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natu re su natu rrou re so nds us natu near re as of u a s hom Yog yaka e (e c r ta olog y
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NAT UR
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NATURE nature surrounds us nature so near of us nature as a home (ecology) Yogyakarta
Marta Weglinska, Arinanda Gilang Pratama
Table of contents p. 7
Introduction. A process of describing a nature – broad but unfinished mosaic, Marta Weglinska
p. 10 Introduction. Seeing nature as a life, Abdus Somad p. 15 Part I - Nature surrounds us (general view) Typical landscapes: volcano, ocean, rice fields and related believes p. 29
Part II - Nature so near of us (detailed view, zooming into chosen local natural materials and products) Fruits, seeds, leaves – food is showing in wider range the relation of nature and culture. Herb-culture
p. 39 Part III - Nature as a home (ecology) Natural materials. Textiles, craft and architecture p. 59 List of images
Rice fields in Yogyakarta, Imogiri, photo by Marta Weglinska
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A process of describing a nature – broad but unfinished mosaic Marta Weglińska
When person with precise perception and sensible intuition crosses a border of distant country – the place situated somewhere in opposite part of a globe, always will lose there a confidence. The ground, which is steeped by very widespread and multi-faceted influences even when will be explored by wise traveler or professional researcher, finally will provoke many misunderstandings, elaborate confusions, and questions about the nature of differences visible in almost every level of life. Sometimes it seems that it is possible to imagine the place what about we are hearing some stories, or reading articles. However, when the voyager will already stand on this different ground, then incrementally will reveal how previous silhouette was blurry and distorted. A way of the life in an evident way depends from rhythm of the nature. Essentially, it is the most visible during rainy season in Indonesia. However, there are many another natural factor, which affects Yogyakarta’s city-dwellers. A sunrise – between 5 and 6 a.m., a sunset 12 hours after that, around 5
or 6 p.m. – significant is that during a year, those hours change only around 40 minutes. Moreover, a small temperature fluctuation – definitely are modifying feeling of the time. The main sense of time in Jogja is characterized by oneness, constancy. But from the other hand this immutability is interrupted by dynamic phenomenon: volcano eruptions, earthquakes, floods and others. When we observe influence of the nature into culture, it is good too carefully analyses positions of ancient temples in area of Yogyakarta. Sacred places were Orientalized according with cardinal directions, but as well their location was dependent from sources of water or fertile rice fields. But when we will move from this background of the life – the macro scale, to the micro level – we will see more details which creates culture, everyday habits or behaviors. In Jogja still there are many restaurants (small warungs and regular restaurants), where food is served on banana leaves, which are used as well to wrap the dish take-away. In equatorial climate, an abundance of flora species creates many possibilities of usage. At the same time, it directs attention into sustainability, and complete process of production, which include as well natural waste. Here interesting is using the spare parts of a soya food production (tempeh and tahu). The liquid waste can be transformed into fiber. An idea of the book grown up from my one-year experience of living in Yogyakarta, Indonesia. It has a form of collection,
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quite extensive but not complete mosaic of topics, phenomenon and notions associated with nature. The publication presents relations between environment and Yogyakarta’s dwellers. Primarily it includes samples of using natural materials in various kind of craft, fashion, architecture and herb-culture. Moreover here, the most characteristic landscapes are interconnected with believes which describes in wider range perception of the nature. Fruits, seeds, leaves, woods, plants, water, sun and moon leads to understanding – how nature creates culture. Furthermore, the book includes information about an ecology, current wide environment pollutions.
between people was the most meaningful. In the past among others many children games where responsible for education. Simple, rhythmical, easy to remember game-songs include deeper metaphorical meanings, some as well related with nature. Thus, when we talk about the younger part of society the idea of education by playing and spreading by interaction, can be one of the most effective way of improving the consciousness about pollution about ecology.
The mosaic structure of this book contains few different points of view. Thus, here are merged opinions of citizens of Jogja – local people, the traveler and children. The youngest participants of project took part in 6 days workshop about the nature, and in final effect – chosen drawings are presented in this publication.
The workshop was focused on developing the sensibility about nature in Jogja. During 6 meetings children were preparing homemade paper from trash, exploring how to use small elements taken from the environment to create drawings. Thus, leaves with different shapes, stones, shells and fruits were used as “an observation lesson” of variety of shapes, colors and structures. Moreover, those activities developed new artistic skills and above all the way of see nature as a source of tools and inspirations.
In Indonesia an idea of learning, sharing, but as well whole concept about preserving the knowledge and history is different than in Western Culture. Mostly an oral tradition of keeping the tradition still alive, what emphasizes that an energy of a meeting
The publication prepared during Art Residency Program in Sesama (Yogyakarta). Workshop co-organized with Yayasan Bintang Kidul (Bintang Kidul Foundation), took a place in Sanggar Omah Opak in Piyungan (East Jogja) in July 2017.
