Socio-cultural Development of Female Education: Kartini Context for

Female Art Students

Prima Dona Hapsari

, F. A. Wisnu Wirawan

, and Heri Abbiburrahman Hakim

Music Study Program, Faculty of Performing Arts, Institut Seni Indonesia Yogyakarta, Yogyakarta, Indonesia

Communication Science Study Program, Tarakanita School of Communication and Secretarial Studies, Jakarta,

Indonesia

Institut Seni Indonesia Yogyakarta, Yogyakarta, Indonesia

Keywords: Socio-Cultural Development, Female Education, Female Art Students, Kartini’s Feminism

Abstract: This study is aimed at finding the positive movement of feminism by Kartini in influencing the socio-cultural

development for female art students in their art creation, and analyzing its development in education today

compared to those in Kartini’s era. The socio-cultural development in education is assumed to influence the

female education throughout Kartini’s movement and belief. Currently, the existing phenomena in which

millennial generation is very active in responding the updated information technology, influences the female

art students in doing any movement for their art creation. As they are no longer trapped inside the domestic

paradigm in education as being found in Kartini’s era, the progressive development of emancipation can be

seen from any art creation and other art behaviors carried out by female art students. This is a qualitative

research and uses descriptive method by doing the observation and in-depth interview to collect data. The

results of this study reveal that there is an active movement by the female art students in responding Kartini’s

emancipation throughout their art creation and behavior, and current education has shown the socio-cultural

development for millennial generation, particularly for female art students to exist.

1 INTRODUCTION

Looking at the role of female in a patriarchal family

pattern in some parts of Indonesia that places female

as the one who should work for a domestic area

becomes a paradigm that remains rooted in most

societies. In Javanese society, stereotypes of female

can be seen in the expression of swarga nunut neraka

katut, a wife must obey her husband. Moreover, the

statement of kanca wingking which became a popular

term indicating the status of Javanese female for some

decades truly has affected the progressive

development of emancipation in Indonesia.

According to feminists, these cultural barriers arise

because of the cultural heritage of primitive societies

in which men as hunters while female as gatherers. In

terms of the status and stereotypes towards Javanese

women, it is definitively supported by

Kusumohamidjojo (2009: 93) that the status is as a

position in the individual place in society, while the

role is the activity undertaken by the individual to

realize his status. In other words, role is a function to

run a status.

Along with the active movement of women’s

emancipation since the time of Kartini (a prominent

Indonesian female heroine and a pioneer in the area

of education for girls and female's rights) until now,

the paradigm of female in which they are domiciled

under men is no longer applicable, especially with the

social, economic, and cultural changes for placing

female's position is equal to men. Before the women’s

movement, Kartini herself has been set as a

benchmark aspiration for Indonesian women. Kartini

who is acclaimed as the pioneer of the Indonesian

women’s movement and a champion of education, as

well as a national heroine, has actively affected on

what is today as being a kartini. A kartini can mean a

woman in general, but the term more usually means

an exceptional, modern woman, a leader in her field.

This is framed not just as particular women

continuing Kartini's aspirations—but as having

become ‘kartinis’ themselves (Mahy, 2012: 6-7).

It is a qualitative research and the descriptive

method was used by doing the observation and in-

depth interview to twenty informants consisting of

female students of four music study programs at

Hapsari, P., Wirawan, F. and Hakim, H.

Socio-cultural Development of Female Education: Kartini Context for Female Art Students.

DOI: 10.5220/0008563002470254

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 247-254

ISBN: 978-989-758-450-3

247

Faculty of Performing Arts, Institut Seni Indonesia

Yogyakarta for data collection. This study explores

the positive movement of feminism by Kartini in

influencing the socio-cultural development for

female art students in their art creation, and analyzing

its development in education today compared to those

in Kartini’s era. Female art students’ points of views

and experiences enable writers to analyze as well as

to contribute to a better understanding of today’s

female education seen from Kartini’s emancipation

context.

