Generally speaking, rattan furnitures industry is left one step behind compared to wood furniture industry. The way to solve this issue lays on the need of innovation on product development. Production aspect is one of aspects in rattan furniture industry that needs attention. This study aims to develop the rattan furniture products, especially the finishing aspect by applying batik technique. This study applies descriptive-qualitative approach. The research method used is batik technique experiment method on rattan laminating method. The techniques include pattern designing, nyanting I, coloring I, nyanting II, coloring II; nglorod; drying; coating. The results shows that batik technique can be applied in rattan furniture industry by creating some adjustments compared to batik on cloth. The adjustements applied on dipping stage by pelorodan (peeling off the wax) by flushing, and laminating as the final process so that the color and pattern will not fade. Batik can be applied on rattan by making some adjustments, mainly on the characteristics of the materials and process efficiency efforts rattan batik furniture industry.

This study focuses on the concept of ideal woman according to Minangkabau philosophy. The criteria of the ideal woman can be found in proverbs containing implicit meaning related to ethical value namely the view about woman’s ideal morality. That interpretation can be comprehended from its function and purpose as a concept of moral and character education for Minangkabau young generation.The study toward the character education of Minangkabau woman based on the interpretation of meaning from the concept of Minangkabau ideal woman became the basis of fine art creative idea resulting on the icon of personal expression. This artwork was materialized into the painting of symbolic expression/abstraction by borrowing the traditional idiom “Tangkuluak (Tekuluk),” a kind of Bundo Kanduang’s formal outfit in the form of headgear as the traditional symbol Minangkabau custom.The creation of this symbolic expression painting aims at the preservation effort of Minangkabau aesthetics through the materialization of paintings that takes the specific theme, Bundo Kanduang as the ideal woman of Minangkabau people.This study used qualitative method presented in the form of descriptive analysis. The techniques of data collection conducted were interview and observation that had emic characteristic performed in the Centre of Minangkabau Cultural Information (in Indonesia, it’s called as PDIKM) in Padangpanjang and Adityawarman Museum in Padang, West Sumatra. While etic research was conducted with qualitative method namely studying the theoretical claim and interpreting the meaning of proverbs about the nobility of Bundo Kanduang.

Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.

The pottery in Takalar regency, South Sulawesi province, has been existed for hundreds of years and has become part of a community cultural life. The study aims to identify the changes ofvarious ceramic forms and design from 1981 to 2010. This periodisation is chosen because in the 1980s the Department of Industry and Trade had supervised craftsmen in Takalar, which has given significant changes in the development of ceramics in the area. The method employed is a qualitative method with a multidisciplinary approach, including history and ethnography. To analysis the data, the research uses interactive techniques (Miles dan Hubermen, 1992). The research site covers three districts: Sandi, Pabbatangan, and Pakalli. The study shows there are significant changes in ceramic forms and design from 1980 to 2010. Based on the classification used, the changes are divided into three periods: traditional forms (1981-1990), transition forms (1991-2000), and modern forms (2001-2000). These changes are caused by the open attitude of the craftsman to outside agencies, such as Disperindag (government), universities, and consumers. These outside parties have influenced artisans to develop ceramic designs by introducing new shapes and values, including foreign cultures.Keywords: ceramic development, design and form changes, and craftsmentABSTRAKKeberadaan keramik di Kabupaten Takalar, Sulawesi Selatan, telah berlangsung selama ratusan tahun dan menjadi bagian kehidupan sosial budaya masyarakatnya. Penelitian ini bertujuan untuk mengidentifikasi ragam bentuk dan perubahan desain keramik sejak tahun 1981 hingga tahun 2010. Periodisasi ini dipilih sebab sejak tahun 1980-an Disperindag telah membina perajin keramik di Takalar yang telah memberi dampak perubahan. Metode yang digunakan adalah metode kualitatif dengan pendekatan multidisiplin, yakni sejarah dan etnografi. Lokasi penelitian terbagi ke dalam tiga kecamatan, dengan lokasi sentra di Sandi, Pabbatangan, dan Pakalli. Adapun analisis data menggunakan teknik interaktif (Miles dan Hubermen, 1992). Hasil penelitian menunjukkan telah terjadi perubahan bentuk sejak tahun 1981 hingga tahun 2010. Klasifikasi berdasarkan perubahan bentuk terbagi pada tiga periode, yakni tradisional (1981-1990), transisi (1991-2000), dan modern (2001-2010). Perubahan desain disebabkan para perajin bersikap terbuka terhadap pihak eksternal seperti Disperindag, perguruan tinggi, dan konsumen. Pihak eksternal memperkenalkan bentuk dan nilai baru, termasuk unsur budaya luar, membimbing, dan mempengaruhi para perajin agar mengembangkan desain keramik.Kata kunci: perkembangan keramik, perubahan bentuk dan desain, perajin

Waste straw from rice harvesting in Indonesia, especially in the city of Solo and its surroundings, is very abundant and has not been utilized optimally yet. This is an economic potential if it is developed with furniture products which are the leading export products in the city. The purpose of this creation is (1) Utilization of straw rope as a material for supporting application in making furniture (2) Furniture products using wood and straw  applications. To achieve the goal, it takes steps or methods of creating works by utilizing emic and ethical data, including: experimentation, contemplation, and formation. From the creative process, it produces: (1) quality straw gyres and is suitable for use as supporting applications in furniture products, (2) Furniture products with wood and straw rope applications that are tested and feasible to produce.