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"Makalah ini membahas penerapan konsep De Stijl dalam seni bangunan Rietveld Schröderhuis. De Stijl menjadi sebutan aliran seni yang berkembang di Belanda pada tahun 1917-1931. Konsep utamanya adalah kesederhanaan, yang dimengerti sebagai nilai universal suatu karya seni, dan diwujudkan sebagai garis dan warna dasar, yaitu garis vertikal dan horizontal, dan warna merah, kuning, dan biru. Garis dan warna sederhana yang dipakai dalam seni bangunan Rietveld Schröderhuis, karya Gerrit Rietveld, sepertinya diterapkan dari konsep sederhana De Stijl tersebut.

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This paper discusses the use of De Stijl concept in Rietveld Schröderhuis. De Stijl is a school of art developed in the Netherlands in 1917-1931. Most important in the concept of De Stijl is simplicity. The simplicity, in their opinion, could be seen in any of art work. De Stijl translate that concept of simplicity in primary lines and colors, namely vertical and horizontal lines, and the colors red, yellow, and blue. This concept seems in Rietveld Schröderhuis, a house created by Gerrit Rietveld, is used from De Stijl concept."

"Analisis EksekutifSekolah Otonom Sanggar Anak Akar merupakan sebuah sekolah yang didirikan pada November 1994 di daerah Cipinang, Jakarta Timur. Sekolah ini merupakan pengembangan dari sebuah program open house yang dilakukan oleh Biro Advokasi Anak, Institut Sosial Jakarta pada tahun 1989. Sekolah ini lahir dari keinginan untuk memberikan rasa aman bagi anak-anak jalanan agar bisa berkembang dan membuat mereka mampu mengekspresikan ide serta kemampuan yang dimiliki. Sanggar Anak Akar melihat jika lingkungan anak-anak jalanan sangatlah tidak kondusif dan tidak baik untuk perkembangan anak. Siswa-siswi Sanggar Anak Akar juga ingin meluruskan pandangan yang menganggap jika mereka adalah anak jalanan biasa yang tidak bisa melakukan apa-apa. Sanggar Anak Akar sangat menekankan pada pengembangan kreativitas siswa-siswinya. Beberapa prestasi dari Sanggar Anak Akar di bidang seni adalah terpilih untuk menjadi ensamble musik di Kongres Perempuan Asia Pasifik 2002 di Bangkok, Thailand, memproduksi album yang berjudul ?Gema Gita Mahardika?, sukses menggelar Konserta Gema Gita Mahardika yang bekerjasama dengan PPHUI di tahun 2013, dan berhasil menggelar sebuah pagelaran teater di bulan November 2014 yang berjudul ?Sayap-sayap Mimpi?. Selain itu, Sanggar Anak Akar sering ditunjuk sebagai perwakilan DKI Jakarta di festival-festival seni di Indonesia seperti di Jember Fashion Festival. Segala pencapaian ini tidak lepas dari kuatnya kerjasama yang mereka miliki baik dengan lembaga donor, sekolah swasta nasional maupun internasional, hingga Sahabat Akar yang selalu mendukung segala kegiatan Sanggar Anak Akar, baik dalam kegiatan belajar mengajar maupun pementasan seni.Sahabat Akar adalah para praktisi yang sudah memiliki pengalaman yang banyak di bidangnya masing-masing namun memiliki komitmen untuk membantu anak-anak Sanggar Anak Akar agar bisa memiliki kemampuan lain. Peran Sahabat Akar sangatlah penting karena mereka berbagi pengalaman kepada siswa-siswi Sanggar Anak Akar. Selain itu, Sahabat Akar sangatlah loyal terhadap Sanggar Anak Akar sehingga keberadaannya bisa diandalkan. Sanggar Anak Akar menyadari bahwa terjadi kekosongan pada penggunaan media untuk menyebarkan visi mereka. Sanggar Anak Akar juga memiliki berbagai macam prestasi di bidang seni dan memiliki siswa-siswi yang sudah mendapatkan pelajaran ilmu jurnalistik sehingga akan percuma jika kemampuan yang sudah dimiliki ini tidak dikembangkan lebih lanjut.Tujuan· Menjadi sarana diskusi dengan komunitas seni lain· Memperlihatkan kemampuan siswa-siswi Sanggar Anak Akar kepada publik yang lebih luas.· Meningkatkan apresiasi terhadap karya musik Sanggar Anak AkarStrategiMendirikan radio komunitas berbentuk streaming.Khalayak SasaranLaki-laki dan perempuan yang bergelut di bidang seni dengan rentang usia 15-30 tahun serta merupakan anggota komunitas seni seperti tari dan teater.Program1. Aktivitas Pendirian2. Perencanaan Program3. Operasional Radio4. Peluncuran Radio5. Eksekusi Program :· BIR PLETOK!· Seru!· KreasiJadwalMinggu I Februari 2015 - Minggu IV Juni 2015AnggaranTotal anggaran yang dibutuhkan sebesar Rp12.122.000,00EvaluasiMetode evaluasi yang digunakan adalah dengan melakukan rapat perkembangan, assessment, dan trial and error.

