scholarly journals Pemberdayaan KWT Citra Mandiri melalui Pengembangan Produk Olahan Berbasis Aloe vera di Kecamatan Tapos, Depok

2017 ◽  
Vol 3 (1) ◽  
pp. 71
Author(s):  
. Rahmawati ◽  
Mohammad Sabariman ◽  
Susilo Utomo
Keyword(s):  
Food Packaging ◽  
Market Access ◽  
Aloe Vera ◽  
Good Manufacturing Practice ◽  
Creative Industries ◽  
Appropriate Technology ◽  
Women Farmers ◽  
The Arts ◽  
Training Community ◽  
Home Industries

Service activities such as science, technology and the arts for the people (IbM) to the group of women farmers and processors of aloe plant (Aloe vera) namely Citra Mandiri in Tapos Districts, Depok (as a partner) has the following objectives: 1) Standardization of nata Aloe vera product to be a good processed with consistently and desired products; 2) Diversification of Aloe vera products; and 3) Improvement and business management technical training. Community service team, who act as facilitators have been mentoring to improve the product quality Aloe vera nata to be consistent, to develop new products as diversification of candy and puddings of Aloe vera with the appropriate technology for home industries with a current good Manufacturing Practice and hygienic environment. To expand the market access, the team also trained collaborators about food packaging and labeling. In addition, a collaborators become a member of the Creative Industries Association of Depok to increase their market access and network.

scholarly journals Pengembangan Potensi Masyarakat Melalui Industri Kreatif Sebagai Rintisan Desa Wisata di Desa Kundisari, Kedu, Temanggung

Abdi Seni ◽  
2020 ◽  
Vol 10 (1) ◽  
pp. 1-12
Author(s):  
Basnendar Herryprilosadoso
Keyword(s):  
Graphic Design ◽  
Creative Industries ◽  
Appropriate Technology ◽  
Technical Training ◽  
Identification Problems ◽  
Pilot Projects ◽  
Central Java ◽  
Planning Phase ◽  
The Arts ◽  
Development And Management

AbstrakDesa Kundisari merupakan salah satu daerah yang berada di Kecamatan Kedu, Kabupaten Temanggung Proinsi Jawa Tengah yang memiliki beragam potensi di bidang kesenian yang terdiri dari 4 (empat) potensi, yaitu kesenian kuda lumping, gerabah, seni musik dangdut, sholawatan dan rebana. Selain potensi seninya dengan permukaan wilayahnya dengan dataran tinggi sangat berpotensial dijadikan destinasi pariwisata. Prioritas permasalahan yang ada, yaitu : 1) Metode pendampingan dalam pengembangan dan pengelolaan seni kerajinan berbasis bambu dan batik eco print sebagai cinderamata (souvenir); 2) Metode pendampingan dalam pengembangan dan pengelolaan manajemen sumber daya manusia untuk menyusun rintisan desa wisata kreatif; dan 3) Metode pendampingan dalam pengembangan untuk perancangan Environment Graphic Design. Tahapan dan proses pengabdian kepada masyarakat tematik ini terdiri dari 3 (tiga) tahapan besar, yaitu : Tahapan Identifikasi Masalah (Envisioning Phase), Tahapan Perencanaan (Planning Phase),  dan  Tahapan  Desain/Rancangan  (Developing  Phase)  dengan  melalui  teknis  pelatihan, pendampingan, dan workshop bagi warga masyarakat Desa Kundisari.Sinergitas pihak kampus dan akademisi dalam mendukung program pelatihan kepada masyarakat dalam rangka pengembangan potensi desa di bidang industri kreatif sangat diperlukan, khususnya pelatihan teknologi tepat guna yang nantinya bisa langsung diterapkan oleh warga masyarakat desa.Kata kunci: Potensi Desa, Pelatihan Kerajinan, Industri Kreatif, Desa Wisata Kundisari. AbstractKundisari Village is one of the areas in Kedu, Temanggung , Central Java Province which has a variety of potentials in the arts consisting of 4 (four) potentials, namely kuda lumping , pottery, dangdut music art, sholawatan and tambourine. In addition to its artistic potential with the surface of its territory with a plateau is very potential to be a tourism destination.Priority problems that exist, namely: 1) Methods of assistance in the development and management of bamboo and batik- based  handicraft  arts  as  souvenirs  (souvenirs);  2)  Assistance  methods  in  the  development  and management  of  human  resource  management  to  develop  creative  tourism  village  pilot  projects; and 3) Assistance methods in development for designing Environmental Graphic Design. The stages and process of dedication to this thematic community consists of 3 (three) major stages, namely: the Phase of Identification Problems (Envisioning Phase), the Planning Phase (Planning Phase), and the Design / Design Stages through the technical training, mentoring, and workshops for residents of the Kundisari. Synergy between the campus and academics in supporting training programs for the community in the context of developing village potential in the field of creative industries is very much needed, especially training in appropriate technology which can later be directly applied by villagers.Keywords: Village Potential, Handicraft Training, Creative Industries, Kundisari Tourism Village

