Tracing the Habitus of Urban Aesthetic for Learning Material

of Art Education

Sunarto

, Hajar Pamadhi

Irfanda Rizki Harmoni Sejati

1,3

Universitas Negeri Semarang, Gedung A Kampus Pascasarjana Jl Kelud Utara III, Semarang, Indonesia,

Universitas Negeri Yogyakarta, Yogyakarta, Jl. Colombo No.1, Karang Malang, Dpk, Sleman, Yogyakarta,

Indonesia

Keywords: Habitus, Urban Culture, Art Education.

Abstract: Pressure of the traditional art to be appointed in art learning in schools is essentially an influence from the

Central Contemporary Culture Study 1964 by University of Birmingham. The appeal is construed raised

talkative local art to be developed for the local wisdom and learning, especially as teaching materials. This

idea is certainly not as deep understanding of traditional art traced on local wisdom. Applying the traditional

arts in school program by fore is not physically produce the maximum results of learning sense, because the

children think that has been influenced by contemporary art, especially the Urban Arts. Therefore, urban art

is able to accommodate ideas packaged as a tradition that local knowledge but also to live in the contemporary

world. Departing from this sense, art education can take urban art materials wisely to be developed as

teaching materials. By not releasing the principle of urban art for children's learning, arts education are

expected to adapt to urban art.

1. INTRODUCTION

The term urban in this paper refers to etymology;

Urban from the word urb means city, and urbanism is

a city person who comes from a village. Urbanization

is the process of moving villages to cities and people

who have settled in cities with their distinctive

character (Dominic Strinati, 2007). There are 3 kinds

of character: 1) strong in village vision and physical;

2) strong in the character of the city, where urbanists

have united in city life; and 3) physically headed for

the city but the entry system and values strengthen the

village by maintaining tradition. This division is not

appropriate but rather gives an outline of the

behavioral and value systems (ethics) that influence

each other and are applied in everyday life.

Urban art that does not appear from the art of

movement is urban painting that originates from the

linearity of its existence in the Indonesian political

and independence movement, which is a warrior

artist. Judging from the procedures and appearance of

art works, the ideology of creation is derived from the

idea of struggle. Paintings that tend to be coloured

with dull colours and idealism of 'populist' forms

signify the struggle of “populist politics” by both folk

artists and fighters and folk artists from the

Indonesian Communist Party when it was still

victorious. If you take a bird's eye view, the urban

constellation with the most variety is Yogyakarta.

Urban art has also become more dominant in public

space presentations. This public space is a creative

space for young artists who get the influence of

urbanism. It seems that the local potential explored

from urban areas in Yogyakarta and the ways of

utilizing technology and its tolerance. Creative city

design in Florida, explains that the movement is based

on: talent, technology, tolerance: Florida concluded

that economic development is driven in large

measures by lifestyle factors, such as tolerance and

diversity, urban infrastructure and entertainment

(https://en.wikipedia.org/wiki/Creative_city).

In this context, this article raises the issue: “What

about urban aesthetic habitus for art education

learning materials?” The research location is the City

of Yogyakarta. This is because urban art in

Yogyakarta is highly developed. This development is

partly due to Yogyakarta as a “student city”, which

has a foundation of “Culture-Based Education”.

Urban art is part of the culture that was appointed as

Sunarto, S., Pamadhi, H. and Sejati, I.

Tracing the Habitus of Urban Aesthetic for Learning Material of Art Education.

DOI: 10.5220/0009982605550562

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 555-562

ISBN: 978-989-758-450-3

555

a habitus of urban aesthetics for art education learning

materials.

2. DISCUSSION

2.1. Urbanism and the Urban Art

Respect in Urbanism is chosen as a material object of

this paper, because:

1) Political reasons: the area of urban culture has

invaded the canon of culture system without

knowing its essence, however, succeeded in

creating a sense of public space. Urban art is not

concerned with personal elements but based

social communication that is based on practical

to make ends meet.