On the left: Small river in Yogyakarta, Bantul, photo: Marta Weglinska
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Rice fields in Yogyakarta, Godean, photo: Marta Weglinska
Seeing nature as a life Abdus Somad
Nature is a space that we cannot explore briefly. Its sustainability is a form of energy that will never run out. As the sun continues to shine, the earth continues to spin, an active mountain that emits magma to the sea that never dries. All of it is a visible form of nature that can be seen, but it cannot be
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imagined how far and far away the nature. Humans are only a small part of nature, but the roles are so great. Human is the keeper of the balance of nature. It is also the ultimate limit of the powerlessness of nature to revitalize life. So, it is not wrong if the people of Java and Bali see nature as an element that puts themselves as one unity. The Balinese believe that nature cannot be separated from humans and who created it. This conception became known as Tri Hitta Karana which means three ways to gain
happiness. Provided with that philosophy, Balinese society has been being made so close to nature. For them, disturbing nature is falsehoods, and damaging it is brutality. For the Javanese, nature gives everything to mankind, the existence of mountains, the sea, the land is a treasure. The Javanese believe that in life there are two cosmoses: Macro-cosmos (view of life on the spiritual-containing universe) and Micro-cosmos (view of life on the real world). For that too Java is famous for its many myths. For every form and region can be myth. Also, it is applied in Yogyakarta, as a region that still holds close to the cultural value already placing it as an area that consistently maintains civilization. It has powerful philosophical axes. Starting from the water, the soil, the air fused in the frame of the natural balance of the earth Ngayogyakarta. While trying to trace the circle of Yogyakarta we will find many deeply rooted philosophical and mythical content. Look north, we will find Mount Merapi, for the people of Yogyakarta, Mount Merapi not arbitrary Mount. it is the stakes of earth that has a deep spiritual value in the society of Merapi slopes. We will find many cultural, social, and economic practices in the region of Mount Merapi. This is confirmed by Mbah Asih as caretaker of Mount Merapi. He revealed that Merapi is a life because it can provide income for the society in the
form of fertility on the ground. If we glance south, we will be served with panorama of south coast. The myth that developed is the guard of the beach that is often referred to as the Southern Queen, Nyai Roro Kidul. Although in the dynamics of society is still a debate. At least the myth is still popular and makes the space for Meditation / Tirakatan. This is evidence if the people of Java still holds close to its culture. Unfortunately, Indonesian people do not understand much, if nature is part of human life. So, they are arbitrarily doing damage on this earth. Many events are already visible before our eyes. The farm was damaged by planning to build the New Yogyakarta International Airport (NYIA) in Kulonprogo, many wells dried for the construction of hotels, malls and apartments in the downtown of Yogyakarta, forests cleared in Kalimantan and Sumatra, beaches reclaimed, karst areas mined and much more Practices of natural destruction caused by man himself. This is a sign. If humans reign then nature will be destroyed instantly. In scope that may be small, we sometimes also forget. The waste of what we eat, drink, and even cook is contributing to the pile of garbage in landfills (TPA), more unreliable, humans do not feel guilty when they do it (disposing of garbage) reddish. They neglect even tends to do the same, littering on the spot. The impact then we see, garbage is mounted in Piyungan, Bantul, Yogyakarta.
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When calculated in weight, found capacity ranges 240 tons of waste. Now, the government began to maneuver by making the city area as the base of reforestation, trying to plant trees, taking care of the park, it is a reconstruction, because in it there are planning restrictions on green areas. Then whether reconstructing nature by bringing it into the memory of the city will make us realize that nature is a livelihood? One side in the Special Region of Yogyakarta own governance is still shambles, green areas and the yellow region is not a strong reference in developing. As a result, all executed in a matter of short time. What a mess. Spaces that should be made to organize nature and life cannot be found again. The atmosphere of the city was boring. I judge, as unique as any city design with a natural conception, when humans are not shaped their consciousness and mental reinforcement, I believe the constructing of the city with the conception of nature will be failed. So, the solution to enjoy nature is no longer bring nature to the city, but try to enter into the meaning of nature itself. The hard warning is upon us as the intellectual beings, we must realize that the destruction of nature, the loss of green space, the destruction of the creatures and the rare habitats are caused by a capital industrialization that continues to undermine our nature. No matter the area no matter
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how much money should be spent, when talking modernity and massive development then nature can always be a victim. For that, we need and have to come back down to keep, care for and preserve nature for the balance of the mother of the earth. Nature is our friend, nature is our self, nature is where we leave everything. Remember! We are not spectators, when we realize the damage, then we are responsible and should position ourselves as the guardians of nature. We need to shout against the bandits and supporters who undermine the beauty of nature and its ecosystem. When we are silent look at it all. That means we are involved in damaging the mother of the earth. Then there is only one word for us all, fights!!!
Documantation of workshop, Part III, Nature as a home (ecology), simple way of printing with using photos, photo: Marta Weglinska
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Part I Nature surrounds us (general view) Typical landscapes: volcano, ocean, rice fields and related believes
Religion - short introduction Marta Weglinska
In Java, and all-around Indonesia there are many folk stories and believes, which in eyes of travelers from Western Culture will look pretty exotic, and horribly shallow. Thus, so easy to be amazed by visually, without real awareness of the local context. It is remarkably important to emphasize, that Javanese culture was created by many influences which were coming during centuries with tradesmen. Immigrants from India, China, Portugal, Arabia and Netherlands took diversity of religions, which in final result created really dynamic structure, a colorful mosaic of different believes. Currently Indonesia is Muslim-majority country, but the main part of heritage came from Hinduism and Buddhism. Moreover, the indigenous Indonesian beliefs are connected with animism, shamanism, and ancestral worship. In Java, still there are believers of Kejawen – syncretic religion, which as well consists mentioned notions.
