Cari English Restoring the Pulse of Life to Ancient Buildings in Rembang TEKS › English›Restoring the Pulse of Life to.. Iklan Restoring the Pulse of Life to Ancient Buildings in Rembang Preservation of old buildings in Rembang is carried out through restoration so that the dormant buildings can return to life Audio Berita This article has been translated using AI. See Original Please note that this article was automatically translated using Microsoft Azure AI, Open AI, and Google Translation AI. We cannot ensure that the entire content is translated accurately. If you spot any errors or inconsistencies, contact us at hotline@kompas.id and we'll make every effort to address them TEKS The following article was translated using both Microsoft Azure Open AI and Google Translation AI. The original article can be found in Mengembalikan Denyut Nadi Kehidupan Bangunan Kuno di Rembang The atmosphere in front of Liem Heritage in Sumberjo Village The founder of the Museum Benteng Heritage then restored the building with his own funds several abandoned buildings hundreds of years old were transformed into beautiful and well-maintained buildings The pulse of activity in it that had been dead for years was revived by means of restoration Some people don't even hesitate to dig into their own pockets for restoration to preserve the old building One of the heartbeats restored is a building on Airlangga Street the old building that belonged to Udaya's relatives the building became home to thousands of bats Peter said the building has been magically transformed into a beautiful Also read: The History of the Chinese-Javanese Brotherhood Immortalized in the Rembang Museum The atmosphere in the front yard of Liem Heritage in Sumberjo Village After being restored for the last five years the over 200-year-old building will be turned into a museum to preserve the history of the Chinese and Javanese communities' brotherhood in the region Udaya stated that the restoration was carried out to bring back the glory days of the old building A time when the building was a pride for the community around it The result of the building's restoration has been officially inaugurated on Saturday (11/11/2023) that is not the end of the restoration process I will turn this building into the Liem Heritage Museum This building bears witness to the silent history of brotherhood and struggle between the Javanese community and the Chinese community against Dutch colonialism," said Udaya on Saturday Udaya stated that on the 11th of October 1740 the Dutch fortress located in the Chinatown area of Tangerang was attacked by the Chinese community The attack was a form of retaliation against the Dutch brutality that had massacred over 10,000 Chinese citizens in Batavia the day before the Chinese community lost due to limited weapons or personnel explained an infographic related to the commotion in the Liem Heritage Chinatown Udaya Halim restored a building that is more than 200 years old in the area to be used as a museum to commemorate the history of the brotherhood between the Chinese and Javanese communities They then ran to save themselves in regions along the northern coast of Java many Javanese people helped the Chinese community fight against the Dutch The struggles and brotherhood that took place are expected to be remembered by anyone visiting the Liem Heritage Museum This also serves as a bond amidst the various differences present The restoration was carried out by Udaya using his own funds the process is dependent on Udaya's economic conditions Approximately 13 kilometers from the Udaya restoration building in the Sumberjo area there is another building in the Sumbergirang Village This hundreds of years old building is being restored with the personal funds of Gizella Gandapurnama's (22) family The Gizella family purchased the building about three years ago the restoration work was only carried out last year Residents passing by in front of Lasem Kitchen has been restored and is now used as a restaurant The restaurant employs a dozen workers from the surrounding community The restoration done by the Gizella family is considered minimal they want to maintain the authenticity of the building to the existing lamps in the building are still original I want to appreciate what people have created before us It is such a pity if they were destroyed," said Gizella which is estimated to have been present since before 1921 the Gizella family agreed to utilize the building as a restaurant with an ancient Chinese nuance This is because there are not many restaurants in Lasem they can also empower the surrounding community there are 13 people working in the restaurant named Dapur Lasem The majority of employees are local residents The event of struggle and fraternity is expected