2) Educational reasons: urbanism in Indonesia

widened and occupies 80% of human thought in

the city or who controls public space by

proposing a new alternative, both the media and

the idea of creation.

3) According a geography terminology, urban

culture is not limited by the rural-urban sense,

but rather basic: political, cultural, economic and

religious. The four pillars supporting the concept

of this urban culture and ultimately affect his

artistic.

4) Urbanism underestimated by the artist

hegemony; urban regarded as a negative wave as

it will damage the nervous system manifestation

of valuable art and on the other hand it can not be

classified as a work of art filled with the canon of

principle. Considered urban art does not contain

peaks idealism and ideology, besides as art and

art without form without content.

5) When viewed from the perspective of ontology,

urban actually want to search for the meaning of

existing ones. Art is not a work of art based on

the strength of a single expression that has no

sense of wellbeing, urban art therefore try to fight

for the values, ideas, and forms that do not rely

on a single measure.

6) In this case, the patterns appear as freethinking

deconstruction of the effort to interpret the social

conditions which will be held in his work.

The process of objectification and it is subjected

not constrained by the bulkhead material and purpose.

Urban art want to be free of rules or canons of

aesthetics that has been legitimized by the unilateral

hegemony in the region. Art urban become a Querr

Art, but able to live in two poles: the canonical art,

free expression and art. Identified canonical art form

of classical art and traditional art is still used as a

commodity by the government and academic art

aesthetic put rational. In addition to these two groups

there is also a canonical aesthetics of commercial art

that is proclaimed as the favoured art.

Judging from the shape, the minor motifs in works

of art and style brushwork techniques, may feel that

the urban art like wanted to bring all that he saw in

his work. For example: the principle of tradition is

expressed with different flavours, as shape or form as

a basic element put into the creation of such a space

after being appointed. This style gives space to the

community that art and aesthetics that already exist in

itself, so that everyone can do art work. This kind of

art work is called by experts namely as pop art.

Giving the name of art pop art indicates, that the

urban is able to touch the public. The art work is not

insulate themselves with the specific media, as well

as give a single meaning. Herein the metaphysical of

presence of the urban's art.

Identifying urban art is not as easy as to trace the

classical art. The classical arts has been established

with a mission of hegemonial, which is created by the

of thinking logocentrism. Characteristics hegemonial

mission is lies in determining the contours of the deal,

the content and context of a work of art.

Symbolization packed by the missions of hegemony

and it planed by the rational thinking and able to

answer all the thinking. Rationalitas of this paper

departs from the concept that is designed to mature,

so the accuracy of the mission and forms one of the

reasons the appearance of a classic work. In

epistemology of classical art, the aesthetic as the

hegemonial raisson d'etre is pouring ideas into visual

text is required to meet the following criteria: the

presence piwulang (a lesson) and piweling (teaching);

teachings should improved with the concept of

problem which is analysis of the situation. At the

same time the work of art will be created with

requests, or wants to expresses actual problems at this

time.

However, space and time to describe the problem

and then poured the creation of ideology is not

restricted. This is a design that uses the advantages of

space and time effectively. This position which will

give advantage of the principle of the creation of

classical art. The next type is the hegemony of

academic art; artistry is intentionally created with

rationality based on scientific studies. For example:

the design of a work should be thinking like putting

distance study think the hope or work purposes. This

distance into space that will be filled by the artist

pours problem analysis, idea, ideas, imagination and

creation background. The discovery of the results of

the analysis of this problem as is the refenesi sought

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to support and in order to make the grounds more

artwork creation shows strength. In this case the

ideology as well as a picture of a work designed open,

meaning that should diorasikan or written to be easily

identified by others. Proposal creation of this kind is

said to be the principle of academic and it is called

the canonical art of academic. Hegemony presents art

as a commodity is base of commercial art. Usually,

art is not willing to reveal the face of commercial.

This is indicated by the commodity art of self-

deception in exhibition action for social assistance, or

the art of bulk. Jost Smier in “Art under pressure”

(2003) call it, their movement is not special, and not

open to sell the work, but rather exhibit social

background, but behind it all is a commercial. This

position will be a picture of the occurrence of the

orders and the type of art kitch subtle art.