2 DISCUSSION

Today, as the social movement has reached out the

very basic gender issues, women are there, soaring

their existence and potentials as what Kartini’s belief

on emancipation. It is also responded by modern

people who are being more educated and

understanding their roles. In education field,

compared to Kartini’s era in which education was

dominated only for men and noble families, the trend

of female education in Indonesia is more in pursuing

girls and women to close the gender gaps which

existed for some decades. During the millennium era,

female students who are familiar with the updated

technology have more tendency in utilizing the

technology for upgrading their existence and insights.

These phenomena have also a part of sociocultural

development in which the current technology leads

them to show up and fulfil the education need.

2.1 Kartini’s Education Movement

Based on the Oxford dictionary the word

"emancipation" is (1) "the fact that the process is

being set free from legal, social, or political

restrictions; liberation." This reveals a situation

where a person initially finds himself confined or

locked up, in which he is not free to move on what he

wants to do. Even Oxford mentions the next

understanding, which looks more extreme, namely

(2) "The freeing of someone from slavery."

Understanding these words brings another dimension

to the meaning of loose and unrestricted and able to

stand alone. The word 'slave' is very far from an

appreciation for work, life and work. The status of

women and their existence with the life upheaval and

phenomena have indirectly reflected to what Kartini

did for female emancipation, particularly for female

education. With all her strong efforts to break in

Javanese level of socio-cultural found in Javanese

people at that time, Kartini was able to instruct the

simple dominant effect to Javanese female by giving

more freedom to exist and have basic education.

The status of women and their existence with the

life upheaval and phenomena have indirectly

reflected to what Kartini did for female emancipation,

particularly for female education. With all her strong

efforts to break in Javanese level of socio-cultural

found in Javanese people at that time, Kartini was

able to instruct the simple dominant effect to Javanese

female by giving more freedom to exist and have

basic education. Kartini’s friendships and interaction

with the Dutch feminist, Stella Zeehandelaar,

throughout their letters strongly became the valuable

contribution not only to the female education

development in Java but also to the progressive

development of emancipation. Kartini’s letter to

Stella was able to emphasize the importance of

education and emancipation which can be found as

written in two pages of her letter.

Figure 1: Page 4 of Kartini’s Letter on 25 May 1899

(Source: https://diansano.blogspot.com/2016/04/surat-

kartini-kepada-stella-zeehandelaar.html, downloaded on

August 25

, 2018)

Kartini’s relationship with Mrs. Rosa Manuela

Abendanon has contributed to education for bumi

putera (Indonesia people) particularly for Kartini and

her sisters. It is reflected on Kartini’s letter to Mrs.

Rosa Abendanon which had given her a bigger insight

on how she enjoyed education by learning a lot of

science, social and culture with her hobby of reading

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

248

books or newspapers in Dutch. She wrote a lot of

letters to friends in the Netherlands about the

complaints of the fate of Javanese women who could

not receive good education. In addition, she wrote a

letter about the number of women who were married

at a relatively young age. Since then, she was amazed

by the mindset of European women, then she wanted

to promote and fight for the rights and emancipation

of women by setting up schools for women so they

could study and learn. Her noble ideals arose because

she felt sad to see her people were restricted in

freedom of expression, low education, and even many

of them did not attend school

(https://astacala.org/2016/04/aku-ingin-feminisme-

dan-nasionalisme/, accessed on August 25

, 2018).

Furthermore, Kartini’s letter to Mrs. Abendanon

then moved steadily toward a more comprehensive

engagement with both Western and Indonesian

culture, retaining a strongly feminist position but

emphasizing the cultural difference and the dignity

and worth of Javanese culture (Celarent, 2016: 1005).

Figure 2: Page 5 of Kartini’s Letter on 25 May 1899

(Source: https://diansano.blogspot.com/2016/04/surat-

kartini-kepada-stella-zeehandelaar.html, downloaded on

August 25

, 2018)

According to Kuntowijoyo (2006: 47), in each

level of society, education is conducted either

formally throughout educational institutions or

informally throughout means of social

communication. Kartini’s firstly movement in

education has reflected the informal education by

which she delivered her messages to Javanese women

with her private teaching. In the early 20

century,

Kartini demanded and requested to her father for

giving her wider opportunity to get good education, it

could represent the goal of the liberal feminism

movement, namely when she asked her father to be

given the same opportunity as her older brother to

continue her education to a higher level, secondary

school in Kota Semarang, Central Java, and according

to her, from the results of the school's education, even

though she was a woman, "she could become fully

human, without stopping being a full woman"

(Kartini in Rajab 2009: 6).

