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In which platorm the creativity should be based on? Ethically, our intention in search-

ing the essence o creativity that will t to Asian societies should be primary aimed to

encourage a richness o diversity o Asian cultures. As shown in nature, diversity gives

strength, and it is vital or sustaining the eco-system o our planet. Tereore, having

prosperous in diversity is the most elegant way to achieve the betterment quality o

lives and sustainability o Asian cultures, o our globe. Certainly, Asia is not monocul-

ture, and it is just being in diversity that makes it is potential and strong. Dealing with

this issue, this paper proposes that we have to go back to our root, to re-discover our

culture and our tradition, and to take lessons rom our ancient wisdom. Accordingly,

the CISM model is introduced as a tool to deal with those aims. It shows how to

transer various traditional knowledge and practices or the uses o our contemporary

lives; how creativity can potentially contribute in this process?

Why Looking Back to Tradition?

Te concept otradition in this paper describes all kinds o old ways and habits, such

as established method, practice, belie and custom that had been usually used or gen-

erations. I also use the word tradition to be associated with oldness, static, past time,

pre-industrial, indigenous, aborigine, and primitive; which a contrast with a word mo-

dernity that expresses dynamic, hi-tech, industrial, newness, present, and progressive.

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Jules Henry (1963)(Culture Against Man)

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Janine M. Benyus (2002), ,

In Culture Against Man Jules Henry (1963) illustrates the essential diff

the primitive and modern worlds. In primitive culture, as a rule, one doe

what is not needed, thus objects are made in the quantity and at time req

contrary, resulted by contemporary dynamics, modern culture lacks o

ing. In Henrys view, the most obvious gap between these two cultures

the primitive culture produces a x bundle o wants that resulting stabilit

culture creates innity o wants that resulting restlessness.

Unsurprisingly, in traditional indigenous knowledge and practices we o

doubtedly harmonious balance between aesthetic and unction, physi

logical purpose, economic and ecological decision, embodying thousan

collective wisdom and practice experience. Michael Howes (1980), a soci

gist, notes that various indigenous knowledge and practices oten have

advantage or sustainable improvements o peoples lie, concerning to thempirical understanding o localized eco-systems.

Some studies have also shown that the majority o indigenous practices

tion and suite with natural law. Cultures that depend directly on hunti

and shing, as Janine M. Benyus (2002) notes, tend to work out codes o

honor both product and source. It is considered strictly taboo, or examp

mals more than what you need, or to waste any part o an animal. In na

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nothing is waste, and thing uses only the energy it needs.

Aborigine people know, nature grows according to very stable laws and patterns, and

nature is always right. oday, we super modern men- in some extent have gone too

ar separated rom nature and its law. As consequences, we oten have to pay it with

degraded environment and other serious problems. According to this issue, this paper

proposes that we need to look back and take the lesson rom the old wisdom that oten

takes nature as their master model. Fortunately, the number o such awareness toward

tradition is growing, and this is likely just the beginning.

he actors why tradition receives many great concerns are varied. First, tradition

has become a tool by many nations to create identity as a counter-culture against the

dominant culture or globalization. As Brynjul Alver (1992) says, Giving tradition a

new lie became a national pursuiteverywhere in local society today there is a strongneed to state ones identity. Next actor is related to a concern o the lost o valuable

knowledge. Most traditional knowledge and practices such as crat- are embodied in

individuals as tacit knowledge. As Peter Dormer (1997) argues, i knowledgeable peo-

ple ail to pass on their tacit knowledge then that knowledge will disappear; to redis-

cover that lost knowledge, will hard and time consuming.

Finally, the strongest actor why worthwhile preserving tradition is that most traditions

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work harmoniously with natural law. Tese characteristics give many tra

tices a great spot both rom environmental and sustainabilitys point o vie

Locality, Diversity, and Creativity

Te majority o traditional knowledge and practices operate usually in l

ment, use local (natural) material, technique, and expert, and serve or lo

ty uses. McDonough and Braungart (2002) say: All sustainability is loca

to be sustainable, human systems and industries should be connected to

and energy fows -with local social, cultural, and economic orces- to l

needs, and tastes, rom the level o molecule to the level o the region itse

Undoubtedly, using local source brings stability. When monetary crisis by long economic crisis in 1997 hit Indonesia and most Southeast Asi

businesses mostly small and medium enterprises- that use local source

enduring to survive, while others that strongly depended on oreign so

raw material, expert, and capital, have largely collapsed.