Hegemony that has been lost in other urban art

movement is an art fighter; had faded significantly

since the relevance of the independence struggle had

broken up. This vision is handed over to the social

movements that use the “label” public art or art public

space. Now Art Space is what will rule the world of

art with aesthetic put down. Not merely as works of

art, Art Space is classed as Art for people.

Characteristics of art for these people as well as the

characteristics of pop art. Strinati explains:

Pop culture and the mass media are subject to

the production, reproduction and transformation

of hegemony through the institution of civil

society which cover the areas of cultural

production and consumption. Hegemony operates

culturally and ideologically through the

institutions of civil society which characterises

mature liberal-democratic, capitalist societies.

These institutions include education, the family,

the church, the mass media, popular culture, etc

(Strinati, 1995).

Thus, outside of pop art as a form of art for people.

Pop art is supported by Urban, because the academic

position is not able to penetrate the urban arts space

that has a classic aesthetic canonical basis of classical

art. Pop art comes to searching on line and at the same

time insinuating classical art through habitus that he

was carrying and he understands. That's why pop art

is also supported by the habitus of art tradition

emerged in the content, contour and the context of an

art work (http://www.scribd. com/doc).

2.2 Tracing the Habitus through

Aesthetics

The discourse about habitus included in the

discussion “philosophy of man”. Horkheimer explain

human vision from the beginning with the myth of the

man argued. Understanding of the human conception

of human struggle started from the natural beat. It said

further stated: “Man has been continuously engaged

in efforts to protect themselves from the elemental

power of nature and has, in the process, basing their

existence on trial domination of nature. As a result,

achievement has prioritized knowledge as a basis for

self-defence” (Sunarto, 2006).

In defending human life struggling to adapt to the

adjusting principle in its environment. Human nature

to try to read the text as visual and sound connoted

with the magical voice. Then present it as a

metaphysical knowledge of nature. Human pressure

on the lam compiled about then compile them into

some sort of system to deal with nature. That is the

first term of natural habitus. Humans try to

reconstruct the events and develop as to the truth of

the principle of natural pressure. Attend metaphysics

of science (epistemology).

Selection of habitus on Urban art in this paper

based on the behaviour of the Urban capable of

creating an aesthetic form and content filled with the

ideology of tradition and modern variants. Giving

names in Indonesia, especially in urban and royal city

of Yogyakarta has a different meaning than the urban

West by reference. Urban in the city centre is in

around an urban empire:

a. Urban-oriented as culture looking for the status

of 'blue blood', they are looking for a position as

a descendant from him.

b. Urban academic or educational, is motivated by

the need for immigrants to learn science.

c. Urban politics with political background is to

study politics in Yogyakarta.

d. Urban Art has a background as wants to develop

and forge yourself as an artist, Economic Urban

fixed, semi-fixed and no. They came to the city

of Yogyakarta to find family needs to keep

trading, keep working and not working anyway.

e. Urban diaspora who take the distance as well as

an exclusive position in society. In Surakarta are

occupying Arab diaspora locations in Ketandan

and Kawatan as well as in Yogya. This

exclusivity gives a strong sense of habitus

pressure boundary of society. All of this has a

kind of urban characteristics in expressing his

Tracing the Habitus of Urban Aesthetic for Learning Material of Art Education

557

ideas. Self-expression is evident in fashion, art,

behavior and aspirations.

Habitus word uttered by Pierre Bourdieu, is the

result of practical skills into action (not always

realized) which is then translated into an ability that

seems natural and thrive in a particular social

environment (Bourdieu, 1993). Linkages with the

understanding of habitus in the title above for a sense

of 'aesthetic' which brought will not fade either

intentionally or unintentionally. The behavior of

mixed origin with local cultural arts led to the growth

of the nervous system to be typical and not make a

contradiction, but the synthesis and acculturative.

