INTERNATIONAL SEMINAR

Reformulating the Paradigm of Technical and Vocational Education

CREATIVITY IN DESIGN MOTIF BUGIS SILK FASHION THROUGH LOCAL LEARNING WISDOM
Andi Faridawati Makassar State University
Abstract: Bird cage theory (theory of Birdcage), which is opening up to globalization but at the same time also trying to filter out the negative effects of globalization. In this theory, ideology and social norms into the source of the basis for curriculum design and all educational activities with local focus in global use of knowledge. And the estuary of local wisdom in schools should be transformed into a kind of virtue (virtue) in the whole process of learning on campus, specifically the Department PKK Clothing System of FT UNM. Learning design clothing that will come to be pursued so that there is a balance and harmony between the knowledge of the design itself with the planting of indigenous attitudes, and values of existing local knowledge and develop in society. Therefore, the socio-cultural environment students need to get serious attention in developing the Bugisness silk motifs to be applied to clothing. Therefore, within the campus Department of PKK Tata Clothing studied the science of clothing that is useful for the survival of local culture. Thus, learning basic fashion with local knowledge will really benefit the students themselves and the local community who give of their cultural pride. Keywords: Motif Silk Bugis, Fashion Design, Local Wisdom Learning

Introduction Baedowi Ahmad (2011) explains that local knowledge really leaves a lot of track record of exemplary life and wisdom. In the midst of political leaders, officials, practitioners, and observers are talking about education educational norms, but their behavior is contrary to reality in general. They talk but minus exemplary education. It is clear that they are the hypocrites who hide behind the education policy but never learned from a genuine example of the nation's indigenous culture. The importance of local wisdom puts in the structure of our curriculum is broad and sustained Baedowi said Ahmad (2011) that part of efforts to improve our national security as a nation. Nusantara cultural plural and dynamic is a source of local knowledge will not die, because it is a fact of life (living reality) that can not be avoided. Education, we must convince himself that this diversity should dipersandingkan, not disputed. Because diversity is a manifestation of ideas and values that strengthen each other and to increase knowledge in mutual appreciation. Thus pluralism should be the subject of comparisons to find the equation view of life related to the value of virtue and wisdom (virtue and wisdom). Dicussion Study there are three topics to discuss dam Bugis silk motif creativity of fashion design through the study of local wisdom: first, learning local knowledge; secondly, the existence of Bugis silk motif typical of South Sulawesi; third, to preserve the Bugis silk motif on fashion design with basic local wisdom, for details then follow the following discussion. Learning Local Knowledge Baedowi Ahmad (2011) describes the wisdom (wisdom) and local are two words that actually has its own meaning. Wisdom is the adjective attached to a person's character, which means the wise and prudent. While the local is a tampat or local conditions. But when combined into a single, local wisdom, then the meaning is very broad, especially regarding matters related to 1996

INTERNATIONAL SEMINAR
Reformulating the Paradigm of Technical and Vocational Education

the values, customs, traditions, both the culture and religion, the rules and agreements Tempatan (locality). Therefore, local knowledge can also be interpreted as local ideas that are thoughtful, full of wisdom, and well worth the embedded and followed by members of the community. So far, the interpretation of local wisdom in our education is lacking. Indeed, there are terms of local content in the structure of our educational curriculum, but pemaknaannya very formal at all because the local content of less mengeksporasi local wisdom. Only limited local content and local languages are taught the dance as it is. But, forgetting how local knowledge should be included in the critical pedagogical and continuous. Challenges of our education today is very complex. Especially if it is associated with global advances in science and technology, local values, such as lost and abandoned. Because it is an exploration of the wealth of the nation's noble culture is necessary to be done, while also trying to criticize the existence associated with the inevitability of cultural change. Space exploration and assessment of local knowledge into its own demands for the development of educational institutions and businesses exploring the nation's cultural treasures in general. Baedowi Ahmad (2011) cites Ayatrohadi (1986) that when analyzed from an anthropological framework of logic, then our education policies that undervalue local knowledge is really a structured effort in removing cultural identity, an identity / personality of the national culture which led to a nation capable of absorbing and processed according to the nature of foreign cultures and their own abilities. Though true wealth of education must adopt the local culture in a planned and continuous process of education has the ability to stand up to foreign cultures, to accommodate the elements of foreign cultures wisely, the ability to integrate elements of foreign culture into the native culture, and provide direction on the development of national culture. Furthermore, Baedowi Ahmad, (2011) confirms that the globalization of educational theories and models proposed in Yin Cheong Cheng Fostering Local Knowledge and Wisdom in globalized Education: Multiple Theories (2002), there are at least 6 (six) model theory of globalization of education, namely (1 ) theory of tree, (2) theory of crystal, (3) theory of Birdcage (4) the theory of DNA, (5) theory of fungus, and (6) theory of amoeba. Each of these theories assume about the importance of considering local knowledge (local wisdom) before a policy of enforced education curriculum. Identification of these theories in local structures / areas should be considered in developing a model of education with international standards though. One of the highlights of the above approach, for example, a bird cage theory (theory of Birdcage), which is opening up to globalization but at the same time also trying to filter out the negative effects of globalization. In this theory, ideology and social norms into the source of the basis for curriculum design and all educational activities with local focus in global use of knowledge. And the estuary of local wisdom in schools should be transformed into a kind of virtue (virtue) in the entire learning process at school. So that virtue can grow and develop in a child, Susan M. Drake and Rebecca C. Burns in meeting standards through integrated curriculum (2004), gives advice about the importance pancapaian third aspect of the teaching-learning process, which leads in order to (be / ing). If a teacher is able to make a bridge between the know-do-be through a series of habituation and the example of sowing and lifted from the wisdom of workshops, the virtue (virtue) will grow accordingly. The Existence of Bugis Silk Motif Typical of South Sulawesi Icapila Daeng Kana (2011) describes a typical silk woven fabric of South Sulawesi or commonly known as LIPA 'Sa'be. Woven silk fabric is typical of South Sulawesi or Lipa 'Sa'be very different from the existing fabric of silk weaving in other parts of Indonesia, Bugis silk fabrics 1997

