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All Journal Gorga : Jurnal Seni Rupa Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education ANDHARUPA Gelar : Jurnal Seni Budaya Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Srawung: Journal of Social Sciences and Humanities Bulletin of Social Informatics Theory and Application
Soewarlan, Santosa
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User generated content: Cybernetic infographic visual narrative Sufiana, Sufiana; Soewarlan, Santosa; Tinarbuko, Sumbo
Bulletin of Social Informatics Theory and Application Vol. 5 No. 1 (2021)
Publisher : Association for Scientific Computing Electrical and Engineering

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/businta.v5i1.380

Abstract

User Generated content is a marketing strategy that emphasizes consumer-generated content, social media followers, and fans. The UGC trend has sparked interest in cyber media HaiBunda.com to integrate UGC in the process of creating infographic visual narratives. The infographic on HaiBunda.com is the result of media and UGC integration. The media provides a UGC space, for discussion, commenting, reading and viewing pictures. In practice, cybernetics visual narrative involves the role of information theory, control theory, and systems theory. Most of the UGC infographic channel visitors are millennial mothers who have interests in information about parenting patterns and child development. Can UGC readers interpret the visual infographic narrative, respond to and apply the values of daily morality in childcare? The purpose of the writing is to find out how millennial mothers interpret the visual infographic narrative. The qualitative method, Talcott Parsons' approach, is to see the meaning of the visual infographic narrative as a system, interrelation, has mutua influence to the media and readers. The results show that the visual narrative of HaiBunda.com's infographic with the theme “Tahukah Bunda” means educational and informative and contains moral values and the nature of women.
POLA AKTIVITAS MASYARAKAT SEBAGAI HIRARKI KAMPUNG NAGA SEBAGAI WARISAN BUDAYA CERDAS Budiarto, Asri; Sunarmi, Sunarmi; Soewarlan, Santosa
Gorga : Jurnal Seni Rupa Vol 13, No 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i1.59293