Some ideas are not perfect due to the discovery of the

origin of aesthetic synthesis with local aesthetics

caused specificity. Physical forms such as fashion and

art figure paintings and decorations have become a

sort of mosaic but distinctive artistic value. The

position of the artwork and its own increasingly

giving shape as picture made acculturation that have

aesthetic synthesis of form and mature. New

developments are also get Urban aesthetics of modern

aesthetic effect.

They received a new wave of modern aesthetics to

neutralize assimilation with existing art. The

combination of which has a special form that is not

readable by the public today. “Art Lion Dance –

Liong” as urban diaspora have a sense of music and

has been translated by Chinese ornament Indonesian

pronunciation and modern aesthetic that is acceptable

period. The tone has shifted from the principles of

Chinese music into a pounding beat of art jaranan, but

pitched hard into the beat of loud tones without value

or strength of a blow. Likewise, the art of Chinese

ornament, revealing the colours are typical of China

but in contexts number of colours not found anymore.

Findings populist ideology in urban art as the art

for the people the main attraction. Developing urban

art idea taken from original art is still strong in the

shape or contour of a work of art, good music, and

dance form. This art combined with ceremonial

system formed from the original trust and confidence

in the region occurred syncretism with area of

residence now. Finally, the patterns are formed as a

result of contact with the habitus and life expectancy

in the new region, even still be a way of life.

However, the implementation of new artwork to the

art of urban, these forms have found their own style.

For example, the art of ornament; once fused with the

aesthetic tradition of canonical gradation of staining

occurred in the Java (painting-Javanese) who actually

developed the aesthetics of its parent. The

combination of idealism area with the local package

to try to fool the eyes of the Javanese enjoy a solid

shape the meaning and intent. They tried to adjust the

shape and color into shades of Java, but the taste or

aesthetic origins still show, even can not be

eliminated. Configuration urban ideology can be

described as follows:

Figure 1: Development Urban Habitus

Urban Arts happens to immigrants’ groups under

pressure from the new local conditions. Long area

with its hegemony using power to suppress and make

the position of newcomers to adapt, in terms of

physical, as well as the value system imposed.

Position Urban Community is also challenged to

adjust to modern art or modern culture. Two of the

world that it gives influence and affect the brain and

nervous the structure of sense to do the adaptation.

Continuous power to forge the urban awareness as

well as awareness that will lead to a continuous

experience. All this pressure by Harold J. Laski given

picture, that the experience of creating a new system

of urban behaviour. Defence patterns or pressures

which have been studied to provide new techniques

organized into a pressure defence and a sense of

mind. Nervous system as well as the sensitivity of

taste Urban formed by itself. New organization

behaves, think and feel into a new system. This is

what is said by Bourdieu as habitus.

In art, urban communities utilize for practical

needs, because of the role of art to go with the flow

mode only. Sumarjo Jacob explains: ... because art

aims to create a new reality of reality real experience.

The art form itself is the reality that is lived in the

senses. Thus the truth of the arts intersect with

empirical truth and ideas of truth (Sumardjo, 2000).

Marx (1859) in the introduction to the Critique of

Political Economy explained that (Santoso, 2006):

Art is essentially determined by history, not only

is like linking all artistic phenomena more or less

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in tandem with certain specific circumstances, but

especially is akin to rejecting a priori, to consider

that art has meaning permanent or, more

importantly even more importantly, the absolute

value. Idealistic aesthetic face little difficulty in

expressing the eternal laws of beauty and aesthetic

value in a sparkling mirror artistic phenomenon,

because by taking certain metaphysical questions

as point, the aesthetics of nature at will

immediately avoid the (arbitrary) from the

contingent.

Human behaviour was analysed by Bertens as

follows:

Human life is very intricate. Still many are not

really clear. The mind must be thinking, voice and

articulation of reality (das Sein) still needs to be

heard and followed more closely the relationship

and significance remains to be constantly

discovered, integrated, totalization, reviewed and

other so on. Short human words, must constantly

interpret, making interpretation (Bertens 1981 in

Poespoprojo, 1987).

