Intangible Cultural Heritage

This thesis is written in a yuridical-normative method, which commonly used to analyze secondary source in the form of primary law along with secondary law such as UNESCO Convention For The Safeguarding of Intangible Cultural Heritage 2003, protection of batik art by Copyright Law No. 19/2002, and protection in economic rights for Indonesian batik art.

Berdasarkan batasan konsep yang telah penulis uraikan di atas,maka yang dimaksud dengan Implementasi Bab III Convention For The Safeguarding Of The Intangible Cultural Heritage Terhadap Pelestarian Berbagai Kebudayaan Takbenda Di Indonesia adalah pelaksanaan ketentuan yang terdapat dalam bab III Convention for The Safeguarding of The Intangible Cultural Heritage dalam setiap tindakan termasuk keputusan, kebijakan dan perencanaan yang diambil berdasarkan persetujuan yang formal dan multilateral yang dikeluarkan oleh UNESCO sebagai suatu organisasi internasional yang mengatur mengenai perlindungan kebudayaan tak benda, sebagai upaya perlindungan, pengembangan, dan pemanfaatan kebudayaan yang dinamis, terhadap keseluruhan gagasan, perilaku, dan hasil karya manusia dan/atau kelompok manusia yang bersifat fisik maupun non fisik dalam bentuk praktek, representasi, ekspresi, pengetahuan, keterampilan--serta alat-alat, benda (alamiah), artefak dan ruang-ruang budaya terkait dengannya--yang diakui oleh berbagai komunitas, kelompok, atau perseorangan sebagai bagian warisan budaya mereka yang diperoleh melalui proses belajar dari adaptasi terhadap lingkungannya.

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.

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.

Puji dan syukur penulis ucapkan ke hadirat Tuhan Yang Maha Esa karena atas berkat yang diberikan-Nya penulis dapat menyelesaikan penulisan hukum / skripsi yang berjudul Implementasi Bab III Convention For The Safeguarding Of The Intangible Cultural Heritage Terhadap Pelestarian Berbagai Warisan Kebudayaan Takbenda Di Indonesia dengan baik. Penulisan Hukum / Skripsi ini penulis buat guna memenuhi salah satu syarat kelulusan di Fakultas Hukum Universitas Atma Jaya Yogyakarta. Penulis menyadari bahwa Penulisan Hukum / Skripsi yang penulis buat tidak lepas dari peran dan bantuan berbagai pihak, yang telah mendorong dan membimbing penulis baik secara materiil maupun non materiil. Oleh karena itu, penulis mengucapkan terima kasih kepada:

Untuk memudahkan penelitian, peneliti membatasi ruang lingkup kajian agar peneliti tidak menyimpang dari tema atau tujuan yang diinginkan. Penelitian ini difokuskan pada peran UNESCO secara teoritis berdasarkan Konvensi Perlindungan Warisan Budaya Takbenda (Convention for the Safeguarding of the Intangible Cultural Heritage) tahun 2003, dimana melindungi termasuk melakukan Identifikasi, Dokumentasi, Penelitian, Preservasi, Proteksi, Promosi, Perbaikan, Penyebaran, Pendidikan, dan Revitalisasi terhadap Intangible Cultural Heritage Indonesia. Kemudian, penilitian ini hanya berorientasi pada data-data sekunder yang mendukung pendekatan yang dipakai oleh peneliti. Data- data tersebut dikumpulkan sejak awal tahun 2003 sampai dengan tahun 2010.

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as an example, the funds from the Central/Local Government has decreased from CNY 51,230,000 to 640,000 between 2002 and 2010, in contrast self funding has increased from CNY 30,520,000 to 72,670,000. This means that less than 1% of the funds now come from the Central Government (in 2010). As a result, tourist services were the largest category if of incoming generating activities in the digitisation of heritage sites. But one of the most urgent problems shown by both the 24 pilot sites and Slender West Lake was that much valuable information about cultural traditions, symbolic meanings, oral histories, cannot be integrated into the current management system. The management system for cultural landscape heritage should be more comprehensive than the current one. Containing a large amount of intangible cultural heritage, such as legends, oral traditions, symbolic associations, is a significant feature of China’s cultural landscapes. The information of these intangible cultural heritages is necessary factors for site management and decision-making. Mountain Lushan Scenic Area is a good example which has more than 3,000 poems created in its history. These poems are a significant part of Lushan culture demonstrating the historical meaning of the landscape. However, there was no digital database for these poems and even other intangible cultural heritage evidence in the digital archive of Lushan.

As an opera museum, the Cantonese Opera Art Museum give priority to the opera place spirit. In addition to the exhibition space underground, small theater attached to the main hall for exhibitions, performances, education and research, six groups of courtyards build an overall opera atmosphere. There is not only a waterside stage - GuangFu stage to reproduce opera performance space in the garden, but also all the courtyards, waterside, hills, corridors and winding paths to serve as folk-performances sites. The entire Cantonese Opera Art Museum will build the most possible opera space for transmission of the intangible cultural heritage. It will become a place for artists, professional performers and masses for gathering and singing the opera. The opera’s connotation “life is like a drama, and vice versa ” can be found throughout the scene design of the garden. The theme-scene design of the garden is inspired by famous sections of some Cantonese Opera, together with the Fig. 6 Dressed young actress of the

Abstract: The geographical position of Central Java which is in the middle of the island of Java, making it a melting pot of cultures as well as the cultural center of Java island. Cultural heritage is divided into tangible cultural heritage and intangible cultural heritage. Tangible cultural heritage is the work of the human body that can be moved or moving, or that cannot be moved or did not move. Department of Culture and Tourism of Central Java has documented manually cultural heritage but very vulnerable to damage. There are also many cultural heritages that have not been recorded. The process of data collection and recording are very difficult, since the data sources are scattered and not well organized. Documentation of cultural heritage in Central Java can be used as an information system database for a wide range of cultural interests in Central Java. The aim is to facilitate and ease The Department of Culture and Tourism of Central Java to documents and records cultural heritage collections for the category of tangible cultural heritage. In the long-term plan, this system can be used as a reference by another region, thus forming the national cultural heritage documentation system.