Worship and nature Arinanda Gilang Pratama Currently, in daily life still it is not too difficult to find various worship – the embodiment of the gods as the protectors or personifications of nature. For instance: Dewi
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Sri, Goddess of Rice fields, is very popular among Javanese society, even one of the famous art campus in Yogyakarta also uses her visualization as a logo. Nyi Roro Kidul, who is famous as a Queen of the South Sea, is very closely related to the rituals performed around Parangtritis beach. In this modern era, those spiritual values begin to face a shift in meaning. The rituals should be the form of closeness between humans and nature, but nowadays it turns into nothing more than a show, almost meaningless, nothing more than a tourism attraction purpose. I believe that there are no exotic values which cause that currently Java citizens are deliberately waking up, and coming back to worshiping of a primer relationship between humans and nature. If we will try to use a metaphor, which describes how strong is idea of mentioned connection of environment and human according with religion, we can link it to relationship between the teacher and his student, the house and its inhabitants, or the spirit and the body. The way of understanding ancient and current worship, needs not only reading academic writings, but as well colleting it with local believers and true-performed rituals. For instance, my father – a kejawen follower, spent almost 25 years on cleaning, digging, caring and paying homage to small temples, petilasan - old unnamed grave, ancient tombs, or just old trees that look big and haunted. I was asking him every time,
when he was coming home “Why are you doing that”? And he was replying “If not us, who else cares?”, And my childhood is gone in the same, continuous questioning. And when one day I was invited to visit one of the petilasan (what about he was taking care without support from the local government), suddenly I realized a very surprising for that time thing. I was thinking how it is possible, that the pile of stones arranged and surrounded by enormous, old trees, could change the lives of the surrounding community?
Nowadays different guests still arrive; tourists as well often donates, what as well driving the surrounding community to taking care about the around nature. Then the basic awareness of ecology starting be notices, but as well it affecting local communities – to be more united. Sometimes I laugh when a lot of visitors come, spend long hours on doing rituals, but I do not think that they have any ideas what exactly are doing. Another story is related with a quite hard to believe situation, which took a place in the Ketangga forest area, Paron village,
Rice fields in Yogyakarta, Imogiri, photo by Marta Weglinska
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East Java, in 2014. There was a 63-year-old artist named Ibnu Kodok Sukodok, who announced his marriage with a jinni – river-watching fairy. Quite big ceremony was prepared according with real rituals. Local newspapers wrote an article about it. Thus, it was not surprising that many guests came on the wedding procession, and as well a festive party was prepared. I heard before about the quite similar ceremony (marriage of local woman with Merapi volcano, arranged after her dream prophecy), but still I really could not figure out how can we marry a thing that might not be real? Out of the blue, the mysterious wedding was reveal, during my attendance in discussion at the Kunci Cultural Studies Center
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in Yogyakarta, in 2017. Someone was mentioning there, the same story, but with describing the hidden context. The husband of the spirit – the artist developed really tricky idea – to protect the river from government project of urban developing of this area. He was conscious about traditions of the surrounding community – the people there still believes in mysticism, rituals, and spirits. Armed with the courage to make that strange marriage, he achieved his goal and saved the natural area – a site, river, and spring. Thus, on this creative way religion was used to convince people and even government to protection the nature, and on this was to preserving important water source for the people around the village.
On the left side: Parangkusumo beach, Indian Ocean, Yogyakarta, photo: Marta Weglinska The Merapi volcano, Yogyakarta, photos from online archive: Tropen Museum
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The foothills of The Merapi volcano, Yogyakarta, photo by Marta Weglinska On the right: Gunungan/ kayon from Yogyakarta, source: Wikipedia
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The Merapi volcano*
"(...) the cultural environment may influence people's behavior and perception of the risk. Around Merapi volcano, religious beliefs had animist, Hindu, Buddhist and Muslim influences. The influence of religion is evident in the large proportion of people (97% of those surveyed) who think that actual and potential loss associated with volcanic eruptions are under the control of divine forces. Especially in Java, spirit cults, ancestor worship, spirit healing and shamanistic forms (‘dukunisme’), and mythical traditions are widespread and enjoy much popular support, especially in rural areas." "(...) it is understood as an admonition from the supernatural world. As a result, many people living close to [Merapi] are not fearful. This volcano's permanent activity has been totally integrated in people's daily life, and has become an informal part of it. Mount Merapi is personified: “Mbah Merapi”—Mbah means grandfather or grandmother—belongs to the human world. Instead of being considered a source of danger, the volcano embodies the common patriarch respected by all the villagers. The Javanese term wedhus gembel (pyroclastic flow) is considered as impolite for some people who prefer to used the Indonesian expression “mengeluarkan kotoran”, i.e. to expel excrements, like humans do."
