No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
The Artistic and Aesthetic Aspect in Arts to the Conception of Ki Hadjar Dewantara’s Pendidikan Kesenian: the Case study of The Floating School Pangkep Program
Abstract
The embodiment of the arts dimension and power in learning as arts education issues represents the problem that needs to be assessed critically. On the one hand, the conception of Ki Hadjar Dewantara’s pendidikan kesenian has become a basic implementation of alternative education in Perguruan Tamansiswa since 1922. This primary scrutiny constitutes a thinking foundation to study as mentioned in a case study in a program of The Floating School (TFS) Pangkep. This research objective is analyzing the problems: (1) TFS’s understanding of artistic and aesthetic aspects in arts; (2) implementation of art learning in TFS Pangkep program; and (3) implication of TFS Pangkep program.
This research uses a qualitative-interpretative approach with the case study model in TFS 2017 program. Therefore, a data collection bases the data on a review of document study, an applied of deep interview, and supported with a foundation of participative observation. The validity of the data collection result is examined by the commensurability test of data and data resources. By focusing the data on an account and transcript of the interview, data analysis uses an illustrative method through five stages: (1) appreciating the account and transcript of interview; (2) giving a note; (3) formulating a theme; (4) conceptualizing a topic; and (5) adjusting a problem topic, to narrating the interpretation result with a critical discourse analysis.
This research result shows the findings as follows. Firstly, the understanding of TFS’s founders and facilitators to the artistic and aesthetic aspect is about an identification towards the development of skills and knowledge following student’s tendencies by utilizing the arts dimension and power as learning and creating media. Secondly, TFS implements a medium of arts-media-literacy as learning object in the model of workshops through a giving of applicative subject matter with an interactive method in working arts to stimulate student’s curiosity pleasantly. Thirdly, TFS program has implicated student’s confidence in expressing a story of the object and creating a message into the artwork for the exhibition.
ResearchGate has not been able to resolve any citations for this publication.
. Modern technology makes human life style also changesduring the development of the era. The exchange of information from one place to another becomes easier not only for national scoped but also the international scope. Moreover, it makes the foreign culture can easily enter Indonesia, imitated by society and then give impact to the life style of the society including human’s behaviour. It can be said that there is a moral swing in Indonesia nowadays. Many young people are not really enthusiastic in keeping their own culture. They tend to imitate other cultures, behave inappropriately, use illegal drugs, do free sex, bully each other, make genk, scuffle, and even kill people. One of the reasons of this morality crisis is the exemplary crisis. Adults who are supposed to be role models for the younger generation even provide bad examples such as doing corruption, being selfish and do individualist practices of corruption, collusion and nepotism, mutual checks, doing violence such as grabbing, punching and other crimes.Therefore, the government makes effort to overcome the moral crisis through character education or Budi pekerti education. Basically character education is not new concept, Ki Hajdar Dewantara has designed character education since a long time through its principles, foundations, concepts and teachings about Tamansiswa. The principles and teaching can be implemented to toddlers, children, and adolescents until adults. Through the method of literature analysis, this paper seeks to examine and explore more deeply about the character education which designed according to the teaching of Ki HadjarDewantara. Character education designed according to Ki Hadjar Dewantara applied through basic and teaching of Tamansiswa. Basic Tamansiswa includes Panca Dharma that is Nature of universe, Independence, Culture, Nationality and Humanity. While Tamansiswa teaching includes Tri Ngo (ngerti, ngroso, lan nglakoni), Tri N (niteni, niroke, nambahi), Tri Hayu) and most importantly the Trilogi Kepemimpinan (ing ngarso sung tulodho, ing madyo mangun karso, tutwuri handayani), all of them are implemented in Tri Pusat Pendidikan (family, school and community). Abstrak: Teknologi modern membuat gaya hidup manusia juga berubah selama perkembangan zaman. Pertukaran informasi dari satu tempat ke tempat lain menjadi lebih mudah tidak hanya untuk lingkup nasional tetapi juga ruang lingkup internasional. Selain itu, membuat budaya asing dapat dengan mudah masuk ke Indonesia, ditiru oleh masyarakat dan kemudian memberi dampak pada gaya hidup masyarakat termasuk perilaku manusia. Dapat dikatakan bahwa ada ayunan moral di Indonesia saat ini. Banyak anak muda tidak benar-benar antusias dalam menjaga budaya mereka sendiri. Mereka cenderung meniru budaya lain, berperilaku tidak semestinya, menggunakan obat-obatan terlarang, melakukan seks bebas, saling menggertak, membuat genk, perkelahian, dan bahkan membunuh orang. Salah satu alasan krisis moralitas ini adalah krisis yang patut dicontoh. Orang dewasa yang seharusnya menjadi panutan bagi generasi muda bahkan memberikan contoh buruk seperti melakukan korupsi, menjadi egois dan melakukan praktik individualis korupsi, kolusi dan nepotisme, saling memeriksa, melakukan kekerasan seperti menyambar, meninju dan kejahatan lainnya. Oleh karena itu, pemerintah berupaya mengatasi krisis moral melalui pendidikan karakter atau pendidikan Budi pekerti. Pada dasarnya pendidikan karakter bukanlah konsep baru, Ki Hajdar Dewantara telah merancang pendidikan karakter sejak lama melalui prinsip-prinsipnya, yayasan, konsep dan ajaran tentang Tamansiswa. Prinsip-prinsip dan pengajaran dapat diimplementasikan untuk balita, anak-anak, dan remaja sampai dewasa. Melalui metode analisis pustaka, makalah ini berusaha untuk meneliti dan menggali lebih dalam tentang pendidikan karakter yang dirancang sesuai dengan ajaran Ki HadjarDewantara. Pendidikan karakter dirancang sesuai dengan Ki Hadjar Dewantara yang diterapkan melalui dasar dan pengajaran Tamansiswa. Tamansiswa Dasar meliputi Panca Dharma yaitu Alam semesta, Kemerdekaan, Kebudayaan, Kebangsaan, dan Kemanusiaan. Sementara ajaran Tamansiswa mencakup Tri Ngo (ngerti, ngroso, lan nglakoni), Tri N (niteni, niroke, nambahi), Tri Hayu) dan yang paling penting Trilogi Kepemimpinan (ing ngarso sung tulodho, ing madyo mangun karso, tutwuri handayani), semua dari mereka diimplementasikan di Tri Pusat Pendidikan (keluarga, sekolah dan masyarakat).