scholarly journals Sukses Mengembangkan Desain Seni dan Kerajinan Menjahit Aplikasi Berbahan Dasar Limbah Kain (Kain Perca) bagi Industri Rumah Tangga

Humaniora ◽  
2010 ◽  
Vol 1 (2) ◽  
pp. 431
Author(s):  
Titi Indahyani
Keyword(s):  
Environmentally Friendly ◽  
Creative Industries ◽  
Waste Materials ◽  
Strategic Issues ◽  
The Arts ◽  
Product Marketing ◽  
Art Design ◽  
The Government ◽  
Home Industries ◽  
Lack Of Knowledge

Arts and craft products are now beginning to be produced by many home industries such as sewing patchwork application products. But the lack of knowledge of art, design and product marketing in this industry making products become less competitive and provide income earning less than the maximum. Besides, home industry players sometimes do not have the high endurance and sustainability in business. As one of the national strategic issues, the arts, crafts and creative industries get serious attention from the government. It is expected with the opening horizons of knowledge in art, design and product marketing in the area of sew patchwork application craft (which is use the waste fabric) will impact the development of entrepreneurship opportunities and support many home industries entrepreneur from local micro become sustainable macro business. This action will also support to further explore the various culture of Indonesian arts, crafts and other creative industries became more creative, innovative and competitive by using waste materials that are environmentally friendly.

scholarly journals Occupations and Professionalism in Art and Culture

2015 ◽  
Vol 5 (2) ◽  
Author(s):  
Lennart G. Svensson
Keyword(s):  
Social Capital ◽  
Creative Industries ◽  
Special Issue ◽  
Theoretical Concepts ◽  
Academic Field ◽  
Emotional Labour ◽  
The Arts ◽  
Arts And Culture ◽  
Art And Culture

The article introduces the topic of this special issue on artists and professionalism from the perspective of the sociology of the arts and culture, in order to demonstrate how the contributions significantly develop studies of professions in general. Some theoretical concepts are defined and discussed: culture, arts, occupations, professions, status, field, symbolic and social capital, emotional labour, and reversed economy. An illustration is used to demonstrate pricing in arts and what may explain it. There is a focus on the field of art with a brief comparison to the academic field. In this issue we find studies on artists, authors, and theatre actors, which provide significant contributions to these themes in theories and studies of professions.Keywords: creative industries, creative occupations, professions, status, field, symbolic and social capital 

Gentrification, displacement and the arts: Untangling the relationship between arts industries and place change

Urban Studies ◽  
2016 ◽  
Vol 55 (4) ◽  
pp. 807-825 ◽  
Author(s):  
Carl Grodach ◽  
Nicole Foster ◽  
James Murdoch
Keyword(s):  
Urban Policy ◽  
Statistical Study ◽  
Change Agents ◽  
Creative Industries ◽  
Standard Account ◽  
Clear Cut ◽  
The Arts ◽  
Neighbourhood Level ◽  
The Relationship

The arts have long played a role in debates around gentrification and displacement, yet their roles and impacts as change agents are not clear-cut. According to the standard account, artists facilitate gentrification and ultimately engender the displacement of lower income households, but more recent research complicates the accepted narrative. This article seeks to untangle the relationship between the arts, gentrification and displacement through a statistical study of neighbourhood-level arts industry activity within large US regions. The findings indicate that the standard arts-led gentrification narrative is too generalised or simply no longer applicable to contemporary arts-gentrification processes. Rather, the arts have multiple, even conflicting relationships with gentrification and displacement that depend on context and type of art. These results have important implications for how we study the role of the arts in neighbourhood change and for how governments approach the arts and creative industries in urban policy.

scholarly journals A dramatic existence: Undergraduate preparations for a creative life in the performance industries