Meanwhile, women organizations in Indonesia

supported the movement as there was the National

Women’s Congress in 1928 for which it gave

recommendations and articles that were published in

women’s organization’s journals. The important

article on women’s movement was that concerned

with gender equality in education and suffrage, the

rights of equal pay for equal work, child and women

trafficking, marriage law, prostitution and child

marriage. In the late colonial era, it focused more

directly on education, suffrage and marriage law

(Qibtiyah, 2009:175). Since then, female education

becomes one of the crucial issues as it relates to

gender issues in Indonesia.

2.2 Socio-cultural Development of

Education

Pioneered by Kartini for emancipation throughout

education, more heroines took part for promoting

female education, such as Dewi Sartika and Rasuna

Said. As it was very important for them to enhance

the emancipation, therefore they seek to promote and

prosper Indonesian women by organizing special

education and schools for women (Wieringa in

Aliyah, et.al, 2018:148). As a result of a very long

social progression, female education has been viewed

important by understanding the point of United

Nation declaration on education. United Nations

(UN) organizations aim to enforce basic human rights

including education for all. Article 26 (1) of the

Universal Nations Declaration of Human Rights

stated that:

“Everyone has the right to education. Education shall

be free, at least in the elementary and fundamental

stages. Elementary education shall be compulsory.

Technical and professional education shall be made

generally available and higher education shall be

Socio-cultural Development of Female Education: Kartini Context for Female Art Students

249

equally accessible to all on the basis of merit (UN,

1948)”.

It strongly supports the issue of basic education in

Indonesia, particularly for female education. It is also

in line with the need for education that can be a strong

part of culturally world development. Furthermore,

education was also organized to reinforce the

patriarchal relations which existed in both the public

and private spheres of social life (Brown and Lauder,

1991:5).

The impact of Kartini's struggle on sociocultural

development for the millennial generation is now

believed by informants who have different responses.

They argued that there has been a figure who can be

a role model for women in Indonesia to come forward

and bring changes, especially for women themselves.

In addition, more women are challenged to continue

to upgrade their quality by competing to be inspiring

among themselves. Women are considered capable of

doing so because of the potential for women to allow

this to happen. According to Aliyah et al. (2018: 151),

this leads to feminist meaning for the Indonesian

people, namely to seek opportunities for freedom or

women's independence for women. According to an

informant, the feminist movement in Indonesian

history has nothing to do with the treatment bias

towards men because women only want to put

themselves better in this nation. This is also stated by

several informants who argued that from the

emancipation movement by Kartini, there were also

pros and contras, but the positive impact of this was

clearly a significant development, especially the

women's movement in their own fields. This is

obviously a matter of pride. But many of them did not

understand the impact of "women’s emancipation"

because today there are some groups of women who

are too fanatical about feminism which is very

unfortunate to occur in its capacity to support the

women's emancipation movement. In addition, there

were informants who stated that there are also many

millennials who do not fully understand the meaning

of the history of Kartini's struggle for future women,

so that not a few people still have a patriarchal view.

This can be seen from the evidence that many women

have had the opportunity to lead certain regions in

Indonesia, although there are still residents in some

places who refuse female leaders. But this is an

interesting thing when there is another important

phenomenon expressed by the informants, namely

that women get the same opportunity to serve the

nation's advancement. And this can be seen from the

increasing number of women who occupy important

positions in governmental sectors and society.

Furthermore, recently women have begun to be taken

into account in terms of arguing and working by

presenting women as people's representatives in the

House of Representatives who are occupied by

women, so as the case with national political figures

which are represented by women.

Moreover, in the art sector every woman and man

gets the same opportunity in terms of working for the

artworks and exploring their art potentials. It is then

supported by the emergence of female and of cultural

experts who not only have actively proven their

existence with their works, but also have been able to

bring about an important message to the emancipation

of women at national and international levels. In other

words, women are not underestimated like they used

to be.