Cerita Punakawan dalam karya komikus Tatang S. pernah sangat populer di tahun 80-an hingga 90-an. Cerita Punakawan yang terdiri dari Semar, Petruk, Gareng, dan Bagong ini juga pernah diangkat dalam program Ria Jenaka di TVRI pada era yang sama. Ada banyak makna tentang perilaku masyarakat yang disampaikan dalam cerita Punakawan tersebut, di antaranya makna budi pekerti. Budi pekerti merupakan sikap dan perilaku masyarakat yang diperlukan dalam interaksi sosial. Penyampaian pesan tentang budi pekerti melalui komik menjadi hal menarik untuk dianalisis karena penciptaan komik di era teknologi informasi saat ini tidak lagi baku pada bentuk-bentuk komik yang konvensional. Studi ini mencoba memvisualisasikan bagaimana memaknai budi pekerti dalam seni kreativitas komik kontemporer. Secara kualitatif, pembahasan dalam studi ini menggunakan prinsip-prinsip estetika dengan pendekatan pra-ikonografis, ikonografis, dan ikonologis. Studi ini diharapkan dapat menjadi referensi dalam penyampaian pesan sosial budaya melalui seni kreativitas komik.
Etnopedagogi merupakan aktualisasi pembelajaran yang berorientasi pada penanaman nilai-nilai kearifan lokal. Sebagai pendekatan, etnopedagogi di sekolah dasar perlu diimplementasikan dengan strategi maupun media pembelajaran inovatif yang mampu menarik perhatian siswa untuk memahami dan mengaplikasikan kearifan lokal. Penelitian ini menggunakan mixed methods dengan strategi triangulasi konkuren. Hasil penelitian menunjukkan bahwa etnopedagogi sebagai pendekatan pembelajaran yang diimplementasikan melalui kegiatan pembelajaran yang menyajikan media berbasis kearifan lokal lebih efektif. Dalam penggunaan media berbasis keunggulan lokal seringkali diiringi dengan berbagai aktivitas bermain, sehingga menciptakan pembelajaran yang aktif, kreatif, efektif, dan menyenangkan. Hal ini menunjukkan bahwa etnopedagogi berhasil diaplikasikan pada pembelajaran di sekolah dasar jika pelaksanaan disajikan dengan kegiatan pembelajaran inovatif seperti media berbasis kearifan lokal.
Pendidikan Seni adalah pendidikan yang memberikan materi-materi tentang karya-karya seni, baik secara apresiasi ataupun praktek. Karya seni ini mempunyai unsur pokok, yaitu: keindahan. Dengan keindahan karya seni, peserta didik diharapkan dapat menangkap makna keindahan yang ada pada karya seni. 3 (tiga) elemen: apresiasi, ekspresi, dan kreasi, yang tetap menjadi basis utama dalam pembelajaran seni. Pencapaian ranah ini dilakukan melalui pendekatan: definitif, partisipatif, dan eksploratif; dengan pembelajaran yang: Menyenangkan, Unik, Kreatif, Inovatif, Demokratis, dan Inisiatif (MUKIDI). Keharmonisan dari elemen-elemen pembalajaran tersebut diharapkan mampu meningkatakan kreativitas-inovatif dalam pendidikan seni.
Penelitian ini bertujuan menemukan dan mengungkap karakteristik instrumen pengukuran respons estetik, yang dapat digunakan untuk mengukur respons siswa terhadap karya seni rupa (lukisan). Sasaran penelitian pengembangan ini adalah instrumen pengukuran respons estetik untuk siswa sekolah menengah pertama dan respons siswa sebagai hasil uji coba. Subjek penelitian ini adalah siswa Kelas VII SMP Negeri 4 Yogyakarta. Teknik analisis data yang digunakan adalah analisis faktor, analisis reliabilitas, dan analisis varians dengan pengukuran ulang. Hasil penelitian menunjukkan bahwa proses pengembangan instrumen pengukuran respons estetik meliputi penyusunan kisi-kisi, pemilihan butir-butir semantic differential dan stimulus (lukisan), penyusunan instrumen, dan uji coba instrumen. Berdasarkan analisis faktor, instrumen pengukuran respons estetik yang dikembangkan tersebut memiliki validitas yang baik (varians total yang dapat dijelaskan keseluruhan = 70,65%). Instrumen pengukuran ini mampu mengukur respons estetik siswa menurut faktor evaluatif, formal (kebentukan), dan stimulatif (kesan gerak), yang berarti bahwa siswa menunjukkan kecenderungan menilai kualitas, merasakan bentuk, dan menangkap kesan gerak pada lukisan. Faktor evaluatif direpresentasikan oleh butir 'tidak indah—indah', 'jelek-bagus', 'tidak suka—suka', dan 'tidak mirip—mirip'. Faktor formal direpresentasikan oleh butir 'gelap—terang ', 'kusam—cemerlang', dan 'kabur—jelas'. Faktor stimulatif direpresentasikan oleh butir 'sederhana—rumit', 'hidup—mati', 'kacau—tenang', dan 'kaku—luwes'. Instrumen respon estetik ini memiliki reliabilitas yang baik (konsistensi internal alpha = 0,82 dan koefisien stabilitas rij = 0,71). Analisis varians dengan pengukuran ulang menunjukkan bahwa instrumen pengukuran respons estetik siswa tersebut menunjukkan sensitivitas terhadap karakteristik lukisan. Terdapat pengaruh gaya dan tema lukisan serta interaksinya terhadap respons estetik siswa. Kata kunci: respons estetik, semantic differential, instrumen
Tulisan ini bertujuan untuk mengelaborasi pemikiran KH. Dewantara dalam bidang pendidikan. Hal ini penting mengingat beliau merupakan salah satu pahlawan nasional yang mencurahkan perhatiannya dalam pengembangan pendidikan. Beliau juga mendirikan sekolah Tamansiswa dan pernah menjabat sebagai menteri pendidikan nasional.
Hasil kajian menunjukkan bahwa pemikiran Ki Hadjar Dewantara tentang pendidikan yang diwujudkan melalui lembaga pendidikan Taman Siswa memberikan harapan baru untuk kemajuan bangsa Indonesia. Taman berarti tempat bermain atau tempat belajar, dan Siswa berarti murid. Sebagai sebuah sekolah yang berbasis budaya lokal masyarakat Jawa, Taman Siswa mampu bertahan di tiga jaman, yaitu jaman kolonial Belanda, kolonial Jepang dan masa kemerdekaan sampai dengan sekarang. Beberapa pemikiran Ki Hadjar dalam Taman Siswa sangat relevan untuk menyikapi perkembangan terkini pendidikan di Indonesia, dan sejalan dengan prinsip pendidikan yang humanis-religius.