"There are two cultural leaders in the traditional Javanese religion (Kejawen): the sultan of Yogyakarta and the Juru Kunci. The Juru Kunci is the key holder of the volcano. He communicates with the spirits who look after the mountain. On the slopes of Mt. Merapi, local people put their trust in the local mystic Juru Kunci, Mbah Marijan. During the last Merapi eruptions, Marijan refused to evacuate although he supported an evacuation for other people. He got in touch with the spirits of nine ancestors (pepundhen) (...) to ask Mt. Merapi to limit the level of destruction."
"The link between the Javanese people and their volcanic environment is very strong. (...) The construction of Borobudur and Mendut Buddhist temples in Central Java is based on an idealized mountain–sea polarity. They were built on a spiritual line where other smaller temples lye between the Merapi and the sea. This symbolic of a cosmic mountain has been used by the Hindu and Buddhist temples, which are considered as the meeting points between the gods and the Humans. The Kraton city, where the sultan lives, is also organized around an axis of authority, which reflects the mountain–sea polarity. In Yogyakarta, this axis was aligned north–south."
mans and the Gods living in the mountain. The other face of the mountain represents destruction and death, symbolized by fire, flames and lava, which go out from the volcano's mouth. The volcano keeps an eye on the Humans and is watchful of their behavior. Wild animals and invisible creatures (spirits, ghosts, tuyuls etc.) are the volcanoes custodians."
"In the Javanese cosmogony, the Indian Ocean is the home of Ratu Kidul, the Princess of the South, who is renowned for influencing the Merapi activity."
Queen of the Southern Ocean*
"Wayang kulit theater portrays the essence of the Javanese world view. Life is fleeting and changeable, not controlled by mortals or even the gods, but manipulated by some cosmic puppet master (...). The Tree of Life symbolizes the nourishing mountain, which feeds the plants and the villagers. A tiger looks after the sacred mountain. At the bottom in the middle of the gunungan, a door symbolizes the path between the human world and the worlds of deities and spirits. The mountain is the border between both worlds. This door also represents the entrance of the sultan's palace inasmuch as the sultan is the mediator between the Hu-
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* quotes from: People's behavior in the face of volcanic hazards: Perspectives from Javanese communities, Indonesia, F. Lavigne, B. De Coster, N. Juvin, F. Flohic, J.-Ch. Gaillard, P. Texier, J. Morin, J. Sartohadi; Journal of Volcanology and Geothermal Research, 172 (2008) 273–287
“In one of many versions of the myth, a beautiful Javanese princess was afflicted by leprosy as a result of a curse inflicted by her jealous step mother. In despair, the unfortunate young woman went to Java’s raging southern coast to meditate, where a divine voice enticed her to enter the ocean and become reborn as a beautiful aquatic queen. Meanwhile, Senopati, a very real Javanese ruler, was having his own crise de coeur and he too headed south for prayer and contemplation. While sitting on a rock on the precipitous sea cliffs south of Yogyakarta, Senopati was lured into the ocean by the spirit who became known as Kanjeng Ratu Kidul, the Queen of the Southern Ocean.
Parangkusumo beach, Indian Ocean, Yogyakarta, photo by Marta Weglinska
During their three-day bacchanal in her submerged palace, she taught him the secrets of love and the intricacies of good governance.� * quotes from: The Sultan and the Mermaid Queen: Surprising Asian People, Places and Things that Go Bump in the Night, P. Spencer Sochaczewski, Editions Didier Millet, 2008
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Javanese game-songs* Arinanda Pratama Gilang
life, spirituality, beliefs, but as well some of it mentioning the connection with nature.
Often Java citizens used to apply their philosophy into metaphors, to give the wider range of explanations but in easier to understand way. Exactly on this way are constructed old children's songs (commonly called tembang dolanan). Tembang dolanan are rhythmical, often consists rhythms, so it is quite easy to remember and to chant. It is significant, that the games-songs can give different perception and understanding – for young and older people. Apparently simple lyrics, contains metaphors, often concerns deeper understanding of
There is a traditional children-game called Ancak-Ancak Alis. The way of playing it is as follows: Two children raised their hands, and attached them to each other, like a gate. Other children lined up in a row. Then they start to sing. Each song finished, a child stops and get captured by another two gatekeepers. Then the two children who formed the gate, ask: "what is the condition of your rice field now?" The child who wants to enter the gate, must replied; for example, "lagi mluku� (being plowing). So on, the children who take turns have to answer – what will be done now in their rice fields.
The lyrics emphasizes how important role the rice has in Javanese culture. In some way we can say, that this simple game even re-modeling the whole process of rice cultivation, by putting attention on the rice cultivation, treated not only as a farmer's activity, but also as a distinctive cultural event. Moreover, when we will look closer in believes, we should find the connection of this lyrics with worship of the Goddess of Rice Fields – Dewi Sri. On this way, we
can understand as well deeper, metaphorical message – understanding of a rhythm od human being. Thus, the human growth is imposed on the growth of rice. But even the vocabulary used to describe rice growth and human body growth is similar (the term tumungkul – crouch, or meteng – pregnant). * based on book: ILIR-ILIR Ilustrasi Tembang Dolanan, Bentara Budaya Yogyakarta, 2012
Both photos: Rice fields in Yogyakarta, Godean, photo by Marta Weglinska
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Documantation of workshop, Part I, nature surrounds us, using leaves to prepare drawings of landscapes, photo by Marta Weglinska Next page: Documantation of workshop, Part I, Nature surrounds us, using leaves to prepare drawings of landscapes, photo by Marta Weglinska
Workshop, part I Nature surrounds us The idea of workshop was focused on the nature, which surrounds us. Children were encouraged, to work about all it components – ground, water, sky, forest, lakes, rivers, meadows, mountains, air, clouds, rain, sand, animals, plants, human. To prepare drawing, they were using many different samples taken from surrounding – rocks, shells and various leaves. Teachers were
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indicating a shape's details, colors and another feature of the samples. Then the final work was based on multiplying, readapting, transforming collected objects, to recreate it into drawings of landscapes, what the can observe in Yogyakarta.
