“Segara Garam” and “Tasbih Pesisir”: Representing Indonesian maritime through Artworks

Abstract “Segara Garam” (Sea Salts) and “Tasbih Pesisir” (Coastal Prayers) are two artworks in the form of audio-visuals representing the lives of coastal communities in Indonesia. The two works were created based on art-based research which was conducted by the authors, focusing on the appreciation of maritime culture. These two artworks were interpreted by 24 respondents through focus group discussion (FGD), in terms of the aesthetic characteristics of maritime art. The FGD was conducted online with three groups of participants appreciating and interpreting the audio-visual performances. The 24 participants were drawn from three groups and invited to three separate FGDs. The first FGD involved government representatives and academics; the second involved communities and artists; and the third involved master’s students specializing in the arts. Stuart Hall’s idea of representation was used to compare participants’ perceptions and interpretations of maritime arts. Signs and symbols represented in maritime art work construct appreciators by capturing issues and identities of maritime culture. The basis for positioning maritime art is the local wisdom, which was incorporated as artistic elements in the works “Segara Garam” and “Tasbih Pesisir.” Despite their diverse socio-cultural backgrounds, the participants display expressive responses to marine-related idioms as well as sensitivity to creative and aesthetic characteristics as well as the meaning of the idiom. The participants described coastal community life as destitute, difficult, and unequal.


Introduction
This study reveals the dialectic relationships between representation and appreciation of maritime art.Through the experience of interacting with objects of appreciation and other people, the act of appreciation contributes to the development of sensitivity and caring (Heriyawati & Wita, 2022).Appreciation of artworks can be viewed from two perspectives: first, appreciation of works of art and their creators in the form of assessment and criticism leading to increased creativity and the producing of innovative artworks; and second, participants themselves are educative in the process of giving appreciation, attention, and participation (Kieran, 2012).Appreciation, in both circumstances, considerably increases awareness of artistic values and knowledge of creative aesthetics (Whiting, 2021).
Studies on appreciation are fairly diverse, such as Whiting's (2021) study on appreciation using the logic of philosophical thought.Whiting argues that adoration as a personal feeling cannot be considered an act of appreciation because appreciation as an act requires mental and physical training.This process produces an emotional response of appreciation which is both ethical and aesthetic in character.This is in line with Kieran's (2010) study stating that appreciation should be encouraged in cognitive-affective perceptual capacities.In his research, he observes that appreciation is enjoyable or causes pleasure.In the opinion of contemporary philosophical aesthetics, deeper appreciation places judgment at the core of appreciative policy.Stopel (2020) frames interpretation from the perspective of art analytic philosophy as deep and superficial interpretation.Appreciation which is grounded in subjective experience through spontaneous ways, however less structured to be labeled aesthetics in a philosophical framework which places more emphasis on aesthetics.Surface interpretation greatly influences deep understanding.The precision of surface interpretation is necessary for deep interpretation and is dependent upon it.The historical background, semantic content, and representational content of material that is considered to be an artistic work are all distinct.Understanding the conceptual relationship between appreciation, interpretation, perception, and representation in the context of works of art is possible through the study of appreciation.However, it is not yet relevant when applied to the understanding of maritime art.
Several studies have demonstrated that meaning may be faithfully expressed not only orally but also visually and artistically.Early in the development of culture, representation shapes cultural meaning (Du Gay et al., 1997, p. 5).Making sense through language and signs is the process of representation.How products are manufactured is described in a representational strategy.1) The process of transferring meaning from something already understood to something that is unknown, also referred to as "meaning chains"; 2) The use of similar and dissimilar words in semantic contexts; 3) The use of alternative strategies for positing or "meeting" the meaning; and 4) The specific methods for articulating meaning through certain themes in the cultural context (Du Gay et al., 1997, pp. 24-25).One of the media used to represent thoughts, ideas, and feelings in a society is language.The method by which meaning is formed therefore revolves around representation through language (Hall, 1997, p. 1).A "representational system" is made up of the components that stand in for what the speaker intends to convey.The language materials that are not what they are but have functions and discourse are sound, words, movement, facial expressions, colors, shapes, images, and digital (Hall, 1997-4).Through a symbolic system that includes content, format, and even delivery strategies, discourse is socially produced.Connecting participant perceptions and interpretations of maritime art is the idea of representation.As a symbolic act which provides each other meaning and appreciation.