Kata kunci: KH Dewantoro, pendidikan, Taman Siswa.
Since the transmission of arts education in the family is limited in Indonesia, the exploration of teaching strategy for community becomes imperative as a form of informal education. This article aims to report research results on the implementation of arts education in society through thematic community service program, namely Pos Pemberdayaan Keluarga (POSDAYA) or “family empowerment post.” This qualitative study used a project-based research method, which began by diagnosing the problems, creating a plan for activities, implementing the plan, and evaluating the results. Participants of this research were women and children from Bandung Barat Regency of West Java and students of Universitas Pendidikan Indonesia. Data were collected from interviews, participant observation, and study documentation. The data were triangulated and interpreted. The research found a collaborative teaching strategy between students, advisors, and women who worked for POSDAYA to implement arts education for children through creating dances and musical dramas. The story in the drama contains moral values such as caring for others, appreciating one’s parents, tolerance, and environmental awareness. Implementation of arts education through the community service program conducted by students and or faculty members is beneficial to develop children’s creativity and character.
This study aims to analyze the learning components developed by the Cipaku ECO Bamboo institution, from learning devices, teaching materials and learning methods. Qualitative method used in this study and data collected by interviews, document analysis, and observation. Then, it processed by using triangulation techniques. It’s results revealed that the Cipaku ECO Bamboo institution makes the learning component in accordance with the learning needs of the community. The component is made in the form of a facilitator’s guide for traditional game learning devices containing the value of character education and functioning as learning direction in accordance with learning signs. The use of expository learning methods in the form of lectures and question and answer is a model used by facilitators to transfer knowledge of cultural literacy based on traditional games. Thus, the innovation in cultural literacy learning developed at ECO Bambu Cipaku is in the form of a learning device serving as guidance to the learning process of traditional games even though cultural literacy programs through traditional game learning do not yet have special competency standards in the implementation process AbstrakPenelitian ini bertujuan untuk menganalisis komponen pembelajaran yang dikembangkan oleh lembaga ECO Bambu Cipaku, mulai dari perangkat pembelajaran, materi ajar dan metode pembelajaran. Metode yang digunakan dalam penelitian ini adalah metode kualitatif. Pengumpulan data menggunakan wawancara, analisis dokumen, dan observasi. Pengolahan data menggunakan teknik triangulasi. Hasil dari penelitian menunjukkan bahwa lembaga ECO Bambu Cipaku membuat komponen pembelajaran sesuai dengan kebutuhan belajar masyarakat. Komponen yang dibuat berupa panduan fasilitator untuk perangkat pembelajaran permainan tradisional yang bermuatan nilai pendidikan karakter dan memiliki fungsi mengarahkan pembelajaran sesuai dengan rambu-rambu pembelajaran. Penggunaan Metode belajar ekspositori berupa ceramah dan tanya jawab merupakan model yang digunakan oleh fasilitator dalam melakukan proses transfer ilmu pengetahuan pembelajaran literasi budaya berbasis permainan tradisional. Dengan demikian, inovasi pada pembelajaran literasi budaya yang dikembangkan di ECO Bambu Cipaku adalah berupa perangkat pembelajaran yang berfungsi sebagai pemandu proses pembelajaran permainan tradisional walaupun program literasi budaya melalui pembelajaran permainan tradisional belum memiliki standar kompetensi khusus dalam proses pengimplementasiannya.
This article discusses joyful learning method in Insan Mulia Surabaya School of Nature and describes ICT-based art education (Information and Communication Technology) at Insan Mulia School of Nature Surabaya. This research uses qualitative approach and descriptive research type. Data collection procedure is done by observation and interview method. Data analysis activities started from the data collection stage, the reduction phase, the data presentation stage, and the conclusion drawing stage. Data validation checks are performed with source triangulation, and method triangulation. The results of the study showed that: (1) Bina Insan Mulia’s school education has a learning model of joyful learning (2) ICT-based arts education (Information and Communication Technology) to make student learning activities more interesting and not monotonous.
Artikel ini membahas tentang metode pedidikan joyful learning di Sekolah Alam Insan Mulia Surabaya dan mendeskripsikan pendidikan seni berbasis ICT (Information and Communication Technology) di Sekolah Alam Insan Mulia Surabaya. Penelitian ini menggunakan pendekatan kualitatif dan jenis penelitian deskriptif. Prosedur pengumpulan data dilakukan dengan metode observasi dan wawancara. Kegiatan analisis data dimulai dari tahap pengumpulan data, tahap reduksi, tahap penyajian data, serta tahap penarikan kesimpulan. Pengecekan keabsahan data dilakukan dengan triangulasi sumber, dan triangulasi metode. Hasil penelitian menunjukkan bahwa: (1) pendidikan sekolah alam Bina Insan Mulia memiliki model pembelajaran joyful learning (2) pendidikan seni berbasis ICT (Information and Communication Technology) membuat kegiatan belajar siswa lebih menarik dan tidak monoton.
The aim of this study is to describe traditional art capitalization as the cultural identity of a society and a strategy of the society which supports traditional art in developing cultural comodification in line with the demands of the tourism industry. The paper is based on field research presenting a case study of the existence of Kubrosiswo traditional art from Magelang Regency, Central Java, Indonesia which develops the cultural comodification as a strategy to respond to the economic capitalization demands, especially the emergence of the tourism industry which appeared in this globalization era. One alternative strategy which is developed in this research is by making a documentary film. The documentary film is one of the strategies to present the reality based on the description in the field, and it is also expected to create awareness in recognizing and comprehending the knowledge of Kubrosiswo traditional art.