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Part II Nature so near of us (detailed view, zooming into chosen local natural materials and products) Fruits, seeds, leaves – food is showing in wider range the relation of nature and culture. Herb-culture
Drawing prepared during workshop, Part II, Nature so near of us, photo by Marta Weglinska
awan - cloud hujan - rain jeruk - orange ramput - grass
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Game-song Ilir-ilir song consists few basic rules, which are hidden under metaphors. Above all, the song gives a sense of optimism to someone who is doing good deeds. The opportunity to live in that world should be fulfilled with performing the goodness. The primary prohibition of killing, is explained by a future penalty – karma. Moreover, interesting is here the way of introducing simpler, every-day knowledge connected with nature. Mentioned here starfruit in the past was using as natural detergent for washing clothes. Further the easy to remember song, could in fast way spread useful hints.
Ilir-ilir, the lyric:
Translation:
Lir-ilir tandure wis sumilir tak ijo royo-royo tak sengguh temanten anyar cah angon penekna blimbing kuwi lunyu-lunyu ya penekna kanggo masuh dodotira dodotira kumitir bedhah ing pinggir dondomana jrumatana kanggo seba mengko sore mumpung padhang rembulane mumpung jembar kalangane *
The evergreen plants have sprouted looks green as a new bride oh shepherd climbing that starfruit though slippery climb to wash cloth cloth that is torn edge sewing and pipe to face later afternoon while the moon bright and wide place
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Drawing prepared during workshop, Part II, Nature so near of us, photo by Marta Weglinska Next page: both photos: Drawing prepared during workshop, Part II, Nature so near of us, photo by Marta Weglinska
Workshop, part II Nature so near of us Nature so near of us – nature inside of us – nature as everything what we’re eating – that was the main reason to work with fruits during workshop. The concept’s goal was to emphasize that nature can be perceive as beauty. The prolific of equatorial
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nature is providing a lot of fruits with different shapes, colors, forms, tastes, smells. Children were preparing drawings, based on fruits, trying to observe structures, colors and shapes.
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Drawing prepared during workshop, Part II, Nature so near of us, photo by Marta Weglinska Next page: both photos: Drawing prepared during worshop, Part II, Nature so near of us, photo by Marta Weglinka
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Jamu – herb-culture Jamu is a traditional medicine from Indonesia. It is predominantly a herbal medicine made from natural materials, such as roots, bark, flowers, seeds, leaves and fruits. Materials acquired from animals, such as honey, royal jelly, milk and ayam kampung eggs are also often used. Typical ingredients include varieties of ginger, nutmeg, cardamom. cloves, chilies, and fruits. The most popular mixtures treat fatigue, muscle and joint pain, infertility, high cholesterol, skin problems and indigestion. Often jamu is made at home and sold on the streets by women vendors from wicker baskets strapped to their sarongs.
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Prepration of jamu (herbal drink), Yogyakarta, 1910, source: online archive Tropen Museum, Photo on the bottom of the page: typical ingredients used in jamu preparation, source: www.jualo.com
Banana leaves as a food container Banana leaves are large, flexible, and waterproof. They impart an aroma to food that is cooked in or served on them; steaming with banana leaves imparts a subtle sweet flavor and aroma to the dish. The leaves are not themselves eaten and are discarded after the contents are consumed. In Indonesian cuisine the banana-leaf packets of food are steamed, boiled, or grilled on charcoal. Banana leaves are also used to wrap several kinds of snacks. Moreover, banana leaf is also used as a plate, bowl or package (many different shapes). It also functions as a traditional disposable takeaway food container. The cleaned banana leaf is often used as a placemat; cut banana-leaf sheets placed on rattan, bamboo or clay plates are used to serve food.
Next page: different form of food containers made from banana leaves; source: www.majalahteras.com Next page, photo on the right side: rice wraped in banana leaves, source: www.ragamkerajinantangan. blogspot.co.id
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Part III Nature as a home (ecology) Natural materials. Textiles, craft and architecture
Alam berbagai kebutuhan Kita selalu mengambilnya disana Dan merusaknya Membangunnya Bahkan sekarang Banyak hutan Yang dibakar * Natural variety of needs We always take it there And ruin it Built it Even now Lots of woods Burned
Sinta, one of the workshop participant
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Previous page: drawing prepared during workshop, Part III, Nature as a home (ecology), photo by Marta Weglinska River full of trash during dry season, Jomegatan Street, Yogyakarta, photo by Marta Weglinska
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Workshop, part III Nature as a home (ecology) Nature is everywhere; we are nature, so nature is like our home. The third part of workshop was focused on cleaning surrounding. In the beginning children learn how to make an ecological paper from trash, and then they prepared their own
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sheets. When the paper was already dry, they started drawings. The main idea concerns on changing polluted landscapes into clean, comfortable and safe places to stay. Children were choosing photos of dirty spots in Yogyakarta, to change it, by using a simple claque – basic way of printing with using second side of photo, covered with dark pencil.