to be remembered anytime by those who come to the Liem Heritage Museum Visitors are enjoying their meals at Dapur Lasem The building which is over a century old has been restored and now functions as a restaurant The restaurant employs dozens of workers from the local community The two buildings are only a part of several old buildings in Rembang that are being restored a Nusantara Chinatown researcher from the Faculty of Cultural Sciences at the University of Indonesia there is an old house in Karangturi Village that has also been undergoing restoration for the past two years Agni added that there was one ancient batik house that was also restored The restoration was carried out in accordance with the original shape of the building namely the replacement of damaged wooden elements with lightweight steel the restoration of ancient buildings carried out by the community usually has weaknesses the restoration is not in accordance with conservation guidelines This is due to the lack of education on conservation among the community The number of conservation experts is very limited and only exists in big cities The ambiance in front of an old building in the Lasem area of Rembang Regency The old building has been restored and now serves as an accommodation venue the materials used in the restoration process were also inadequate for example the wall layer or cement plaster used was not made from minerals specifically for ancient buildings," said Agni who is also a representative of the Lasem Heritage Foundation." Agni believes that the efforts of the community in restoring ancient buildings using private funding should be appreciated What they are doing is already part of preservation efforts Several individuals that Agni interviewed stated that they are restoring the buildings because they do not want them to deteriorate but some of the community in Rembang also preserve ancient buildings in other ways Residents pass by an old building in the Lasem area of Rembang Regency The old building has been restored and is now being used as an inn Efforts by the community to independently preserve buildings are considered by Agni to be in need of formalization the country can be involved or at least provide assistance Assistance in preservation efforts can vary such as by providing tax and electricity incentives or by facilitating certificate or building permit management feels he has received "loving slaps" from the community who are making efforts to preserve the environment Hanies is committed to being more active in conservation efforts and various forms of support will also be provided such as aiding in publications and promotions Visitors and employees are active in the Lasem Kitchen has been restored and converted into a restaurant The restaurant employs dozens of workers from the surrounding community Also read: Managing Lasem, "Little China" that is Constantly Changing "We will certainly support and look for ways to develop we will assist in discovering other cultural heritage sites that may need revitalization," he said Hanies requested that individuals planning to undertake restoration or revitalization efforts coordinate with the Government of Rembang Regency in order to ensure that preservation efforts are more effectively carried out Please note: to avoid disruption to the performance Gathering through Gathering is rooted in the belief that storytelling especially when it emerges from communities with vulnerable pasts Rather than applying extractive methods where ‘research questions’ are imposed the focus shifts towards designing the gathering – especially around food – where stories naturally unfold Organising and hosting this together with the community further gives them agency to determine the questions and answers they themselves seek from each other.  This performance activates a dining table within the exhibition space mimicking a communal dinner originally held at Nyah Lasem a community-based museum in Java’s port town of Lasem It seeks to challenge how museums present lived experiences The act of cooking and sharing food becomes both a performance and a mode of translation Recipes passed down through generations will be interpreted reimagined and reproduced as part of the event served not only to the dining performers but also to the audience – transforming food into a vessel for memory This project is a part of Feysa Poetry's 'Dismantling the Mistress’s House' research, currently exhibited at PhD Research Projects 2025 Conference and Exhibition.  