2020 ◽  
Vol 34 (4) ◽  
pp. 272-283
Author(s):  
Rachel Delta Higdon ◽  
Kate Chapman
Keyword(s):  
Performing Arts ◽  
Creative Industries ◽  
Creative Arts ◽  
Public And Private ◽  
The Public ◽  
The United Kingdom ◽  
The Arts ◽  
Research Findings ◽  
The University ◽  
Creative Life

This article focuses specifically on drama and theatre higher education (HE) programmes and preparation for potential graduate work. The article investigates working in the creative industries and in the performing arts (particularly within acting) and how HE students in the United Kingdom prepare for this life. The growth of the creative industries and successful applied drama in the public and private sectors has also brought business interest in how drama and theatre processes can benefit other workplaces, outside of the creative arts. The article addresses current policy, initiatives and partnerships to broaden inclusion and access to creative work. The research explores drama undergraduate degrees and the university’s role in supporting a successful transition from HE to graduate work. Students perceive the university world as safe and the graduate world as precarious and unsafe. The research findings have resonance with other undergraduate degrees, outside of the arts and the role the university plays in student transitions from the university to the graduate environment.

The culture of consumption

Scene ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 75-86
Author(s):  
Christine White
Keyword(s):  
United Kingdom ◽  
Culture Media ◽  
Labour Force ◽  
Creative Industries ◽  
Digital Culture ◽  
Positive Contribution ◽  
Stem Learning ◽  
The United Kingdom ◽  
The Arts ◽  
Cultural Sector

Abstract The creative and cultural arts sector in the United Kingdom, most often termed the 'arts and cultural industries' in 2011 had a turnover of £12.4 billion published in Create Arts Council England. The Centre for Economic and Business Research (CEBR) stated that the arts and cultural industry in 2016 was responsible for £21.2 billion direct turnover, which involved 137,250 jobs. This sector pays 5% more than the UK median salary and so makes a positive contribution to an average household. This industry also plays an important role in supporting wider commercial activity. This includes tourism spend estimated as £856 million and this includes film production advertising, design and crafts all of which is also showcased overseas. In addition, this sector's work is seen to have a wider benefit for health and wellbeing. For example, those who attended a cultural place or event in the preceding twelve months were 60% more likely to report good health and in terms of spend, people valued being in an audience for the arts as they spent £2000 a year on events, which is more than for sport, as cited in the Arts Council England report of 2014. The continued need for reports and advocacy for the value of the arts and how that value should be ascribed is frustrating as there is a continued and pervasive sense that these areas are still of less value when compared with STEM learning and industrial activity, yet there are an estimated 89,000 jobs in museums, galleries and libraries and 296,000 jobs in music, performing and visual arts. In 2018, the number of jobs in the creative industries sector stood at just over two million, an increase of 1.6% from 2017. The sector accounted for 6.2% of UK jobs in 2018. The number of jobs in the creative industries has increased by 30.6% from 2011: three times the growth rate of employment in the United Kingdom overall (10.1%) (Department for Digital, Culture, Media and Sport [DCMS] 2018). The cultural sector had a workforce of 659,000, a fall of 2.1% from 674,000 in 2017 (a record number). The sector accounted for 2.0% of all UK jobs in 2018. Since 2011, the cultural sector workforce has grown by 21.0%.All of these sectors do not include tourism; however, we know that when people are tourists, they are doing and seeing stuff which is most often in the realm of cultural and creative sector developed activity. Across Europe and by their different methodologies of definition of the cultural sector, defined anyone employed in an economic sector defined as 'cultural', irrespective of whether they are employed in a cultural occupation and all persons with occupations relating to culture are included, even if the people concerned are employed in non-cultural sectors ‐ the number is 8.7 million people (European Union Labour Force Survey: EU-LFS).

scholarly journals Subjugated in the Creative Industries: The Fine Arts in Singapore

2011 ◽  
Vol 3 (2) ◽  
pp. 119-137 ◽  
Author(s):  
Can-Seng Ooi
Keyword(s):  
Fine Arts ◽  
Economic Value ◽  
Creative Industries ◽  
Work Place ◽  
Art World ◽  
The Public ◽  
The Arts ◽  
Art Practices ◽  
City State ◽  
The City

