Intangible Cultural Heritage

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PERLINDUNGAN, PELESTARIAN, DAN PEMANFAATAN SENI BATIK DALAM PERSPEKTIF HUKUM INTERNASIONAL BERDASARKAN UNESCO CONVENTION FOR THE SAFEGUARDING OF INTANGIBLE CULTURAL HERITAGE.

PERLINDUNGAN, PELESTARIAN, DAN PEMANFAATAN SENI BATIK DALAM PERSPEKTIF HUKUM INTERNASIONAL BERDASARKAN UNESCO CONVENTION FOR THE SAFEGUARDING OF INTANGIBLE CULTURAL HERITAGE.

UNESCO as an international organization specially established to deal with international education and cultural matters, has appreciated Indonesian batik art as part of intangible cultural heritage, simply because batik art produces motif and pattern which simbolize social status, local community, nature, nation’s history and cultural heritage. Furthermore, batik art is a part of cultural heritage which can not be held by any society or community, even if the actor or creator is a particular person qualified for certain things. Appreciation goes with the certificate. Certificate itself playing a role as a lex specialis from UNESCO Convention For The Safeguarding of Intangible Cultural Heritage 2003, since certificating batik art, UNESCO helps keeping Indonesian batik art with its dignity as a cultural heritage and preserves batik art as an intangible cultural heritage.
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PERLINDUNGAN FALSAFAH TRI HITA KARANA DI BALI DITINJAU DARI UNESCO CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE 2003.

PERLINDUNGAN FALSAFAH TRI HITA KARANA DI BALI DITINJAU DARI UNESCO CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE 2003.

Bali melalui masyarakat Balinya merupakan salah satu sisa-sisa masyarakat adat yang kaya akan pengetahuan tradisional. Tri Hita Karana merupakan pengetahuan mengenai bagaimana mencapai keseimbangan Semesta yang diekspresikan melalui banyak bentuk Warisan Budaya Takbenda (WBTB) atau istilah lainnya ialah Ekspresi Budaya Tradisional (EBT). Tidak adanya suatu peraturan yang tepat, meningkatnya ketertarikan masyarakat modern ini menimbulkan ancaman baru bagi keberlanjutan keberadaan pengetahuan ini. Penggunaan yang tidak lagi sesuai dengan sesuai dengan seharusnya menghasilkan mutilasi dan degradasi pada maknanya. Pada waktu yang bersamaan modernisasi mempengaruhi pemikiran masyarakat adat atas budayanya sendiri. Peneitian ini mencoba untuk mengetahui apakah peraturan dalam UNESCO Convention for the the Safeguarding of Intangible Cultural Heritage 2003 (CSICH), yang mana Indonesia merupakan salah satu pihak di dalamnya, cukup untuk melindungi dan menjaga filsafah Tri Hita Karana dan untuk kemudian menentukan langkah-langkah yang perlu dilakukan untuk membuat pengaturan terbaik.
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IMPLEMENTASI BAB III IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

IMPLEMENTASI BAB III IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

A large number of intangible cultural heritage in the world and the need to protect it causes UNESCO to issue Convention For The Safeguarding Of The Intangible Cultural Heritage. Indonesia, as one of the countries that has ratified the convention, has the obligation to take part in conserving intangible cultural heritage in Indonesia. Therefore, a cause that become the question in this research is whether Indonesia has done the obligation as a state parties according to chapter III from the Convention For The Safeguarding Of The Intangible Cultural Heritage. The purpose of this thesis is to know the congruity of the performance of chapter III from the Convention For The Safeguarding Of The Intangible Cultural Heritage in conserving intangible cultural heritage in Indonesia. This research was conducted normatively, using secondary data that consists of primary, secondary and tertiary legal materials. Library research and interviews, with sources to get the information that was needed by the writer, were conducted in searching for the source data, writer also used the qualitative method of thinking with deductive reasoning in drawing the conclusion. The conclusion of this thesis is that Indonesia has carried out the obligation to conserving the intangible cultural heritages in Indonesia by involving almost the whole Indonesian community, even though there are some problems in doing the conserving and protecting the intangible cultural heritage in Indonesia because of its quite massive amount. Suggestions from this thesis are that first, the role of society in conserving the intangible cultural heritages in Indonesia should be increased. Second, publication of intangible cultural heritage inventory system should be increased. Third, UNESCO should make sanctions, for every state partie’s obligations to be really implemented.
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PENUTUP IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