The audience will be served a small meal while watching the performance. If you are interested in joining as a dinner guest, please reach out to Feysa Poetry by stating any food allergies.Image: New Years Eve Dinner at the Back Porch of Nyah Lasem (Author: Divasio Suryawan for Museum Nyah Lasem Cari English William Kwan: Reviving Lasem Batik TEKS › English›William Kwan: Reviving Lasem.. Iklan William Kwan: Reviving Lasem Batik Motivated by his concern over riots tinged with primordialism across the country at the end of the 1990’s William Kwan established a non-profit organization to promote pluralism in the public Audio Berita By JOICE TAURIS SANTI · 6 minutes read TEKS KOMPAS/EDDY HASBY William Kwan Motivated by his concern over riots tinged with primordialism across the country at the end of the 1990’s He never thought that his decision would begin the revival of Lasem batik tribal strife in Kalimantan and several other conflicts prompted William to establish the Indonesian Institute of Pluralism (IPI) IPI activities encompassed organizing blood donations mediating conflicts in several regions and other activities that aimed to unite the people based on on-ground situation and observation Also read: Telling a Story with Batik Motif the institute’s activities have expanded to include the study and development of batik in Lasem “I had no intention to do that at the beginning,” said William when he was contacted last week When I went back home to Jakarta from Semarang my head was full of questions about Lasem batik William laughed upon hearing the questions Batik was just like any other apparel for me I did not know its history or the differences of batik patterns I had never been there as well,” said William he visited his senior in school in Semarang he met two women who told him a story about their visit to Lasem during which they saw batik fabrics featuring the famous tiga negeri (three nations) dyeing method the batik industry there was relatively quiet Also read: Literacy Advocate for Papuan Children The 1998-1999 crisis had paralyzed the batik industry in Lasem The arrival of cheap printed batik fabrics had disturbed the industry of batik tulis (hand-drawn batik) “When I went back home to Jakarta from Semarang my head was full of questions about Lasem batik,” said William He then tried to find further information regarding batik and Lasem William and two other IPI staff went to Lasem despite having no acquaintances in the region Maybe I was a local resident in Lasem in my previous life William witnessed the desolation surrounding the Lasem batik industry Out of approximately 120 households in Lasem that worked in the industry in the 1930s only 18 households remained in the industry in 2004 while the remaining four households were Javanese William wanted to revive the glory of Lasem batik He returned to Jakarta to introduce his plan to his friends “My friends said that instead of helping a dying industry it would be better to help other industries They said I didn’t have to go far to Lasem since in Jakarta alone and there was no market to absorb the products they believed batik in Pekalongan or Solo was more prospective,” said William during which he met businessmen of Lasem batik who at that time were on the brink of bankruptcy Lasem batik represents the identity of Lasem The pattern of Lasem batik fuses Chinese and Lasem traditions signifying the culture of tolerance in the region Also read: Rescuer of Abused Primates William started to devise a plan to revitalize the industry of Lasem batik He finally decided to start a pilot project from which other Lasem batik entrepreneurs could revive their businesses “I tried to find an underdeveloped village with a flagging economy but still preserved batik tradition The batik fabrics that this village produced must still be raw as well so that they could be further developed,” said William Also read: Growing a ‘Green Paradise’, Close to Home the IPI decided to turn Jeruk village in Pancur district into a pilot village there were 172 women that could produce batik fabrics William then formed a joint enterprise group (KUB) called Srikandi Jeruk Gemblong Sak Iris Motif Batik William Kwan Collection The members of Srikandi Jeruk KUB received training in natural dyeing technique which required 20-30 immersions to acquire rich colors unlike naphthol synthetic dyes which only required 2-3 immersions It took two years to reintroduce natural dyeing technique in Lasem William also started introducing Lasem batik to fashion designers from which he received input regarding colors that were most popular among consumers Also read: Dancing for Diversity including those that were not part of Srikandi Jeruk KUB were invited to visit batik centers to learn more as well as to present their batik fabrics in craft exhibitions to gradually boost the popularity of Lasem batik William also visited schools to encourage the youth to take part in the batik industry the number of Lasem batik entrepreneurs and the popularity of Lasem batik have increased there are 111 batik