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Situation AnalysisSanggar Anak Akar is a school that was established in November 1994 in the area of Cipinang, East Jakarta. The school was developed from an open house program conducted by the Bureau of Child Advocacy, Jakarta Social Institute in 1989. Sanggar Anak Akar was born from the desire to provide security for street children in order to grow and make them able to express their ideas and capabilities. Sanggar Anak Akar sees if the environment of street children is not conducive and not good for children's development. In addition to that, Sanggar Anak Akar students also want to straighten the common paradigms that assume if they were ordinary street children who cannot do anything.Sanggar Anak Akar emphasis on developing creativity of students. Some of the achievements of Sanggar Anak Akar students in art were chosen to be the musical ensemble in the Asia-Pacific Women's Congress 2002 in Bangkok, Thailand, producing an album titled "Gema Mahardika Gita", successfully held Konserta Gema Gita Mahardika in cooperation with PPHUI in 2013, and successfully staged a theatrical performance in the month of November 2014, entitled "Sayap-sayap Mimpi". Additionally, Sanggar Anak Akar students are often appointed as the representative of Jakarta at art festivals in Indonesia as in Jember Fashion Festival. All of this achievements cannot be separated from the strength they have good cooperation with aid bodies, national and international private schools, to Sahabat Akar whose always supports all the activities of Sanggar Anak Akar students, both in teaching and learning activities and art performances.Sahabt Akar are practitioners who already have a lot of experience in their respective fields, but committed to helping children Anak roots in order to master soft-skill abilities. Sahabat Akar have got very important role because they share experiences to students Anak Roots. In addition, the Sahabat Akar is very loyal to Anak roots so that its presence can be relied on.Sanggar Anak Akar realizes that there is a vacant occurs in the use of media to spread their vision. Sanggar Anak Akar also have a wide range of achievements in the arts and have students who already had a class journalism that would be useless if it already possessed this ability not developed further.Goals· Being medium of discussion with other art community· Shows the ability of the students of Sanggar Anak Akar to the public.· Increase appreciation of musical works Sanggar Anak AkarStrategyDevelop a community media inside streaming radio.Target AudienceMen and women who worked in the field of art with an age range of 15-30 years and is a member of the art community as dance and theater.Programs1. Establishment Activity2. Planning3. Operational Radio4. Launch Radio5. Executed Programs :· BIR PLETOK!· Seru!· KreasiSchedule1st Week of February - 4th Week of June 2015BudgetTotal budget needed is Rp12.122.000,00EvaluationThe evaluation method used is by development meeting, assessment, and trial and error;Situation AnalysisSanggar Anak Akar is a school that was established in November 1994 in the area of Cipinang, East Jakarta. The school was developed from an open house program conducted by the Bureau of Child Advocacy, Jakarta Social Institute in 1989. Sanggar Anak Akar was born from the desire to provide security for street children in order to grow and make them able to express their ideas and capabilities. Sanggar Anak Akar sees if the environment of street children is not conducive and not good for children's development. In addition to that, Sanggar Anak Akar students also want to straighten the common paradigms that assume if they were ordinary street children who cannot do anything. Sanggar Anak Akar emphasis on developing creativity of students. Some of the achievements of Sanggar Anak Akar students in art were chosen to be the musical ensemble in the Asia-Pacific Women's Congress 2002 in Bangkok, Thailand, producing an album titled "Gema Mahardika Gita", successfully held Konserta Gema Gita Mahardika in cooperation with PPHUI in 2013, and successfully staged a theatrical performance in the month of November 2014, entitled "Sayap-sayap Mimpi". Additionally, Sanggar Anak Akar students are often appointed as the representative of Jakarta at art festivals in Indonesia as in Jember Fashion Festival. All of this achievements cannot be separated from the strength they have good cooperation with aid bodies, national and international private schools, to Sahabat Akar whose always supports all the activities of Sanggar Anak Akar students, both in teaching and learning activities and art performances. Sahabt Akar are practitioners who already have a lot of experience in their respective fields, but committed to helping children Anak roots in order to master soft-skill abilities. Sahabat Akar have got very important role because they share experiences to students Anak Roots. In addition, the Sahabat Akar is very loyal to Anak roots so that its presence can be relied on. Sanggar Anak Akar realizes that there is a vacant occurs in the use of media to spread their vision. Sanggar Anak Akar also have a wide range of achievements in the arts and have students who already had a class journalism that would be useless if it already possessed this ability not developed further.Goals· Being medium of discussion with other art community· Shows the ability of the students of Sanggar Anak Akar to the public.· Increase appreciation of musical works Sanggar Anak AkarStrategyDevelop a community media inside streaming radio.Target AudienceMen and women who worked in the field of art with an age range of 15-30 years and is a member of the art community as dance and theater.Programs1. Establishment Activity2. Planning3. Operational Radio4. Launch Radio5. Executed Programs :· BIR PLETOK!· Seru!· KreasiSchedule1st Week of February - 4th Week of June 2015BudgetTotal budget needed is Rp12.122.000,00EvaluationThe evaluation method used is by development meeting, assessment, and trial and error;Situation AnalysisSanggar Anak Akar is a school that was established in November 1994 in the area of Cipinang, East Jakarta. The school was developed from an open house program conducted by the Bureau of Child Advocacy, Jakarta Social Institute in 1989. Sanggar Anak Akar was born from the desire to provide security for street children in order to grow and make them able to express their ideas and capabilities. Sanggar Anak Akar sees if the environment of street children is not conducive and not good for children's development. In addition to that, Sanggar Anak Akar students also want to straighten the common paradigms that assume if they were ordinary street children who cannot do anything. Sanggar Anak Akar emphasis on developing creativity of students. Some of the achievements of Sanggar Anak Akar students in art were chosen to be the musical ensemble in the Asia-Pacific Women's Congress 2002 in Bangkok, Thailand, producing an album titled "Gema Mahardika Gita", successfully held Konserta Gema Gita Mahardika in cooperation with PPHUI in 2013, and successfully staged a theatrical performance in the month of November 2014, entitled "Sayap-sayap Mimpi". Additionally, Sanggar Anak Akar students are often appointed as the representative of Jakarta at art festivals in Indonesia as in Jember Fashion Festival. All of this achievements cannot be separated from the strength they have good cooperation with aid bodies, national and international private schools, to Sahabat Akar whose always supports all the activities of Sanggar Anak Akar students, both in teaching and learning activities and art performances. Sahabt Akar are practitioners who already have a lot of experience in their respective fields, but committed to helping children Anak roots in order to master soft-skill abilities. Sahabat Akar have got very important role because they share experiences to students Anak Roots. In addition, the Sahabat Akar is very loyal to Anak roots so that its presence can be relied on. Sanggar Anak Akar realizes that there is a vacant occurs in the use of media to spread their vision. Sanggar Anak Akar also have a wide range of achievements in the arts and have students who already had a class journalism that would be useless if it already possessed this ability not developed further.Goals· Being medium of discussion with other art community· Shows the ability of the students of Sanggar Anak Akar to the public.· Increase appreciation of musical works Sanggar Anak AkarStrategyDevelop a community media inside streaming radio.Target AudienceMen and women who worked in the field of art with an age range of 15-30 years and is a member of the art community as dance and theater.Programs1. Establishment Activity2. Planning3. Operational Radio4. Launch Radio5. Executed Programs :· BIR PLETOK!· Seru!· KreasiSchedule1st Week of February - 4th Week of June 2015BudgetTotal budget needed is Rp12.122.000,00EvaluationThe evaluation method used is by development meeting, assessment, and trial and error"