It is locality too that makes traditional knowledge and practices, by nat

in maintaining diversity. he advantage o being diverse, it makes lie

The strongest actor why worthwhile

preserving tradition is that most tradition

harmoniously with natural law.

These characteristics give many tradition

practices a great spot both rom environ

and sustainabilitys point o view.

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sustainable. McDonough and Braungart (2002) illustrate, that in nature biodiversity

is the most important condition in supporting sustainability o the ecosystem; not

monoculture that results in weakness. Homogeneity makes the ecosystem less stable,

less able to cope with natural catastrophe and disease, less able to stay healthy and to

evolve over time. So, the more diversity, the more productive unctions are perormed.

Accordingly, Hundertwasser, an Austrian painter, architect and ecologist expresses that

the more different things there are, the richer the world. It approaches paradise: many

different things living next to each other. For him, Te earthly paradise we ound will

eventually become hell as the variety o lie shrinks (Rand, 1991)

Tereore, it is incorrect, or instance, to produce one type o product, system, or ide-

ology that should t or all people, cultures, and places; simply because it is against the

natural law. It kills diversity.

How should then creativity work in Asian way? Should it be based on convergence? Or

minimalism as commonly applied in the modern West? Maybe not. One o the unde-

niable Asian ways o creativity probably is that they like to decorate everything. Tis

habit seems not aimed only or demonstrating the aesthetic capacity, but or express-

ing creativity in constructing identity as well; to differentiate one sel with the other,

because in some points they dont like the sameness. Asian people like, by nature, to

show and create diversity.

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In many Asian countries, or instance, people keep showing their talent t

rating public transport acilities. It is quite hard to nd two tricycles (tris

angkots (Indonesian most common mini-bus public transport), or two

jipneys, buses, or boats, which are very identical. Tese vehicles are stan

the manuacture, but once they are launched, the owner will put persona

can be some additions o components, body-modications, or decorati

colors, letters, graphics, or gures. Te result is the diversity, colorul, a

reshaped o tricycles, angkots, jipneys, boats, and buses.

Architecture is another example . In Indonesia, most developers build

ard and similar-mass-abricated thousand o single houses in certain rea

several years inhabited, the real estate usually turns to be a Disney Par

Because each house owner has reshaped the house according to her/his

preerences. Year ater year, the used standard houses are juggled into a with variety o ences, styles, sizes, colors, ornaments, and gardens. Certa

to reshape and decorate thing appears also in many means o Asian cult

the relationship between human and artiacts, such as industrial produ

goods, urniture, and interior elements. Te love or diversity o many

turns the uniormity o industrial products into variety.

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Re-inventing Tradition

Why old tradition is orgotten or let behind? Te most appropriate answ

that it does not t anymore with the changing society o our modern li

nomic growth is a mainstream. Te tter is the better. Te new is increas

and it will replace the old. But does it always work that way? In Te Shoc

David Edgerton (2008) argues that modern time in act has never exist

always jumbled up, in the pre-modern era, the post-modern era, and the

As cases, the production o books continues to increase, even the key nov

o the late twentieth century, the electronic computer, has been around

ades. Every time retro movement appears in many ways: we have witne

o organic pesticide and organic ood, the re-use o natural materials or

replace plastics and styrooam, and the increasing use o bicycle to replace

Obviously, the idea behind retro is not always or ashion, because so

based on new awareness and philosophical thinking, which oten derived

cultural or ecological problems. For example, part o the claim o the

movement is that organic production is less harmul to environment, and

cial to animal and human health.

Retro, or in a more academic term called as re-invention o tradition

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One o the undeniable Asian ways o creativity

probably is that they like to decorate everything.

This habit seems not aimed only or demonstrating

the aesthetic capacity, but or expressing

creativity in constructing identity as well; to

dierentiate one sel with the other

1:(jipney),

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: (material), (technique), (structure)

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tion in the right track, rather than re-inventing it in years later.

Five Fundamental Components for Transforming Tradition

How to transorm tradition? Tere are at least ve signicant componen

that can be transormed into new products, such as art, crat, and design

ponents are divided into two main groups: rst, physical category consis

technique, and structure, and second, immaterial category consists o i

cept.