Another important thing conveyed by the

informants was that Kartini’s struggle had a big

influence in the current millennial era. Millennial

women prioritize education and assume that their

duty is not only to take care of the household but also

to work and have a career. One of the important things

about the impact of female education by Kartini is

from the emerging of sophisticated technological

influences for women which are continuously seen in

the era of millennial generation, namely women are

increasingly free to access and utilize current

technology, information technology, and digital work

for being updated and known. Created technology has

no limit to its usage for women. Nevertheless, it is one

of the effects of Kartini's struggle for women’s

emancipation. Should Kartini not fight for women's

emancipation, it could be happened that the

technology was not accessible to women.

Consequently, women are not able to freely work

with the existing technology.

On the other hand, the one of influences on

Kartini's emancipation in the millennial era is that

many young female activists have encountered

expressing their opinions through various actions.

But from this phenomenon there are also many

women who have less manners as a result of freedom

of expressing their thoughts. From this experience the

meaning of women's emancipation becomes biased as

it should some important consideration that women

must understand. Formal education is considered a

vehicle or ladder that allows women to follow the

flow of modernization and be involved in the

development of science and technology. But the

women who want the change must also be aware that

the emancipation efforts they demand will not leave

behind the various tasks they carry out in the domestic

sphere. In other words, even though they are eager to

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

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and can be active in the public sphere, the domestic

realm will still be their main task (Rajab, 2009: 6).

In the field of education, Kartini's role is evident

from the views of informants where women are

increasingly recognized in the community and can

participate in the world of education and culture.

According to Kartini’s perception on education, a

girl’s right to go to school is the only effective way to

achieve her true emancipation and to deal with the

problem of the oppression of all women. If women

were well educated, not only women themselves but

the entire people would benefit because women were

the mothers and the first educators at home, and

constituted the moral bedrock of society (Stuers in

Qibtiyah, 2009:177). Therefore, it is assumed that

from the education owned by women, there will be

more educated generations with moral values who

will have a strong influence on the social

development of society. Women are better able to get

the opportunity to make their own choices compared

to before, even though today there are still many

parents who still consider the role of girls are not as

significant as the boys’ in society and in higher

education. Dienye (2011: 16) stated education

therefore performs a most significant complex social

function of the control of tools for societal

development.

This development is understood as a good thing

for the socio-cultural development of female

education in Indonesia. Kartini's role admittedly has

a very significant impact on gender equality which

believes that men and women have the same rights in

many ways, and this has already been strengthened.

The existence of women in the midst of society is

increasingly seen, after previously seen only 'curled

up' into pots in the kitchen. Nowadays men and

women are equally mentioned in various aspects, in

terms of education, rights and opinions, profession,

position, etc. Women at the social level are equal to

men in which more and more women can take a

portion (an example of a portion of work) from men.

In the past, young women had to be secluded,

married, and took care of the household because they

had to follow the strict customary law. But nowadays,

women have the same social position as men and

there are laws that guarantee women's freedom. As

women get more access nowadays, its progressive

movement is as seen as the postmodernism

orientation which states that there is a “specificity” of

women's movement. In another word, a woman has

her own self-potential and the position of women in

that society is admitted. As women get more access

nowadays, its progressive movement is as seen as the

postmodernism orientation which states that there is

a “specificity” of women's movement. In another

word, a woman has her own self-potential and the

position of women in that society is admitted. And the

specificity that exists is necessary to be respected and

the women must be given more space to be more

developed, with no harassment, subordinated.

Providing more open spaces is more essential so that

the potential of women can be heard and articulated

as voices and discourses, and even become the

practice of everyday life, which originates from

women themselves, not from the representation of

patriarchal ideology (Rajab, 2009: 11).

2.3 Women’s Emancipation: Education

and the Arts

The amount of art produced by men is indeed more

than that of female artists in the world. In an event on

gender equality in art, Rasmus A. Kristenten said that

"If you see art workers in several museums in the

world from 1990, there are only a few female artists."