entrepreneurs in Lasem it was not an easy feat to encourage simple housewives in Jeruk village to become resilient entrepreneurs The empowerment and mentoring of the local housewives were carried out on a “tug-of-war” basis from Jakarta Batik artisans who were mentored were equipped with much knowledge but there was no direct interference from the mentors The local artisans were deliberately given an opportunity to undergo the whole process naturally Lasem written batik at the Kidang Mas Batik House William helped the housewives to become more communicative to be more brave in promoting their products in other regions We did not constantly keep them under our watch We did not want to perceive them as merely an object and we did not want the mentors to feel superior over the mentees,” explained William the results are diverse: there are members of Srikandi Jeruk KUB whose businesses operate moderately but there are also those whose businesses have grown fast currently has a shop in one of Jakarta’s batik centers in Thamrin City Also read: Faithfully Painting Batik of Diversity After several years of reviving Lasem batik has the vision and mission of the IPI regarding pluralism still remained William asserted that the IPI and he were still committed to such vision and mission “Many believe that only households of Chinese descent can be entrepreneurs the case of Lasem shows how numerous batik entrepreneurs come from Javanese families,” said William The patterns weaved by canting (spouted bowl) on batik fabrics signify an important message Position: Director of the Indonesian Institute of Pluralism (IPI) · Graduate Program in Economic Development TEMPO.CO, Jakarta - Many restaurants along the Pantura route connecting Semarang-Panarukan in Central Java offer traditional dishes that are quite unique. On July 15 to 18, Tempo took a trip to Rembang which is located near the main road of Rembang Most of the food stalls in the area serve 20-30 menus on average and they display one of the region’s typical dish that covered with banana leaves in a small package A seller named Sri Susana said that the dish is commonly called Botok a traditional Javanese dish made from shredded coconut flesh Botok is a common dish in Central Java and Yogyakarta “Some is made from shredded coconut flesh and petai some from mixed fish or shrimp,” Sri explained The fresh ingredient is taken from their own ponds Botok is commonly served with vegetable soup and warm rice A package of botok worth Rp1,000-3,000 on average in Rembang People usually consume more than one botok as its tasty flavor will make you want to eat more List of Baeksang Arts Awards 2025 Winners KOSTCON 2025, the First Largest K-Drama OST Concert in Jakarta, to Take Place on August 2nd 10 Best Cities to Visit in Japan Besides Tokyo to Add to Your Bucket List 10 Recommended Budget-Friendly Tourist Destinations in the United States What Are the Cheapest Businesses to Start from Home? 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town of Lasem Central Java and was directed by Ibas Aragi He completed studies in the Paris Academy of Fashion Fashion Merchandising & Clothing Technology in London College of Fashion (1972) and Psychology in the Christchurch College in Oxford Kate Moss Becomes Vogue's Contributing Editor   Indonesian Designers at the Paris Fashion Week Over 1,000-year-old Volcanic Ash Skin Therapy The Raid Trio Purportedly Star in Star Wars Movie especially why premium batik cloth can cost millions of rupiah for a cloth measuring around 1 by 1.5 meters the first thing is to recognize the definition of batik “Batik is a technique,” batik enthusiast entrepreneur and master of ceremonies Wethandrie Ramadhan said during a talk titled Fabulous Batik of Java in Jakarta recently which designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity in 2009 says the craftwork “is dyed by proud craftspeople who draw designs on fabric using dots and lines of hot wax which resist vegetable and other dyes and allow the artisan to color selectively by soaking the cloth in one color removing the wax with boiling water and repeating if multiple colors are desired” “When you practice such dye resistance techniques in decorating a piece of cloth you can call the product batik,” said Wethandrie Iwet said the technique can also be found in places like India “Indian people in the US also acknowledge the batik technique they use tapioca flour [to resist the dyes] Other places use balsam and rice starch,” he explained we’re famous for using canting pen and wax,” he said adding the name “batik” derived from the Javanese words “amba” (to write) and “nitik” (dots) particularly in regard to the complexities in its creation “Just like any other international brands like Hermes which require meticulous