Previous page: drawing prepared during workshop and photo of polluted beach (photo by Lukasz Roth), Part III, Nature as a home (ecology), photo by Marta Weglinska Drawing prepared during workshop and photo of polluted beach (photo by Lukasz Roth), Part III, Nature as a home (ecology), photo by Marta Weglinska
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Drawing prepared during workshop and photo of polluted river (photo by Marta Weglinska), Part III, Nature as a home (ecology), photo by Marta Weglinska
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Drawing prepared during workshop and photo of polluted beach (photo by Lukasz Roth), Part III, Nature as a home (ecology), photo by Marta Weglinska
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Natural materials. Textiles, craft and architecture "Indonesia is known to possess abundant natural resources as well as a diverse textile tradition. Some examples of traditional textile materials are those made from indigenous natural fibers, such as silk, cotton, ramie, pineapple fibers, and banana frond fibers, which make use of natural dyes. The specific natural background and unique cultural tradition of a region strongly influence the creative process of local textile artisans and the visual form of textile works."*
Banana tree, coconut palm, manilla, pineapple, rattan, agava, bamboo and soya are common all-around Indonesia. The most explored plant is the bamboo, which is used not only as a fiber, but as well it is transformed into furniture, various baskets and containers, mats, but as well woven walls or another part of buildings. Coconuts are used as plates, bowls. Moreover banana, coconut, abaca and are used for making paper. Quite new discover in this discipline is soya material, created from liquid – waste after production of one of the most popular, every-day food in Indonesia – tempeh and tofu.
*quote from: The Revival of the Usage of Natural Fibers and Natural Dyes in Indonesian Textile, Dian Widiawati
Next page: basketwork made from bamboo, Yogyakarta, Godean, photo by Marta Weglinska Bamboo fence, Yogyakarta, photo by Marta Weglinska Process of preparing (besek) basketwork made from bamboo, Yogyakarta, Godean, photo by Marta Weglinska
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1. Bamboo
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(Besek) basketwork made from bamboo, Yogyakarta, Godean, photo by Marta Weglinska Next page: various shapes of containers made from bamboo, Yogyakarta, Godean, photo by Marta Weglinska
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2. Banana palm
Previous page: both photos: factory of bamboo craft, Yogyakarta, Godean, photo by Marta Weglinska Photo on the bottom: Drying fibre extracted from the pseudostem of a banana plant, Sumatra, Indonesia, source: www.musarama.org Photo on the bottom: banana fiber, source: www.univisionin.blogspot.co.id
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3. Manilla/ abaca
Both photos: Kali Telepak – factory of mailla textiles, East Java, Indonesia, source: Tropen Museum, Online archive
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4. Pineapple
Photo on the top: pineappels leaves sorting process, source: https://plus.google.com/102639747970239475715/posts/ jdcSp19VUkb Photo in the middle: pineapple fiber production process, source: https://4.bp.blogspot.com
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5. Rattan
All the photos from Tropen Museum, Online achive; On the top: Rattan basket, Sumatra, Indonesia, Photo in the middle: cleaning, drying and scraping rattan in Palopo, Sulawesi, Indonesia, Photo in the bottom: Plaiting rattan baskets and dishes,West Java, Indonesia,
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6. Sisal/ agava
Photo on the top: Employees during the production process of sisal, Java, Indonesia, source: Tropen Museum, Online archive Photo on the bottom: rope made from of agava fibers, Indonesia, Tropen Museum, Online archive
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Natural pigments for dying textiles* "[Natural] dyes are produced from wood or barks, leaves or roots of plants or trees from throughout the archipelago. In the past, natural fibers and dyes were traditionally used as textile materials, which usage was emphasized on the fulfillment of spiritual purposes and the production of sacred traditional fabrics. It is unsurprising that the production process was usually time-consuming and highly complicated." "[Currently] the optimism in using natural coloring matters is recently awakening. This tendency grows along with the issues of awareness of nature and the soaring popularity of back-to-nature lifestyle, which seem to counteract the issue of global warming. The awareness in using environmentally friendly products is currently increasing, causing the emergence of products labeled green design, green product, eco-labeling, eco-fashions, and several others."
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*quotes from: The Revival of the Usage of Natural Fibers and Natural Dyes in Indonesian Textile, Dian Widiawati
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1. Indigo/Tarum (Indigofera tinctoria) and its variation of colors 2. Kesumba/Galinggem (Bixa orelana) and its variation of colors. 3. Kunir (Curcuma domestica) and its variation of colors All the photos: Plants used for dyind and its varations of colours, source:The Revival of the Usage of Natural Fibers and Natural Dyes in Indonesian Textile, Dian Widiawati
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Various parts of plants used for dying textile in Bixa Batik, batik workshop in Yogyakarta, photo by Marta Weglinska
1. Tegeran/ Cudraina javanenensis 2. Mohoni/ Swietenia mahagoni (L.) Jacq 3. Jambal/ Peltophorum pterocarpum 4. Tingi/ Ceriops Tagal 5. Jalawe/ Terminalia bellirica (Gaertn.) Roxb 4.