p>One example of society-based local art which is constantly enculturated is woven craft of Desa Jepang (Jepang Village) Kecamatan Mejobo in Kudus Regency. This paper aims at explaining the enculturation of woven craft grown in Jepang village Kudus Regency Central Java Province Indonesia as a form society-based art education. The approach employed in this study was qualitative with the cased study as the research design. Data were collected through observation, non-structural interview, as well as documentation study with interactive model analysis. Research results show that art education grows within the society as the result of enculturation process of woven craft art in Jepang Village that takes place in the forms of: (1) the transmission of the craft skill and (2) the transmission of socio-cultural values. The transmission process is done between the old and young generations both in informal and non-formal ways. The woven craft of Jepang Village as an art product that has been enculturated is unique in terms of its form, media, technique, idea, as well as the modification aspects.</p
p>This study is aimed at discussing the development result of thematic cultural art subject’s learning material based on science for primary school (2013 curriculum). This study is expected to inspire teacher to develop learning material that may explore artworks exist in our living environment (based on the context of children’s environment). This study applies steps in developmental research collaboration by Borg & Gall (1989) and Puslitjaknov (2008) to create the product. The development stages comprise observation in several primary schools in Surabaya, Gresik, and Sidoarjo that has implemented 2013 curriculum that is followed up by stages of development. Furthermore, prototype of cultural and art thematic learning material development results are verified by learning material experts, material expert, primary school teacher, and revised afterwards. The result of this research development is a set of teacher and student books. Science-based cultural art here means cultural art learning as the main medium to introduce local culture products (music, drawing, dance, and drama) by integrating mathematics, sciences, Bahasa Indonesia, and local language subjects. Cultural art products in the form of dance, music, drawing, dramas) will help children to understand a simple mathematical concept, such as: two-dimensional figure, geometry, comparing or estimating longer-shorter, smaller-bigger, or more-less.</p
p>Developing learning media by adjusting it to the subject materials’ characteristics and students’ development needs to be done. Based on this concern, this research is aiming at developing picture story media that is based on value clarification technique (VCT) as an alternative value education in primary school. This research employed Research and Development (R & D) study approach and specifically adapted the study model from Dick and Carey (2001). Data collection was done through documentation note, observation, questionnaire, and try out. Data that had been collected then was analysed by using qualitative and quantitative methods (mix methods). Based on the try out result, it shows that the picture story media that is being developed has fulfilled the criteria of validity, effectivity, and practicality. Besides, based on the observation results of the tests’ try out process, it shows that the media has given positive impact towards the expected learning process and results.</p
This study aims to understand and explain the problems of aesthetic adaptation through the development of ceramic art design in Mayong Lor Village as a cultural strategy in facing market competition to maintain the local characteristics. The research data was through by participant observation technique, in-depth interview, and document data tracking. The results show the following: First, the type of ceramic products can be classified into four categories, namely: 1) celengan (piggy banks), (2) children›s toys/remitance (keg, jars, cups, glasses, plates, paso, teapots, earrings, angklo, kekep) , (3) glassware for household purposes, such as jugs, kendil, padasan, and cowek, (4) decorative items (vases, jars, pots, wuwungan tiles, pencil pot, souvenirs, and carving. Aesthetically, the expression on ceramic pottery of Mayong Lor Village is simple and non-complicated as well as prioritizes the aspect of physical function which is oriented to economic value. Second, the social and cultural environment of Mayong Lor society creates typical patterns of interaction and lifestyle (with the support of its natural resources) resulting in the process of skill transfer of ceramic pottery traditionally from generation to generation and produces a unique and simple ceramic product. Third, in the midst of the strong influence of modern industrial pressures, the craftsmen struggle in the process of creativity by performing an aesthetic adaptation to develop new design with new artistic and economical values as the embodiment of a cultural strategy to maintain the creative potential of their local arts.
Estetika (estetik, Yunani: Persepsi indera) merupakan bidang yang mengkaji tentang keindahan, baik keindahan alam maupun seni. Sedangkan yang mengkaji tentang keindahan dalam seni sering disebut sebagai filsafat seni. Kenikmatan estetis dalam seni merupakan bidang dalam filsafat seni. Kenikmatan estetis dalam seni merupakan bentuk ontologi dalam seni. Di dalamnya mengadaikan proses estetis manusia dalam menangkap estetika seni. Estetika seni merupakan sifat dasar dari suatu karya seni. Manusia menangkap sinyal estettis tersebut sebagai sebuah rangkaian „kerja‟ dari rasa. Seni menampilkan keindahan sebagaimana adanya dan manusia menangkap hal tersebut. Proses menangkap estetis tesebut sebagai sebuah proses yang filosofis. Filososfis di sini diandaikan adannya proses-proses yang panjang dalam diri manusia. Di sini rasa memainkan peran yang penting. Di samping rasa ada fantasi dari diri manusia sebagai makhluk yang mempunyai rasa estetis, dengan kadar yang berbeda-bede.
Buku Pedoman Ruang Ramah Anak Berbasis Kearifan Lokal tahun kedua difokuskan pada penyempurnaan isi, tata tulis dan kelengkapan gambar agar terbaca dengan jelas oleh pengguna. Langkah penyempurnaan dengan jalan (1) melengkapi ilustrasi sesuai dengan poetunjuk serta menyesuaikan dengan bahasa formal. (2) memvalidasi dengan pakar pendidikan anak usia dini, Guru pendidikan anak nusia dini serta pemangku kepentingan dari subbag sarana-prasarana Dinas Pendidikan, Pemuda dan Olah Raga. (3) Fokus Group Discussion dan Seminar. Hasil perbaikan digunakan untuk menyempurnakan buku panduan yang dimaksud.
This paper argues that education itself, properly understood, is intimately concerned with an individual’s being in the world, and therefore is ineluctably environmental. This is guaranteed by the ecstatic nature of consciousness. Furthermore, it is argued that a central dimension of this environment with which ecstatic human consciousness is engaged, is that of nature understood as the ‘self-arising’. Nature, so conceived, is essentially other and is epistemologically mysterious, possessing its own normativity, agency, and intrinsic value. As such, engagement with nature presents opportunities for consciousness quintessentially to go beyond itself, to be inspired and refreshed, and to receive non-anthropogenic standards in the form of intimations of what is fitting and what is not. It will be argued that these are fundamental to the orientation of human being, providing primordial intimations of the nature of reality and truth. Given their centrality to the idea of a person’s becoming educated, the elucidation of these and the issues to which they give rise must be central to the philosophy of education and in this sense it becomes deeply ecological.
Globalization is influenced by fundamentalist spirit of the market has resulted in education is not fully regarded as an effort to educate the nation and the liberation of man, but began to shift toward education as a commodity. To counteract this kind of educational model, the concepts of Ki Hadjar Dewantara education is offered as a solution to the distortions implementation of education in Indonesia today. According to Ki Hadjar Dewantara, the essence of education is to incorporate culture in the child, and put the child into the culture so that children become human beings. Educational philosophy Ki Hadjar Dewantara Among these so-called philosophy of education in which the convergence of the philosophy of progressivism about the child's natural ability to resolve the problems faced by giving the widest freedom of thought, but it also uses culture that has stood the test of time, according to essentialism, as the basic education of the child to achieve his goal. In this case Ki Hadjar Dewantara using native Indonesian culture while the values of the West are taken in accordance with the theory of selective adaptative Trikon (continuity, convergent and concentric). Three contributions of Ki Hadjar Dewantara’s educational philosophy for the Indonesian education are the application of a trilogy of leadership in education, three centers of education and the paguron system.