The arts and culture are considered core in a creative industries strategy. But the promotion of the creative industries brings about revised notions of creativity. These revised notions are being applied to the arts. Creativity is now seen to be largely manageable. All individuals are made to believe that they can be creative. Not only that, creativity is seen to be a money spinner. Workers should tap into their creativity and bring about innovations in the work place. Pupils are taught to tap into their creativity and to think outside the box. Such views on creativity galvanize the public and enthuse many people into the creative industries. Such notions of creativity contrast against the fine arts. Regardless, as this paper examines the situation in Singapore, shows that fine artists in the city-state are finding themselves internalizing a market logic and have tied their art practices to economic value. Fine arts practices will not be as lucrative or popular as their counterparts in the other creative businesses; they will remain poor cousins in the creative industries. Essentially, the fine arts are being subjugated in the creative industries and the Singaporean art world is being changed.

scholarly journals Creative clusters: Typology, characteristics, financial models and success factors

Kultura ◽  
2020 ◽  
pp. 249-276
Author(s):  
Lidija Varbanova
Keyword(s):  
Value Chain ◽  
High Speed ◽  
Success Factors ◽  
Business Models ◽  
Creative Industries ◽  
Cultural Participation ◽  
The Arts ◽  
Global Pandemic ◽  
The World ◽  
Negative Effect

The global pandemic is changing the world in significantly high speed and in many dimensions-economic, social, cultural, digital. Covid-19 certainly had a negative effect on all sectors requiring traveling and physical presence, including many arts and culture events and organisations, as well as sectors that are complementary to the culture and creative industries value chain. Despite, the global pandemic opened up new opportunities of living more among our communities, consuming more local products, reorganising our life to be more resilient, catalyzing both business and social innovations, using much more digital and online tools, including also for further increase of cultural participation and democratisation of the arts. In the last few months we have received plenty of evidences worldwide that culture does contribute to the economic and social vitality of cities across the world. This paper aims to identify the essence and key characteristics of "creative clusters" (CCs) and to offer a typology of their diverse forms of existence. It also summarises key business models and sources of external financial support for development of CCs. Finally, the paper draws key success factors for their development. The research for elaboration of this paper was done during 3-months long period (April-June 2020) in collaboration with Nikoloz Nadirashvili and Creative Georgia, within the framework of the Project - "Designing a Creative Cluster Ecosystem in Georgia" under the support of UNESCO and the European Commission. The research methods used for elaboration of this paper are: desk research of documents and publications, mapping and analysis of diverse cases and targeted in depth interviews with professionals and managers running creative clusters.

scholarly journals The Effect of Aloe vera and Glycerol Addition on Edible Film of Lesser Yam Starch (Dioscorea esculenta L. Burkill)

2020 ◽  
Vol 3 (1) ◽  
pp. 26
Author(s):  
Devi Dwi Siskawardani ◽  
Warkoyo Warkoyo ◽  
Anggit Ayu Pradana Siwi
Keyword(s):  
Tensile Strength ◽  
Food Packaging ◽  
Transmission Rate ◽  
Block Design ◽  
Aloe Vera ◽  
Edible Films ◽  
Thin Layers ◽  
Edible Film ◽  
Two Factors ◽  
Starch Gel

Edible films are thin layers made from hydrocolloids, lipids, and their combinations, functioning as a barrier to mass transfer. The hydrocolloid source that commonly used for the edible film is starch. Lesser yam has the potential to be developed into food packaging products. It has a high starch yield (21.4%). The starch properties, which usually obstruct the edible film production are not resistant to high temperature, it produces a starch suspension with viscosity and ability to form a gel is not uniform, cannot stand in acidic conditions, does not resist stirring, limited solubility in water, and starch gel is easy to syneresis and brittle. This study aimed to investigate the effect of glycerol and Aloe vera concentration on the physical and mechanical edible film. Randomized complete block design (RCBD) factorial with two factors was adopted. The first factor was Aloe vera concentration (0, 1%, 0.2% and 0.3% b / v), and the second factor wasglycerol concentration (17.5, 22.5 and 27.5% v/b). The parameters tested included thickness, tensile strength, elongation, solubility, transparency, and water vapor transmission rate (WVTR). The results showed an interaction between the addition of glycerol and Aloe vera to thickness, tensile strength, solubility, transparency, and WVTR. The best characteristics of edible film were produced by the addition of glycerol 17.5% and Aloe vera0.1% with the thickness (0.11 mm), tensile strength (2.03 MPa), elongation (15.38%), solubility (64.44%), transparency (2.88 mm-1), and WVTR (13.27 g m-2 24 h-1).

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