Indonesia tradition and culture

One of the interesting findings artefaktural (archaeological remains) is the finding remains megalith Pagaralam Pasemah type. (South Sumatra). Megalith Pasemah has this unique characteristic that grow and grow because of the influence lingkunga, knowledge, creativity and dynamic thinking supporters. In the archaeological significance of the megaliths have the role, function and persebaranya. Other megalithic Tingalan called "dynamic strongly agitated" (Geldern, 1945) which became the main characteristic has also given instructions to her and the relationship between culture (ancestors of) a region with another region in Indonesia. Arca Pasmah type is determined also in Lampung and Batang regency (Central Java). This is understandable because kalangsungan very old megalithic tradition. Megalithic tradition always be changing and moving dynamically as supported by advanced technology and creativity of its maker. Megalithic tradition of natural fences are pusta culture and civilization that managed to spread its influence to various regions in Indonesia. Can be said that the megalithic tradition Pasemah has produced a dynamic characteristic of the megalithic objects that are advanced (sophisticated).

In 1967 Loofs argues that the megalithic contains many problems. In his book he called the megalithic tradition as "He enigme de la plus grande prehistorie" having problems, among others, about the origin, existence, distribution, and cultural advocates. (Loofs, 1967). Pagar Alam megalithic tradition contribute to solving these problems. The result of research the author had found evidence of activity of the megalithic tradition Pagar Alam, which arrived in the area of Lampung and even in Java.

Megalithic tradition supporters who live in the highlands (the southern part of Batang) apparently still in touch with the natural fence. Pagar Alam megalithic tradition is the basis and reference for the statues in the manufacture of Batang. The shape and style of statues found in progenitor stem is influenced by knowledge and technological development megalithic Pagar Alam. Human figures riding elephants, characterized Pagar Alam became a reference for the community to create a means of worship Trunk. Elephant statues found in Lapung also have characteristics that are not much different from the culture of Pagar Alam.

The findings in the form of megalithic statues of human figures and animals in Lampung and in bars indicate that the spread of megalithic Pagar Alam is so strong. Another possibility supporters of the megalithic tradition gradually make the shift toward the east, through Lampung, West Java to Central Java North continues to hold even Jawah the Middle East. The concept of trust that in the megalithic profess that refers to the worship of ancestral spirits (ancestor waourship) is so strong. The distribution of megalithic tradition Pagar Alam increasingly eastwards away from the center will experience a depreciation of the quality and quantity. Estimated a megalithic been growing in other regions, but because of the influence of environmental and public mindset then form megaliths were to change, even as characterized in various places.

Directly or indirectly supporting the megalithic tradition who live in high datarang Pasemah never touch (contact) with the megalithic tradition in Lampung and Bar (Central Java).

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what's wrong with education in Indonesia? ". Is there a "less wrong" with education in Indonesia. But definitely a very noticeable is the cost of education in Indonesia is very expensive. This causes a lot of Indonesian citizens who have dropped out of school due to lack of school fees. But whether that is the sole cause of dropping out of school? Because in other places also found the number of students who nearly dropped out of school has a high motivation to continue their education. Many who moonlighted to supplement the family income to be able schools. But if the spirit is enough?

When the spirit has been able to overcome adversity on the one hand, new challenges emerge that are "external". Education system in our beloved country looks a little "weird" with standardisasinya system. Many students who are quite accomplished with the amazing physics subjects did not pass because the value of Indonesian language under the standard. This reminds the writer's childhood who loved art and music in English but is weak in math and physics, should be "forced" to follow lessons for the study of physics and mathematics, and "leave" the art of music and English. When it comes to questions from the author's mind, "why am I not allowed to take an interest and talent, but instead was forced to love and be proficient on an entirely outside the territory of interest and my talent? Is this not even be a murder of interests, talents and creativity? "If you like this, how could a student has a passion from within to school. Instead of the spirit but the "coercion". The author is hoping a system of majors that started in the seventh grade level (secondary school). So since junior high school students have started to be directed in accordance with the interests and talents of each. In this way, then the younger generation has been the focus of their interests and talents can be sehingg tenag cadres of the Indonesian nation's experts.