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List of images p. 6 Rice fields in Yogyakarta, Godean, photo by Marta Weglinska p. 9 Small river in Yogyakarta, Bantul, photo by Marta Weglinska p. 10 Rice fields in Yogyakarta, Godean, photo by Marta Weglinska p. 13 Documantation of workshop, Part III, Nature as a home (ecolo- gy), simple way of printing with using photos, photo by Marta Weglinska p. 17 Rice fields in Yogyakarta, Imogiri, photo by Marta Weglinska p. 18 Parangkusumo beach, Indian Ocean, Yogyakarta, photo by Marta Weglinska p. 19 both photos: The Merapi volcano, Yogyakarta, Tropen Muse- um, Online archive, photo on the top: http://collectie.wereld culturen.nl/Default.aspx?ccid=7817&lang=en; photo in the bottom: http://collectie.wereldculturen.nl/Default. aspx?ccid=7825&lang=en p. 20 The foothills of The Merapi volcano, Yogyakarta, photo by Mar- ta Weglinska p. 21 Gunungan/ kayon in Yogyakarta, https://commons.wikimedia. org/wiki/File:Gunungan_(kayon)_in_Yogyakarta_(credited_ to_Budaya),_Kota_Jogjakarta_200_Tahun,_plate_before_ page_161.jpg#/media/File:Gunungan_(kayon)_in_Yogyakar ta_(credited_to_Budaya),_Kota_Jogjakarta_200_Tahun,_plate_ before_page_161.jpg p. 23 Parangkusumo beach, Indian Ocean, Yogyakarta, photo by Marta Weglinska p. 24 Rice fields in Yogyakarta, Godean, photo by Marta Weglinska p. 25 Rice fields in Yogyakarta, Godean, photo by Marta Weglinska p. 26 Documantation of workshop, Part I, nature surrounds us, using leaves to prepare drawings of landscapes, photo by Marta Weg- linska p. 27 Both photos: Documantation of workshop, Part I, Nature surrounds us, using leaves to prepare drawings of landscapes, photo by Marta Weglinska p. 30 Drawing prepared during workshop, Part II, Nature so near of us, photo by Marta Weglinska p. 32 Drawing prepared during workshop, Part II, Nature so near of us, photo by Marta Weglinska
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p. 33 Both photos: Drawing prepared during workshop, Part II, Nat- ure so near of us, photo by Marta Weglinska p. 34 Both photos: Drawing prepared during workshop, Part II, Na- ture so near of us, photo by Marta Weglinska p. 35 Drawing prepared during workshop, Part II, Nature so near of us, photo by Marta Weglinska p. 36 Photo on the top of the page: Prepration of jamu (herbaldrink), Yogyakarta, 1910, Tropen Museum, Online archive, http://col- lectie.wereldculturen.nl/Default.aspx?ccid=38408&lang= photo in the bottom of the page: typical ingredients used in jamu preparation, https://www.jualo.com/kesehatan-kecanti - kan/iklan-jamu-jawa-asli p. 37 Black and white photos on the left side: different form of food containers made from banana leaves; http://majalahteras. com/12-bentuk-ketupat-yang-hampir-punah photo on the right side: rice wraped in banana leaves, http:// ragamkerajinantangan.blogspot.co.id/2016/07/Ragam-Ben tuk-Ketupat-Untuk-Lebaran.html p. 40 Drawing prepared during workshop, Part III, Nature as a home (ecology), photo by Marta Weglinska p. 41 River full of trash, Jomegatan Street, Yogyakarta, photo by Mar- ta Weglinska p. 42 Drawing prepared during workshop and photo of polluted beach (photo by Lukasz Roth) – used to prepare the drawing, Part III, Nature as a home (ecology), photo by Marta Weglins- ka p. 43 Drawing prepared during workshop and photo of polluted beach (photo by Lukasz Roth) – used to prepare the drawing, Part III, Nature as a home (ecology), photo by Marta Weglins- ka p. 43 Drawing prepared during workshop and photo of polluted riv- er (photo by Marta Weglinska) – used to prepare the drawing, Part III, Nature as a home (ecology), photo by Marta Weglins- ka p. 45 Drawing prepared during workshop and photo of polluted beach (photo by Lukasz Roth) – used to prepare the drawing, Part III, Nature as a home (ecology), photo by Marta Weglins- ka p. 47 Photos on the top: basketwork made from bamboo, Yogyakar- ta, Godean, photo by Marta Weglinska