(Zunaeva and Cika, 2018). Globally, the percentage

of female art workers is only 10%. This of course can

further spur the women's movement in convincing

themselves to jump in and work in the arts. This is

done to change the opinion that works of art are not

only produced by men but also by women, although

there are still some parts of the area where art workers

are dominated by men.

As a positive impact of the emancipation

movement of Indonesian women, there are many

works of art in Indonesia growing and developing.

We can certainly enjoy the results of these artworks

and feel their presence in various forms. These forms

include works of design, art, drawing, music, dance,

and theater. Winarno exemplified several works of

Indonesian artists, all of whom are women, from

1999-2012 (2015: 5-6). In his research, Winarno

discussed the meaning of visualizing the work of

contemporary female artists with maternal themes.

One of the results of this research suggests that there

is a picture of a woman's figure about courage

(Winarno, 2015: 8). He said that this was a new

development in the world of art. However, the results

of this work with deep meaning have not been able to

change people's thinking in general about women

according to what the artists want to convey.

In the world of cinematography, Indonesia also

knows Djenar Maesa Ayu. As a movie director, the

film, which they say “Mereka Bilang Saya Monyet”

(They Are Said I am Monkey), is sharp enough to

bring meaning to the struggle for women's

emancipation. As stated by Dayanti, this film

provides a space for real-life reality about violence

Socio-cultural Development of Female Education: Kartini Context for Female Art Students

251

against women. Not only that this film reveals a form

of women's resistance to the form of violence as a

result of patriarchal lifestyles in society (2011: 103).

This film is quite frontal telling all forms of violence

that occur in women. Not only Djenar, there are still

more female filmmakers in Indonesia who prove their

existence in art, for example Mira Lesmana, Nia

Dinata, Lola Amaria, Upi Avianto, and a number of

other popular names. It proves that female art workers

are able to express their creativity and abilities in art.

They have raised topics that of course they intend to

say, whatever, even if things related to criticism and

protest over what happened to their people.

The informants greatly appreciate the

emancipation that is driven by Kartini. Kartini

becomes the forerunner of women's struggle in any

fields so that women become 'equal' to men. Of the

twenty female informants, namely students from the

Music Department, the Faculty of Performing Arts,

Institut Seni Indonesia Yogyakarta, it is stated that

women's emancipation can now be seen in various

fields, without exception. They stated that currently

they have the same rights in obtaining the highest

education, creativity, and producing works. There are

even two informants who said that the emancipation

brings up women to characters of having brain,

beauty, and behaviour.

In connection with the wide access for women, as

many as five informants said that there are several

jobs that are generally carried out by men, which can

also be done by women. This also leads to a word

'competition' between women and men. Gender is no

longer the only important requirement for a job. If he

is considered capable, anyone can occupy that

position. Moreover, women are also able to lead small

and large groups. Taking from the Women World

Leaders book, from 1945 to 2009, Jalalzai and Krook

said there are 71 lists of national women leaders who

had led their countries in Asia, Africa, Europe, Latin

America and Oceania. These national leaders have

not included those who become as presidents and vice

presidents, and parliamentary leaders (2010: 7-10).

The appreciation of informants on the movement

of women's emancipation in the field of art has also

already proven by one example in music. An

informant stated that the appreciation of female art

workers in Indonesia was clearly seen when there was

a music concert for the three famous songwriters in

Indonesia. This big event was successfully facilitated

by Erwin Gutawa, one of the great composers in

Indonesia. The appreciation concert was dedicated to

Melly Goeslaw, Dewiq, and Dewi 'Dee' Lestari as

Indonesian composers. This ‘Salute Concert’ proved

the existing great names and creativity of female

composers, which in fact they are the art workers in

the field of music.

2.4 Art Education for Millennial

Female Art Students

According to Wilkinson (2011: 35), today’s

generation of traditional-age college students,

referred to as the Millennial generation (1980-

present), is very different from past generations.