The mass media often preach how terrible the unequal educational facilities. Lots of schools labeled "Public Schools" whose condition is very worrying. On the other hand there are many state schools which have facilities that are established to support education. A question occurred to where education subsidies are said to evenly? Indeed, for an archipelago like Indonesia, has a difficulty level for distribution of goods and services. Perhaps this is one of the main causes of the many that cause less unequal distribution of subsidies to the regions.

Another obstacle which, according to a very influential writer is moral. Moral education culture in this country according to the author about getting the right portions for the younger generation to create a moral and qualified. It also added a lack of parental attention in shaping the moral development of students. Not a few Indonesian students who caught the case of drugs, rape / abuse, violence and fighting in a brawl and some even lead to murder and others. Is this the culture of Indonesia? Plus a lot of students who are "prestige" with its own culture, many students are anti-native Java with traditional art which in their view are outdated. Therefore, the authors very much hope there is special attention for cultivation of moral values and culture since early in the standard educational curriculum so that when graduate students in Indonesia had a soul to the soul of a truly civilized Indonesian children.

To Indonesian education is education which should have noble souls Indonesian cultural traits which are actually native cultures that have a level of upper-class culture. Indonesia is a country that has a very diverse cultural patterns. So it should be in preparing for the standardized national educational curriculum, the government not only adopted from other countries which have very clear ideology, social conditions, economy and culture very different from Indonesia. It would be nice if there are adjustments to the conditions of Indonesian society itself without leaving the original character of ideology and culture of the archipelago.

To overcome the existing problems, it was hard to remember the condition of the Indonesian state as has been described earlier writers. Between people and government must create a continuum. The parents should not immediately remove their children is totally left to the school. The mass media should be filtered also need to provide knowledge to parents how to provide moral education and discipline children at home.

In one school environment standardization National Exam. Do not let the UAN is actually even compromising the ability of students who excel. Because not a few outstanding students and have it the name of Indonesia in science competitions are international, have become victims of injustice standardized exam. Therefore, the education system in Indonesia should be able to make and also implements a curriculum based on core competence as a special priority, followed by general ability. Again, this is not easy because of the existence of specific priorities that will require special attention as well. Special attention must also be supported with the availability and smooth distribution of equalization of educational facilities for schools, making it very easy process to learn in school.

So to solve the education problem to Indonesia must have good cooperation between the government (Ministry of Education), curriculum, school, the teachers, parents, and students. And that do not forgotten the perpetrators distribution facilities of education subsidies should be more discipline yourself so that these subsidies to the correct destination.

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Orchid motif
Orchid is a flower that became the pride of the Indonesian nation. Orchid is a relationship which are manifold, but typical that the orchid has a beautiful little flower. Astonishment at this anggreks reflected in a flower motif inspired by orchids and orchid motifs are called motifs.

The emergence of this orchid motif is part of the dynamics of Indonesian batik, batik motif that is carrying the cultural and natural wealth of Indonesia. This is a form of cultural openness in the development of Java through the art of batik creations.

Motif Batik RAFLESIA
Other example is wealth of flora fauna of Indonesia into the batik motif is the emergence of RAFLESIA. RAFLESIA is a typical flower is a symbol of community pride Bengkulu because this flower is considered the only giant flower which only exists in Indonesia.
Flowers RAFLESIA a typical flower. Carrion-smelling flowers and only appear at certain times and includes a unique natural wealth of Indonesia. Admiration for this RAFLESIA flowers appear in a motif that highlights RAFLESIA flower picture. Despite the natural wealth of flowers reflesia not Java, but this batik painter felt that such interest should be enshrined in a specific motif called the interest.

motive Bali Banana
Admiration on Indonesia's natural wealth seems to be one trend batik motifs, especially the famous natural wealth. One of the natural wealth that is not famous, but because the island is famous, the natural wealth of the be lifted. This is evident in the motifs of banana Bali.
Some natural resources are often associated with the island of Bali such as oranges and salak Bali Bali. Bali Island is a very famous island. Bananas Balinese batik pattern emerged in order to ride in Bali ketersohoran.



The appearance of this motif is closely associated with religious nuances brought by banana Bali. For the Balinese, Balinese banana represents a significant commodity used in sacred offerings (offerings). Because of the importance, then the commodity is raised in a batik motif. Only, for people outside of Bali did not know about the function and meaning of Balinese banana, can not be merasakah vibration religious meanings carried by these motives.