craftspeople to make their products It’s important for all of us to know the principles of batik instead of just wearing it,” he added symbolism and culture surrounding hand-dyed cotton and silk garments permeate the lives of Indonesians from beginning to end: infants are carried in batik slings decorated with symbols designed to bring the child luck and the dead are shrouded in funerary batik batik carries both beautiful and meaningful lines in every part Iwet suggested Indonesians get to know some classic batik motifs such as Pekalongan and Lasem of Rembang [in Central Java] Cirebon [in West Java] and Tuban [in East Java],” he said Batik motifs from Yogyakarta and Surakarta are divided into lereng (hill ceplok (a wide range of geometric designs often based on circular rosettes stars or other small shapes forming an overall symmetric pattern on the cloth) and semen (carries pictographic designs Parang is listed under the lereng category the inland area has the most classic motif “I’ve been told that back in the era of Kasunanan Pakubuwono III the king was about to marry one of his mistresses The queen felt very sad about the marriage plan,” said Iwet a king’s speech was an order and the queen could not do much to cancel it the queen expressed her sadness by drawing the stars on a piece of cloth which was later known as truntum batik.” Iwet explained the king noticed his wife’s creation and was amazed by its perfection He then decided to cancel the marriage with his mistress,” shared Iwet adding that truntum came from the word “tinaruntum” “Each classic motif in batik cloth carries a prayer from the maker one who wears ceplok batik is expected to become a disciplined person “A businessman who owns a batik cloth with a babon anggrem motif will enjoy good earnings The motif also symbolizes persistence,” said Iwet which Iwet claims to be the “Hermes of Indonesian batik” There are three colors in tiga negeri that are produced in three different areas the brown from Surakarta and the blue from Pekalongan “Back in the early days of tiga negeri batik the cloth was carried by horse to different cities for coloring “Tiga negeri batik was also known for grouping together ethnicities in the coastal area because Chinese ladies would only wear batik in red This batik was so gorgeous that all the ladies wanted to wear it,” said Iwet Most motifs on batik cloths from coastal areas are in the form of as butterflies (symbols of love) and birds (happiness) including the lotus (perfection) and peony (love) Iwet said many batik makers in the regions faced difficulties as most craftspeople chose to work in other kinds of factories a batik factory usually needs eight to 10 people to produce the piece within two years the factory has to spend Rp 500,000 on production costs It is equal to Rp50,000 in wages for each worker in the project,” he said Iwet added the fact that most batik artisans only worked based on their moods could trouble entrepreneurs “Imagine having to deal with these moods whenever we receive high demand from buyers overseas?” a Javanese Tradition to Welcome the Month of Ramadan Thousands Flock NTT's El Tari Road during Tenun Sarong Festival Jokowi Went on Solitude Learning Betawi Dialect Archeologist Edi Sedyawati: Jewelry craftsmen need certification an ancient port town on Java’s northern coast has long thrived at the margins – of commerce its multicultural identity arose due to the co-existence of ethnic Chinese and Javanese ‘host’ cultures Despite efforts over the centuries to erase Chinese-Indonesian presence from Indonesia’s civic spaces hybridity has survived in the intimate traditions safeguarded within homes Lasem’s gated courtyard houses acted as places of refuge preserving everyday artefacts linked to transnational histories These remnants now offer an opportunity to recover Lasem’s disconnected past and shift Indonesia’s historiography away from Javanese hegemonic narratives towards an understanding of lived experiences of marginalised coastal communities.  This project of collective history writing embarked on an elder’s initiative to transform his ancestral home into a humble museum he called Nyah Lasem (The Mistress of Lasem) filled with family memorabilia which rely on oral histories to reveal lives otherwise forgotten he handed Nyah Lasem to our group of local cultural activists to continue the work of community-based memory-keeping Tweaking Chen’s phrase of ‘Asia as method’ to ‘community as method’ this paper offers a personal reflection on my task as museum director in repurposing what was once the ‘master’s tool’ into one of liberation Acknowledging the colonial roots of the act of collecting and museum-making my strategies seek to dismantle the mistress’s house by excavating the micro-narratives of domestic spaces grounded in the practice of care as a means to engage local people in producing their own knowledge and recognising their own voices in Lasem’s postcolonial history.  