(1) Material; covers all kinds o raw material that used to construct tradit

In general most traditional materials are classied -but not always- as nat

Tey can be wood, bamboo, clay, stone, rubber, glass or metal. Some m

as natural ber, rice straw, lea, root, rattan, coconut shell, and stone mig

associated with locale. Many o them are quite specic very local- ava

certain area that ound nowhere else. Strangely, various traditional mater

a strong impression to human senses: the smell and the touch eeling o

boo basket oten stay lasting in our memory.

(2) echnique; consists o any kind o traditional technical knowledge, su

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solve a problem by looking back to the past, and taking valuable lessons rom ancient

wisdom. Tis approach is quite similar with the idea oAlternative echnology that

recommends a concept o technology, which is non-polluting, non-exploitive o natural

resources, and suited with local cultures. Alternative technology, as Clarke (1974) says,

Is not to apply the traditional knowledge essentially in a primitive way, thus ignoring

the utility o modern scientic knowledge. In other words, it does not see k to re-apply

the scientic knowledge acquired over the past three centuries but instead to put it to

use in a novel way.

As an example, we re-invented the old traditional way o organic arming ater acing

serious problems using synthetic pesticides. raditionally, agriculture in pre-industrial-

ization used to maintain the plants with organic pesticides. Te method was changed

when synthetic pesticides in the 1940s like DD were widely used. In the 1960s some

studies ounded that the use o synthetic pesticides has caused disorder o ecosystem,

poisoning oods and human health. Aterward, traditional way o organic and biologi-

cal arming has been re-discovered and re-applied with todays knowledge and tools.

Te cost our society has to pay caused by that ailure invention is enormous. Te UN

Environment Programme and WHO estimates that each year, 3 million workers in

agriculture in the developing world experience severe poisoning rom pesticides, and

about 18.000 o whom die. Te lesson we can learn: we better keep transorming tradi-

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tion technique, the way o making or producing thing, process, skill, tools and other

acilities. As a tacit knowledge, traditional technical skill will survive only by keeping the

practice alive. I not handed out to other people, it will disappear as soon as the person

who does the workthe artist or the cratsmandie. Unortunately, the lost o traditional

technical skill oten bring also the related tools to the grave. I the process o making tra-

ditional batik in Java that still drawn by hand were ully vanished, no more canting were

produced and developed (canting is a small brass jug with wooden handle used as a pen

or drawing the abric). I lucky, this canting would end up probably as a tourist git.

raditional tools are special. In one side, particular traditional tools are continuously

developed, improved or substituted by the advanced one. For instance, many electric

powered hand tools have altered cratsmans traditional tools. In other side, various tra-

ditional tools that have very specic unction and had reached their peak o perection

will stay as they were, without any signicant development. raditional woodcarving

chisels are sorts o this category.

(3) Structure; covers the perormance and physical property o the object, such as size,

gestalt, orm and shape. Te shape o traditional objects seems quite oten to become in-

spiration or artists and designers or making new object o art, crat, and design. oday,

ceramic artists continuously produce new teapots that oten inspired rom the old design.

(4) Icon; can be any orm o local images emerged rom nature, ornamen

myth, people, and artiacts. In some point, Buddhist and Hindus temp

noodle and wok seem to be sorts o strong Asian images. In a smaller sca

country, each region, each culture has its own specic images, which ot

icon or identity to distinguish with others. Panda seems to be one o C

while jipney belongs to Manila.

(5) Concept; is a hidden actor that exists beyond mere objects and o

most durable or being extinguished. Tis hidden actor deals mostly wi

can be optimally measured qualitatively, such as local custom, belie, char

ology, and culture. Te role o hidden actor is vital. New system and ne

effectively contribute to sustain societies, only i they can suite with the

norm, and culture. In other words, any new application that operates wit

relation with traditional or local culture will result in unsustainable.

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How Transformation of Tradition Works?