The growing importance of visual perception in Tourism Destination Image (TDI) motivates Xu et al. (2022) to investigate how circle of representation theory affects visual representations.In the Web 2.0 era, TDI sources are not restricted to traditional marketing techniques, but User Generated Content (UGC) containing texts and photos of tourists has become the primary source of marketing.They began their research by identifying the similarities and differences between the attribute dimensions of the projected image and the perceived image, followed by identifying these changes in the circle of representation in the Web 2.0 era, and finally by exploring arguments related to these changes.The mix method approach is utilized to investigate the mechanism of TDI's visual representation by combining photographs from the internet with interview data.The examination is conducted on both the content and thematic levels.The visual approach is a strategy using instruments and experiments to investigate individual human perspectives and how these perspectives are formed.The interview methodology was created based on the findings of content analysis at UGC and DMO (Destination Management Organization).The findings of their investigation, which used Hangzhou as the case study, suggest that the circle of representation is still valid for reviewing TDI.However, their research indicates that many fresh photos are circulating in the tourism business.Traditional sources, such as DMO and the media, do not portray these images.In other words, the representational circle has shifted.The two main external elements which have influenced tourist photography behavior, resulting in a dynamic alteration in the circle of representation, are social context and personal construction.Several factors limit the findings of this study.For starters, the photographs from the DMO are limited, so the projected and perceived images are not balanced.Second, because only students were interviewed, there was a possibility of sample bias, and the three uploaded UGC photographs were from only one social media platform.Colman and Colman (2020) conducted study in identical coastal areas in England which are frequently connected with shortages.In this example, they want to learn about the perspectives and goals of high school students who wish to pursue a career in the performing arts.The students chosen for the case study were enrolled in a theater class.Education in disadvantaged coastal locations brings poverty context and social issue alignment.Students in the drama class were divided into two FGD groups, and semi-structured interviews with their teachers were conducted.Controversial choices-perspectives of learning the performing arts; End of life on the outskirts of town-the perspective of living in a deprived situation; and Alien Species-a place for another.According to the findings of the study, learning the performing arts is viewed as a transgression by certain children.They criticize the neoliberal curriculum's primacy, which produces conflict among schools, parents, and kids.The lack of understanding about the creative arts industry is especially impactful in places where it is understaffed.As a result, they continued to learn disregarding the discourse governing them, despite the risk of breaching the norms.
Because of the scarcity of studies on maritime art, the body of information on the subject is likewise somewhat limited.Fauville et al. (2018) investigated marine literacy in the early 2000s, focusing on the mutual interaction of water and humans and vice versa.Similarly, Winks et al. (2020) contextualize the interaction between humans and the oceans.In contrast to McCauley et al. (2018), who relate public awareness of the maritime environment.Meanwhile, Garcia and Cater (2020) do more research on ocean literacy in the context of scuba diving in Mallorca, Spain.Fauville et al. (2018) report community research on ocean awareness.Cooke and Bouché (2017) investigates how art appreciation is taught at Florida Gulf Coast University using visuals and audiovisuals as learning resources, such as videos or short snippets.
Maritime literacy can be found in Indonesia's rhetoric as the world's maritime axis as well as efforts to restore maritime glory (Nugraha, 2016;Yani & Montratama, 2015).While Nugraha (2016) examines the use of marine potential, it is not in the framework of maritime culture or maritime art.Maritime life is only understood within the confines of policyholders, communities, and individuals who are closely tied to maritime life.It has been found yet specific study on the appreciation of maritime art portraying nautical affairs in Indonesia.
The objective of this paper is to show how the visual works of "Segara Garam" and "Tasbih Pesisir" embody Indonesia's maritime cultural identity."Segara Garam" and "Tasbih Pesisir" are instances of digitally made and packaged maritime artworks that may be viewed remotely.The technique of appreciating nautical art utilizing the Focus Group Discussion (FGD) approach is used to trace maritime representation.This study is supposed to present an alternate model of literacy and art appreciation.