By seeing collective archiving as a collaborative act of co-production this project seeks to reclaim Lasem’s identity as a vibrant coastal community in which the periphery can once again become the centre.  Feysa Poetry is a PhD Candidate in Architectural Practice programme at The Bartlett School of Architecture from where she also acquired her MA in Historic Architecture and Urban Environments Her research interests include contemporary heritage and museum-making that centre around postcolonial knowledge production.  Her project involves establishing and directing a community-based museum that voices the role of women in safeguarding their heritage through domestic practices in the port town of Lasem Working alongside Lasem Heritage Foundation both she and the museum are funded by LPDP Image: Dismantling The Mistress’s House. Archive and Collection: Museum Nyah Lasem This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page Batik exhibition sheds light on Thai-Indonesian relations NEWSPAPER SECTION: Life The Queen Sirikit Museum of Textiles is travelling back in time to when King Chulalongkorn fell in love with Javanese culture during his visits to Indonesia and brought home 307 of the finest batiks as keepsakes The exhibition "A Royal Treasure: The Javanese Batik Collection Of King Chulalongkorn Of Siam" showcases some of these precious textiles that have been stored in the Treasury of the Inner Court of the Grand Palace since the king's passing in 1910 The exhibition is presented in three rotations The second collection is on view now until midyear to mark the 70th anniversary of diplomatic relations between Thailand and Indonesia The last collection will be showcased beginning in September Above A batik in Bang Bangan style from Lasem "King Chulalongkorn travelled to Indonesia three times -- in 1870 The second rotation coincides with the celebration of the 70th anniversary of diplomatic relations between Thailand and Indonesia Batiks reflect beautiful Javanese traditions," said Thanphuying Charungjit Teekara private secretary of Her Majesty Queen Sirikit the Queen Mother who presided over the recent opening ceremony This project began in 2014 after the late King Bhumibol granted permission to the Queen Sirikit Museum of Textiles to research and exhibit this extraordinary collection with an aim to shed light on the life of King Rama V and educate people about Javanese batik which was designated as a Unesco Intangible Cultural Heritage of Indonesia in 2009 King Chulalongkorn bought a large number of batiks we travelled to Indonesia and attended the batik workshops in many cities to learn about batik production houses and the history of Javanese costume traditions," said Piyavara Teekara Natenoi director of the Queen Sirikit Museum of Textiles we will arrange a trip to trace King Chulalongkorn's footsteps for those interested in history The city tour programme includes the National Museum of Indonesia Jakarta Textile Museum and Museum Batik Dana Hadi in Surakarta." The batiks in several designs reflect the multiculturalism in the northern coast of Central Java and West Java The exhibition is divided into two zones to highlight on the traditional batik-making process regional styles and symbolic meaning of batik imagery headbands (ikat kepala) and an example of the Sirikit batik pattern King Chulalongkorn made his first and only official visit to Java He spent 15 days travelling to several places and learned how the Dutch developed the island of Java with advanced Western technology The first room boasts a wide selection of hand-drawn cotton batiks from a provenance in West Java that mingles the local wisdom and foreign designs from India There's also some samples of court batiks and popular styles from Central Java fashioned out of first-class materials and craftsmanship Carolina Josephina von Franquemont set up a batik atelier and created the innovative designs of geometric shapes and pictorial subjects that became standard features of coastal batik She was also recognised for a special colour palette called Prankamon green achieved by brushing tan dye over blue King Rama V got five samples from her workshop Visitors can see a striking red sarung depicting Garden of Eden imagery monkeys and centipedes live in a lush landscape of grapevines and flowers "The batiks from the Franquemont production house are unique We found some pictures of her batiks in the National Archives of Thailand," said museum curator Sarttarat Muddin King Chulalongkorn amassed the wide collection of extraordinary batiks from Yogyakarta and Surakarta during his journey Lasem batik used a