PENUTUP IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

Berdasarkan penelitian yang telah penulis lakukan terhadap implementasi bab III Convention For The Safeguarding Of The Intangible Cultural Heritage terhadap pelestarian berbagai warisan kebudayaan takbenda di Indonesia maka diperoleh kesimpulan bahwa di Indonesia, upaya pelestarian dan perlindungan warisan budaya takbenda telah dilakukan sebagai konsekuensi pelaksanaan kewajiban yang telah ditentukan di dalam bab III Convention For The Safeguarding Of The Intangible Cultural Heritage oleh negara Indonesia dengan melibatkan hampir seluruh lapisan masyarakat. Pelestarian warisan budaya takbenda dilakukan dengan usaha yang utama yaitu inventarisasi/pencatatan warisan budaya takbenda yang ada di Indonesia untuk kemudian diajukan sebagai nominasi di UNESCO melalui Representative List of the Intangible Cultural Heritage of Humanity, pembentukan peraturan-peraturan yang bertujuan untuk melestarikan warisan budaya takbenda tersebut, pemanfaatan budaya, penelitian, akses informasi terhadap daftar warisan budaya takbenda yang telah diinventarisir, hingga pengenalan budaya melalui pendidikan.
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PENDAHULUAN IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

PENDAHULUAN IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

Dalam penelitian Hukum normatif ini, penulis akan mengumpulkan data dengan melakukan studi kepustakaan serta melakukan wawancara dengan berbagai narasumber. Studi kepustakaan akan penulis lakukan untuk mencari pengertian-pengertian dan juga memperoleh pemahaman mengenai perjanjian internasional yang akan penulis gunakan untuk menganalisis permasalahan mengenai Bab III Convention For The Safeguarding Of The Intangible Cultural Heritage Terhadap Pelestarian Berbagai Kebudayaan Takbenda Di Indonesia. Wawancara dengan berbagai narasumber akan penulis gunakan untuk memperoleh penjelasan-penjelasan dan informasi berkaitan dengan proses pelaksanaan Bab III Convention For The Safeguarding Of The Intangible Cultural Heritage dalam rangka turut melakukan pelestarian kebudayaan takbenda di Indonesia.
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PERAN UNESCO DALAM MELINDUNGI INTANGIBLE CULTURAL HERITAGE (ICH) INDONESIA

PERAN UNESCO DALAM MELINDUNGI INTANGIBLE CULTURAL HERITAGE (ICH) INDONESIA

Alhamdulillahi rabbil aalamin, segala puji bagi Allah SWT atas segala limpahan rahmat, nikmat, dan pertolongan-Nya serta Shalawat dan Salam kepada junjungan Nabi besar Muhammad SAW, sehingga penelitian dengan judul “ PERAN UNESCO DALAM MELINDUNGI INTANGIBLE CULTURAL HERITAGE (ICH) INDONESIA ” ini dapat peneliti selesaikan. Peneliti menyampaikan apresisasi dan terima kasih sebesar-besarnya kepada Bapak Victory Pradhitama, M.Si dan Bapak Drs. Sugeng Pujilaksono, M.Si. yang telah membimbing peneliti dengan sangat bijaksana selama proses penelitian ini. Peneliti juga mengucapkan terima kasih banyak kepada tim penguji Bapak Ruli Inayah Ramadhoan, M.Si dan Bapak Drs. Abdullah Masmuh, M.Si. atas kritik dan sumbangan ide-idenya yang sangat berharga.
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PURWARUPA TANGIBLE CULTURAL HERITAGE DOCUMENTATION BERBASIS DATABASE MULTIMEDIA