In this paper, the aim of research is to analyse the theoretical principles of traditional and newer forms of branding design, and to review the visual communicator's roles as constructed through traditional, social and postmodernist perspectives. Where designers traditionally direct their course in the branding process to solving clients' problems through the production of symbolic icons and images, this study will place their responsibility towards understanding society's attitudinal and behavioural change at the forefront. This paper uses case study and qualitative inquiry methods to challenge the design fraternity to see beyond the bread-and-butter work behind conceptual design development, and to find a stronger relational understanding between their life experiences, changing consumer perceptions of the world, and businesses' ultimate goals of profit. Research shows that as the dynamics of ethical business and social purpose continue to affect the production and consumption of goods, the visual communicator's role is to both define and empower cultural consumption as the core brand purpose of today's organisations-five decades since Ken Garland's manifesto; " First Things First " was proclaimed. Lastly, it shall be argued for every designer to evaluate their social responsibility in the branding execution of marketed consumer brands beyond symbolic meaning construction.
This article discusses the development of environmental education model based on local wisdom. The study is motivated by the existing conditions in secondary schools, where environmental education merely focuses on students’ cognitive level and does not touch affective and psychomotor aspects. Students only understand the concept of climate changes, but they do not change their daily behavior in solving it. This study was conducted using mixed approach to analyze the need. It was continued with the development of educational models. This model tried to integrate the environmental education with the existing subjects at school. Therefore, the result can be applied in accordance with the local content. Several experts have reviewed the model and it is further tested in schools to be the pilot project.
The Javanese Traditional Carrying Tools are categorized into two kinds based used of materials: anyaman made of woven bamboo or rattan and the other was made of cloth. The Traditional Javanese Carrying Tools that were made of bamboo/ rattan is actually a kind of container with different shapes. The types of goods that were brought was related to the shapes of the containers, demonstrate the type of interactions between the carrier and the goods. The Traditional Carrying Tools made of cloth have the flexibility in terms of being the containers of the carried goods. Selendang is used to carry goods, including the bamboo/ rattan containers and to carry babies. It can be used rumpled and straightened depends on the technical needs of carrying tools preferred by the user. In contemporary culture, the form and design of carrying tools more less construct by fashion and trends besides those practical used. Some product are being 'classic', some other are being 'fad'. Both products, traditional and contemporary have their own style, uniqueness, and own context. Analyzing both in design point of view is important as evaluation process, to finding new problems that will be starting point to create new products. Indonesia is well known for its abundant richness in traditions, which include the culture, the art, and the traditional products. Such treasure of traditions can inspire the development and invention of various kinds of artwork and current products.
Knowledge about shaping three-dimensional objects is tangibly and conceptually relevant to human activities within a spatial environment, and is part of formal arts and design education as one of the basic elements in the process of learning about creating functional artifacts and art objects. Basic skills connected with this knowledge are conveyed in ‘Basic Three-Dimensional Object’ class, which is aimed at conveying a deeper understanding of three-dimensional objects as touchable and visible, and occupying a structural space. Learning this entails is quite an elaborate exploration, which, when evaluated afterward, is of a qualitative nature. However, in higher education every step of the learning process is quantified in order to validate the students’ achievements. This requires an objective judgment from the lecturer, despite the fact that many parameters which are relevant for art objects are not exact. Therefore, once grades are released, not all students understand the meaning of numbers that represent their grades. These numbers are of a precise, quantitative nature, while explanations from lecturers in non-exact narrations are of a qualitative nature. The contrast between these two types of evaluation has raised questions such as: is quantitative grading an appropriate method, or is it better to use a subjective validation to appreciate creativity?
This article is a summary of the results of research to review aspects of the art, the meaning of staging traditional games studio Kebo Iwa dolanan in Badung. To reveal deeply these aspects, used a qualitative approach with the active participation of observation techniques, in-depth interviews and document study. Based on the methodology, the research explained that the first philosophical meaning, both philosophical meaning, the religious meaning of the third, the fourth meaning of aesthetics, the fifth meaning of education, sixth and seventh pelestraian meaning of togetherness. Dolanan performed by a group of children, where there is a beauty in conveying messages of religious teachings to the public through the medium of art. Because art as a symbol of truth (satyam), chastity (sivam) and beauty (sundaram).Artikel ini adalah ringkasan hasil penelitian yang mengulas aspek seni, makna pementasan permainan tradisional dolanan di Sanggar Kebo Iwa Badung. Untuk mengungkap secara mendalam aspek-aspek tersebut, digunakan pendekatan kualitatif dengan teknik observasi partisipasi aktif,wawancara mendalam dan studi dokumen. Berdasarkan metodelogi, hasil penelitian menjelaskan bahwa pertama makna filosofis, kedua makna religius, ketiga makna estetika, keempat makna pelestarian, kelima makna pendidikan, dan keenam kebersamaan. Dolanan yang dibawakan oleh sekelompok anak-anak, di mana terdapat suatu keindahan di dalam penyampaian pesan-pesan ajaran agama kepada masyarakat melalui media seni. Karena seni sebagai simbol kebenaran (satyam), kesucian (sivam) dan keindahan (sundaram).
As a creative activity, art cannot be merely understood as an individual expression, but a social stage, in which common aesthetic experiences are socially built. Being a social product, art is a medium of various socio-political interests, particularly the interests of a particular community or institution. By employing a participatory research method, this paper is aimed at understanding of how art is used by a particular state’s institution for two interrelated functions. Internally, art is used to create social cohesion and commonality, to enhance work‘s productivity and creativity in the institution. Externally, art is practiced as form of cultural diplomacy, to promote national political, economical and cultural interests in the context of international relation. The conclusion of the research is that the functions of art in the context of state‘s institution are as a form of esthetic experience, institutional and community building, cultural exchange and cultural diplomacy.
Keywords: Art, Aesthetic, Institution, Cultural Diplomacy, National Security and Safety.