Something that is not conceivable is the

emergence of the human nervous system in

developing the system which ultimately is a new

concept that is acceptable to proclaim and adjustment

efforts in the era of modernity. The urban human

behavior as a normal human being would like to

express its aesthetic vision; several canonical

formulas of art with aesthetic sense and can be

packaged in mind that poured into works of art or

fashion design characteristic. Initially, the urban

aesthetic hegemony translates that suppress; eg

housemaids, will adapt to command employers. Then

the long-run will be a nervous system that is

composed automatically by building ideology sissy.

Sastrapratedja (2001) explains:

a. The concept of man is always defined by a

group of structurally have the possibility to

express their cultural ideal.

b. De facto under the group received only the

above formulation of the concept of humanity.

If the ancient ideals of humanity is humanism

aristocracy, the aristocracy of people who are

not aspiring to be the aristocracy;

c. Group of economically powerful elite trying to

create the idea of culture in accordance with

the tastes of the group. Perfect man, the human

remains, complete human being embodies the

ideals of the group concerned.

Human habitus was trying to process the

acquisition of skills of the pressures into structures

with a creative and strategic abilities. Thus the human

habitus is a self-evolving system of cultural capital

and economic capital of the region of origin. It could

be argued that habitus provide both organizational

change and individual and habitus shaping life itself.

Urban struggle with habitus to penetrate the meaning

of modernity that have always thought to disrupt the

advance of life. Included in it is art. Modern art urban

art performances wish give a positive picture of the

new forms. Modern art is said by Perrcault:

Urban struggle with its habitus to penetrate the

meaning of modernity that have always

modernism patterns have been abandoned due to

inadequate shelter idea of free rules. The rule

emerged from academic thought, namely the

formulation of the concept art reread pliers and

neat. Rebellion against the rules or patterns of this

academic followed by several artists (artists) such

as: Robert Zakanitch, Cinthia Carlson; artists still

maintain the shape of painting yet to break away

from the rule of engineering is more based on

painting by the in-conventional techniques

(Perrcault, 1977 in Kaiser (et al.). 1995).

Art is a process of expressing ideas and ideas that

were presented to a destination. Broad and depends

on whether or not a representation capability in space

and time stated ideology visualized. The urban tried

to unite the ideas of modern with tradition is not lost

as local genius, as well as local wisdom. The position

of knowledge developed to capture the modern

rhythm depend utilize sensory perception and

guidance in mind. Heidegger indicates that:

Knowledge is a means-letheia is the self-

knowledge of there. In epistemology tends to limit

itself to the perception of sensory and intellectual

understanding, where understanding is understood

narrowly. Knowledge is an event that causes the light

entering the human consciousness there. We did not

foresee how biased it is stated there. Initial attitude

appropriate for philosophers of knowledge is humility

in the face of experience (Hadi, 1994).

In addition Sidi Gazalba (1977) says that the

thinking process can be reconstructed, ie the process

of: understanding; decide; and said. This concept if it

is associated with the creation of works of art as a

result of thinking stems from an object. Objects

appointed to be described with existing notions on the

artists as interpretation activities. The Quantum

process by Dwi Maryanto (2006) is a particle and a

wave unify objects by artists to the taste and brain.

Consideration of these artistic elements and elements

discovered the beauty that is processed into an artistic

decision. When it has penetrated the consciousness

absolute phases (concious level) then spoken through

Tracing the Habitus of Urban Aesthetic for Learning Material of Art Education

559

the visual arts as a symbolic expression of the form.

This process is a quantum phenomenon, but abstract

reasoning. The result of reasoning process of

phenomenal artists want to change the abstract

phenomenon (the idea is) into concrete according to

empirical studies.

2.3. Aesthetic Urban for Art Education

One's gaze is an urban community acceptance of

urban aesthetics in the constellation of classical art.