"Seni merupakan refleksi pengalaman batin terhadap fenomena lingkungan atas nilai-nilai kehidupan yang senantiasa menawarkan gejolak kejiwaan dan kegelisahan atas perubahan-perubahan yang terjadi. Eksplorasi melalui pengamatan dan pencermatan terhadap fenomena tersebut menumbuhkan rangsangan imajinatif yang selalu menggelorakan semangat berkespresi, maka dibutuhkan pendekatan yang lebih mendalam atas nilai-nilai kehidupan melalui pemahaman dan penghayatan sehingga dapat diwujudkan ke dalam karya-karya visual yang menghadirkan pesan-pesan moral tentang realita kehidupan. Kehidupan masa kini yang penuh dengan tantangan, perubahan sikap mental yang kecenderungan lebih bersifat materialistik mempunyai dampak perilaku kehidupan yang tak terkendali, sehingga tindak kejahatan merajalela dengan berbagai motif dan bentuk di lingkungan masyarakat. Penyalahgunaan kekuasan dan wewenang, aturan hukum dan agama seakan-akan hanya sebagai topeng untuk memenuhi kepentingan-kepentingan sesaat. Uang, harta dan kebendaan lainnya telah menggelapkan kearifan jiwa dan raa kemanusiaan antar kehidupan umat manusia. "