These individuals (hereafter referred to as

“Millennials”) have life experiences and values

unlike individuals from previous generations. The

Millenials are somewhat accommodated by modern

technology for today the internet and digital

technology are seemingly bringing up the Millenials

to more technological active users. It is also accessed

by female art students who are also in actively contact

with updated technology. As Howe mentioned in

Wilkinson (2011: 35) the characteristics of the

Millennial generation have been organized under

seven categories, namely Technology-savvy,

Conventional, Special, Sheltered, Confident,

Achieving, Pressured, and Team-Oriented, these are

also the essential points to understand any tendency

on what female art students have been through for

their socio-cultural development. The basic

understanding of female education proposed by

Kartini become the intersection for millennial female

art students to be more adaptive in utilizing modern

technology.

In expressing artistic works today, a few

millennial female students have been able to prove

themselves for any opportunities to speak out their

interests and existence more artfully. In art colleges,

art education accommodates them with self-

competence. Based on the European Commission,

there are several competencies that must be possessed

by art students, namely interpersonal competence,

cross-cultural understanding and social as well as

civil competency, and cultural competency. This is

supported by Halstead in Butova et al (2015: 214)

who stated that the competencies are the results of

education and thus shall be formulated with every

student, penetrate into all subjects, saturate all levels

of education and developed at a high level. Herewith

key competencies are not a separate part of the

academic schedule but shall be integrated into the

content thereof. From some of these competencies,

the social competency plays an important role in

increasing self-ability which is integrated in the

strength of character. It ensures survival of a human

in new social and economic environment, success of

his/her professional activity, diversifies possibilities

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

252

for spiritual and material needs development, and

forms young people’s personal responsibility for own

well-being and well-being of the society (Bedenko in

Butova et.al., 2015:215). He said that the creative

mind is formed in acts of the art on the basis of

perceiving imitation of artistic language, artistic

culture as well as all other valuable and conceptual

(ethical, political, religious, etc.) components of the

worldview by psychological mechanisms.

Millennial female students do not have to be left

behind from male students in accessing education and

work. Several classes in the Music Department have

provided a place and opportunity for students to set

up active learning where this is in accordance with the

basic nature of millennials to be able to actively

access technology. Lecturers play the important role

for female students to develop their potential skills by

accessing technology to work. Millennials reared on

rapidly evolving technologies demonstrate decreased

tolerance for lecture-style dissemination of course

information. Therefore, incorporation of active

learning strategies into the classroom is critical in

order to reach millennial students (Prensky in Roehl,

et.al., 2013: 44). It can lead to more active and

meaningful learning experiences for female students

as they are freely their existence in class as well as in

real art world in this digital era.

Based on the class observation done by the

researchers, millennial female students at Institut Seni

Indonesia Yogyakarta have actively utilized

technology in learning activities as well as creating

their works of art. Meanwhile, they also rely on the

digital application as media to develop and express

their art competency, such as i-tunes, google,

YouTube, and so on. Besides having these media to

share their actual works of art, the students apply

some online sources to support independent learning

activities. The existence of Youtube also provides a

more tangible experience for female art students in

which they can obtain visualization that is

significantly related to playing musical instruments,

managing a performance or art exhibition. The

tendency to use internet products in supporting the

independent learning process needs to be supported

by the introduction of databases and portals of

scientific information sources. Therefore, the female

art students are also challenged by the necessary

needs to the enhancement of technology as a part of

their socio-cultural development as well as to the

development of digital world for their own self-

development.

3 CONCLUSIONS

The women’s emancipation expands in various fields

without exception, and is as the fruit of Kartini's

movement in Indonesia. Struggling throughout the

very basic understanding on women’s emancipation

produces excellent results for the movement of any

creativity and art expression for women, whoever it

is. In supporting this movement, art education for

female art students is expected to be able to show the

socio-cultural development for female education in

Indonesia in which now women equal to men. So that

art education for female students in the millennial era

should be much better compared to the era when

Kartini encountered the educational issues. Kartini’s

influences on women’s emancipation are very

meaningful for the movement of socio-cultural

development, particularly for female art students who

receive more access on developing themselves easily.

It is understood that the enhancement of modern

technology and the characteristics of Milleanials are

in line with the existence of female art students

nowadays to be a part of socio-cultural development.

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