Pelaksanaan pendidikan seni di lapangan saat ini sudah bergeser dari hakekat tujuan pendidikan sesungguhnya. Pendidikan seni tari di lapangan saat ini memakai metode reproduksi atau imitasi, dimana tidak ada ruang untuk mengembangkan kreativitas, imajinasi, serta ruang untuk memahami diri sendiri dan lingkungannya.Perlu adanya sebuah model pendidikan seni yang berorientasi terhadap lingkungan. Sebuah model pendidikan yang menitikberatkan pada perkembangan kreativitas dan imajinasi anak, serta berorientasi pada lingkungan melalui wahana seni. Potensi sungai, gua, dan pantai di Kabupaten Pacitan yang menyimpan jejak kehidupan manusia purba di dalamnya, sangat menginspirasi untuk dijadikan sebagai laboratorium sample pencarian model pendidikan ini. Maka ditemukanlah Pacitanian Art-Edu yang dapat menjawab persoalan pelaksanaan pendidikan seni saat ini. Pacitanian Art-Edu merupakan sebuah model pendidikan yang menempatkan fenomena lingkungan alam Pacitan yang menyimpan jejak kehidupan prasejarah di dalamnya, sebagai orientasi utama. Seni dijadikan sebagai wahana, dengan materi latihan ketubuhan di lingkungan alam Pacitan. Pacitanian Art-Edu merupakan hasil dari sebuah proses penciptaan karya seni Pacitanian (Model Pendidikan Berorientasi Lingkungan) yang telah dipergelarkan pada tanggal 27 Januari 2017 yang lalu. Proses kreatif yang telah dirintis sejak tahun 2010 dan lebih mengerucut pada tahun 2014. Proses yang dilalui adalah penghayatan kehidupan prasejarah melalui citra visual (film, museum dan situs), pengayaan informasi (buku, browsing, dan penggalian informasi dari ahli), latihan kepekaan tubuh di lingkungan, pencarian permainan inovasi, dan workshop-workshop.
Today, developments in science and technology have a significant impact on all aspects of the constellation of life, not to mention the complexity of the universe as a space for human life. Nature as a space of human life, has been considered as an object, so that the human being dominated and exploited radically. This condition is exacerbated by the lack of understanding human nature as multidimensional beings, one of which is to have a relationship in the nature of space and time, so it impact on human consciousness which have a continuing obligation to keep the harmony, the harmony of nature neglected. In connection with these conditions, the need for a strategic effort to build a new paradigm in order to raise awareness about the importance of nature through educational process based ekopedagogik in growing ecological awareness and character.Keyword: Ecopedagogy, ecological consciousness, character Abstrak: Dewasa ini, perkembangan ilmu pengetahuan dan teknologi telah memberikan dampak signifikan pada seluruh aspek konstelasi kehidupan, tak terkecuali kompleksitas pada alam sebagai ruang bagi kehidupan manusia. Alam sebagai ruang kehidupan manusia, telah dianggap sebagai objek, sehingga didominasi dan dieksploitasi manusia secara radikal. Kondisi ini diperparah dengan rendahnya pemahaman manusia akan hakikatnya sebagai makhluk multidimensional yang salah satunya ialah memiliki relasi dalam ruang dan waktu dengan alam, sehingga hal ini berimbas pada kesadaran manusia yang memiliki kewajiban untuk senantiasa menjaga keselarasan, keharmonisan alam yang terabaikan. Berkaitan dengan kondisi tersebut, perlu adanya sebuah upaya strategis untuk membangun paradigma baru guna menumbuhkan kesadaran tentang pentingnya menjaga alam melalui proses pendidikan berbasis ekopedagogik dalam menumbuhkan kesadaran ekologis dan karakter. Kata Kunci: Ekopedagogik, Kesadaran ekologis, Karakter
Materials, making, and objects are important parts of an ecology of meaningful learning and teaching in art that must accompany the development of concept and social impact. New materialist theory suggests that matter matters to how life is lived, while emphasizing that animacy is inherent not only to what we think of as animate beings but to all types of matter. The author explores what new materialism is and its relationship with making, materials, and objects in her own practices and in visual art education. Through deepened understandings of their material articulations of the world, makers and learners construct new knowledge and thickened experiences, and they develop firsthand sensitivities to making that help them find the “causal structures” (Barad, 2007) underlying what they do. This “knowing in being” (Hickey-Moody & Page, 2016 Hickey-Moody, A., & Page, T. (2016). Arts, pedagogy, and cultural resistance: New materialisms. London, England: Rowman & Littlefield. [Google Scholar], p. 12) can be transformative with regard to how a maker/student/person interacts with and lives in the world.
The purposes of this study are: (1) to know the role of parents, teachers, peers, and society in the life of a child, 2) to know the development of imagination in children, 3) to know the social environment factor can influence the child's imagination. The formulation of the issue is whether the social environment affects the child's imagination? This research is descriptive quantitative research methods of correlation. X variable in this study is the social environment, the variable Y is Imagination. The population in this study is third grade students of State Elementary School. The result of the study is for homogeneity, comparing Fcount with Ftable the distribution Ftable, 0123<1.94 means homogeneous. To test for normality using K-S test, the social environment variables in mind that the value of quintile testers with α= 0.05 and n= 30 is 0.242, the highest value of 0.156. Ho accepted means Ha rejected due 0.156<0.242. The conclusion of the study is the normal distribution of the social environment at α= 0.05. The variable imagination of the students known that the quintile testers with α= 0.05 and n= 30 is 0.242, the highest value of 0.197. Ho accepted means Ha rejected due 0.197<0.242. The conclusion of the students imagination with normal distribution at α= 0.05. For a simple linear statistical test with product moment knowable Y=53.67+1.03X, of F=0.127 and Ftable =5.79, Fcount <Ftable is the linear regression. Finally, there is the influence of social environment on the imagination of the students.
This article seeks to examine the child's learning environment. In education is better known as Tri Education Center. Namely three educational environments that can support the learning process of children. The three environments are the family environment, school environment and the environment (community). In the context of education, society is the third environment after family and school. In this article the authors would like to invite a look back that the community environment has an important influence on the learning process of children. Because most of the time the child is in the family and society. For it becomes a necessity of the community participate in education either directly or indirectly. Because the community is a maid in the process of maturation of individuals as members of groups in a society. The learning process in society is not limited by time and space. As long as the children interact and socialize with the environment it can be said that as their learning process. Through this library research hope can determine how far the role of the community environment in helping children's learning process.