Act and behavior of the urban plan of the all

responsibility artistic activity, because the integration

of two traditional vision of feodalism and pressed

with the other side is modernity. Conception of

feudalism there is a pattern of thinking that canon of

deemed to have met the criteria of assessment.

Assessment of the work of art to stabilize and

validated assessments to measure the existing works

in the neighborhood. Therefore, “in particular within

the framework of feudalism which also includes the

people who have the privilege, namely, those with

immunity rights” (Sunarto, 2006). From this

description of the urban art hegemonic position

occupying the stronger pattern of feudalism. Cultural

and economic urban communities would prefer to

follow a predefined pattern. The behavior are not the

same or use the concept of urban metaphysics will not

succeed in entering the public space.

Judging from the medium unit, urban art has a lot

of scope to change the display. The term of art really

is a liberal of visual art and plastic art. Is essential

both a physical form that is enjoyed by the senses the

eye as a symbolic expression, therefore, to explain the

scope of first using the theory of abstraction, namely:

a. Physical abstraction, the overall picture showing

something characteristic of the object.

b. Abstraction form was describe the general nature

of the business that became a hallmark of all

something similar.

c. Provides an abstraction of the metaphysics of

general principles that form the basis of all

reality.

Coverage urban art can finally identification:

a. Vision of urban origin is still being used to

strengthen the area of origin.

b. The patterns of composition is still dominated by

the view that symmetric placement space is not

considered specifically.

c. Semiotics shape has changed from a single

meaning as a result of the design of metaphysical

presence is more free form, in the sense of the use

of shapes and colors not be used as an aesthetic

criterion of truth, but rather a presentation

without changing the meaning of the form itself.

d. Medium was replaced by objects that already

have a meaning, so the apartment layout adapted

to the shape and color the principle of pragmatic.

From this description can hold onto that vision to

explore the creation of urban artwork and utilized in

the development of m, artery taught in formal

schools. Urban art that no longer pay attention to the

classical pattern but most use classic materials and

traditions of the area for the purpose of

communication. The position of this urban art can be

accepted by some people, especially students who

have difficulty understanding the classical and

traditional art-based aesthetic canon. The game can

be continued as a form of exercise regardless of

composition development of a form of metaphysical

presence.

Some batik motif is considered has meaning of

life has been abandoned. They will take advantage of

the urban as a display face to be accepted by the

people period. this is like the first time the presence

of art in human social history. History is meant the

life since opening the eyes to turn a blind eye. Plato

and Aristotle and was followed by Horace in Ars

Poetica. Stated that the initial artwork that became the

medium of expression is: craft of painting, sculpture,

and so forth: music, at least for Plato, is not a separate

art but is a constituent part of poetry (R.G

Collingwood in the Principles of Art, 1981) (Sunarto,

2016). During the development of logocentrism,

artwork associated with language, because the

artwork is essentially a communication tool, the

figure is in the works as well as the expression of a

sentence that shows the meaning of the word local.

Even Ernest Cassirer explains:

Imitation is the language sounds, while art is

imitation physical objects. Imitation is a

fundamental instinct, intimate facts in human

nature. Aristotle said imitation is a natural thing

for humans since childhood. One of the

advantages of men compared to animals lies in the

fact that man the most imitative creature, creature

early learning through imitation (Cassirer, 1987).

Broadly speaking incorporate urban art can be

described by the canonical aesthetics into the

development of teaching materials as follows:

 Try to obscure the bulkhead between the various

artistic tendencies, characterized by melting the

boundaries between visual art, theater, dance,

and music.

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 Incorporate the knowledge of other disciplines to

produce works that are acceptable to all parties.

Popular knowledge is likely to enter or utilize

cutting-edge technology.

2.4. Direction of Aesthetic Education

Based on Urban Art

If repackaged the form of habitus of the urbanist

tradition of existing art (classical, modern and

contemporary art) can be explained as follows:

traditional art habitus from the region was appointed

as the basis and system of appropriation and raised

the principle of postmodernity as an instrument of

development. This unity is expected to be a habitus

that is able to provide a picture for the future. To

discuss the implementation of this habitus can be

developed through the understanding of the younger

generation who have been consumed by the idea of

paralogism and jugernauts is to consider the latest

conditions.