Abstract

The pattern of community activities in Tasikmalaya, Kampung Naga can be identified as a cultural transformation that exists in the neighborhood of the traditional house and can be seen with the expanse of agricultural lands and water ponds at the forefront of the residential area. Overlaying the houses of indigenous people and other facilities in a certain pattern unity. It can be stated that the livelihoods of the indigenous people of Kampung Naga form a village pattern from the available activity lands. The existence of the flow of life of the indigenous people of Kampung Naga as a place to live not only contains the meaning of the village, but the existence of the Ciwulan river as a sign and meaning of life. The customary leader's residence is characterized by the location of the customary leader's house which is in a higher area and becomes the orientation (direction) for the surrounding houses. This research wants to know the flow of the activities of the Kampung Naga community towards the existence of their customs that reflect a strong understanding of the importance of cultural sustainability and tradition. The community realizes that customary activities as a cultural heritage are the basis for their survival, which can be shown by their high involvement and responsibility for their ancestral heritage. The activities of the indigenous people of Kampung Naga as the place where one returns from.As far as someone who leaves one day will return to the place where he was born. So there is a very strong emotional bond between the village and one's soul. The Village Hierarchy in the site in Kampung Naga has characteristics with tiered ascending contours as a local land condition that reflects the adaptation of indigenous activities to the natural environment and local wisdom. This is the same as the identical pattern of Sundanese villages that have distinctive elements also found in the settlement pattern of Kampung Naga. Through settlement patterns as seen in Kampung Naga, the community has historically developed settlement strategies that are in accordance with the activities and characteristics of the environment and social needs.Keywords: Kampung Naga hierarchy, cultural heritageAbstrakPola aktivitas masyarakat di kampung naga Tasikmalaya dapat diidentifikasi sebagai transformasi budaya yang ada dalam lingkungan perkampungan rumah adat dan dapat dilihat dengan adanya  hamparan lahan-lahan pertanian dan kolam-kolam air di bagian terdepan pada kawasan permukiman. Hamparan rumah-rumah masyarakat adat dan fasilitas lain dalam kesatuan pola tertentu. Hal ini dapat dinyatakan bahwa mata pencaharian masyarakat adat kampung Naga membentuk pola kampung dari lahan-lahan aktivitas yang tersedia. Adanya aliran kehidupan masyarakat adat Kampung Naga sebagai tempat tinggal yang tidak hanya mengandung arti kampung, tetapi adanya sungai Ciwulan sebagai tanda dan makna kehidupan. Tempat tinggal pimpinan adat ditandai oleh Letak rumah ketua adat yang berada di daerah lebih tinggi dan menjadi orientasi (arah) bagi rumah warga yang ada disekitarnya. Penelitian ini bertujuan untuk mengetahui alur aktivitas masyarakat Kampung Naga terhadap eksistensi adat istiadat mereka yang mencerminkan pemahaman kuat akan pentingnya keberlanjutan budaya dan tradisi. Masyarakat menyadari bahwa aktivitas adat sebagai warisan budaya merupakan dasar bagi kelangsungan hidupnya dapat di  tunjukkan dengan keterlibatan dan tanggung jawab yang tinggi terhadap warisan leluhur mereka. Aktivitas masyarakat adat Kampung Naga sebagai