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Abstract-Educational Game Tool (APE) that is used for early childhood in pre-school institution -Kindergarten of Batu City, East Java Province has less local culture theme. It made the early-age children aren't familiar with their own culture. They need local culture-based APE product as a media to boost children's interest in the local culture. This research has proved that educational tool plays an important role in the educational process. The research method used a creative approach. This approach intended to produce a concept of APE product design development. This research was started by formulating the product design development, continued with the product design shape exploration through the various APE puzzle pre-design image with various cultural themes. The alternative image results were selected and embodied in the product prototype. Before it was tested to Kindergarten students of Batu City, the development prototype is validated to APE product design expert and early childhood learning media expert. Validation and field test results of APE product design development showed that the product design development is appropriate to be applied to the early-age children. The product design includes a puzzle with Wayang Purwo theme, Bali dance, Reog of Ponorogo dance and Leathered horse.

Malaysian artisans continue to produce crafts and visual art based on a well-tried formula: an inherited framework determined by tradition. However, new ideas and expressions are constantly being developed—with the only real limit being the imagination of the artist/craftsman. Batik sits uniquely in Indonesian culture as it has been declared by the United Nations Educational, Scientific and Cultural Organisation (UNESCO) as its cultural heritage and has been awarded ‘Best Practice’ in its education and production of batik (Kepres, 2009). Indonesia also celebrates its National Batik Day on October 2nd every year. The word batik in Malaysia generally describes the process of decorating cloth using the block printing (cap) or hand-drawn (canting) techniques, or a combination of both. The method of dyeing and coloring varies with the use of materials of various textures, such as cotton, silk, rayon and organza. It may also be identified by the range of traditional designs and motifs used. Batik has become a symbol of national pride and a form of attire for all races. Batik is ingrained in Malaysian culture. Indonesia is aggressive in its efforts in promoting batik as a national identity. The love for batik is instilled through batik-related subjects offered at primary and secondary school levels. In Malaysia, education about batik is introduced at the secondary level. Keywords: Malaysian and Indonesian batik, best practices

This paper reports on the production of a ceramic installation artwork that explores the story of the COVID-19 pandemic experienced by people throughout the world. The work is a symbolic expression in the form of a set of ceramic art models that portray the story of the battle between positive and negative values, expressed through a 3-dimensional visual ceramic installation consisting of an arrangement of statues that portray an imaginary battle between COVID-19 troops and Lord Krishna. The method used in the process of creating this work was a creative approach that combined appreciation and interpretation of the object of the creative idea. The artwork was made of plastic clay taken from the southern area of Malang regency, East Java, Indonesia, which was formed using a manual technique of direct hand massage and fired at a temperature of 900 °C. The COVID-19 phenomenon is imagined and visualized as a ceramic installation sculpture consisting of the imaginative figures of COVID-19 troops, led by the king of COVID-19 who is shown fighting with Lord Krishna. The result is a visual expression of the COVID-19 troops and their king, in several imaginative forms, carrying various weapons of war, in combat with the imaginary figure of Lord Krishna. The distinction of this work is its portrayal of a battle between positive and negative forces that have become a part of human life during the COVID-19 pandemic, expressed in a symbolic visual narrative through the arrangement of a set of ceramic sculptures.

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