unique rich red colour and adhered to Chinese iconography a Bang Bangan-style sarung narrated a Confucian scholar riding a horse and waving his hands on his return home after he passed state examinations and became a prestigious civil servant "Water in Lasem is rich in ore so the batiks come in unique red They created a collection of batiks with auspicious motifs to bless their sons," Sarttarat said Located on the north coast of Central Java European and Muslim descendants who produced batiks in different styles It is a perfect mixture of late Victorian artistic conventions and European art nouveau style Jans was among the first to sign her products Her textiles reflected Western culture through the pastel-coloured floral bouquets King Rama V didn't visit there but bought some Jans textiles from traders in Bandung," Sarttarat explained King Rama V returned to Java and explored Cirebon With a long history of international sea trade Cirebon has been the best batik centre in West Java with creative workshops run by Sino-Indonesians the batiks boasted refined Chinese motifs on a background dyed in dark shades a bride would wear blue batik when leaving her home to mourn the loss of her family the only batik in the royal collection that still retains its gold leaf The western town of Garut was famous for batik with a background in pale-yellow called gumading on which fine patterns in brick red and bright blue were painted Some Garut batiks also presented the "burnt toast" effect when lighter dye bleeds slightly in surrounding areas The next room showcases an eye-catching edition of royal court batiks from Yogyakarta and Surakarta Yogyakarta in Central Java created batiks with geometric patterns the Garuda (a Hindu bird-god) and nagas (a snake deity) The sarung with mikado pattern is a masterpiece from Yogyakarta influenced by Japanese art that broadened its influences to Java at the end of the 19th century This batik sample is adorned with Japanese fans in different sizes and designs while the background is filled with a traditional Kawung pattern Alongside is the striking hip wrapper in Sirikit design Full of flowers to represent the beauty of Her Majesty Queen Sirikit the Queen Mother it was created in 1960 to mark Their Majesties' visit to Indonesia Left The batiks from Carolina Josephina von Franquemont workshop in Semarang The batiks from Surakarta are unique in a colour palette of yellow-brown and dark blue with tiny motifs painted on a yellowish ground The Surakarta court textiles are mostly graced with elephants Seme design is all about stylised flora and fauna while a variety of creatures like the elephant used to represent royal power One sample is a sarung with a Semen Sidorojo pattern that is believed to have been made in the 18th century -- after Mataram was divided into Surakarta and Yogyakarta Garuda's wing and a Tree of Life that symbolise protection The Queen Sirikit Museum of Textiles is open daily from 9am to 5pm Tickets range from 50 baht for students to 80 baht for seniors and 150 baht for adults visit qsmtthailand.org or call 02-225-9420 and 02-225-9430 By subscribing, you accept the terms and conditions in our privacy policy The Urban Design and Environmental (UDE) Research Group Faculty of Built Environment and Surveying hosted the Online Global Classroom (OGC) Webinar on 2nd December 2020 The webinar had involved collaboration with Universitas Sebelas Maret (UNS) Indonesia and Mahasarakham University (MSU) The main objective of the webinar was essential to discuss the current threat and conservation of historic cities in South East Asia regions The total number of attendees was 208 participants from UTM UNS and MSU (84 UTM students; 71 UNS students; 45 MSU students; five UNS Academic staff; and three others) The webinar began with a warm welcome from the two invited speakers Kusumaningdyah Nurul Handayani (Architecture Department shared a lecture on Discover Historic Urban Landscape of Pecinan Lasem an inspiring case study of a historic city flourishing batik industry and the unique community of mixed culture of Chinese Indonesian Lasem or namely “the little China” (Tiongkok Kecil-Indonesia language) of central Java is safeguarding by the intangible heritage comprises Indonesia batik recognised by UNESCO the tangible heritage of Lasem historic city possessed significant architectural buildings such as a batik house and private residences which inherited the Javanese Kusumaningdyah highlighted that adopting the historic urban landscape is a vitality to preserve the cultural heritage identity of Lasem the transformation of adaptive reuse heritage buildings provides the benefits of regeneration of Lasem in sustaining the living heritage a senior lecturer from the Department of Urban Design and Creative Arts