Timbul Raharjo
Institut Seni Indonesia Yogyakarta Indonesia

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Journal : ARS: Jurnal Seni Rupa Dan Desain

PERAN SENI KRIYA DI ERA PERDAGANGAN GLOBAL Timbul Raharjo
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 10: Januari-April 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i10.115

Abstract

In contrast to the kriyawan that able to develop aspects of research and development, innovation capability is actually a manifestation of the economics of proximity, but the producers are faced with the internal weakness of the pattern of financing and Research & Development activities and vulnerabilities to access sources of information. As a result, the role kriyawan become very important in order to encourage innovation capabilities. Proximity craftsmen with external forces such as consumers, distributors, suppliers, and competitors are considered important as a source of useful knowledge in the development of innovation capabilities for the kriyawan. Given the almost certainly composed of international trade in the export trade activities set forth many products related to art craft products. The nature of the mass and economies become one of skill in the art strength exploring the times. Indonesia has a good chance giving the art to craft to surface with high strength locality. Because of the economic nature of art is playing activity continues to craft art craft though. For that work patterns between pekriya and craftsmen sought in the form of mutual cooperation. A kriyawan work to gave birth to a product work can communicate inner experiences were also able to inspire a work product that penetrated into the sphere of mass products as art handicraft items. Of course collaboration among related subjects and aspects of the Art business cannot require each other synergistically. Selfishness in the rights and obligations differentiate cannot be synergized carefully. A product that created by kriyawan expected not to stand alone but can be used by craftsmen in a way giving royalties.Keywords: Art craft, globalization
INDONESIAN CRAFT IN THE WORLD TRADE Timbul Raharjo
Ars: Jurnal Seni Rupa dan Desain Vol 21, No 3 (2018): DESEMBER 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (390.053 KB) | DOI: 10.24821/ars.v21i3.2899

Abstract

Some international craft exhibitions focus on home accessories, gifts, and furniture. The exhibition aim as craft product branding at the national and international market, for example 2016 JIFFINA exhibition. Indonesian craft commodity maintains market share in several export destination countries because Indonesian products offer special characteristics and moreover, Indonesian exporters are enthusiastic in promoting the products in international exhibitions. In Asia level, Canton Fair held in Guangzhou International Convention & Exhibition Center China is one of the biggest programs where a big number of buyers look for products they want to purchase. In Asia, exhibition series peak in Guangzhou in March and in Shanghai in October. These exhibitions are visited by importers from Europe, America, Africa, The Middle East, Australia, etc. They come to buy Asian furniture. Some exhibitions in several countries are intentionally organized within a short time in sequence to grab buyers coming to South East Asian area. It is when the commission products from Indonesian producers, in form of retails or projects. Indonesian stakeholders respond this opportunity by organizing two big exhibitions, namely Indonesia International Furniture Expo (IFEX) in Jakarta and Jogja International Furniture and Craft Fair (JIFFINA) in Yogyakarta