tempat asal seseorang kembali (bali geusan ngajadi). Sejauh-jauhnya seseorang yang pergi suatu saat akan kembali lagi ketempat asalnya dilahirkan. Sehingga ada ikatan emosional sangat kuat antara kampung dengan jiwa seseorang. Hirarki Kampung dalam tapak di Kampung Naga memiliki karakteristik dengan kontur naik berjenjang sebagai keadaan tanah setempat yang mencerminkan adaptasi aktivitas masyarakat adat  terhadap lingkungan alam dan kearifan lokal. Hal ini sama sebagai identik pola perkampungan masyarakat Sunda yang memiliki elemen khas juga ditemukan di  dalam pola pemukiman Kampung Naga. Melalui pola pemukiman seperti yang terlihat di Kampung Naga, masyarakatnya secara historis telah mengembangkan strategi pemukiman yang sesuai dengan aktivitas dan karakteristik lingkungan dan kebutuhan sosialnya.Kata Kunci: Hirarki Kampung  Naga, Warisan budaya Authors:Asri Budiarto : Institut Seni Indonesia SurakartaSunarmi : Institut Seni Indonesia SurakartaSantosa Soewarlan : Institut Seni Indonesia SurakartaReferences:Adimihardja, K. (1993). Kebudayaan dan Lingkungan. Bandung: Ilham Jaya.Anto, A. A., Sunarmi, & Soewarlan, S. (2024). Kampung Naga : Exploration of Traditional Architecture and. Lakar: Jurnal Arsitektur, 07(01), 85–100. https://doi.org/http://dx.doi.org/10.30998/lja.v7i1.22100Basrowi. (2005). Pengantar Sosiologi. Bogor: Ghalia Indonesia.Koentjaningrat. (2009). Pengantar Ilmu Antropologi. Jakarta: PT Rineka Cipta.Linton, R. (1984). Antropologi, Sutau Penyelidikan tentang Manusia. Bandung: Jemmars.Maslucha, L. (2009). KAMPUNG NAGA: Sebuah Representasi Arsitektur sebagai Bagian dari Budaya. El-HARAKAH, 11(1), 35–49. https://doi.org/10.18860/el.v1i1.421Mikaresti, P., & Mansyur, H. (2022). Pewarisan Budaya Melalui Tari Kreasi Nusantara. Gorga : Jurnal Seni Rupa, 11(1), 147-155. https://doi.org/10.24114/gr.v11i1.33333Oktovan, R. N., Suryamah, D., & Dwiatmini, S. (2020). Pewarisan Budaya dalam Kesenian. Jurnal Budaya Etnika, 4(2), 114–125. https://jurnal.isbi.ac.id/index.php/etnika/article/view/1566Padma, A. (2001). Kampung Naga, Permukiman Warisan Karuhun. Bandung: Foris.Ranjabar, J. (2006). Sistem Sosial Budaya Indonesia: Suatu Pengantar. Bogor: PT Ghalia Indonesia.Rusnandar, N. (2013). Seba : the Culmination of Baduy ’S Religious Ritual in Kabupaten (Regency) Lebak, The Province Banten. Patanjala, 5(1), 83–100. https://doi.org/http://dx.doi.org/10.30959/patanjala.v5i1.163Sonia, T., & Sarwoprasodjo, S. (2020). Peran Lembaga Adat dalam Pelestarian Budaya Masyarakat Adat Kampung Naga, Desa Neglasari, Kecamatan Salawu, Tasikmalaya. Jurnal Sains Komunikasi Dan Pengembangan Masyarakat [JSKPM], 4(1), 113–124. https://doi.org/10.29244/jskpm.4.1.113-124Syukri, A., Azis, A. C. K., Olendo, Y. O., Elpalina, S., & Syam, C. (2023). Koleksi Museum Adityawarman : Sebagai Sumber Belajar Seni Dan Budaya. Gorga: Jurnal Seni Rupa, 12(November), 488–494. https://doi.org/https://doi.org/10.24114/gr.v12i2.51471Tri Sulistyo, E., & Sunarmi. (2021). Emotional Intelligence And Balanced Personality In Javanese Cultural. Intelligence And Balanced Personality In Javanese Cultural Understanding-Palarch’s Journal Of Archaeology Of Egypt/Egyptology, 18(4), 3344. https://archives.palarch.nl/index.php/jae/article/view/6827Widjaja, A. W. (1986). Komunikasi dan Hubungan Masyarakat. Jakarta: Bina Aksara.
MENGLOBALISASIKAN BENDAWI KRIYA DI MUSEUM PRABU GEUSAN ULUN DI SUMEDANG, JAWA BARAT Prihatin, Purwo; Sunarmi, Sunarmi; Soewarlan, Santosa
Gorga : Jurnal Seni Rupa Vol 13, No 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i01.55528