INTERNATIONAL SEMINAR
Reformulating the Paradigm of Technical and Vocational Education

have bright colors and horizontal motif. Besides being used as a right glove, woven silk is also commonly used to outfit the brackets is commonly called the Bodo-shirt, kebaya fabrics, shirts for men as well as fashionable skirt. Silk woven fabric is usually widely available in stores or souvenir shops in the city of silk Daeng Makassar. According Icapila Daeng Kana (2011) revealed that the ancestral beliefs bugis that skill to make silk fabric are inspired from a piece of cloth gloves left by the gods on the outskirts of Tempe lake. Of the villages located on the edge of the lake tempe woven silk that is typical of South Sulawesi is coming from. No different from other traditional fabrics, motifs depicted in Silungkang woven fabric also has a philosophy. Various motif fabric of origin displayed in West Sumatra is famous enough shoots ridge. Similarly Motif Bugis Sengkang Silk (2010) one of the motives are quite famous is The top ridge. Ridge itself is a term for the plant shoots. Bamboo plants are plants that as a child always bring value to life. As a child, bamboo shoots can be used as a food ingredient. Once the bamboo shoots grow, the benefits can still be felt, that as a building material. Therefore, the ridge tops are motives that are expected to always bring value to its users. Gloria Natalia (2011) describes the Sengkang Bugis silk weaving have various motifs typical Bugis Makassar with bright colors. This heritage has been developing to Malaysia and Singapore. Of the 30 hands of artisans, a dash of silk weaving business can reap a turnover of up to Rp 200 million per month. It is also stressed by Rabihatun Idris, et al (2010) that is based on the narrative of the weavers in Wajo that is waving usual pattern is as follows: first, called 'balo datu' is exemplary of the weave pattern used by the datu (king), so named style (balo) datu. Livery is the ball called a 'pattern of the ball' because the ball was again popular in Sengkang area. Second, the feature of tappere sule or woven mats are exemplary of the intersection of business, so he called sule tappere. Weaving technique used is the same technique with pattern tile surfaces, done by way of slipping on the warp threads of the comb and the warp threads are raised resulting in spaces that could include weft threads are rolled on a pair of binoculars. Thirdly, There is also a feature teens, teens called because of its flashy style and more than three colors. Fourth, sophisticated feature of botting, which he called sophisticated botting because there are two forms of mutual-paired or paired fitted as bride. Fifth, Flowers loppo, meaning that a large floral as a vocal point in the structuring style gloves. Sixth, Cobo or Coppo ball (Laja override the roof of the house), these patterns form a triangular shape has been varied with the logo, pattern or style is called Beso-Bulo Bulo bebbe, characterized by tissue engineering. It can be concluded that the pattern is the pattern found in several ways, among others: (1) Looking at the direct instance of the glove market, the official diacara marriage. (2) Borrowing sarong family or neighbors. (3) Buyer brings their own style or balo Lipa. (4) The remains of clipping glove or rag. (5) Make your own by drawing a pattern on the paper pattern to the source of the idea of the sheath, as seen from the wedding or from the market or store. However, of the many shades that have been made by the weavers of this when these weavers have traced it as the creator of a style that is engineered from the original pattern, they learn and replicate the original pattern as the basic pattern and then make a new design. Meanwhile, Nurnaga Nohong (2007) explain that LIPA tau Riolo means sarong worn by older people and motives reflect its own culture. Pattern or motif is an element of lines, shapes, colors, based on design principles of proportion, balance, repetition, contrast, harmony and unity, or unity. Traditional woven motifs or patterns are: a small box (balo renni), the box width (balo lebba), shoots rebbung, curak bombang. Once upon a time there called Lipa garusu. Ancient times only kings who use woven silk (LIPA sabbe), while ordinary people use woven fabrics of cotton 1998