Let take the transormation o bamboo as a simple case. Bamboo is one

tional materials, which cannot be separated rom most Asian cultures. Ce

traditional utensils made o bamboo have vanished rom daily use. Tan

hand o visionary artists and skillul cratsmen various type o old bask

transormed into new shape oten with new unctions. Some new bambo

particular culture signiy the consistency o using traditional methods by

beauty o the handmade. Others have applied new techniques in prod

times combined with high technology processing, which makes them co

contemporary aesthetic. In this case, transorming tradition means to br

with modernity, with new technology and liestyles. It keeps the tradition

During my research I have developed a model or showing how crea

employed in various places o transormation o tradition process (see

model, named as CISM abbreviation rom echnique, Concept, Ico

and Material illustrates how the interconnection between tradition a

producing new products. In this CISM model, tradition and modernity

aphorically as molecules, which consist o ve atoms that represent the

tal components: technique, concept, icon, structure, and material. Tus,

used to differentiate the atoms in both molecules that have similar name

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The model, named as TCISM

abbreviation rom Technique,

Concept, Icon, Structure, and Material

illustrates how the interconnection

between tradition and modernity

producing new products. In this

TCISM model, tradition and modernity

operate metaphorically as molecules,

which consist o fve atoms that

represent the fve undamental

components: technique, concept,

icon, structure, and material.

1.

TCISM;. 5:

(T),(C),(I),(S),(M)

Figure 1

TCISM model; illustrates the interconnection of tradition and modernity. Both tradition and modernity

consist of 5 components: Technique (T), Concept (C), Icon (I), Structure (S), and Material (M).

: Chairin Hayati, Ahadiat Joedawinata

New shapes of bamboo and ceramic objects, inspired from traditional form, for new functions.

Designed by Chairin Hayati and Ahadiat Joedawinata.

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( 1). echnique(), Concept(),

Icon(), Structure(), Material()CISM

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white color, and modernity in black.

Both molecules can move up and down through a conical shaped axel, which repre-

sents the volume o production. Te more up, the lesser the production has, and the

more down, the more volume the production has. As an extreme, the cones peak

points to only one-single, or a ew numbers o items, while the very bottom surace

shows the most quantity number o production. Accordingly, this scheme o the pro-

duction capacity correlates also with the type o the actor who produces the object. For

instances, a ew volume o production suites with independent artist, cratsman, de-

signer, or studio art and crat, while the mass volume o production ts with industrial

like rms.

How to use CISM model? Let start with integrating the molecule o tradition with

the molecule modernity. Imagine that the atoms o two molecules will move reely in

the rotation, stretch and pull each others, to build a new structure. During the process,

they also move up and down in the conical axel nding the right place or most stabil-

ity. Te process completes when both molecules tradition and modernity have disap-

peared, replaced by a new molecule with new atom structure, located in a perect place

o the axel (see gure 2). Tis new molecule refects a new object it can be art, crat,

or design resulted rom the integration o tradition and modernity: a blend o the old

and the new.

CISM model works best or two main unctions. First, it unctions as a

lyzing the content o tradition in some product, and s econdly, it unction

creating a new-traditions based-product.

First Function: Analyzing Existing Product

We can almost take any kind o object or product, then explore it using

to nd out which part o product that contains tradition. Generally, th

o tradition may be refected through the use o traditional material, te

age, and shape, or through particular culture and norm, which are unsee

sophisticated global products, like electronic goods, we may luckily nd

this case, the tradition-ness may be not clearly appear as material or tech

may be hidden somewhere else as immaterial actor.

In Te Fundamental Elements o Japanese Object-Making, Kazuhiko E

argues, though many traditions seem to have disappeared rom Japan, t

tinue something, beyond just materialization. Tey are simplicity, unc

spiritualization that exist in the culture, which become the undament

Japanese object making. Egawa notes,echnical tradition may certainly

rom the surace o Japanese lie, but tradition in the sense o these un

thetic elements still survive in the creative activities o modern Japan

62).

2.

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(M),(S)

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Figure 2

An example of a new condition after the process transformation of trad

The result is a new product that containing combination of the old and n

old function (S), with using new technical processing (T). It is meant to b

manufacture for a mass numbers of production.

:,,,.

: Adhi Nugraha

Container.

Material: coconut shell, pine, rubber, and metal chain.

Designed by Adhi Nugraha

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Kazuhiko Egawa (1966)(Te Fundamental Elements

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Second Function: Producing New Product

By mixing the ve components o tradition with other ve o modernity, we can pro-

duce a rich variation o new products. For instances, we can use traditional material

with applying new technique, or using new material operated by old technique and

tools, or using the combination o old and new materials that inspired by ancient

shape, and processed by new technology. Since there are ten actors that can be used

or constructing a new object, undoubtedly, this approach will achieve in richly prob-

abilities with abundant results.

he ollowing cases show how this CISM model works. Figure 3.1 illustrates how

new objects are built by combining traditional material with new technique and new

unction. Te aim oCoconization project is to re-designed traditional utensils made

o coconut shell, such as cup, bowl, s coop, and other kitchenware. Many o these tradi-

tional products have disappeared rom daily use, replaced by mass industrial products

that usually made o plastics. Coconization gives a traditional material -coconut shell-

a new lie.

