PAWIYATAN OF SANGGARBAMBU Practice and Education Pattern of Art of Sanggar in Yogyakarta

Republished from Mata Jendela magazine, Issue IV, 2020: From Studio to Collective. This article is written by Athif Thitah Amithuhu with English edition <img alt="" src="https://miro.medium.com/v2/resize:fit:3248/1*0c2sYH90Ufft5lCnEBpEbA.jpeg" style="height:2500px; width:2400px" /> Making of the 1962 West Irian Liberation Poster by Sanggarbambu in Yogyakarta. Left to right Handogo Sukarno, Danarto, Sumadji, Suyono Palal, Suradi Pw., Darmadji, Wardoyo, Suharto Pr. Source: Sanggarbambu Archives Within Indonesian fine arts world, the nurturing pattern and its education used to be a trend through sanggar period (1950–1965). Sanggar functioned as a container to educate and study by designated artists. Not only about fine arts, but also sanggar emerged to be intersection of many pegadogies such as philosophy, literature, and politics. The teachers were the older artists and of course an example of their students because of their experiences. Even some reason of emerging sanggar on that day were caused by the differences of ideology and urge of “freedom to express” which were convinced by an artist or designated artists. Because of that, the method was often related by seniority and strong political influences. <a href="https://medium.com/@kenalrupa/pawiyatan-of-sanggarbambu-practice-and-education-pattern-of-art-of-sanggar-in-yogyakarta-79a9502c260e">Website</a>