Abstract

This writing explains and traces the culture of Nusantara’s bendawi kriya (crafts) that are stored in the Museum Prabu Geusan Ulun in Sumedang, West Java, which are cultural artifacts as evidence of the skills and abilities possessed by the Sundanese ethnic group in West Java. This Sumedang Museum has various kinds of bendawi kriya relics from the Sumedang Larang Kingdom that are unique and have symbols and meanings in Sundanese culture. The method used in this writing uses qualitative data obtained through several techniques, namely reading literature through library studies of written sources related,  direct observation, interviews with the management of the Pangeran Geusan Ulun Foundation and some of the community, Documentation and reviewing documents related to the Museum Prabu Geusan Ulun, visual photo documentation, collections in the Museum Prabu Geusan Ulun can be concluded that this Sumedang Museum contains various bendawi kriya relics from the Sumedang Larang Kingdom, such as keris, kudi, gamelan, traditional clothes, household appliances, weapons, and chariots that are historical evidence of Sundanese culture in the past that have ethnic cultural traditions of kenusantaran as capital to be globalized according to their times.Keywords: Globalize, Craft,MuseumAbstrakTulisan ini menjelaskan dan menelusuri budaya bendawi kriya Nusantara yang tersimpan di  Museum Prabu Geusan Ulun di Sumedang Jawa Barat  yang merupakan artefak budaya sebagai bukti tentang keahlian, ketrampilan yang dimiliki oleh etnis Sunda di Jawa Barat. Museum Sumedang ini memiliki berbagai macam benda peninggalan bendawi kriya dari Kerajaan Sumedang Larang yang khas dan memiliki simbol, makna dalam kebudayaan Sunda. Metode yang digunakan dalam penulisan ini menggunakan data kualitatif yang diperoleh melalui beberapa teknik yaitu membaca literatur melalui studi pustaka sumber-sumber tertulis, observasi langsung, wawancara dengan pengurus Yayasan Pangeran Geusan Ulun dan sebagian masyarakat, Dokumentasi dan mengkaji dokumen-dokumen yang terkait dengan museum Prabu Geusan Ulun, dokumentasi foto visual, koleksi-koleksi yang ada di museum Prabu Geusan Ulun dapat disimpulkan bahwa  Museum Sumedang ini terdapat berbagai benda peninggalan bendawi kriya dari kerajaan Sumedang Larang, seperti keris, kudi, gamelan, pakaian adat, peralatan rumah tangga, senjata, dan kereta kencana yang merupakan bukti sejarah budaya Sunda masa lalu yang memiliki etnisitas budaya tradisi kenusantaraan sebagai modal untuk diglobalkan sesuai zamannya.Kata Kunci: Menglobalisasikan, Kriya, MuseumAuthors:Purwo Prihatin : Institut Seni Indonesia SurakartaSunarmi : Institut Seni Indonesia SurakartaSantosa Soewarlan : Institut Seni Indonesia SurakartaReferencesAsiarto, Luthfi, Ali Akbar, & Dian Sulistyowati, (2012). Museum Dan Pendidikan, Jakarta: Direktorat Pelestarian Cagar Budaya dan Permuseuman Direktorat Jenderal Kebudayaan Kementerian Pendidikan dan Kebudayaan.Gina, Luthfiatin, & Aam Abdillah, (2022). “Sejarah Penyebaran Islam Di Sumedang Melalui Pendekatan Budaya”, Jurnal Priangan, Volume 1,  Nomor 01,  Juni, 48-59.Haryono, Joko, Myrza Rahmanita, & Gratia Wirata Laksmi, (2023). “Identifikasi Komponen Daya Tarik Wisata dan Manajemen Pengelolaan Museum Prabu Geusan Ulun Sebagai Wisata Pusaka di Sumedang,” YUME: Journal of Management, Volume 6, Issue 1, 15-27.Hutama, Krishna, (2006). “Pencitraan Kriya Sebagai Produk Seni Wisata”, Jurnal Dimensi Seni Rupa Dan Desain, Volume 4, Nomor 1, September, 87-95.Juju, Ai Rohaeni, Wanda Listiani, & Khairul Mustaqin, (2018). “Desain Dan Proses Produksi Cinderamata Ikon Pangeran Aria Soeria Atmadja Sumedang”, Jurnal Atrat. Vol. 6, No. 2, April, 1001-108.Kurniawan, Aris, (2014). “Kajian Historis dan Filosofis Kujang”, Jurnal Itenas Rekarupa, No. 1, Vol. 2, Januari‐Juni, 29-40.Lucky, Raden (Raja Kerajaan Sumedang Larang). (2023). “Menglobalisasikan Bendawi Kriya Di Museum Prabu Geusan Ulun Di Sumedang, Jawa Barat”. Hasil Wawancara Pribadi: 19 Desember 2023. Sumedang.Meisari, Yuliani, Tita Cardiah, & M Togar Mulya Raja, (2021), “Redesain Interior Museum Prabu Geusan Ulun”, e- Proceeding of Art & Design, Vol. 8, No.2 April, 667-674.Muhsin, Mumuh Z., (2012). Kujang, Pajajaran, Dan Prabu Siliwangi, Bandung: Masyarakat Sejarawan Indonesia Cabang Jawa Barat.Siti, Nita Mudawamah, (2021). “Pengelolaan Koleksi Di Museum Musik Indonesia Sebagai Upaya Pelestarian Warisan Budaya”, Fihris: Jurnal Ilmu Perpustakaan dan Informasi,  Vol. 16, No.1, Januari-Juni, 1-20.Soewarlan, Santosa, (2015). Membangun Perspektif Catatan Metodologi Penelitian Seni, Surakarta: ISI Press. Sunarmi, (2023). “Tradisi Dalam Kontestasi Global Dengan Kasus Interior Rumah Tradisi Dalam Kontestasi Global” Orasi Ilmiah dalam Pidato Pengukuhan Guru Besar Prof. Dr. Dra. Sunarmi, M.Hum, disampaikan dalam Sidang Terbuka Senat Akademik Institut Seni Indonesia Surakarta, tanggal 29 Agustus,  di ISI Surakarta.Sunarmi, (2013). “Peran Riset Dalam Perwujudan Desain”, Jurnal Brikolase, Institut Seni Indonesia Surakarta, Volume 5, No. 1, Juli. 14-23.Tubagus, Mochamad Rilo, Neneng Yanti K.L., & Lip Sarip H, (2020). “Fungsi Tradisi Ngumbah Pusaka Prabu Geusan Ulun Sumedang Larang”, Jurnal Budaya Etnika, Vol. 4 No. 1, Juni, 3-22.Thresnawaty, Euis, (2011). “Sejarah  Kerajaan  Sumedang  Larang,”  Jurnal  Patanjala, Volume 3, Nomor 1, Maret, 154-158.https://www.museumprabugeusanulun.org/catalogYunitawati, D., & Latifah, L. (2016, Juni). AKecemasan Dan Gangguan Fungsi Tiroid Pada Wanita Usia Subur. Media Gizi Mikro Indonesia, 7(2), 107-116. 10.22435/mgmi.v7i2.6017.107-116.
PHILOSOPHICAL MEANING OF KLANA UDENG MASK MOVIE Harahap, Rina Yanti; Sukerta, Pande Made; Soewarlan, Santosa
Srawung: Journal Of Social Sciences And Humanities Vol. 2 Issue. 3 (2023)
Publisher : jfpublshier