Context of study
History demonstrates that Indonesia is a maritime nation which controls the sea, allowing it to travel the world and dominate economic expansion when other nations only control rivers.250 ports (Campo, 1992, p. 40) and airports along shipping and commerce routes in Indonesian waters demonstrate the archipelago's marine activity in the past (Santoso et al., 2015, p. 45).Ancient kingdoms such as Sriwijaya, Majapahit, Demak, and Bone have demonstrated their marine might.Geographically and culturally, the sea covers 80% of Indonesia's territory.Santoso et al. (2015) defines a maritime country as one which controls and uses the sea to gain prosperity and glory.This indicates that the sea is used in all elements of life (Oktavianus, 2019, p. 19).Indonesia is an archipelago country situated between two continents.
Maritime issues form the inspiration for the development of maritime art.Art is presented as a platform for voicing the upheavals of life in the marine community.The art frame is primarily related to societal struggles.This post results in the creation of maritime cultural artwork.This means that works developed as a result of studies on marine culture become the research's output product.In the course of artistic research on works of art, the study of marine culture becomes a contentious notion.The marine cultural landscape includes not only ship communities but also human activity under water and on land (beaches and coasts), lakes, rivers related to shipping routes, and ports (Van Popta et al., 2019).The study of maritime culture delves into the activities of the archipelago's coastal and marine communities.
This idea inspired two pieces of art, Segara Garam and Tasbih Pesisir.Both of these works were made and packaged digitally so that they could be appreciated virtually.Segara Garam's artwork depicts salt farmers laboring tirelessly to create salt despite the fact that the selling price of salt is never in their favor.The players portray the blazing heat of the sun in the morning, the pain of the feet from stomping on salt all day, and the heaviness on the back from carrying salt.The actions of the show take place straight on the salt expanse, as far as the eye can see.The show is performed naturally by salt farmers from Girpapas salt farms in Madura, Indonesia.The show's findings are aesthetically altered by incorporating background music from a traditional Madurese instrument.Segara Garam artwork is created through process of formulating concept, live performances, and video and photo recording.Then the editing process continues for online watching, which has to be appreciated using Zoom meetings.Segara Garam is displayed as a visual content to appreciate maritime art.
Tasbih Pesisir is a visualized and musicalized poem communicating sentiments, memories, and views regarding the coastal area.The poem's structure is divided into three sections.The first section covers the characteristics of the coast in relation to the beach and the water.Sand, wind, and sea waves become characters in stories.The beach and the water are connected with freedom, and they are frequently featured as tourist destinations or places to be alone and seek serenity.Coastal cuisine is also an attraction which cannot be avoided as it is one of the stops along the road to the beach and sea.The coastal explorer will find the fresh seafood to be alluring.The beauty of the shore is taking pleasure in the freshness of seafood while listening to the sound of the waves, wind, and swaying palm trees.The atmosphere and activities of seaside villages are described in the second section.The trail is made up of fishermen, nets, and happy greetings from coastal settlements.Another tale involves an encounter with typical seaside craftspeople.Even in the midst of the chaos of a constantly changing era, locality is still present.The final section depicts the coastal region's religious climate between the dispersed pesantren (Islamic boarding school) and the religious culture developing in the interactions between educators and the students.Additionally, Islam and coastal literature have a place in coastal culture.The poetry is then brought to life through poetry reading performances, working in conjunction with the aforementioned performance on the ship in the regions serving as the poetry's subject matter.

Theoretical framework
In Kantian ideas, aesthetic appreciation is impartial (Whiting, 2021).Appreciating an object requires a positive affective response to the object, so aesthetic features in the form of art signs and symbols are needed.Aesthetic appreciation is an attitude of admiration towards works of art based on tastes stimulated by the aesthetic values of works of art.Someone who appreciates works of art objectively can be observed from the characteristics of admiration for the object of aesthetic elements.The value of appreciation is also influenced by one's knowledge and experience.The aesthetic construct between real life (marine), local wisdom, and new media requires creative work to realize.Moral values in the context of coastal communities, as symbolized in the works of Segara Garam and Tasbih Pesisir, are built based on reality with aesthetic packaging to create empathy from the audience.The concept rests on the dual relevance between aesthetic perception (the conscious effect of aesthetic recognition) and affective evaluative responses (enjoying, being moved, and admiring) (Stopel, 2020).Appreciating means recognizing certain qualities which have the potential to trigger an emotional response, not actually experiencing them, but perceiving the aesthetic value of the artwork.