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Photo on the bottom: Process of preparing (besek) basketwork made from bamboo, Yogyakarta, Godean, photo by Marta We- glinska p. 48 Basketwork made from bamboo, Yogyakarta, Godean, photo by Marta Weglinska p. 49 All the photos: various shapes of containers made from bam- boo, Yogyakarta, Godean, photo by Marta Weglinska p. 50 Both photos: factory of bamboo craft, Yogyakarta, Godean, photo by Marta Weglinska p. 51 Photo on the bottom: Drying fibre extracted from the pseu- dostem of a banana plant, Sumatra, Indonesia, photo by: Bud- denhagen Ivan, http://www.musarama.org/en/image/drying-fi- bre-104.html photo on the bottom: banana fiber, http://univisionin.blogspot. co.id/2012/03/project-on-banana-fibre-production-in.html p. 52 Photo in the top: Kali Telepak – factory of mailla textiles, East Java, Indonesia, Tropen Museum, Online archive, http://collec- tie.wereldculturen.nl/Default.aspx?ccid=229233&lang Photo on the bottom: Kali Telepak – factory of mailla textiles, East Java, Indonesia, Tropen Museum, Online archive, http:// collectie.wereldculturen.nl/Default.aspx?ccid=229240&lang p. 53 Photo on the top: pineappels leaves sorting process, https:// plus.google.com/102639747970239475715/posts/jdcSp19VUkb Photo in the middle: pineapple fiber production process, https://4.bp.blogspot.com/-xnfHLGNE5gE/UsopM5OmGwI/ AAAAAAAAAN4/IBJYwQTZx04/s1600/Proses-Produksi.jpg p. 54 Photo on the top: Rattan basket, Sumatra, Indonesia, Tropen Museum, Online archive: http://collectie.wereldculturen.nl/ Default.aspx?ccid=731223&lang Photo in the middle: Cleaning, drying and scraping rattan in Palopo, Sulawesi, Indonesia, Tropen Museum, Online achive, http://collectie.wereldculturen.nl/Default.aspx?c cid=229180&lang=en Photo in the bottom: Plaiting rattan baskets and dishes, West Java, Indonesia, Tropen Museum, Online archive: http://collec tie.wereldculturen.nl/Default.aspx?ccid=20465&lang=en p. 55 Photo on the top: Employees during the production process of sisal, Java, Indonesia, Tropen Museum, Online archive: http:// collectie.wereldculturen.nl/Default.aspx?ccid=229108&lang=en Photo in the middle: rope made from of agava fibers, Indone-
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sia, Tropen Museum, Online archive: http://collectie.wereldcul turen.nl/Default.aspx?ccid=229245&lang=en p. 56 All the photos: Plants used for dyind and its varations of colours (on the top: Indigo, in the middle: Kesumba, in the bottom: Kunir), The Revival of the Usage of Natural Fibers and Natural Dyes in Indonesian Textile, Dian Widiawati p. 57 Various parts of plants used for dying textiles in BixaBatik, batik workshop in Yogyakarta, photo by Marta Weglinska p. 63 Documantation of workshop, Part I, Nature surrounds us, pho- to by Marta Weglinska p. 64 Climbing tree, Yogyakarta, photo by Marta Weglinska
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Documantation of workshop, Part I, Nature surrounds us, photo by Marta Weglinska
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Climbing tree, Yogyakarta, photo by Marta Weglinska
NATURE nature surrounds us nature so near of us nature as a home (ecology) Yogyakarta Concept: Marta Weglinska, Arinanda Gilang Pratama Edited by: Marta Weglinska Texts: Marta Weglinska, Arinanda Gilang Pratama, Abdus Somad Translation from Bahasa Indonesia: Andriko Sandria Proofreading: Andriko Sandria Sesama, Razem Pamoja Foundation The publication prepared during Art Residency Program in Sesama (Yogyakarta). Workshop co-organized with Yayasan Bintang Kidul (Bintang Kidul Foundation), took a place in Sanggar Omah Opak in Piyungan (East Jogja) in July 2017. Financed by Sesama Thanks to: Abdus Somad, Yayasan Bintang Kidul (Dominique Gygax, Ikbal Fauzi, Siti Fauziyah, Danu Santoso, Muh. Habib Syaifullah, Kurnia Nur Hasannah), Sanggar Omah Opak, Ari Ahmad Zulfahmi, Zita Wahyu, Batik Workshop Yogyakarta – Bixa Batik; Bamboo Craft in Pucanganom, Sumber Agung, Kecamatan Moyudan, Kabupaten Sleman, Yogyakarta workshop participants: Ahmad Yasin, Edwin Saputra, Zulfidan Nur Alfian, Ardian, Arkhan Hanif, Yoga Pratama, Yopie Verdian, Reva Verdian, Kaka, Ezi Febiza P.A., Fakhrurosi, Unggul Laksono, Cello Atmaja, Wildan Ata Wijaya, Andre Hari S., Grin, Burhanudin, Farhan, Aditya Hernis, Galih Putra P., Arya, Nizar Candra, Ata Arif, Faris Riski, Tama, Zulfa, Muhamad Zildan, Fuad Mubaraq, Muhamad Jihan, Dian, Shaputri Puspitasari, Hera Widya Wati, Khantsa Fitriatul Hanif, Dinda Rama Saputri, Citra Rana Sar, Syifana Oktavia Pradista, Della Ananda Hariningtyas, Citra Ratna Arifah, Fitri Desi Puspitasari, Keyla Amalia, Wijaya, Dina, Desti Trisna Khasana, Aqila Zulfa, Gadis, Kristine, Isna, Aqila Zahra, Aprilina, Sinta, Ceya, Meme Printed and bound in Indonesia, Yogyakarta 2017