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56943/jssh.v2i3.382

Abstract

Nowadays, the traditional art of masks from Indramayu can still be found in various art forms, such as mask dance and mask puppetry. In its development, the art of mask tradition was adapted to the medium of film. When adapted into the medium of film, the mask dance performance art changes its function to become part of the educational media and part of the cultural tourism promotion in fulfilling the need to maintain the existence of the traditional art of masks to remain sustainable. This research aims to see the changes that occur and the meanings that arise from the traditional art adapted from mask dance into a movie entitled Klana Udeng Mask and identify the philosophical meanings in the movie. To comprehend the changes and meanings from the traditional art adapted from mask dance into a movie entitled Klana Udeng Mask, the researcher uses qualitative research using visual semiotics. In this research, the movie Klana Udeng Mask is interpreted with a semiotic approach from Roland Barthes. The movie Klana Udeng Mask has a philosophical meaning about gratitude and maintaining the relationship between humans and God Almighty. This philosophical meaning is evident in the opening scene of the mask dancers praying to God Almighty and the closing scene of them performing grateful praying movements to God Almighty. Changes in semiotic meaning in the Klana Udeng Mask movie affect the visual signs of the elements in the movie.
Kajian Psikoanalisis pada Karakter Heroine di Film Zack Snyder’s Justice League (2021) Setyanto, Daniar Wikan; Soewarlan, Santosa; Tinarbuko, Sumbo
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 7 No. 02 (2021): August 2021
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v7i2.4759