The act of representation produces conceptual meanings connecting the material and immaterial worlds (Xu et al., 2022).The idea of representation has been used in the framework of research of appreciation.The study by Onyenankeya et al. (2021) focuses on how local culture is portrayed in current South African soap operas on television.Within the context of Stuart Hall's theory of audience reception, they combined the methodologies of quantitative content analysis, critical discourse analysis, and focus group discussions.In the soap opera Generation: The Legacy, the data were presented as texts which were spoken and displayed visually.The study's findings demonstrate that the investigated soap operas emphasize concerns using common discourse to highlight the issues of patriarchy, gender relations, social inequality, inequality of power, and contestation, as well as issues of domination and exploitation.The television program recycled sociocultural prejudices that were widespread in society at the time.This concentration is not a warning, but rather a reminder to do it again.This portrayal is perceived to be causing tense, implying intercultural connections and the survival of subaltern civilizations.However, this research study is limited in that it only examines negative image coding without taking into account positive character traits in the coding selection process.

Method
This qualitative research is using the Art-Based Research (ABS) method (Leavy, 2017).ABS as a practice-based approach prioritizes a generative process with the aim to explore, describe, evoke, and provoke.The method works through collecting qualitative data from participants (i.e., resource person, audience, creative team); presentation of research results through an art-based approach; and the process of creating as data, in this case artistic practice as both method and content.The application of the method in this research is in two contexts: the process of creating maritime artworks and the process of appreciating the artworks created.First, the art-making process begins with research on maritime culture in Indonesia's coastal areas: Pangandaran (West Java), Madura, and Tuban (East Java).Qualitative data collection through observation, interviews, and documentation, supported by literature studies leads to a framework and benchmarks for the topic of study, especially in filling gaps or expanding previous research (Creswell, 2014).The field data collection process was carried out with the live performance process on the salt pans, on the boat, among the salt farmers, with the fishermen who were part of the participatory research.Documentation of these events became the content for the creation of digitally packaged works.Data analysis was carried out through a description process and then categorized based on the content needs of the work.The content which has been formulated is then organized into a performance structure as well as indicators of artistic formulation and performance aesthetics.This model is part of artbased research.
Second, the appreciation process for the maritime artworks of Segara Garam and Tasbih Pesisir is conducted through focus group discussions.In qualitative research, there is an interpretative way of working in interview design with data collection methods through focus groups (Leavy, 2017:19).This method allows respondents to speak and give opinions about what they appreciate based on their responses and experiences.Expressing their own opinions provides space for discussion so that it can enrich the data.The data collected through Focus Group Discussions (FGD) is intended to elicit narratives on maritime art from participants.An online moderator guides appreciation and discussion.The method of art appreciation using FGD allows for the exploration of participants' perspectives on their spontaneous responses.The FGD included 24 participants from various affiliations, including government officials, academics, art students, artists, Islamic religious figure, and communities.Each participant comes from a unique educational, cultural, and social background.This relates to Kieran's (2012) belief that artistic appreciation and creativity include not just abilities but also the advantages of the participant's character.The study idea was utilized to identify participant remarks that were used as data.The data is provided as an appreciation strategy by listing the participants based on their serial numbers.That is, instead of names, this paper includes numbers based on a predetermined serial number regarding their presence during the appreciation process, as indicated in Table 1 Participants of maritime art appreciation come from a wide range of cultural backgrounds, ages, disciplines of knowledge, and vocations, as shown in Table 1 above.The appreciator's background influences how they interpret (Onyenankeya et al., 2021).Various appreciators are purposefully chosen as a way to learn about the level to which each individual can capture maritime art.At the same time, each individual can contribute criticism of maritime art, which can subsequently be used to recreate maritime art in a different setting in marine cultural narratives.The participation of the government, university, community, media, and entrepreneurs in appreciation is a strategy for carrying out the pentahelix.Collaborations are formed in order to create more contextual artistic ideas.
