The diverse cultural and linguistic backgrounds of coal mine laborers in Sawahlunto have given rise to a unique new language, the Tansi (creole) language. The Tansi language, the first labor creole language in Indonesia, was discovered and present in the interior of West Sumatra and consists of 10 languages, with Malay as its base language. Currently, Tansi is heading towards decreolization (approaching extinction) due to the shift in its function in a triglossia context compared to Indonesian (as the official language) and Minangkabau (as the dominant regional language). Therefore, this study aims to: (1) to explain the existence phases of the Tansi language and (2) theoretically examine existing Tansi language preservation models. The method used in this research is qualitative. In this study, the research findings descriptively described in the form of an explanation explaining the theoretical study of the development phases of the Tansi language as a model for language preservation efforts. Since this research topic was related to theoretical analysis, so a literature review approach used and focused on inductive problem-solving. The required data was sourced from written sources of a theoretical nature (primary and secondary). The collected data was analyzed by the interactive data analysis technique, modeled of Miles and Huberman. This analysis technique consisted of reduction (sorting data that was relevant to the study), data presentation (presenting data with discussion), and drawing conclusions. The results of this study indicate that: (1) the existence phases of the Tansi language are: pidginization, creolization, and decreolization. (2) The preservation processes that have been carried out are: (a) the process of documenting the Tansi language through dictionaries as well as novel; (b) pop culture, such as pop music; and (c) prestige, such as tonel, wayang, and traditional events. Then, the other proposed preservation is documentary films as a form of preservation of the Tansi language through pop culture.
The rapid development of digital learning technologies has transformed educational practices by enabling more personalized and accessible learning experiences in e-learning environments. As a Background, adaptive technologies have emerged as a promising approach to address diverse learner needs and improve educational accessibility. The Objective of this study is to examine the influence of adaptive technologies on personalized learning experiences and their impact on educational accessibility in e-learning environments. The Method employed a quantitative research approach using a survey distributed to 334 respondents who had experience using e-learning platforms. Data were analyzed using Structural Equation Modeling (SEM) with SmartPLS to evaluate the relationships among the proposed constructs. The Results indicate that adaptive technologies significantly enhance personalized learning experiences by providing tailored learning content, individualized feedback, and flexible learning pathways. Furthermore, the findings reveal that personalized learning experiences have a positive and significant effect on educational accessibility, enabling learners with different backgrounds, abilities, and learning preferences to engage more effectively in the learning process. Adaptive technologies were also found to have a direct positive influence on educational accessibility. In Conclusion, the study demonstrates that the integration of adaptive technologies plays a crucial role in fostering personalized learning and improving educational accessibility within e-learning environments. These findings provide valuable insights for educators, educational institutions, and e-learning developers in designing inclusive and learner-centered digital learning systems that support diverse educational needs and promote equitable access to quality education.
Penelitian ini bertujuan untuk membedah representasi kritik sosial terhadap gaya hidup dan budaya konsumen masyarakat urban Jakarta era 1980-an melalui ruang restoran dalam film komedi Itu Bisa Diatur (1984) karya Warkop DKI. Selama ini, kajian terhadap film Warkop DKI cenderung berfokus pada analisis teknis humor atau kritik politik makro. Mengisi kekosongan akademis tersebut, penelitian ini menggunakan pendekatan kualitatif deskriptif analitis dengan metode analisis isi kritis (critical content analysis) serta kacamata sosiologi film dan sosiologi kuliner. Data primer bersumber dari unit audio-visual film Itu Bisa Diatur, sedangkan data sekunder diperoleh melalui studi literatur sejarah perfilman dan sosiologi perkotaan. Hasil penelitian menunjukkan bahwa ruang restoran dipentaskan bukan sekadar sebagai latar komedi, melainkan arena simbolis benturan kelas dan ekspresi kegagapan masyarakat perkotaan. Selain itu, jargon "itu bisa diatur" menjadi cermin retak dari etika kerja masyarakat urban yang kerap mengandalkan jalan pintas di tengah tuntutan modernitas. Penelitian ini mempertegas bahwa film komedi populer era Orde Baru bertindak sebagai katup pengaman sosial (social safety valve) yang membongkar kepalsuan identitas masyarakat urban pada masanya.
This article examines the repatriation of Pita Maha paintings from the 1930s to 1940s, which were returned by the Government of the Netherlands to Indonesia in 2024. Pita Maha, an artistic movement established in Ubud, Bali in 1936, holds an important position in art historiography as a key contributor to the development of modern Balinese painting. The repatriation of these works provides an opportunity to reconsider and expand existing historical narratives. Accordingly, this study aims to contribute to the enrichment of the historiography of modern Balinese painting. The research employs a historical method — encompassing heuristics, source criticism, interpretation, and historiography — combined with visual analysis of a selected sample of five paintings. These works were chosen based on their thematic, ideological, and formal characteristics. The novelty of this study lies in its use of newly repatriated paintings as primary historical sources. The findings identify three recurring thematic dimensions: (1) traditional narratives and Balinese cosmology, (2) everyday life and social traces, and (3) historical and political symbolism. The presence of socio-political elements within these works suggests that Pita Maha artists engaged not only with spiritual and aesthetic concerns, but also with the social and political dynamics of their time, reflecting a broader spectrum of artistic concerns than has been emphasized in existing scholarship. This study highlights the potential of repatriation to contribute to more nuanced and expanded readings of modern Indonesian art historiography.
Tulisan ini membahas teknik merajut dalam karya 'Embracing Life' sebagai eksplorasi seni tekstil yang dimaknai secara simbolik dan metaforis untuk merepresentasikan pengalaman tubuh perempuan. Penelitian ini menggunakan metode artistic research, di mana proses penciptaan karya seni menjadi bagian utama dari proses penelitian dan produksi pengetahuan. Melalui metode ini, seniman berperan sekaligus sebagai peneliti, dan karya seni dipahami sebagai hasil refleksi atas pengalaman, proses, serta konteks sosial yang melingkupinya. Karya ini memandang seni sebagai bentuk simbolik yang tidak menyampaikan makna secara langsung, melainkan melalui bentuk visual yang mampu mengungkap pengalaman dan perasaan yang sulit diungkapkan dengan kata-kata. Rajutan benang merah diterjemahkan sebagai simbol sel darah dan proses hidup tubuh perempuan, yang diwujudkan melalui pola berulang, simpul, dan keterhubungan bentuk organik. Pendekatan metafora visual digunakan untuk memahami rajutan bukan sebagai objek tekstil fungsional, melainkan sebagai perumpamaan pengalaman tubuh yang kompleks. Analisis elemen visual yang meliputi bentuk, warna, dan tekstur menunjukkan bahwa unsur-unsur tersebut saling berkaitan dalam membangun makna karya. Bentuk organik menghadirkan kesan keluwesan, warna merah memperkuat keterkaitan dengan tubuh dan perasaan, sementara tekstur kasar dan tidak merata menegaskan kehadiran kerja, proses, dan waktu. Dalam karya ini, seni merajut dipahami tidak hanya sebagai teknik, tetapi sebagai media ekspresi yang merefleksikan pengalaman, identitas, dan konstruksi sosial perempuan.