PURWARUPA TANGIBLE CULTURAL HERITAGE DOCUMENTATION BERBASIS DATABASE MULTIMEDIA

Letak geografis Jawa Tengah yang berada di tengah-tengah pulau Jawa menjadikannya melting pot, yaitu tempat berkumpul dan berbaur berbagai kebudayaan sekaligus sebagai pusat kebudayaan pulau Jawa. Warisan budaya terbagi menjadi warisan budaya yang dapat diraba (tangible cultural heritage) dan tidak diraba (intangible cultural heritage). Tangible cultural heritage adalah benda hasil karya manusia yang dapat dipindahkan atau bergerak, maupun yang tidak dapat dipindahkan atau tidak bergerak. Dinas Kebudayaan dan Pariwisata Provinsi Jawa Tengah telah mendokumentasikan warisan budaya secara manual yang rentan dengan kerusakan. Di sisi lain, masih banyak warisan budaya yang belum tercatat. Proses pendataan dan perekaman mengalami kesulitan yang sangat tinggi karena sumber data yang melengkapi sebuah koleksi masih banyak tersebar dan belum terorganisasi dengan baik. Dibutuhkan sebuah pendataan warisan budaya Jawa Tengah secara terpusat yang hasilnya dapat digunakan sebagai basis data untuk berbagai macam kepentingan budaya yang ada di Jawa Tengah. Tujuannya untuk memudahkan serta meringankan Dinas Kebudayaan dan Pariwisata Provinsi Jawa Tengah dalam melakukan dokumentasi koleksi warisan budaya untuk kategori tangible cultural heritage. Dalam rencana jangka panjang, sistem ini dapat dijadikan acuan oleh wilayah di luar Jawa Tengah, sehingga terbentuk sistem dokumentasi warisan budaya nusantara pada tingkat nasional.
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isprsarchives XL 5 W7 187 2015

isprsarchives XL 5 W7 187 2015

contemporary collections of the museum. At the same time, the natural, cultural and community environment, such as tangible spaces and ritual festival activities, which is related with Cantonese Opera, are the important objects to be protected by the museum. In particular, the traditional Opera God space for “the God Huaguang” is settled at Guangfu stage as the Cantonese Opera’s tradition and the folk intangible cultural heritage successors are invited to engage in the process, in order to continue the performance of god-thanksgiving ceremony after the museum operation. During the period of main building construction, a traditional roof-beam-setting (Shangliang) ceremony is held in accordance with the folk tradition of the Lingnan region. There is no doubt that the Cantonese Opera Art Museum would become an important integrated place of the tangible and intangible cultural heritage in the Lingnan region.
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Peraturan Presiden No 78 th 2007

Peraturan Presiden No 78 th 2007

Menimbang : a. bahwa di Paris, Perancis, pada tanggal 17 Oktober 2003 telah disetujui Convention for the Safeguarding of the Intangible Cultural Heritage (Konvensi untuk Perlindungan Warisan Budaya Takbenda), sebagai hasil pertemuan UNESCO pada sesinya yang ke-32;

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isprsarchives XL 5 W7 461 2015

isprsarchives XL 5 W7 461 2015

Record behaviour of Intangible Cultural Heritage can be traced back to the beginning of the advent of photography and video apparatus. Traditional performance arts, festivals and handicraft industry as important factors of different people's life and production, because of their representative, ornamental and recreational characteristics etc, often become the shooting object of early professional photographers. For example, the first film produced by Chinese is Beijing Opera fragments documentary called "Ding Jun Shan" (1905). Presently, some foreign institutions and organizations set up websites to share these early images and videos collections which contain photos, audio and video related with Intangible Cultural Heritage of human history and traditional culture. For example, the Norwich HEART’s Digital Heritage Project in the east of England, digitally processing hundreds of the early archive films, aims to show the social history and tradition, these digital video resources present in the network, including the production process images of traditional agriculture, fisheries, animal husbandry and also local people’s main entertainment etc. (1) For another example, the Massachusetts Institute of Technology launched the MIT Visualizing Cultures Research in 2002, using new technology and visual materials unprecedentedly released ever to reconstruct the history for people. Lots of still images in the websites taking time and place as the coordinate, not only mainly reflect the important historical events and social backgrounds, but also reflect the traditional handicrafts and social life scenes in urban areas of China, Japan and other countries. (2)
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BATTLING FOR SHARED CULTURE BETWEEN INDONESIA AND MALAYSIA IN THE SOCIAL MEDIA ERA