FGD is a mechanism for randomizing responses from respondents (Zaman et al., 2021, 2).The perceptions of participants in maritime artwork are based on two sources: orally and in writing.(Heriyawati & Wita, 2022).Notetaker recorded both oral and written information from participants as a sort of complete study data record.The direct response method is used in surveys to acquire information from respondents (Zaman & Ijaz & Zaman, 2021, 1).Each participant was given the opportunity to contribute comments and perceptions based on the moderator's question categories.Appreciators instinctively provide replies based on their own knowledge and experience.The atmosphere of a lively debate conditioned participants to respond to one another and affected one another's views.
FGD data in the form of recordings and minutes were evaluated using a data classification and reduction procedure.In this context, data analysis entails not just classifying data and removing irrelevant data, but also interpreting data, which is both an art and a science.This is in line with Stoecker (2013, p. 26) arguing that an awareness of descriptive qualities is required to undertake a causal analysis in the process.The analytic procedure then began with identifying the participants' statements, which were different from one another and each could demonstrate the qualities of their responses.If there were similar statements on the determined content, they were not included for interpretation.The concept of representation was employed as both a constraint and a means of comprehending the chosen data.Naturalization of data is shown by not changing the sentences conveyed by participants.Interpretation and correlation between the contents of respondents' statements are indicators in formulating maritime art representations.

Findings
Segara Garam and Tasbih Pesisir's maritime artworks are valued as art products in digital packaging.The artworks created during a pandemic and contextualized with the rise of digital media position marine art as digital literacy content in discussions about maritime culture.Digital literacy as a societal information channel digital literacy for pedagogical development In ethnographic studies, digital literacy is integrated with personal narratives for socio-cultural exploration (McDougall et al., 2018, p. 266).Appreciated marine art works stimulate appreciators to reply as part of an individual narrative in expressing their aesthetic sense and artistic knowledge of maritime art.
Maritime arts which have been created need to be appreciated by the public, especially to be able to strengthen maritime art.Appreciation and perception cognitively and affectively involve emotions (Harold via Seabolt, 2001).Appreciation of art includes a set of procedures which are generally involved in perceiving, understanding, and judging art, then forming an opinion on the work of art.Art appreciation plays an important role in developing world awareness through understanding visual symbols, cultural differences and individual expressions.Art appreciation emphasizes the thinking, analysis, and understanding of collaborative process artwork.
Segara Garam and Tasbih Pesisir are maritime art works created through a creative process with the involvement of coastal communities to obtain a natural and authentic aesthetic form of work.Preliminary studies were conducted by collecting data through references about the lives of salt farmers in Madura and fishermen in Tuban, followed by observations and interviews with farmers and the surrounding community so as to identify the issues to be raised in the work.The salt field was used as a performance setting as well as for the involvement of farmers who were working after first obtaining permission.The performance process was documented using two cameras.The performance flowed without cuts for camera needs.The documentation relied more on the editing process of the live performance.The performance of Tasbih Pesisir was performed in two places, first on a boat sailing at sea.This performance was naturally performed on the boat without scene setting.Second, in a special performance venue with an online audience.The second performance recited the poem text theatrically.From the two different performance venues, the documentation was edited.The performance on the boat became the beginning of the performance to get the atmosphere of the reality of the lives of coastal communities, and then these realities were described in poems to build the aesthetics of the performance.Both maritime artworks became audio-visual works, which then became digital appreciation content that could be responded to aesthetically by participants.Kieran (2010) seeks to avoid controversy while emphasizing the idea of aesthetic appreciation as an open philosophy.A participant's ability to discern and be recognized for his aesthetic judgments increases with his level of sophistication and flexibility.Through FGDs, participants can express their opinions both orally and in writing as they see fit regarding maritime art.The participants responded more freely when speaking.Mutual responses to one another's viewpoints were developed within the context of dialogue.While evaluating nautical artworks and gauging each other's degree of aesthetic and maritime expertise, a space for conversation is simultaneously generated.The reading of artistic concepts is stimulated by maritime art (Montanari et al., 2016, p. 798).The aggression of the commenters demonstrates the admirers' desire for an artistic and aesthetic interpretation of maritime art.The appreciator firmly bases their written observations on their individual knowledge.
