this continuity as an ongoing ‘artistic ideology’ that respects the artist as an individual; and holds the belief perpetuated through the teachings of the sanggar and institutions that ‘visual elements and their arrangement this was an ideology that extended beyond the canvas PERSAGI and the conception of sanggar both prepared the climate for the abiding importance of dual attention to collectivity and the individual in Indonesian art Sudjojono’s own charismatic personality and strong nationalist sentiment coupled with the progressive teacher-training he gained at the Taman Siswa school in Yogyakarta (inspired in part by the educational philosophiesof Rabindranath Tagore) made him a natural leader in a numberof sanggar clearly linked aesthetic beauty to social truths In the late 1930s he decried the beautified landscape-painting genre known as mooi Indië (beautiful Indies): ‘… our painters only imitate the works of these foreign painters and serve the needs of tourists… They are people who live outside our real life But fortunately a new generation is coming up… a generation with new and fresh ideas… that will dare to say “This is how we are”.’ The focus on social responsibility combined with artists’ autonomy meant that artists from the early nationalist period (the 1930s through to the 50s) were seen as interpreters of society’s needs these tendencies were institutionalised as leftist organisations gained political power following the declaration of independence in 1945 through interviews and in-depth investigation of the conditions and aspirations of the people’ Known colloquially as turba (an acronym derived from turun ke bawah – ‘go down below’) this practice inspired creative workers across all fields but it also became a millstone for those who sought less prescriptive expression Those who did not adopt the turba approach found funding and exhibition opportunities hard to come by With the rising influence of the Communist Party and the dominance of leftist organisations attracting censure at home and abroad a series of conspiratorial manoeuvres conducted between politicians and the military led to an anticommunist purge in late 1965 conducted with unspeakable and indiscriminate violence across the archipelago with its socialist aspirations but fundamentally classist approach was able to continue in the new authoritarian regime’s developmentalist politics it was co-opted into the linguistic framework of the New Order used to describe politicians’ visits to underprivileged communities for photo opportunities moved to less overt tactics; collectivity survived In 1974 a collective of art-school students boldly sent a letter mourning the death of Indonesian painting to the organisers of Indonesia’s largest selective painting exhibition (and were expelled as a result) By 1975 they were members of the GSRB (Gerakan Seni Rupa Baru whose manifesto stated that they were ‘striving for a more alive art a living reality throughout the whole spectrum of society’ PIPA was a shortlived collective of 13 artists including several members of GSRB whose confrontational exhibition 1977 in Yogyakarta was banned just two days after it opened as were many exhibitions overtly critical of the New Order regime and its cronies These three groups had in common an enthusiasm for interdisciplinarity and a focus on concept over form: installation and found objects became the language of their art In his catalogue essay for GSRB’s 1987 exhibition Pasar Raya Dunia Fantasi (Fantasy Supermarket) artist and critic Jim Supangkat reflected that what had carried over from the group’s earlier work was ‘a manifestation of exploration opposition to elitism and revitalising pluralism in fine art through practices of art in everyday life’ collectives and individuals began using social-research methodologies collaborating with other researchers and NGOs to address pressing issues The artist Moelyono’s work with rural villagers was reinterpreted through the lens of progressive Brazilian pedagogist Paulo Freire and became ‘conscientisation art’ Performance artists in Bandung conceived of events that came to be known as jeprut a radically subversive act in an atmosphere of authoritarian vigilance and flourishing student movement coalesced to bring political criticism onto the streets Indonesian president Suharto’s New Order fell One of the abiding debates that surround these kinds of practices – exemplified in critiques by art historians Claire Bishop and Grant Kester – is that of amelioration versus antagonism Should artists bandage the wounds that capitalism and neoliberalism visit on society One example is Jatiwangi Art Factory (JAF) a collective of art-workers in rural West Java and one of the organisations ruangrupa has invited to contribute to Documenta 15 JAF’s perspective is defiantly village-oriented albeit with a sophisticated and organised framework with national and international reach From 2008 they worked closely with the village-level government; one founding member was even elected village head I witnessed an attempt by local bureaucrats (invited but arriving tardy) to turn a community art event in which residents were busily sharing creative drawings envisioning the village’s future inviting officials to stay as observers only; such visits were not unusual was an interdisciplinary collective of artists activists and other civil-society representatives who gathered with the specific goal of protecting an urban forest in Bandung city from the fulfilment of an infrastructure development permit Under the guidance of their appointed chair the collective organised a creative festival and a ‘long march’ to the town hall carrying graffitied panels purloined from the developers’ zinc fence candidates in the upcoming mayoral election signed their commitment to revoke the permit – a pledge honoured by the newly elected mayor These oscillating relations with authority are strategically antagonistic and ameliorative again undermining binary interpretations of collective and individual practice in the social and political sphere the Indonesian