Java Cutlery in gure 3.2 shows the next case o such approach where hidden actor

is a center. Tis cutlery set is aimed to symbolize the value, unction and the eating

culture o Indonesia. Its shape and orm language show the important role o the right

3.

Figure 3

Samples of new objects inspired from different aspects of tradition

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hand in society, and show also the unction: a knie is not used in while eating, instead,

people use spoon on the right hand, and ork on the let.

Wok cooking s et (igure 3.3) repres ents o ther approach that inspire d by the image,

shape, and unction o a traditional wok. It uses both traditional and new materials

(wood, bamboo, and bimetal stainless steel-aluminum), and new production tech-

niques. Te set is aimed to serve a typically Asian way o cooking that suits the con-

temporary lie style.

he last example is batik painting. In Indonesia, the number o old way o making

hand drawing- traditional batik has gradually declined, replaced by printing tech-

nique. Various contemporary batik paintings created by artists relect a successul

transormation o traditional material and technique into pieces o art. Tis new use o

batik seems happen also in the ashion world. Hand drawing traditional batik one day

might be vanished, but the skill, the tools continue to live, transormed in new orms

and purposes.

Basically, this CISM model is aimed mainly or creating new products. However

-with some exceptions- it may work also or creating new systems. For instance, the

old system o sharing objects that was oten practiced in primitive societies has recently

been re-applied to modern lie, such as sharing equipments and devices or work, and

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sharing car as an alternative solution o transportation problem. Tis an

o lexible ownership banks on ecological concern in reducing too m

goods: instead o to own, it is better to share products or ser vices.

Conclusion

Nature is the best model. Tings that work in nature have been impro

evolutions in a million o years. o be sustainable, human should lear

work in nature, as practiced by many indigenous societies. As a law, nat

resources and relies on diversity. Te richer locale, the more great diversi

the more strong lie is perormed. Modern society should mirror to vario

knowledge and practices because they habitually suite with natural law.

In constructing the Asian-ness, to be creative means to support Asian

tialities that will enrich the diversity o Asian culture. In other words

rediscover what we have, and to explore and develop wisely our own re

invention and innovation we can creatively do dealing with our potentia

als, our local techniques, and our local knowledge without inconsistency

law? Denitely, some natural materials have been roughly exploited, yet

explored, while various knowledge have been lost or orgotten. Asian so

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not become strangers in their own surroundings, become unamiliar w

sources, their own knowledge, and their own tradition.

o preserve tradition means to continuously develop it! Tis paper prop

model, used as a guide or keeping the tradition up dated, through tr

process o its ve undamental components (echnique, Concept, Icon,

Material) into new objects and systems. As long as some components o

at least one o them- are continuing transormed in the creation o new a

systems, a part o our tradition will be kept alive. It keeps us also goin

track. Tus since we keep transorming our tradition, we probably need

tion ore-inventing tradition that oten very costly and time consuming

Creative innovation based on Asian traditions root is worth-undame

most elegant and natural way, not only or producing unctional prod

vironmental and economic goals, but also or stating artistic expression

Asian identities and cultures, and sustaining Asian societies. Te existen

new products inspired rom Asian traditions is intended to enrich div

might heal the sad eeling caused by uniormity and global sameness

mass-industrialized products. he role o actors rom dierent ields

transorming tradition is vital. Tey contribute to keep various Asian tra

make them available or our contemporary lives as well as or the uture.

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Creative innovation based on Asian traditions root is

worth-undamental; it is the most elegant and natural

way, not only or producing unctional products withenvironmental and economic goals, but also or stating

artistic expression, representing Asian identities and

cultures, and sustaining Asian societies.

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References BAlver, Brynjulf 1992. The Making of Traditions and the Problem of

Revitalization. In Tradition and Modernization, Kvideland, Reimund

(ed.), Turku: Nordic Institute of Folklore.

Benyus, Janine M. 2002, Biomimicry: Innovation Inspired by Nature,

New York: Harper Collins Publishers Inc.

Dormer, Peter 1997. Craft and the Turing Test for Practical

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