Akhir-akhir ini kita sering melihat beberapa aksi kenakalan yang dilakukan oleh peserta didik. Bermacam-macam bentuk kenakalan peserta didik semakin mewarnai kehidupan saat ini, membuat orang tua, guru, tokoh masyarakat dan bahkan Pemerintah resah. Sebagai salah satu alternatif solusi permasalahan, pemerintah menetapkan kebijakan penguatan pendidikan karakter bagi seluruh masyarakat, termasuk bidang pendidikan. Mengingat pentingnya penguatan pendidikan karakter, sangat menarik untuk mendalami bagaimana implementasi penguatan pendidikan karakter di sekolah, sehingga penulis melakukan penelitian yang bertujuan untuk mengkaji apa saja peran ekosistem pendidikan dalam mengimplementasikan penguatan pendidikan karakter kepada peserta didik di sekolah. Penelitian ini menggunakan metode kualitatif dengan melakukan wawancara dan survey ke beberapa sekolah sampel yaitu jenjang SD dan SMP di kota Semarang tahun 2017. Berdasarkan hasil analisis, diperoleh hasil bahwa implementasi nilai-nilai karakter oleh: 1) kepala sekolah, dalam dalam bentuk: mensosialisasikan kebijakan sekolah tentang pendidikan karakter,memberikan keteladanan dalam mengimplementasikan nilai-nilai karakter kepada peserta didik, dan sebagainya, 2) guru, dalam bentuk: guru sebagai pusat peradaban sekolah, memberi kesempatan berpendapat secara merata kepada siswa, menilai dan melaporkan hasil belajar secara adil dan transparan khususnya yang berhubungan dengan penanaman nilai-nilai karakter, membentuk pribadi peserta didik, dan sebagainya, 3) staf/tenaga kependidikan dalam bentuk: berpenampilan rapi, berkata sopan, dan sebagainya, dan 4) orangtua/masyarakat dalam bentuk: sebagai mediator (membangun jejaring) dengan lembaga atau komunitas lain dalam aksi penanaman nilai-nilai karakter di sekolah, berpartisipasi aktif dalam adiwiyata sekolah, mengadakan pelatihan di sekolah dengan mengundang para ahli, dan sebagainya. Dengan adanya sinergitas dalam penguatan pendidikan karakter di sekolah, maka secara langsung akan tercipta suasana kondusif di lingkungan sekolah.
To engage in discussions of artwork meaning is to engage in critical reasoning, a factor that is central to the interpretation of artworks in the art classroom. While this may appear as a common-sense claim that reflects the tacit assumptions most art educators have about students' critical dispositions in art, it is also evident that little is known about the deeper structures underlying students’ critical reasoning and how such structures shape students’ interpretations of artworks. Drawing on my research on students’ theories of critical meaning in art, this article explores the nature of practical and theoretical constraints on students’ critical reasoning about the meaning of artworks. I account for how intentional beliefs, language and representational artefacts function as a nexus of real constraints that condition students’ advance into interpretations of the social meaning of art. After briefly outlining the design and methodology of my study, I examine students’ critical reasoning performances during the formative period of development between middle to late childhood. The findings reveal that with increasing age students gradually learn to exercise their own critical intentions and represent inferences that acknowledge the significance of constitutive rules and force of a collective intentionality in the artworld on their interpretations of artworks as artefacts. I then make some conclusions about the relationship of domain-specific shifts in art understanding, the role of intentionality, representational understanding, beliefs about art and reasoning skills to the linguistic, theoretical and artefactual constraints conditioning students’ intuitive advance into real understandings of art.
This narrative of my research on drawing shares my experience of relearning drawing by hand and how the act of drawing can stimulate curiosity. This article examines its potential to enhance learning/observation in science. It describes a kinaesthetic drawing methodology and addresses pedagogical solutions for overcoming a student's declaration that ‘I can't draw’. This art creation experience was an interdisciplinary study in the faculties of art, science and education. My claim is that a hands-on, interactive approach to learning is at play where strategies of creating images are not predetermined. What emerges is both a subjective and objective phenomenon. As knowledge production arises after the fact of drawing, an emergent process allows for reflexive methodology and intuition to come into play. As Derrida describes in Memoirs of the Blind, drawing emerges from the temporal space between the seeing and the unfolding of the drawing. This art-based research flows in the direction of reflective practice-based research through drawing, to address these questions by calling on the tactile and kinaesthetic dimensions of sense that drawing can engender.
p>Global interdependence is a reality; in the security, economics, politics, socio-culture, and especially in the education of a nation. Relevant to the need for an international dialog on education, this study tries to explore: 1) the concepts of culture-based education and learning of Ki Hadjar Dewantara (KHD) in Tamansiswa, 2) the results of previous studies about the culture-based education and learning of KHD in Tamansiswa, and 3) the phenomena of Tamansiswa stagnancy as the national movement in education. A qualitative approach is used in this study. The researcher collected data from documents, observations, interviews; open ended questions. The data were analyzed to describe the focus of this study and get the conclusions. The result shows that Tamansiswa took role in culture-based education and learning by implementing Among System since the beginning of its history. The previous studies indicate that the KHD ideas are beyond his time and generation; very important for the nation in recent time. The phenomena of stagnancy is more due to management problems rather than the obsoleteness of philosophical foundation of Tamansiswa. It is necessary to socialize the concepts of culture-based education and learning of Ki Hadjar Dewantara (KHD) in Tamansiswa, to recognize the importance of KHD ideas as a contribution to the development of education in Indonesia.