BATTLING FOR SHARED CULTURE BETWEEN INDONESIA AND MALAYSIA IN THE SOCIAL MEDIA ERA

This is a research paper that takes as its central issue recent contestations and negotiations between Indonesia and Malaysia regarding certain forms of these countries’ intangible cultural heritage. In recent years, there has been an increasing incident in relation with cultural conflicts that happens between these two neighboring countries. These cultural conflicts specifically referred to the traditional performance arts, which has been hereditarily bequeathed by their respective ancestors. Despite the facts that both countries shared the same cultural roots, each side seems has a tendency to despise each other whenever the subject of culture ownership is being brought: both claim for the same cultural rights. Questions on which side is more entitled to the rights became public fierce debates; and it wildly happened especially in the online world through the medium of social networking platform. This paper examines the phenomenon on how should the ownership of authenticity be placed. And since it happens in the modern societies which cannot be separated from their digital personas, the role of social media is inexorably also be addressed. It will link the two identities of the public who is initially mere the audience of the performance then transform into the owner of the cultural product in dispute. This essay begins by a major length discussion about the concept of authenticity in culture, along with the ownership of intangible heritage, the motivation for claiming authenticity, and the protection of cultural property. It will then go on to the topic of the major changes brought by social media in the modern society. Subsequently it will continue to the state of cultural conflict between Indonesia and Malaysia over ‘stolen’ cultural heritage.
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SumutSiana: A Framework for Applying ICT to Preserve the Cultural Heritage of Sumatera Utar Indonesia

SumutSiana: A Framework for Applying ICT to Preserve the Cultural Heritage of Sumatera Utar Indonesia

The relationship between cultural heritage and information technology has been discussed at the International Cultural Heritage Informatics Meeting (ICHIM), which ran from 1991 to 2007, (http://www. archimuse.com/conferences/ conferences/ichim.html). Table 1 shows the themes of the conference from 1991 to 2007 that relate to the relationship of ICT with the cultural heritage. Although the annual meeting is no longer continued, discussion on he relationship between cultures t and ICT continues to be disclosed in a variety of occasions. Thus, the research culture in this body of knowledge has already existed with several different frameworks to help the application of ICT for various obstacles. However, the work does not not exactly meet the legal requirements of Indonesia. In this context, consideration of human capabilities, including intelligence, wisdom, policy, and social results are related to the application of technology, where technology is considered as a means of achieving prosperity.
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REVITALIZATION MODEL OF ETHNIC SETTLEMENT TO PRESERVE CULTURAL HERITAGE AND SUPPORT TOURISM IN SURAKARTA

REVITALIZATION MODEL OF ETHNIC SETTLEMENT TO PRESERVE CULTURAL HERITAGE AND SUPPORT TOURISM IN SURAKARTA

Inside the palace there is a kampu ng called “ Kauman ” for it was used for the residences of the royal ulamas and their family. The complex is located in the west of the Royal Grand Mosque or “ Masjid Agung Keraton.” Several kampungs‟ names in this area still show such traces, for example Pengulon (from the word "penghulu ” Trayeman, Sememen, Kinongan, Modinan, and Gontoran. These kampungs are full of a variety of architecture with ornaments and mixed European, Javanese and Chinese house models. At first, Kampung Kauman in the front west side of Kasunanan Palace is for the royal ulemas‟ dwellings and their families. The existence of Surakarta Palace factually has left artefact, cultural symbols which are then made into tourism objects containing cultural and historic values, practically capable attracting both domestic and foreign tourists. These things are similar to the other places in the town, such as Mangkunegaran, Radya Pustaka, Sriwedari, Balekambang and Taman Taru Satwa Jurug [Jurug Park Zoo]. With such cultural historical background, to develop the potency of Surakarta Town‟s Tourism , they have applied the concept of “ Surakarta ke Depan, Surakarta Tempo Dulu” [ or “ Future Surakarta is Past Surakarta ” ]. This endeavour is also to anticipate the increasing number of tourists to have trips to see certain objects, to comprehend the cultural wealth, a nd to enjoy the country‟s natural beauty .
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Curation and Management of Cultural Heritage through Libraries

