Abstract :
In the beginning, craft as a category of art was established because of its traditional cultural elements. However, in its development, contemporary craft art features many other styles and elements of art, making it difficult to distinguish craft art from other types of art. To adjust to the development and new characteristics of contemporary craft art, it is necessary to develop new methods in the creation of craft art. One of them is cultural hybridization. This article offers a method of creation by adopting the concept of a hybrid aesthetic. Through this method, artists are invited to experiment with visually re-actualizing traditional cultural elements in the creation of craft works among modern art elements.
The main question that needs to be asked is how the hybrid aesthetic method can provide certain strength in reaffirming the definition of craft art according to the development of contemporary art. The adoption or application of the hybrid aesthetic concept in the creation of contemporary craft must still consider traditional elements and the adoption of other elements with the application of new methods of creation. The hybrid aesthetic concept produces a unique genre and has the opportunity to sustain an aura of originality through the re-actualization of traditional elements in a strong visual in the global art scene.
Keywords :
Appropriation, Contemporary Craft Art, Hybrid Aesthetics, Re-actualization, Traditionalism.References :
- Ariffin, W. J. W., Shahfiq, S., Ahmad, F., Ibrahim, A., & Ghazalli, F. S. (2023). Handicraft Innovations: A Strategic Approach to Preserving Intangible Cultural Heritage of Malaysia. ISVS E-Journal, 10(7), 137–146
- Bahrudin, , Galuh Amartya, A., & Al-Amien, A. F. (2021). Jurnal Ekspresi Seni Studi Kasus Form Follows Function dalam Karya Seni Kriya Form Follow Function; Seni kriya; Indonesia. Ekspresi Seni, 254–265. http://creativecommons.org/licenses/by/4.0
- Bal, , & Van Boheemen, C. (2009). Narratology: Introduction to the theory of narrative. University of Toronto Press. Barrett, T. (1994). Critics on criticism. Journal of Aesthetic Education, 28(2), 71–82.
- Barker, (2004). Cultural Studies: Teori dan Praktik. (Nurhadi, Penerjemah). Yogyakarta: Kreasi Wacana.
- Benedetti, M. (2022). A New Craft History Paradigm. Art Documentation: Journal of the Art Libraries Society of North America, 41(1), 38–69.
- Berry, F. (2022). Crafting Identity: Contemporary Craft Arts through Feminist Lenses. Columbus College of Art & Design Bhabha, H. K. (2012). The location of culture. routledge.
- Bleicher, (2017). Contemporary hermeneutics: Hermeneutics as method, philosophy and critique (Vol. 2). Routledge. Burke, P. (2009). Cultural hybridity. Polity.
- Creswell, W., Hanson, W. E., Clark Plano, V. L., & Morales, A. (2007). Qualitative research designs: Selection and implementation. The Counseling Psychologist, 35(2), 236–264.
- Creswell, W., & Creswell, J. D. (2017). Research design: Qualitative, quantitative, and mixed methods approaches. Sage publications.
- CUCEN, K. (2018). Interpretation of Being of Dasein as the Language of Heidegger’s Hermeneutics”. 4th Eurasian Conference on Language and Social Sciences, 106.
- Dillon, (2018). Repositioning the Popular: The Hybrid Aesthetics of Violeta Parra’s Paintings Machitún, Las tres Pascualas, and Casamiento de negros. Studies in Latin American Popular Culture, 36(1), 145–160.
- Djatiprambudi, (2019). Reinvensi Budaya Visual Nusantara sebagai Basis Penciptaan Seni Rupa (Kontemporer). Seminar Nasional Seni Dan Desain 2019, 9–18.
- Gombrich, H., & Gombrich, E. H. (1995). The story of art (Vol. 12). Phaidon London.
- Gotti, (2022). Equally Present Temporalities: Craft and the Contemporary at the Museo del Barro, Paraguay. The Journal of Modern Craft, 1–17.
- Guyer, (2021). Kant’s Theory of Modern Art? Kantian Review, 26(4), 619–634
- Halliwell, (2009). The aesthetics of mimesis. In The Aesthetics of Mimesis. Princeton University Press.
