Liza Dwi Ratna Dewi, Eko Putra Boediman

Interpreting Symbols of Cultural Identity Jatiwangi Clay

Introduction

Interpreting symbols of cultural identity jatiwangi clay. Interpret Jatiwangi Art Factory's cultural symbols (Rampak Genteng, Clay Music, Terakota City) as defenses against West Java's industrialization. Semiotic analysis of local cultural identity.

Abstract

In 2012, the Central Government of the Republic of Indonesia projected the West Java Strategic Industrial Zone called the Rebana Triangle with 3 points: Cirebon City, Subang Regency, and Majalengka Regency. Since then, a large wave of modern industrialization has entered this area and affected all aspects of community life, including the threat to the existence of local cultural identity. This research aims to explore the meanings of 3 cultural symbols produced by the Jatiwangi Art Factory (JAF), a community of artists based in the Jatiwangi District, Majalengka Regency. Stuart Hall's concept of Cultural Identity serves as the reference basis, and Roland Barthes' Semiotics is used as the research analysis method. The research subjects are JAF, and the research objects are the 3 cultural symbols created by JAF. Data collection was conducted through informal discussions, field observations, the internet, and literature studies from 2000 to 2023. The results of the research show that: the Rampak Genteng Festival is a process of forming strong cultural defenses in mental, geographical, and political spaces. Clay Music is a dominant process of forming defenses in mental space. Meanwhile, Terakota City is the formation of cultural identity defenses in geographical, political, social, and economic spaces.

Review

This paper, "Interpreting Symbols of Cultural Identity Jatiwangi Clay," addresses a highly relevant and timely topic concerning the preservation of local cultural identity in the face of rapid industrialization. The abstract effectively situates the research within the context of Indonesia's Rebana Triangle development, highlighting the critical threat posed to indigenous cultural practices. By focusing on the Jatiwangi Art Factory (JAF) and its symbolic productions, the study offers a valuable exploration into community-led efforts to articulate and defend cultural heritage. The chosen theoretical lens, combining Stuart Hall's concept of Cultural Identity with Roland Barthes' Semiotics, appears well-suited to unpack the complex meanings embedded within these cultural expressions. The methodological approach, utilizing semiotic analysis, is appropriate for interpreting the multifaceted meanings of the three identified cultural symbols: the Rampak Genteng Festival, Clay Music, and Terakota City. The research design specifies JAF as the subject and these symbols as the objects, providing clear boundaries for the inquiry. Data collection methods, including informal discussions, field observations, internet resources, and literature reviews spanning 2000-2023, suggest a comprehensive effort to gather diverse perspectives and historical context. The preliminary findings, as summarized, cogently demonstrate how each symbol contributes distinctly to the formation of "cultural defenses" across various dimensions—mental, geographical, political, social, and economic spaces—thereby illustrating a nuanced understanding of cultural resilience. Overall, this research promises a significant contribution to studies on cultural identity, community art initiatives, and the socio-cultural impacts of industrial development in Southeast Asia. The findings regarding the specific defensive functions of each symbol (Rampak Genteng for mental, geographical, political; Clay Music for mental; Terakota City for geographical, political, social, economic) are particularly insightful, offering a granular understanding of how cultural expressions serve as mechanisms for collective identity formation and resistance. While the abstract provides a strong overview, a full paper would benefit from deeper elaboration on the specific data analysis process for the extensive 2000-2023 literature, and perhaps further contextualization of JAF's long-term strategies. Nevertheless, the study's focus on tangible, community-generated symbols of resistance makes it a compelling and important piece for understanding local agency in an era of globalization.

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