Curation and Management of Cultural Heritage through Libraries

Indigenous Knowledge (IK) is the precious knowledge of any country. With the advent of the modern society this traditional knowledge is in danger of being lost and forgotten. It is crucial to take measures to document and preserve this time tested and proven knowledge for sustainable development, so that our future generation will be aware of what their predecessors practised. The North East Region of India constitutes eight states and is populated by indigenous tribal communities. They are known for their rich cultural heritage and resources with in-depth indigenous knowledge. TERI Library has carried out few study and research in the preservation, and documentation of Indigenous Knowledge with special reference to these North Eastern states of India. Our study focussed on some of the essential components of indigenous knowledge like traditional farming, health and cure, natural resources management, traditional craftsmanship, unique cultural expressions in the form of folk song, music and dance. It was observed that though a lot of explicit knowledge is available to the researchers in the form of books, journals, research papers the challenge lies in effectively capturing and conserving the tacit knowledge of the same. With this backdrop, we collaborated with institutes like Indira Gandhi National Center for Arts (IGNCA), New Delhi and some universities based in North East region. We organised capacity building programmes to sensitize and educate the best possible methodology available to develop a sustainable model for conserving and disseminating indigenous knowledge. This paper presents the two case study of such workshops conducted in Guwahati, Assam and Aizawl Mizoram in the North East Region of India.
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PURWARUPA TANGIBLE CULTURAL HERITAGE DOCUMENTATION BERBASIS DATABASE MULTIMEDIA.

PURWARUPA TANGIBLE CULTURAL HERITAGE DOCUMENTATION BERBASIS DATABASE MULTIMEDIA.

Dari latar belakang tersebut, dapat dirumuskan adanya kesulitan yang sangat luar biasa pada Dinas Kebudayaan Pariwisata Provinsi Jawa Tengah dalam melakukan pengelolaan data serta atribut yang sangat banyak seperti penjelasan atau deskripsi, bukti dokumen berupa foto-foto, video dan lain-lain serta beragam dari sebuah jenis warisan budaya untuk kategori benda warisan budaya yang dapat diraba (tangible cultural heritage).

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A Guide to Risk Management of Cultural Heritage

A Guide to Risk Management of Cultural Heritage

For instance, let´s suppose that the heritage asset is a historic house museum that contains a collection of furniture, clothing, and domestic artifacts, as well as a historic archive that belonged to the owners of the house. The main purpose of this museum is to preserve and present the lifestyle and the history of this prominent wealthy family from the region that owned the house and lived there in the 19th century. The house is a unique example of a typical architectural style that can no longer be found anywhere else. It is in very good condition, and most of its construction and finishing materials are original. Most of the furniture, clothing and artifacts that help show the family´s lifestyle at the time are typical for other rich families and therefore similar items can be found elsewhere. Actually, some of the artifacts on display are modern copies of original items that cannot be displayed anymore because of their poor condition. The only real ‘treasure’ among the objects of the museum collection is a unique set of 5 decorated vases of exceptional aesthetic quality made by a nationwide famous craftsman from that time. In the archive we can find letters of correspondence with family members who lived abroad, a small collection of illuminated manuscripts, and some rare business documents that provide testimony about the history of trading in the region. After discussion and consultation with stakeholders over several meetings, and taking into account the mission of the museum, the staff has estimated (quantitatively) how the value of this heritage asset is distributed among its different parts. These estimates are presented in percentages in the tables and pie charts below.
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RANCANG BANGUN SISTEM INFORMASI PENGELOLAAN DOKUMEN TANGIBLE CULTURAL HERITAGE.