- Hendriyana, , & Ds, M. (2022). METODOLOGI PENELITIAN PENCIPTAAN KARYA PRACTICE-LED RESEARCH AND PRACTICE-BASED RESEARCH SENI RUPA, KRIYA, DAN DESAIN–EDISI REVISI. Penerbit Andi.baga Pembinaan Dan Pengembangan Seni Budaya Melayu.
- Herren, M., Michaels, A., & Wagner, R. G. (2012). Transcultural Research–Heidelberg Studies on Asia and Europe in a Global Berlin: Springer, Https://Doi. Org/10.1007/978-3-642-19196-1, 10, 973–978. https://kbbi.web.id/
- Ilgin, E. (2021). A search for A New tall building typology: structural hybrids. Proceedings of the LivenARCH. Jencks, C. (1987). Postmodern and late modern: The essential definitions. Chicago Review, 35(4), 31–58.
- Kawlra, A., & Sarkar, S. (2022). Hybrid creature motifs as cross-cultural transmission along the Silk Roads. Textiles and Clothing Along the Silk Roads: Thematic Collection of the Cultural Exchanges along the Silk Roads, 1, 209.
- Kraidy, (2006). Hybridity, or the cultural logic of globalization. Temple University Press.
- (2010). Seni Kriya dalam Kehidupan Manusia. In Ornamen (Vol. 7, Issue 1, p. 68). https://jurnal.isi- ska.ac.id/index.php/ornamen/article/view/939
- Pandanwangi, (n.d.). (2020) Sejarah Seni Rupa Modern. Zahir Publishing.
- Sachari, A. (2007). Budaya Visual Indonesia: membaca makna perkembangan gaya visual karya desain di Indonesia abad ke-20.
- Schwaiger, T. J. (2021). Re-Animating Post-Digital Cinema:[Animated] Fluidity and Hybrid Aesthetics in Tomm Moore’s Celtic Trilogy. Chapman University.
- Serap, Ü. (2022). IN CRAFT AND ART FROM TRADITIONAL TO CONTEMPORARY AVANOS Motif Akademi Halkbilimi Dergisi, 15(37), 236–251.
- Setiawan, (2022). SENI KRIYA NUSANTARA. Cahya Ghani Recovery.
- Setyawan, E., & WS, D. R. (2022). MIMIKRI, HIBRIDITAS, DAN AMBIVALENSI DALAM CERPEN “KITA GENDONG BERGANTIAN” KARYA BUDI DARMA: KAJIAN PASCAKOLONIAL. Alayasastra, 18(1), 43–60.
- Spradley, P., Elizabeth, M. Z., & Amirudin. (1997). Metode etnografi. Tiara Wacana Yogya.
- Sugiyanto, R. R., Haryanto, E., Syakir, A. C., & Prameswari, N. S. (2023). The Socio-Cultural Capital Role of Mulyoharjo Craftsmen in the Preservation of Jepara Carving Arts, Indonesia.
- Sumardjo, J. (2000). Filsafat Seni, Bandung: Penerbit ITB. Tengku Luckman Sinar,(1993). Motif Dan Ornament Melayu, Medan: Lembaga Pembinaan Dan Pengembangan Seni Budaya Melayu.
- Suryajaya, (2016). Sejarah Estetika: Era Klasik Sampai Kontemporer. Gang Kabel.
- Tian, (2021). Optimization of Hybrid Multimedia Art and Design Teaching Mode in the Era of Big Data. Scientific Programming, 2021, 1–11.
- Torner, (2020). The Postmodern Joy of Role-Playing Games: Agency, Ritual, and Meaning in the Medium. American Journal of Play, 12(2), 241–243.
- Wallas, (1970) The Art of Thought, England: Penguin Books.
- Wang, , Xu, C., Ding, A. S., & Tang, Z. (2021). A novel emotion-aware hybrid music recommendation method using deep neural network. Electronics, 10(15), 1769.
- Wardani, N. E., & Widyahening, C. T. (2020). Hybridity, mimicry and ambivalence of female characters in Indonesia: A study from postcolonial novels. International Journal of Innovation, Creativity and Change, 12(1), 419–431.
- Young, J. C. (1995). Colonial desire: hybridity in theory, culture and race Routledge. New York.
- Yu, , Hao, T., & Zhang, H. (2021). Research and practice of hybrid teaching mode of “film and television production technology and art” course based on OBE concept. Creative Education, 12(9), 2066–2073