Questions leading to discussion are about aesthetic perception and marine arts perception.The FGD's findings are converted into data which are recognized and categorized in accordance with concerns about how marine cultural identity is represented.Table 2 shows the participant's markings and the arrangement of their statements.
The responses from the 14 participants displayed in the previous table demonstrate a sensitive auditory and visual attitude.Collectively, participants can experience the usual coastal music and acts that use local idioms.The portrayal of fishermen as an inherent aspect of coastal communities' daily lives is still insufficient to emphasize poverty.The sea environment is examined for its relevance as a human-nature relationship simultaneously shaping archipelagic maritime culture.Because it incorporates natural performances done in direct interaction with the seascape and fishermen along the shore, maritime art is seen as a hybrid kind of art.Maritime art and culture describe the mixed interaction of art, media, and digitalization.The hybridity of new media provides an opportunity to take on obstacles and make intellectual leaps (Ross, 2005).Digital media's use restricts artistic experimentation while enhancing maritime art.Interpreting nautical art develops an attitude of appreciation that fosters intellectual growth and aids in developing maritime literacy.

Discussion
There are at least two significant things depicted in the FGD of maritime art.The relationship between the worth of the work itself and the development of an audience's understanding of the archipelago's marine culture."Segara Garam" and "Tasbih Pesisir"'s artwork, which is influenced by real qualities, has aesthetic values.When all of an artwork's components are present, like in Gentry (2022), one is able to appreciate its creative significance.The history and attachment associated with the piece are what make it special.On the other hand, the components of the piece of art influence how appreciators feel about it.In this instance, the participant's artistic perspective on maritime art takes on a life of its own as it develops into a portrayal of maritime occurrences.Even for Kieran (2010), artistic creations encourage adaptability in thinking.What impact do the representational, expressive, formal, and cognitive aspects of the work have on that appreciation?

The works "Segara Garam" and "Tasbih Pesisir" portray the life of coastal community
The participant statements number 8 and 6 demonstrate understanding of the realities of the lives of fishermen who are on the border of poverty.Fishermen catch fish using traditional methods, which means that technological sophistication has not yet been mastered and there are few fish catches (Forbes, 2014, p. 88).They paradoxically reside near the coast as technologically advanced giant ships cruise to get more catches.Coastal areas are often associated with hardship and distress (Colman & Colman, 2020).Their low level of education and income are indicators of poor fishing families (Cahaya, 2015).In the case of England, coastal communities stand out for having higher unemployment rates, fewer accomplishments and skills, lower incomes, and higher losses (Ward, 2016).Participants interpret maritime art's portrayal of the reality of coastal community life using the artistic components of art.The pain and poverty reaching coastal areas, according to the respondents, had a long history.
The traits of coastal communities are actually fascinating because of how they view the sea.This is in line with participant number 4 stating the connection between people and the natural world as seen in Segara Garam.The Zuiderzee region of the Netherlands' coastal villages appears to experience this as well.A relationship between people and the sea is necessary for maritime culture, where water can be seen as both a resource and a barrier or threat (Van Popta et al., 2019).The Indian Ocean Coastal Region, particularly from local fishermen, does not have a dominant marine economic power on the eastern side of the ocean (Mukherjee, 2017).Participant number 17 captures nautical art, which derives its soul from how people and the sea interact.Local perspectives should not place human interactions with the sea in the context of exploitation.The rituals practiced by coastal communities demonstrate their respect for the ocean and their efforts to foster harmonious interactions with marine species.A tradition which has been passed down from generation to generation in coastal villages is the offering ceremony to the sea (Sukkham et al., 2017).Rituals serve to meet the social and psychological demands of fishing communities as well as the individual's needs (Reddy, 2020).
