SONG & DIPONEGORO Official Hymne Song of Terracotta Biennale youtu.be/I3bew75pyVQ The history of Kasongan The Terracotta archipelago, and the world Kyai Song is an example of resistance against Dutch colonialism. This resistance took inspiration from a hometown environment filled with clay. By using underground methods to communicate with all the people of the village Kyai Song encouraged the locals to not continue farming for the colonizers. The Dutch took all of the Indonesian crops in exchange for other basics the Indonesian farmers needed to survive. The Dutch forced Indonesian farmers to provide all of their crops to the colonizers. Kyai Song knew this situation wasn’t fair for the Indonesian villagers and he wanted to convince the public that there is a more dignified way of life. The trick was becoming pekundhi: creating kitchen appliances that make use of raw clay. With this, Kyai Song began an alternative profession that is rooted in traditional agrarian culture and is still rapidly expanding into industrial-modern business. Kyai Song’s heroism was subtle but important. The Dutch colonial food supply was greatly reduced because people were using the agricultural land for clay to make pottery. However, the pekundhi were able to exchange their pottery for food because the Dutch would send it back to the Netherlands. That way, the Dutch felt appeased, the pekundhi were still making something for the benefit of the Dutch. In the past, the Dutch could only be the result of a form of pottery creations dagger, knives, and other sharp objects, and created a model to suit his particular pottery. Of course, on the sidelines of making pottery in the form of household items, still quite a lot of materials and time to make the creation of other forms, in addition to household appliances. The area established by Kyai Song was later named Kasongan village. The word pottery tends to be used for craft and household appliances as well as everyday products, while terracotta is used most often in monumental cultural products, with regard to the kingdom, architecture, statuary, etc, although pottery and terracotta have basically the same technique. There are at least two major cultures in the world which were first believed to have the technological capabilities of terracotta or better known as red brick in Indonesia, namely culture and Harapa Mohenjodaro in the fertile valley of the river Indus, and the beginning of the Imperial Dynasty in China, one of the most famous of which is the discovery of the statues of the Terracotta warriors built in the Qin Dynasty (210 BC - 209 BC). Red brick enshrinement complexes have identified Indonesia as a developed nation. Currently, in the field of archaeology, Terracotta has become a measuring tool in assessing the progress of a culture. A forensic archaeological culture can be traced to the age and level of progress through Terracotta relics, ranging from pottery to Red Brick blocks as the main structure of a building. Advances in technology today are able to record, track and estimate the age of the progress of a culture through Terracotta relics, as well as providing an overview of the data side of technology, economy, social, political, and cultural anthropology. These pieces of information when combined can provide a complete reconstructive picture of a culture. An example of an Indonesian terracotta structure is the Batujaya enshrinement complex, this site is a relic that is estimated to have been built in the 3rd century AD and is thought to be much older than the temple of Borobudur. The Batujaya enshrinement complex findings and history that have been revealed should be able to provide important lessons for the Indonesian nation. In contemporary art, many artists use the medium of terracotta for their monumental works, both in Indonesia, and foreign countries.
Posted on: Mon, 20 Oct 2014 02:38:52 +0000
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