Keywords: National heritage , Culture-based Education, Tamansiswa. </p
Dehumanisasi pendidikan merupakan fenomena sosial dalam proses pendidikan dan pembelajaran di sekolah. Perilaku kekerasan di sekolah oleh guru kepada siswa, pelecehan seksual, tindakan bullying antar siswa, tawuran antar pelajar, penggunaan media sosial yang tidak terkontrol oleh pendidikan, dan praktik aborsi di kalangan pelajar merupakan ragam gejala dehumanisasi pendidikan yang sangat memprihatinkan. Sistem pendidikan cenderung memaksa peserta didik mengembangkan kekuatan kognitif, dan kurang mengembangkan moralitas dan karakter peserta didik. Sistem belajar kurang mengembangkan potensi manusia secara optimal sesuai dengan eksistensi sebagai manusia yang ingin belajar digambarkan sebagai whole-person-learning, dengan pribadi yang utuh menghasilkan perasaan memiliki (feeling of belonging ) pada diri peserta didik. Sekolah harus dibangun berdasarkan prinsip-prinsip pendidikan humanis. Belajar yang humanis dapat diwujudkan oleh guru-guru yang mempunyai kemampuan untuk menerapkan prinsip-prinsip pendidikan humanis dalam mengajar di kelas dan mampu untuk menjalankan multiperannya sebagai pendidik profesional. Akuntabilitas profesional diperlukan bagi guru untuk mencerminkan kompetensi dan integritas pendidik yang profesional dan berkarakter. CREATING HUMANISTIC LEARNING A CHALLENGE TO PROFESSIONAL TEACHERS WITH HIGH CHARACTERAbstractDehumanization in education is an example of social phenomena existing in the process of character education in schools. Violation done by the teacher to the students, sexual abuse, bullying among students, students’ riot, social media misuse, and abortion cases are examples of worrying phenomena related to dehumanization in education. The educational system tends to force the students to maximize their cognitive potentials by neglecting the importance of their moral and character education. The system is not, merely, helping the students to optimize their potentials which may be described as whole-person learning, having the sense of belonging. The schools should have been built by considering the values of humanity. Humanistic learning can be realized by the teachers having credentials to apply the values of humanity in the classroom. The professional accountability is also required to create teachers who are capable of showing their professional competence and integrity.Keywords:
Tujuan penelitian ini adalah untuk mengungkapkan: (a) landasan filosofis dan konsep pendidikan cerdas, kreatif, dan berkarakter; (b) praktik pendidikan cerdas, kreatif dan berkarakter, dan (c) pola praksis pendidikan cerdas, kreatif, dan berkarakter di Rumah Kreatif Wadas Kelir (RKWK) Purwokerto. Penelitian ini menggunakan pendekatan kualitatif fenomenologis karena berupaya mengungkap pengalaman subjek penelitian dalam merumuskan konsep dan praktik pendidikan yang mengintegrasikan kecerdasan, kreativitas dan karakter. Data penelitian dikumpulkan dengan menggunakan teknik wawancara mendalam, observasi partisipan dan nonpartisipan, dan analisis dokumen. Pola praksis pendidikan yang terdiri atas konsep pendidikan dan praktik pendidikan yang bersifat dialektis yang mengintegrasikan aspek cerdas, kreatif, dan berkarakter dilaksnakan dalam kegiatan pembelajaran harian, mingguan, bulanan, tahunan dan insidental. Pola Praksis Pendidikan Kreatif-Integratif tersebut dilaksanakan dalam bentuk bermain aneka kretivitas, yaitu: bermain kreativitas angka-logika, bermain kreativitas bahasa, bermain kreativitas warna, bermain kreativitas gerak dan bermain kreativitas musik.Kata kunci: pendidikan kreatif-integratif, pendidikan cerdas kreatif berkarakter, bermain kreativitas THE PATTERN OF CHARACTERIZED CREATIVE INTELLIGENT EDUCATION: PRACTICE IN THE WADAS KELIR CREATIVE HOUSE PURWOKERTO, THE PROVINCE OF CENTRAL JAVAAbstractThe study was to uncover: (a) the philosophical foundation and the concept of characterized, creative and intelligent education; (b) the practice of characterized, creative and intelligent education; and (c) the pattern of characterized, creative and intelligent education. The study implemented the phenomenological qualitative approach because the researchers would like to uncover the subjects’ experiences in formulating the educational concept and practice that integrated the intelligence, the creativity and the characters. The data then were gathered by means of in-depth interview, participatory and non-participatory observation and document analysis. The pattern of dialectical educational practice that consisted of the aspects of intelligence, creativity and characters had been implemented in the daily, weekly, monthly, yearly and incidental learning activities. The pattern of Creative-Integrative educational practice had been implemented in the form of color creativity game, movement creativity game and music creativity game.Keyword: integrative-creative education, characterized creative intelligent education, creativity game
A key aim of this article is to present a discursus on learning and teaching in the context of art education that softens transcendent historical and ideological framings of art education and its purpose. In contrast it places emphasis upon the immanence and necessary transcendence of local events of learning that occur in whatever framing and which have the potential to extend our comprehension of what art and learning can become. It recommends a ‘pedagogical reversal’ whereby external transcendent lenses and their respective knowledge and criteria for practice are relaxed and proposes a pedagogy ‘without criteria’. A key pedagogical issue revolves around ‘how something matters’ for a learner in his or her experience of a learning encounter and trying to comprehend this ‘mattering’ constitutes a pedagogical adventure for a teacher. The notion of mattering in the context of art practice and learning cannot be divorced from the force of art which is the motive force that precipitates a potential for learning and can expand our understanding of what art and learning can become. The article is therefore premised on the idea that it is not a case of coming to understand art through established knowledge and practice but the force of art challenging us to think. The force of art, or art's event, can be conceived therefore as a process with a potential for the individuation of new worlds or to see that other worlds might be possible.
How do artists and designers teaching in universities communicate creative practise as they teach art/design? There is much discussion about the ‘mystery’ of creativity, but little understanding of how teaching occurs in creative contexts. Understanding this topic better will develop greater knowledge within the academy of how art and design is communicated by the creative practitioners who teach it, and could benefit other academic disciplines. In this article, I draw on data from a recent Australian study with artist/designer-academics. It provides rich qualitative data to explore in detail how artists and designers teaching in universities communicate creative practise as they teach art/design. Tacit and embodied knowledge theories are used to provide frameworks for explaining this phenomenon. I argue that artist/designer-academics embody their creative practises and communicate these through teaching in both tacit and explicit forms, and that they do this through modelling knowledge, skills and practise.
The Field of Discourse Analysis The Field of Discourse Analysis Laclau and Mouffe's Discourse Theory Critical Discourse Analysis Discursive Psychology Across the Approaches Critical Social Constructionist Research
Bringing together papers written by Norman Fairclough over a 25 year period, Critical Discourse Analysis represents a comprehensive and important contribution to the development of this popular field.
IF ONE EXAMINES THE STRAINS of education under colonial rule it is possible to discern four main elements; these have been usefully distinguished for us by John Furnivall, in his classic study Colonial Policy and Practice.2 There were, in Furnivall's terminology, European schools, which catered for the expatriate children of the colonial rulers, but which in some cases admitted a few of the children of the local elites; these schools were in fact outliers of the metropolitan system which was their educational referent. Then there were Western schools, recruiting the children of the colonial subjects, but answering the-service needs of the colonial enterprise, and using a European language as the medium of instruction. Also as part of the colonial enterprise, but in a more subordinate position, there were Vernacular schools, created by the colonial regime or its agents. The Vernacular were also primarily Western in coriception and curriculum, but they used local languages as the mediums of instruction. Finally there were Native schools, which were generally outside the orbit of colonial interests; in most cases these were religious institutions which had existed before the colonial period. Depending on the nature of the particular colonial situation the significance of each of these elements varied. In some cases, where there was little or no European settlement, there were no European schools. The relative importance of each of the two colonially inspired components, Western and Vernacular, and the strength of the articulating connections between them, differed from colony to colony. In some cases any pre-existing native school. system atrophied or was eclipsed with the advent of colonially stimulated social change. But in other cases the Native schools remained vigorous, and responded to change with determined resistance, or valiant attempts at imitation, or judgment, discrimination, and carefully evolved schemes for adaptation. This paper is concerned with an examination of the third type of response from the Native schools: adaptation. It is unfortunate for the historian of educa