What do we imagine when hearing to the word sacred/keramat? especially when the word is attached to the area we live in, in Jatiwangi. The word Sacred/Keramat is originally from Arabic ‘Karomah’, which means respect / dignify, is used as a way to thinking the area that becomes the location of artistic experimentation on the Jatiwangi cultural landscape. An area that is growing into an industrial city, becoming urban, becomes crowded, but at the same time, it is the sacred Jatiwangi.
Hamparan Keramat invites 2 Southeast Asian artists and 2 Indonesian artists who will carry out artistic research on land development and cultural issues and collaborate with formal government institutions and non-formal institutions in the Jatiwangi region. To be able to activate each other and open to various kinds of collaboration is a method of engaging in regional development.
CONCLUSION AND HOMEWORK
There are several notes, first, related to the concept of mimicry for the National Land Agency which was the premise of the BKP from the start. How this institution, which is intended to be able to co-exist with what is done by the National Land Agency, can be recognized by the government community. Through the Keramat Hamparan residency project and the ‘Land Culture in Spatial Planning’ Seminar, the BKP conducted truly new experiments. If previously, what was done was artistic experimentation with the community of citizens, so in the two projects, the BKP wanted to take part in the government community. Then the government community perceived it as work they recognized because it is used the same language and approach.
In the Hamparan Keramat residency, through the KKK, for example, BKP can establish deeper relations with the government so that it can move further to carry out artistic work that coexist directly with government work. The oppurtunity to collaborate with the Regional Development Planning Agency to design a dialogue forum involving a vaiety of subjects in Majalengka became a tactical step to incorporate citizen ideas into the regional planning scheme.
Secondly, what was presented by the group of invited artist through the exhibition became the beginning of a long work process that must be carried out by the Land Affair Study Agency as an institution. The rrsults of the research and findings data determine the direction of the BKP’s work in the future. What was produced by the KKK and live.make.share, must be escorted to produce a legitimate RDTR. Land Affair Study Agency and Bappelitbangda, at this stage, become partners in the preparation of RDRT. Not to forget also what was produced by Arisan Tenggara and Rempah Embassy. What kind of strategy or approach can be taken to communicate these findings into spatial work by the government.
Third, the achievement of the seminar. The seminar model initiated by citizens by bringing together the ranks of government to discuss ideas initiated by citizens is an achievement in itself. Even so, we realize that the seminar which was intended to ‘entrust’ the idea to the government and then synergize it, must be constrained by the seminar model in the form of special panels where the implementation time was separated. The seminar was intended to achieve a holistic understanding of various aspects of the terracotta region so that a synergy between the departments in the government was achieved, not maximized. The reason is that such panel models separate each other, the speakers and participants not presence in the entire panel.
Even so, shortly after the forum initiated by the KKK and the seminar involving the Head of the Regional Development Planning Agency, on July 3, 2019, the Regional Development Planning Agency invited the Jatiwangi Art Factory to finalize the concept of the terracotta region. The meeting produced concrete results, namely the inclusion of the Terracotta City idea into the RTRW (Regional Spatial Plan) document of the Regency. Majalengka by Bappelitbangda, as it is called; Jatiwangi Terracotta Area.