INTERNATIONAL SEMINAR
Reformulating the Paradigm of Technical and Vocational Education

(LIPA wennang) balo renni along with the clothes worn by women bodo. Balo lebba used together with the jacket closed by men. Weaving cotton yarn and silk yarn is made by our ancestors since time immemorial is a customary tradition started in his name weaving Gedongan Tosora. Tosora eternity as the capital of the kingdom Wajo. First woven silk worn by the kings of the wedding customs of the kings son, silk sarongs used as patenre there, as a binding agreement in deciding the marriage covenant royal children. Around the year 1957 looms were introduced into use as well ATBM samarinda thread, yarn other than cotton, and silk thread. The results of yarn woven sarongs called samantha samantha. In the 70s began weaving patterns varied by known techniques or techniques bebbe Beso. 85an-87an year began to be made of woven ATBM to feed more than 1 meter wide over the 80-107 centimeters, which is usually only half a meter wide woven 50-57 centimeters, when using the woven fabric width limited Gedongan half a meter long (45-57 cm ). According to interviews with Samad (June 30, 2009) head of industrial district. Wajo presented by Rabihatun (2010) that there are 10 basic patterns or motifs woven sheath that is recognized as an 'asset Wajo government' is balo renni, holes, shoots rebbung, cecca pao, fur alunna Tempe, mariang, flowers canggillung, bombang, override Laja, Cobo. Balo Cobo stands Coppo roof which means the ball is triangular, Cobo is over all three terms are shorter, while the triangles bombang balo longer and wider. Cobo is matching the Laja override the front of the roof forms a triangle is shorter, all of these patterns obtained from tissue engineering or beso. Patterns were obtained with the technique of weaving there are two kinds of techniques 'surface' and 'structure'. Sobbi or bali style are the patterns of surface and Beso, known as tissue engineering is a feature of the structure. Surface pattern is obtained from the beak variation technique on the comb and the warp threads are woven to produce a thick surface obtained from the variation of cross-like cross twill, and satin. Whereas the structure is a smooth crossover from the warp and woof. It can be concluded that there are two ways to get this pattern is: first the variation of the warp threads crossing techniques and feed with a surface technique and engineering structures; second is a variation of dyeing. Obtained by dyeing yarn and dyed with a full wave variations. Copyright The style is traced ada10 Bugis weave pattern or basic motif woven sarongs recognized as 'local government asset Wajo' balo renni ie, holes, shoots rebbung, cecca pao, fur alunna Tempe, mariang, flowers canggillung, bombang, override Laja, Cobo . However, this pattern is unknown tenth the original creator of the individual or individuals as described by Andi Makkasau. Cooperative and head of the Office of Industry and Trade Wajo that the creator of the first to create a pattern or motif for example gloves woven balo cobbo it difficult to recognize, because usually many who claim to be creators, not just one person but more than one person even multi double meaning creators. Little different from the pattern is transformed initially. While the 'one China' brand creation, not the motive, the motive balo renni example, sulapa eppa recognized as the original style of the West Sulawesi Regional Mandar, tretapi traced its history when it turns out that the motives of those who bring to the local Bugis Mandar. To Preserve The Bugis Silk Motif on Fashion Design With Basic Local Wisdom Learning design clothing that will come to be pursued so that there is a balance and harmony between the knowledge of the design itself with the planting of indigenous attitudes, and values of existing local knowledge and develop in society. Therefore, the socio-cultural environment students need to get serious attention in developing the Bugis silk motifs to be applied to clothing. 1999

INTERNATIONAL SEMINAR
Reformulating the Paradigm of Technical and Vocational Education