"Sejak dulu popularitas Barus, yang terletak di pantai barat Sumatra Utara, berkaitan dengan perdagangan kamper dari daerah pedalaman serta dengan penyair misti s Hamzah Fansuri. Kedua jilid awal (1998, 2003) seri ini telah memberi tumpuan kepada sejarah Barus di antara abad ke-9 dan abad ke-11. Kali ini, buku ini menyam- paikan sumbangan terbaru mengenai sejarah Barus di antara abad ke-12 dan pertengahan abad ke-17. Publikasi ini memuatkan 16 enam belas studi hasil peneliti an yang ditulis ber da sarka data-data arkeologi dan epigrafi , serta berbagai jenis sumber tertulis, baik lokal mau pun asing. Duabelas studi hasil penelitian di antaranya berkaitan dengan program peneliti an arkeologi yang dijalankan di antara tahun 2001 dan 2005 oleh École française d?Extrême-Orient (EFEO) bersama dengan Pusat Peneliti an dan Pengembangan Arkeologi Nasional Indonesia. Buku ini memperkenalkan hasil-hasil utama survei dan penggalian, sebuah esai tentang perkembangan ruang situs permukiman di daerah Barus, serta sebuah katalog temuan yang lengkap. Dia juga memuatkan dua studi yang dijalankan di laboratorium atas sekitar 200 temuan, sebuah esai tentang sejarah seni makam Islam di Barus di antara pertengahan abad ke-14 dan pertengahan abad ke-20 yang dilengkapi dengan kajian epigrafi inskripsi berbahasa Arab yang belum dikenal sebelumnya. Publikasi ini juga memuatkan edisi pertama sebuah teks setempat berkaitan dengan sejarah Barus, serta sebuah studi epigrafi mengenai sebuah prasasti Tamil dari abad ke-13, yang berasal dari wilayah Aceh juga dibahas dalam buku ini. Akhirnya semua data ini dimanfaatkan untuk menulis sebuah sintesis tentang bebe rapa asek sejarah Barus, terutamanya identifikasi dan perkembangan permukiman di daerah Barus, struktur umum permu kiman utama, berbagai aspek budaya ke bendaan dan kehidupan sosial, inti dan per kembangan perdagangan jarak jauh, serta hubungan bukan komersial yang dijalin Barus dengan dunia luar, dari Timur Dekat ke Tiongkok. "

"This study attempts to discuss the offensive policy taken by Partai Komunis Indonesia (Indonesia Communist Party) i cultural sphere, especially in film during the period of Demokrasi Terpimpin (1957-64). One of the implementation of the policy was the decision to stop the circulation of two films, Pagar Kawat Berduri and Anak Perawan di Sarang Penyamun, written by Asrul Sani and Usmar Ismail. By analyzing various written and audiovisual sources. This study concludes that the reason were more political. Film was not seen as a form of art, but was suspected as a threat to the political power of the party"

"Berbagai bentuk karya (seni) yang merupakan ekspresi dapat diperlakukan sebagai identitas atau 'identitas' (baca:representasi), karena dua hal. Pertama, para peneliti berhasil memasuki kandungan mental seniman yang melahirkan karya-karya otentik, seperti misalnya penelitian Kenneth George tentang kaligrafi Pirous. Kedua, proses pemaknaan suatu karya (seni) dianggap cukup penting sehingga pada gilirannya karya itu dapat menjadi ajang kontestasi untuk bisa menjadi representasi identitas. Contoh dari proses pemaknaan ekspresi seni itu, sangat jelas pada kajian Jennifer Santos tentang kerajinan tangan masyarakat desa Tegallalang, Bali, juga Juliana Wijaya tentang alih kode dalam tuturan dan Tito Imanda tentang Si Unyil anak Indonesia. Seperti telah dikatakan sebelumnya, makna suatu ekspresi maupun proses pemaknaannya sangat tergantung pada berbagai konteks di mana karya itu diekspresikan. Karya seniman seperti lukisan, teater, tari, seni kerajinan dan berbagai bentuk karya lain seperti film, surat kabar dan narasi, mempunyai makna yang lahir karena pengaruh persentuhan kebudayaan. Persentuhan satu kebudayaan dengan kebudayaan lain, satu kebudayaan lokal dengan kebudayaan nasional atau dengan kebudayaan masyarakat global.""

"In this article, the author assumes that the clear-cut distinction between modern and traditional arts is merely a form of scientific construction which needs to be re-examined. The political, social and cultural problems underlying the development of modern art, in particular in developing countries are quite different from those in Euro-American countries. Therefore, the artistic expressions are also different and cannot be analyzed in terms of aesthetical standard as developed in the West. The author provides evidences that the modern art in Indonesia has its own discourse. An intensive dialogue' between the traditional and the modern elements is going on. Three cases drawn from three artists are discussed in this article as the example of the ongoing dialogue."