Overall the development of habitus for education

is designed, as follows:1. Habitus is packaged for

education with the aim of forming a work system and

at the same time building cultural civilization. This

cultural civilization is part of an effort to change the

discourse of public space. This step is through the

right education for urbanists.2. Training is given

continuously about traditional arts and see

developments in Yogyakarta in order to grow

adaptive life attitudes of both personal and collective

contexts. The method of training is to adapt the

traditional arts of Yogyakarta and the traditional arts

around Yogyakarta in order to discover the principles

and concepts of creation.3. Habitual capacity is

implemented through community activities on art and

aesthetics in a practical way, so that changes in

mindset become more dynamic and able to eliminate

dichotomy.

Overall the development of habitus for education

is designed, as follows:

 Habitus is packaged for education with the aim

of forming a work system and at the same time

building cultural civilization. This cultural

civilization is part of an effort to change the

discourse of public space. This step is through

the right education for urbanists.

 Training is given continuously about traditional

arts and see developments in Yogyakarta in order

to grow adaptive life attitudes of both personal

and collective contexts. The method of training

is to adapt the traditional arts of Yogyakarta and

the traditional arts around Yogyakarta in order to

discover the principles and concepts of creation.

 Habitual capacity is implemented through

community activities on art and aesthetics in a

practical way, so that changes in mindset become

more dynamic and able to eliminate dichotomy.

Figure 2: Scheme Aesthetic Education Direction in Art-

Cultural Education

 Collaborative packaging of the branches of art

with the aim of formal coaching is to prioritize

the aesthetics of pop art towards traditional art

without separating from the branches of art (see

schema below).

Figure 3: Scheme Collaborative packaging of the branches

of art with the aim of formal coaching is to prioritize the

aesthetics of pop art towards traditional art without

separating from the branches of art.

The goals and objectives of art education can be

mentioned:

 Material Objectives are fostering artistic work

skills by providing freedom of work to find the

principles of structuring art in accordance with

their branches of art.

 Strengthening the technique of work by

facilitating creation through the appreciation of

art and developing it as an enrichment material

for the creation of works of art.

Tracing the Habitus of Urban Aesthetic for Learning Material of Art Education

561

 Improving children's sensibility through an

exploratory approach to imaginative ideas of

form, sound, movement and literature through

creation training based on children's interests

 Practicing the ability to objectify the surrounding

environment based on the balance of nature and

culture through attention to: creativity, taste and

intention.

3. CONCLUSIONS

Contemporary art that is consumed by adolescents

and becomes an idol in the creation of works of art is

a capital for the development of interest in creating

art. By tracing Urban aesthetics, it can be made a base

of teaching based on appropriation of traditional arts

and modern art that is developing among the people

of Yogyakarta. Public school art education is

expected not to separate itself from the phenomena of

paralogism and juggernauts, but rather to be able to

refer to the postmodern vision of the philosophy of

classical art in Yogyakarta. Develop methods of

working freely based on traditional themes.

If art education is still showing bulkhead

disciplinary field of art itself, the art education will

feel more stiff. Arts education that utilizes the

insulation material can be said to be working on the

field at the level of physical, arts education while

working on a wonderful flavor through physical

claim. Work on the aesthetic vision in the creation of

works of art is more flexible than the separate arts by

utilizing the field. This idea means that returns the

aesthetic diction in practical shades, meaning: the real

art of public property, and arts education does not

recognize the principle that talent or heavy. Education

as a wonderful educational or aesthetic sense and the

ability to train and identify children objectivise

natural beauty, ranging from the environment to the

global insight, so that a proper sense of the first aim

is to watch. Art education began with the introduction

of urban art that has no children and eventually pulled

over in the form of appreciating, as well as the

meaning of the display Art Under Pressure

(Promoting Culutral Diversity), copy right, Zed

Books–London.

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