Therefore, within the campus Department of PKK Tata Clothing studied the science of clothing that is useful for the survival of local culture. Thus, learning basic fashion with local knowledge will really benefit the students themselves and the local community who give of their cultural pride. Ernawati (2008) describes the making cloth so that: the first fashion design fashion itself determine. The design can be designed alone or with a pick or choose a design from a magazine. As a fashion stylist or manager must be able to understand or read fashion design itself, it is necessary for the basic knowledge and listening exercises and constructing models correspond with pattern design. The problem that often occurs in the field is not exactly the result expected by design clothing. This is not true because I modify the basic pattern in accordance with the design. Technical error will result in changing patterns of clothing does not fit with the design, the result could be worse and also could be better, but that obviously was not in accordance with the request, which often make the consumer feel disappointed. For let it be understood first analysis of the design and construction of patterns and can recognize the characteristics of the design If the observation of the symptoms or characteristics of the design was then found work patterns: first, the symptoms of perspective, the design is in the form of sketches or photographs, there is a straight forward, sideways style or attitude with the attitude back to the lens, with a design style no clothing can be seen clearly at the time and sometimes dubious, especially when turning left or right, if the design such as this if the note is the left or right is not the same, which is close to the eye is greater than that is located some distance away, the more much smaller distance away. This is due to symptoms of perspective in the eyes, whereas if you look straight ahead to the left and right alike. So in analyzing models of the things mentioned above should be noted that not one in understanding the design. Second, the silhouette of the clothes line outside. By seeing and observing the silhouette of fashion we can assess and determine the form of clothing material itself. Silhouette of a tense and fluffy with a straight-line side, indicating the material is thick and stiff, when the curved sides or bottom of the dress or skirt a bit bumpy so the materials used are soft. Dangle down silhouette that indicate the material is soft but can also be seen that the direction of the yarn and when more undulating extends down means the yarn diagonal edges and so on. Third, the techniques of fashion. Completion of a fashion technique greatly determine the quality of the clothing itself, the error in analyzing the design will be a technical error in its completion. As it is with a bag valve design, then created a false valve (without pockets), seen from the same but the quality of the clothing itself will go down than necessary. Fourth, the color and pattern material. Design drawings in fashion magazines do not always wear colors so enthusiast mode to assess the color and pattern for a design. Should we seek a design that is suitable for materials that we purchased. For example we vibrant fashion design combined with a soft color that is more harmonious with the style and color is striking. Fifth, the special characteristics of the clothing can be observed to determine the correct design because it looks exactly the same or similar but different construction, such as the design of a total look of the silhouette seen or seen the design of the clothing of decorative elements. So, in summary is how to design a total based on the application of resources to Bugis motif idea is applied to the character of the local culture fashion design. Will be creativitied fashion design to include the design structure, decorative design and functional design that uses a source of ideas Bugis silk motif. Application Bugis silk motif is one attempt to open up to globalization but at the same time also trying to filter out negative influences of globalization. In this theory, ideology and social norms into the source of the basis for curriculum design and all educational activities with local focus in global use of knowledge. And the estuary of local wisdom in schools 2000

INTERNATIONAL SEMINAR
Reformulating the Paradigm of Technical and Vocational Education

should be transformed into a kind of virtue (virtue) in the whole process of learning on campus, specifically the Department PKK Tata Clothing FT UNM. Conclusion Learning design clothing that will come to be pursued so that there is a balance and harmony between the knowledge that his own design with the planting of indigenous attitudes, and values of existing local knowledge and develop in society. Therefore, the socio-cultural environment students need to get serious attention in developing the Bugis silk motifs to be applied to clothing. Therefore, within the campus Department of PKK Tata Clothing studied the science of clothing that is useful for the survival of local culture. Thus, learning basic fashion with local knowledge will really benefit the students themselves and the local community who give of their cultural pride. Making a total of fashion design is based on the application of resources to Bugis motif idea is applied to the character of the local culture fashion design. Dikreasikan fashion design to include the design strutur, decorative design and functional design that uses a source of ideas Bugis silk motif. Penerapa Bugis silk motif is one attempt to open up to globalization but at the same time also trying to filter out negative influences of globalization. In this theory, ideology and social norms into the source of the basis for curriculum design and all educational activities with local focus in global use of knowledge. And the estuary of local wisdom in schools should be transformed into a kind of virtue (virtue) in the whole process of learning on campus, specifically the Department PKK Tata Clothing FT UNM. References Ahmad Baedowi. 2011. Kearifan Lokal Pendidikan . Jakarta: Direktur Pendidikan Yayasan Sukma Ernawati, 2008, Tata Busana Jilid 3, DitSMK. Gloria Natalia, 2011, Peluang Bisnis Tenun Sutera Sengkang. Tenun Sengkang Icapila Daeng Kana. 2011. Lipa Sabe Budaya Nenek Moyang Bugis Makassar. Makassar: lobelobenamakassar.blogspot.com Motif Sutra Sengkang. 2010. kainindonesia.com/tag/motif-sutra-sengkang Nurnaga Nohong. 2007. Motif Tradisional Kain Sutra yang hampir dalam menghadapi kemajuan ilmu pengetahuan dan teknologi di Sulawesi Selatan. Makassar: PKK FT UNM Rabihatun Idris, Suraidah Hading, dan Hasnawi Haris. 2010. Perpaduan tenunan tradisional Bugis dan Malaysia. Makassar: Lemlit UNM

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