RANCANG BANGUN SISTEM INFORMASI PENGELOLAAN DOKUMEN TANGIBLE CULTURAL HERITAGE.

di antaranya adalah peninggalan budaya dikenal juga dengan melting pot. Warisan budaya di Jawa Tengah sangat beragam yang dapat dikelompokkan menjadi dua. Pertama, benda warisan budaya yang dapat diraba (tangible cultural heritage)seperti bangunan bersejarah Candi Borobudur di Kabupaten Magelang dan Lawang Sewu di Kota Semarang. Kedua, warisan budaya yang tidak diraba (intangible cultural heritage),misalnya tulisan aksara Jawa dan tari tradisional serta upacara adat. Tercatat limaworld heritage yang diakui oleh Organisasi Pendidikan, Ilmu Pengetahuan, dan Kebudayaan (United Nations Educational, Scientific, and Cultural Organization – UNESCO) dimiliki Jawa Tengah. World heritage tersebut adalah Candi Borobudur, Kawasan Situs Sangiran (Sangiran the Early Man Site) di Kabupaten Sragen, wayang, batik, dan keris pusaka (Hakim, 2012). Warisan budaya tersebut diakui sebagai warisan budaya dunia karena nilai universal yang sangat luar biasa (outstanding universal value).Kenyataan ini memberi nilai lebih bagi perkembangan budaya dan pariwisata yang selanjutnya dapat dimanfaatkan untuk membangun peradaban di provinsi Jawa Tengah menjadi lebih baik, khususnya dari segi budaya dan pariwisata.
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SumutSiana: A Framework for Applying ICT to Preserve the Cultural Heritage of Sumatera Utara Indonesia

SumutSiana: A Framework for Applying ICT to Preserve the Cultural Heritage of Sumatera Utara Indonesia

The culture of every tribe is distinctive to the individual tribe. Thus, cultural heritage is treated as such by any person and every nation. Indonesia consists of many tribes and provinces. Sumatera Utara (North Sumatra, http://www.sumutprov.go.id/), abbreviated as Sumut, is one of the provinces of Indonesia. It has an area of 72.981.23 km 2 , with more than 13.5 million inhabitants. Its area stretches across the Sumatra Island between the Indian Ocean and the Strait of Malacca. It is at the border of Aceh province on the Northwest and Riau and West Sumatra provinces in the Southeast. Medan is the capital city of Sumut. In the south and west, the land rises to the mountain range that runs the length of Sumatra. Many of the mountains are dominated by Toba Lake, formed from the caldera of an ancient volcano. Sumut has 419 islands, with several large islands in the Indian Ocean off the west coast of Sumatra, i.e. Nias Islands and the Batu Islands (http://en.wikipedia.org/ wiki/North_Sumatra).
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Statistik kebudayaan dan bahasa 2019 - Repositori Institusi Kementerian Pendidikan dan Kebudayaan

Statistik kebudayaan dan bahasa 2019 - Repositori Institusi Kementerian Pendidikan dan Kebudayaan

6 Pendidikan dan Pelatihan Warisan Budaya Tak Benda Batik Indonesia untuk Siswa SD, SMP, SMA, SMK, dan Mahasiswa Politeknik, bekerjasama dengan Museum Batik Pekalongan (Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan )

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isprs archives XLII 2 W5 1 2017

isprs archives XLII 2 W5 1 2017

The practice of digitizing cultural heritage sites is gaining ground among conservation scientists and scholars in architecture, art history, computer science, and related fields. Recently, the location of such sites in areas of intense conflict has highlighted the urgent need for documenting cultural heritage for the purposes of preservation and posterity. The complex histories of such sites requires more than just their digitization, and should also include the meaningful interpretation of buildings and their surroundings with respect to context and intangible values. Project Anqa is an interdisciplinary and multi-partner effort that goes beyond simple digitization to record at-risk heritage sites throughout the Middle East and Saharan Africa, most notably in Syria and Iraq, before they are altered or destroyed. Through a collaborative process, Anqa assembles documentation, historically contextualizes it, and makes data accessible and useful for scholars, peers, and the wider public through state-of-the-art tools. The aim of the project is to engage in capacity-building on the ground in Syria and Iraq, as well as to create an educational web platform that informs viewers about cultural heritage in the region through research, digital storytelling, and the experience of virtual environments.
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