shared a lecture on the collective case study of traditional streets in Hanoi Traditional streets in South East Asia regions are essential places for people to conduct their way of life and cultural significance The formation of traditional streets was characterised by multicultural forms the traditional street spaces became a melting pot for both cultural and commercial significance for people to convey cultural practice the evolutions of times have formed physical built forms and cultural identity of the current traditional street The influential and remaining of the tangible and intangible heritage of each traditional street had strengthened the liveliness of cultural space in a historic city Shortly after the sharing session of case studies by Dr there was a discussion and wrap up sessions to conclude at the end of this webinar The challenge of “Rethinking the future of historic cities” was the most concern due to the impact of urban threats and the changing characteristics of historic cities the COVID-19 pandemic had caused the change of function and activities of historic cities The diversity of the cultural-led activities in historic cities through heritage tourism educational and awareness activities will accelerate and nourishing heritages in the economic the session pointed out important points of protecting and sustaining historic cities through community engagement sharing knowledge on conservation approaches this webinar has accomplished to achieve the faculty’s outbound mobility programme This website uses cookies to ensure you get a better experience World-leading health experts have gathered at the Melbourne Cricket Ground to share ground-breaking research around women’s health in sport in an effort to boost the support offered to athletes and participants The inaugural Women in Sport Congress runs for three days and is a joint initiative between La Trobe University’s Sport and Exercise Medicine Research Centre (LASEM) and the Australian Institute of Sport (AIS) Female Performance and Health Initiative co-chair of the Congress and LASEM Director said now is the time to elevate women’s sport in all areas including health “We’re now at an inflection point There’s been an explosion of interest in women’s rugby soccer and more – and we need to be ensure we have the best up-to-date research on hand to support all women in sport,” Professor Crossley said “As part of this congress we’ll be exploring research topics such as menstrual cycles pelvic floor and breast health as well as discussing leadership inclusion and accessibility for women in sport,” Professor Crossley said AIS Female Performance and Health Initiative Project Lead said the congress is an opportunity to highlight the incredible research academics are undertaking “We have a high performance system calling out to better support our athletes and their needs with the best available research so we wanted to showcase all the great work that is now coming to the forefront,” Dr Harris said “Our high performing athletes and the systems that support them want to know how to improve performance future plan for families and pregnancies and optimise their short and long-term health “They deserve best practice and evidence-based information so we need to ensure we are advocating for them and producing high-quality research,” Dr Harris said Dr Peter Brukner OAM Professor of Sports Medicine at LASEM echoed this: “Women’s sport is going ahead in leaps and bounds and we need to meet it with the right support and expertise.” Each theme has dedicated keynote presentations, new research and panel discussions across the three-day event. The full program of speakers is available on the Women In Sport Congress website About La Trobe University Sport and Exercise Medicine Research Centre (LASEM): La Trobe Sport and Exercise Medicine Research Centre (LASEM) is a world-leading collaborative centre for sport and exercise medicine research LASEM strongly advocates sport and exercise medicine and is determined to translate research findings to key stakeholders including the international research community health practitioners and the general public About Australian Institute of Sport (AIS) Female Performance and Health Initiative: The AIS Female Performance & Health Initiative (FPHI) was established in October 2019 to improve women athlete specific knowledge and systems of support The initiative benefits Australian athletes sporting organisations and support staff in the sport sector and raises awareness and understanding to key women athlete performance and health considerations Courtney Carthy – c.carthy-oneill@latrobe.edu.au Kate O’Connor – k.o’connor@latrobe.edu.au Helping women officials in community sport feel included sports subjects excel again in QS world rankings by subject