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 )

The geographical position of Central Java which is in the middle of the island of Java,making it a “meltingpot”of cultures as well as the cultural center of Java island. Cultural heritage is divided into tangible cultural heritage and intangible cultural heritage. Tangible cultural heritage is the work of the human body that can be moved or moving, or that cannot be moved or did not move. Department of Culture and Tourism of Central Java has documented manually cultural heritage but very vulnerable to damage. There are also many cultural heritages that have not been recorded. The process of data collection and recording are very difficult, since the datasources are scattered and not well organized. Documentation of cultural heritage in Central Java can be used as a information system database fora wide range of cultura linterests in Central Java. The aim is to facilitate and ease The Department of Culture and Tourism of Central Java to documents and records cultural heritage collections for the category of tangible cultural heritage. In the long-term plan, this system can be used as a reference by another region, thus forming the national cultural heritage documentation system.

The geographical position of Central Java which is in the middle of the island of Java, making it a melting pot, which is a gathering place and a blend of cultures as well as the cultural center of Java island. Cultural heritage is divided into tangible cultural heritage and intangible cultural heritage. Tangible cultural heritage is the work of the human body that can be moved or moving, or which can’t be moved or do not move. Department of Culture and Tourism of Central Java province has documented manually cultural heritage which are vulnerable to damage. On the other hand, there are many cultural heritages that has not been recorded. The process of data collection and recording very high difficulty because the data sources that complement a collection of many scattered and not well organized. It takes a collection of cultural heritage in Central Java centrally whose results can be used as a data base for a wide range of cultural interests in Central Java. The aim is to facilitate and ease of Culture and Tourism of Central Java province in doing the documentation of cultural heritage collections for the category of tangible cultural heritage. In the long-term plan, this system can be used as a reference by the Central Java region outside, thus forming the archipelago's cultural heritage documentation system at the national level.

Jawa Tengah dengan luas ±32.548 km 2 memiliki berbagai macam potensi budaya (Hakim, 2012), 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 5 world 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.

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;

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;

Perlu dicatat bahwa penggunaan istilah benda cagar budaya dalam U.U. No. 5 Tahun 1992 itu kita analogikan dengan istilah tangible cultural heritage/property yang dapat diterjemahkan seba- gai warisan budaya kebendaan yang dibedakan dari intangible cultural heritage/ property yaitu warisan budaya bukan kebendaan. 2 Memang lebih kurang 158 negara dalam Undang-Undang nasional- nya menggunakan istilah berbeda-beda untuk benda cagar budaya, seperti kita mendapat gambaran dari ringkasan peraturan perun- dang-undangan nasional negara-negara yang telah dihimpun dan dipelajari Unesco (Compendium of legislative texts, The protection

and Digitization held in Beijing (CHCD2012) was entitled “ e- sharing culture heritage”. The term “digital heritage” was used for the first time referring to digitization in the field of cultural heritage. The virtual reconstruction of the Old Summer Palace and the mobile-based applications of the “Digital Yuanmingyuan” project attracted the attention of scholars from home and abroad. The 2013 and 2015 Digital Heritage International Congress held by UNESCO identified five major types of digital heritage (archaeological / architectural heritage, intangible cultural heritage like traditional folk culture, moveable cultural relics and museums, ancient books and archives, internet and new media with digital artistic and creative content) and six working areas (digital recording and acquisition, display and visualization, digital content management and analysis, digital heritage related policies and standards, preservation of digital heritage resources, solution and application) (International Congress on Digital Heritage. 2013). The discussions covered a wide spectrum of topics, including theoretical research, technological innovation, practical case studies and equipment development. The 2015 conference consisted of a series of related events, including seminars, an exhibition and competition, and the 270 submitted works from various disciplines (information science, archaeology, art and interdisciplinary fields) showed that the word “digital h eritage ” has now been used in a generic way to cover all aspects of “ cultural heritage ”, going beyond the original meaning of “ digit ization”. This paper will be discussing the emerging field of ಯ digital heritage ರ following this wide definition.

Recording intangible and dynamic Intangible Cultural Heritage resources, digital means have their irreplaceable advantages, while there is also a need for flexible yet rigorous recording means as a support, striving to maximize resources recording and protection. However, the greater using area of audio and video as well as the means of modern digital technology are still in the exploratory stage, relatively less standards can be directly follow and learn from to the practice, targeted research needs to be strengthened. Thus, when we create some kinds of ICH digital resources closely related to special sensory experiences, like smell, taste and feeling, we should focus on the indirect record about special sensory experience, bridging some short board which is also difficult to achieve by digital technologies. However, in the digital environment, it "created" the manifestations, display processes and the existed environment and others of ICH items, but also contrary to the authenticity which is the premise of archived protection. Therefore, in the practice of ICH digital recording, we must follow these basic principles: (A) to note the difference between documentary and video archives; (B) to focus on the selection of digital objects, without blind digitization; (C) to carry the digital recording around ICH inheritors; (D) to carefully select the digital preservation format and medium; (E) to strengthen the combination with related knowledge and technologies.

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.