Indonesia is also rich in natural wealth of the sea. The natural resources of the sea is usually raised by coastal batik-batik, but today it no longer dominates. In Surakarta, batik that highlight the wealth of sea of which is raised by batik dab Dartono work. Work Dartono raises sea shades because the fabric was reserved for beach clothing (sarongs beach). In Surakarta, motifs with images of fish become quite prominent since the more widespread use of batik for various purposes. Examples that highlight the fish motif is the work shirt, Bambang Slameto, S. Sos (owner of ).

Javanese interaction with the natural surroundings can create art that reflects a natural event. One form of art in the form of a peacock dance called the Peacock Dance Ngigel depicting a dancing peacock showing off the beauty of his feathers. This dance is a traditional dance is very well known. This event is also reflected in batik motif depicting the wealth of fauna with the title Java ngigel peacock motif as follows.

Batik Motifs Ngigel Peacock (Peacock Dance)
Ngigel peacock peacock is a picture that is attracting the opposite sex. Having attracted the opposite sex, then there marriage. In the Java language, called karonsih berpadunya love (love mix). Karonsih also become one of a dance that is usually staged in the midst of marital intent. In batik motifs, there are also other motives that are not karonsih is a depiction of two male peacocks are screwing like the following picture.

Picture Motif: Karonsih (Two sex peacock tail).
Natural wealth is also reflected dakam form sources of food and clothing. Normally the term is called food and clothing. Food and clothing is the prosperity of the icons which are generally described in bentukp adi and cotton. In addition to food and clothing, health is also an important thing. In Java terms, this concept referred to as: "cheap food and clothing, fresh sanity" means cheap food and clothing and body healthy.

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Motifs used by the organization also reflected the socio-cultural changes that occurred. Motives are voicing changes that occur in these organiasi. This can be seen on batik KORPRI (Staff Corps of the Republic of Indonesia). In the new order, and family members KORPRI is a major supporter GOLKAR (Functional Group). This party is the largest political party which is the main vehicle NEW ORDER. Various suppression and intimidation is given to public servants in order to choose GOLKAR. Among the statement that members who do not choose GOLKAR KORPRI is a traitor because KORPRI leaders have declared loyalty to GOLKAR. Therefore, in KORPRI known monoloyalitas or loyal to only one party that is GOLKLAR.

In this period KORPRI have new uniforms in the form of motifs, based white with a blue motif. Consider the following motives.

Motif on top consisting of lung-lungan and buketan, but which became the main motive is to form a picture badge consisting of a banyan tree, drawing a house and two wings. In the Pancasila, the banyan tree is a symbol of unity. In the pictures, in addition to meaningful unity, the symbol implies that GOLKAR KORPRI is a major supporter. Preview picture of a house reflects the organization or the government of Indonesia where the civil service. So, in terms of symbols, KORPRI silmbol GOLKAR which seemed to take the form of a banyan tree as a symbol of the most important. This will be further confirmed in KORPRI badges.

In 1996, Indonesia experienced a period of reform. There is a current social and political change in various aspects of government. It is increasingly prominent in the arena of government GOLKAR fading. If the New Order period, almost all government officials from GOLAKR, then there was a shift in the reform era. The shift seen from the emergence of officials from various groups, particularly among the party. Cabinet of the Government of Indonesia called Unity Cabinet / Cabinet Mutual Assistance in which every element of society / party could become officials / ministers. This era also marked by the existence of local elections from among the public that government officials were to be varied. This condition then appeared in KORPRI batik motifs. KORPRI batik has removed the element of banyan tree and highlight the main principles of Pancasila as the Indonesian nation. In terms of color, motif batik uniforms during the New Order KORPRI predominantly blue, while the motifs of batik in the reform era was dominated by light green color with a different appearance in blue, green, yellow) with the emphasis on the Pancasila eagle image (core subjects). Consider the following KORPRI batik uniforms.