Participant number 1 interprets maritime art based on the pristine oceanic environment.The idea of the natural beauty of the sea and its surroundings and the poverty of the people is extremely paradoxical.In his study, Cahaya (2015) questioned the idea that poverty might develop as a result of the current social system.Some people must be wealthy, while others must be impoverished.The state of poverty as an unavoidable fate or inherent condition What's intriguing is the mindset of those who continue to be appreciative of every available aspect of their living circumstances.It has been discovered that as many women as men work as fishermen.The labor of the fishery is done cheerfully by the fisherwomen, despite their domestic affairs before and after the fishing.According to Masitho et al. (2016), women can effectively manage marine natural resources to meet their economic demands.

Participants' affective representation of maritime issues
Sociocultural films can be used as a tool for knowledge construction in a historical context attributable to the concept of representation that was developed in the creative industries.Appreciation media can inspire people to come up with fresh approaches to learning complex and abstract information while expressing their perceptions of others (Zemits, 2017).When respondents express their perspectives toward maritime phenomena and the setting of art, it is through their appreciation of maritime art.Respondent number 23 is aware that Indonesia's position as an archipelagic nation with a maritime economy affects its citizens' livelihoods.Meanwhile The participant no 5 is aware that the Pinisi ship is a treasure of maritime culture.In 2017, the craft of manufacturing pinisi was designated as an intangible cultural treasure by UNESCO.In this instance, Pinisi demonstrates Indonesia's maritime power.Pinisi shipbuilding is linked to traditional beliefs, expertise, and skills that have been handed down through the generations.Pinisi is a representation of the Bugis people's way of life, which emphasizes the importance of unity, courage, and freedom in one's daily activities.Some participants felt unfamiliar with the marine content in the piece, according to the diverse cultural backgrounds that were taken into account when choosing the participants.The appreciation, nevertheless, played a significant role in the development of knowledge about maritime art and culture.include attention to and knowledge of marine concerns in Indonesia.
The comments of the participants who are from the marine area demonstrate the depth of meaning toward the sea and maritime culture.As a mother, the sea is revered.Additionally, the sea is seen as a philosophical aspect of life.The second participant sees Tasbih Pesisir as a symbol of gender equality in the lives of fishermen.The image of participant number 9 is that of a strong seaside woman, feminine characters who take on the characteristics of coastal women.Participant number 13 referred to the water as the center of life, referring to it as Mother or the sea as the testing ground for all morality.People who have a strong connection to the water exhibit a very sensitive attitude toward the symbolism shown in marine art.Respondents who were born in the water environment with all its nuances use maritime art as a stimulus to produce emotional and spontaneous reactions.By using poetry as a stimulus enabling the expression of individual responses to the affective domain, as was done (Kinchin et al., 2023) in the use of the art-based collective biography technique.The affective reaction of respondents in demonstrating appreciation and knowledge of marine affairs is closer when they have an appreciation for nautical art.
Reflexive interest in what is being viewed reveals the depth of each respondent's life experiences and emotions as they are expressed by the participants, especially with reference to the nature and progression of marine art.

Conclusion
The digital pieces "Segara Garam" and "Tasbih Pesisir," which depict Indonesian maritime life, can be categorized as maritime art.24 Indonesian participants or appreciators from varied professional and cultural backgrounds have expressed their appreciation for both.Through the use of signs taken from maritime art, meaning is formed.Based on cognitive and emotional processes, the sign relationship is articulated.Representations of coastal community life are produced by participant responses to marine art.It is crucial to express the sea and maritime from the perspective of the coastal people and from what they feel, in addition to appreciating interpretations from those who are not from the seaside communities.Expression of ideas and emotions, such as poverty and life's challenges, justice, and equality, which must then be voiced collectively by multiple parties, including academics and the government in their respective roles.

Table 1 . The FGD participants of maritime art appreciation
Orally, it takes the form of replies to questions guided by the moderator, while in writing, it takes the form of chat rooms and padlets guided by the moderator's writing process.Some examples of a discussion question serving as a reference point for the moderator are: To what extent do you know we are a maritime nation?What do you know about maritime art?To what extent are you involved in maritime art and culture?What do you like about maritime art?