art scene also fosters a range of collectives that give succour peer support and often shelter to artists and their work Ace House Collective – whose membership includes painter Uji ‘Hahan’ Handoko – is one example Klinik Seni Taxu (Taxu Art Clinic) collective was formed out of disillusionment with preceding collectives of Balinese artists who were seen as too self-exoticising bring artists together at specific stages of their careers and lives – in that case textile artists caring for young children – and disband or recede as needs change claiming a place for distinctive practices that is increasingly recognised at the forefront of global contemporary art practice The work taking shape in Indonesia represents an exemplar for understanding collective and socially engaged art practice a lens through which to consider the significance of movements of collectivity and their implications locally and globally: where they have come from Documenta 15 is on view in Kassel, Germany, through 25 September Yuwen Jiang Features J.J. 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One thing is certain: we can’t stop watching Disability Is Not a Separate Category of Personhood Alice Hattrick Opinionartreview.com30 April 2025 The disabled experience is increasingly visible in the artworld yet an ableist political landscape is constantly on the attack. This affects us all We use cookies to understand how you use our site and to improve your experience. This includes personalizing content. By continuing to use our site, you accept our use of cookies, revised Privacy SINGAPORE — The local visual arts scene has lost one of its own Visual artist Juliana Yasin passed away at noon today (Aug 27) after succumbing to her long fight against cancer Juliana Yasin's Tali Timba (a collaboration with Sigit Permana/Prabowo Setyadi and Jatiwangi Art Factory) in 2009. Photo: Prabowo Setyadi. Taken from http://www.foi.sg/ The Singaporean multidisciplinary arts practitioner was diagnosed with cervical cancer in 2007 It had gone in remission but last February she had to undergo intensive surgery after a relapse her fellow artists and other members of the arts community had organised a fund-raising exhibition to raise funds to help with the medical expenses The LASALLE College of the Arts alumni began her career in the `90s as an individual practitioner who often collaborated with others and also as a member of The Artists Village and Plastic Kinetic Worms (PKW) collectives She exhibited and participated in many exhibitions and festivals in Singapore and overseas As a Muslim female artist of Malay-Chinese descent issues regarding identity and notions of community figured in her works her first solo show at PKW’s space featured images of her face altered by fellow artists in 2007 at PKW (held two months after she was diagnosed with cancer and during which she was undergoing daily chemotherapy sessions) featured veils It included the controversial 2001 work The Veil where she cloaked herself in black and work Islamic masks from Dubai I think it’s cruel to make women wear this mask but the Koran doesn’t say you have to veil That’s a man-made law,” she had said of The Veil in a previous interview with Time Magazine Among her recent collaborations was with the Jatiwangi Art Factory in West Java She co-curated a community art festival with the help of the villagers And in the Future Of Imagination 6 edition in 2010 she said of her practice: “Collaboration is intrinsic in my art Even though my formal education is in painting coupled with the environments and social realms that I have encountered have shaped performance as a primary medium I work well with especially when it comes to communicating with the audience and the versatility of the medium You get direct responses from the audience and you can interact with them A Facebook page dedicated to Juliana is currently up here (http://on.fb.me/1vl1bvg) messages and anecdotes by friends and fellow artists Her presence will be missed not only by friends but Singapore’s art scene as a whole “Juliana is an amazing multi-disciplinary artist whose dedication to social and personal issues has been seen in her art practices earning her great respect and admiration from artists in Singapore and around the world She has brought Singapore art beyond contemporary definition and beyond our local shores,” said Kenneth Tan of Utterly Art a close friend and former PKW director: "Juliana is one who would walk up to anyone and strike a conversation and be comfortable in any situation she isn't afraid to explore and her dedication as a performance artist have taken her all over and (made her) respected by many Juliana enjoys working with artists of different disciplines and is always willing to share ideas Artist and The Substation artistic director Noor Effendy Ibrahim said: “I’ve known Juliana since the ‘90s with The Artists Village doing performance art… And she was one of the early voices of Malay women contemporary artists in Singapore Teater Ekamatra had a festival at the Substation and we invited Juliana She did a piece on the issue of the hijab and tudung He added: “A lot of people will agree with me There was (already) a sense of loss when she had to stop (her practice) and attend to her condition I saw her two weeks ago and the smile was still there Todayonline.com and Today Online domains and apps are now part of 'Channelnewsasia.com' domain We know it's a hassle to switch browsers but we want your experience with TODAY to be fast Upgraded but still having issues? Contact us by the windI've been entered by the windBy the wind by the wind~Cause I've been entered by the windAnd in a good wayI've been entered by the windAnd it feels so goodI've been entered by the windAnd in a good wayI've been entered by the windAnd it feels so goodAnd it feels so goodAnd it feels so goodAnd it feels so goodAnd it feels so goodEmbedCancelHow to Format Lyrics: To learn more, check out our transcription guide or visit our transcribers forum Find answers to frequently asked questions about the song and explore its deeper meaning