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Surakarta is a dynamic city culture in social change. This cultural city is rich with art and cultural activities which are recognized by the international community. One form of art that still exists today is the art of batik. Batik is one of the inherited tradition that is currently evolving to adjust to the times. Activities batik is still contextually, especially in Surakarta. Today, the government tried to turn the industrial centers in Surakarta with the title batik kampung kampung batik which is expected this will be the hallmark of the city of Surakarta city batik industry. Batik Surakarta, also has a share in the struggle of the Indonesian nation.


As a form of art, batik was closely associated with socio-cultural conditions. As revealed by Janet Wolff (1981) that art is a social production. Contained within the ideology of art production. Works of art in individual and collective poles. Because it emphatically Wolff stated that the artists work is not in the mood terioslasi of social and political situation (1991:27). This indicates that the growing and berkembanganya related to sociocultural conditions.

The development of batik as an art work is also not free from socio-cultural conditions of art production backdrop. Batik motif was also arise due to socio-cultural changes. For example, the motive appears related to the business machete Panembahan Senopati to have its own cultural characteristics when he removed himself from power Pajang. Because a lot of inspiration Senopati Panembahan Parangkusuma, parang motif is created from these Parangkusuma said. This motif was then developed according to demands of the times so that it appears the motive derivation barong machete like a machete, machete suspect, machetes win, and so forth (Sarwono, 2005). Histrosi emergence of social nuance motive has not been much studied and considered the experts.

Picture of social change that is reflected in batik needs to be studied to increase understanding about the motives of those who will eventually lift the value of batik and as evidence of the creative process and the creation of a work of art to gain world recognition.

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Different culture among Indonesian and Chinese are assumed will be continued from previous era of dualistic economy (Boeke, 1953). Unfavorable work habits and orientation, short cut behavior or ‘budaya menerabas’ (Koentjaraningrat, 1969) are assumed still valid. Cultural changes are expected incurred after long period of economic development, assumed could reinforce Indonesian approaching Chinese in terms of work centrality (CW), normative dimension of obligation (OBL) and entitlement (ENT) or opportunity (OPP), economic function of working (PAY), intrinsic work outcomes (IR), and valued work outcome in terms of social contact (CONTACT).

Indonesia is a country with diverse local cultures. Economic development plan for the country had been creating issues at the beginning after there were presumptions that ‘Indonesian culture’ was unfit in supporting economic development program (Boeke, 1953; Koentjaraningrat, 1969). Cultural unfit presumptions were imposed based on common comparison between Indonesian origins and Chinese, whom had played economic role successfully in the country.

Presumption on managerial fit, however, confronting with social learning theory among groups (Bandura) and a long period successful economic development in Indonesia may be hypothesized to have cultural change.

Cultural changes may be referred to any change in part or whole cultural dimensions. Hofstede, Kluckhohm, Deal & Kennedy, Harrison & Hardy, or Hampden & Turner have their cultural dimensions . In this study cultural change will be measured in terms of (1) central variables meaning of working in terms of work centrality, societal work norms and valued work-outcomes and work-goals, and (2) managerial job fit in terms of people’s work aspiration gap with work reality.

Economic development period is assumed contextual factor of the meaning of working, originally being measured in terms of personal-family situation, present job and career history and macro-socio-economic environment (MOW International Research Team, 1987). Managerial fit in this study is cultural job fit comparable to soft competency in managerial level. And phenomenon of learning through credible example among people with certain personality and strongly conditioned by displacement’ in the model of ‘entrepreneurial event’ (Shapiro, 1987) could change individual’s career becoming business entrepreneur.

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Indonesian painting, particularly that labeled with "modern", can not be denied, that its journey, led and oriented to western painting conceptions. Unfortunately, its understanding and concept adaptation, only a little bit and just a pieces. The style and genre, that occurred in the western hemisphere like a recipe with menus, which ready to use. So any form concept that emerged in the West, will be absorbed totally. Today this painting style became an alternative mode, without noticing its coherence with an established culture and rooted culture in Indonesia.
Indonesian painting art nowadays, no longer looking for its identity, but more priority to personal interests. And more refers to the needs of investors and art collectors. Arts was no longer be an expression of personal feelings, but more emphasis on market demand. Aiming to the painting industry products, which seem merely to fullfil the needs of the gallery or workshop. Indonesian Artists should have an obligation to form the style in creating of artwork, which reflects to Indonesia identity.

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