Abstract

AbstrakFilm Zack Snyder’s Justice League (2021) adalah salah satu film yang meraih kesuksesan secara kritik maupun finasial di saat pandemi Covid-19.  Film tersebut dianggap sebagai versi yang lebih orisinil daripada film Justice League versi layar lebar yang tayang di tahun 2017, karena merupakan film yang awalnya dikembangkan untuk berkaitan langsung dengan semesta film-film di DC Extended Universe (DCEU). Penelitian ini akan memfokuskan pada karakter superhero perempuan (heroine) yang muncul di film Zack Snyder’s Justice League (2021) dengan menggunakan teori psikoanalisis Sigmund Freud. Tokoh heroine yang akan dikaji adalah Wonder Woman/Diana Prince, Mera dan Queen Hippolyta. Psikoanalisis dipilih karena berkaitan dengan kajian mengenai alam bawah sadar manusia seperti emosi, cinta, serta seks yang selalu muncul dalam setiap representasi karakter dalam film. Tujuan penelitian ini adalah menjelaskan serta memaknai secara komprehensif apa saja rumusan konseptual mengenai representasi perempuan dalam karakter heroine di film tersebut menurut konteks teori psikoanalisis. Manfaat penelitian ini diharapkan yaitu memberikan kontribusi pemikiran tentang penerapkan operasional teoretis dari psikoanalisis terhadap obyek penelitian budaya populer seperti karakter heroine dalam film. Penelitian ini menggunakan metode yang disebut dengan analisis konten yaitu teknik analisis mendalam terhadap isi suatu informasi dari teks maupun visual. Penelitian ini menemukan adanya keterkaitan representasi perempuan dalam karakter heroine  dengan teori psikoanalisis. Kata Kunci: heroine, film, Justice League, psikoanalisis, representasi AbstractIn 2021 the world's film industry slumped due to the Covid-19 pandemic, Zack Snyder's Justice League (2021) movie appeared and was successful critically and commercially. The film is considered to be a more original version than the 2017 feature film Justice League because Zack Snyder's Justice League (2021) is a film that was originally developed to be directly related to the universe of films in the DC Extended Universe (DCEU). This study will focus on the female superhero character (heroines) who appears in the film Zack Snyder's Justice League (2021) and using Sigmund Freud's psychoanalytic theory. The heroine figures that studied are Wonder Woman/Diana Prince, Mera, and Queen Hippolyta. Psychoanalysis was chosen because it relates to the study of the human subconscious like emotions, love, and sex that always appear in every character representation in the film. The purpose of this study is to explain and interpret comprehensively the conceptual formulations, regarding the representation of women in heroine characters in the film Zack Snyder's Justice League (2021) according to the context of psychoanalytic theory. The benefit of this research is expected to contribute ideas about applying the theoretical operational of psychoanalysis to popular culture research objects such as heroine characters in films. This study uses a content analysis method, an in-depth analysis technique toward the content of information from text and visuals. This study found a link between the representation of women in heroine characters and psychoanalytic theory. Keywords: film studies, heroine, Justice League, psychoanalysis, representation
MENAKAR KUALIFIKASI PEMERAN JAGOAN PEREMPUAN PADA FILM LAGA INDONESIA Setyanto, Daniar Wikan; Soewarlan, Santosa; Tinarbuko, Sumbo
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 8 No. 01 (2022): March 2022
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v8i01.5795

Abstract

AbstrakKesetaraan gender menjadi salah satu isu yang sering diangkat dalam dunia perfilman. Film-film laga populer saat ini mudah ditemukan karakter perempuan yang tampil sebagai seorang jagoan yang kuat dan mahir bela diri. Meskipun belum sebanyak Hollywood, film-film di Indonesia mulai memperkenalkan karakter jagoan perempuan di film-film layar lebar. Namun karakter jagoan perempuan dalam film Indonesia masih dianggap sebagai karakter minor, kemunculan mereka juga masih dianggap belum bisa menaikkan film dari segi kualitas dan perolehan penonton. Penelitian ini mencoba untuk mencari tahu alasan dibalik mengapa karakter tersebut masih belum berhasil mencuri hati penonton, yaitu dengan cara menakar kualifikasi setiap artis yang memerankan jagoan perempuan tersebut. Teori yang digunakan adalah teori dikotomi antara aktor (actrees) dan bintang (star). Metode penelitian yang digunakan yaitu metode campuran (mixed method) dengan teknik pencarian data dengan wawancara tokoh salah satu sutradara terkenal Indonesia yaitu Garin Nugroho. Hasil dari penelitian ini adalah film jangan hanya mengeksploitasi tubuh perempuan dengan menonjolkan visualisasi kecantikan dan kemolekan tubuh perempuan tetapi perlunya kemampuan akting dan keahlian dalam bela diri sebagai nilai tambah pemainnya. Selain itu perlunya memperkuat penulisan naskah film laga dan pendalaman karakter sehingga kualitas film laga di Indonesia akan semakin berjaya dan bisa bersaing di kancah film Internasional. Kata Kunci: artis peran, film Indonesia, jagoan perempuan, kajian film AbstractGender equality is an issue that is often raised in the world of cinema. Popular action films nowadays are easy to find female characters who appear as strong and proficient in martial arts. Although not as many as in Hollywood, films in Indonesia have begun to introduce female hero characters in big screen films. However, female hero characters in Indonesian films are still considered minor characters, their appearance is also still considered unable to increase the quality of the film and the audience gain. This study tries to find out the reason behind why the character still hasn't been liked by the audience, that is by measuring the qualifications of each artist who plays the female hero. The theory used is the dichotomy theory between actors and stars. The research method used is a mixed method with data search techniques by interviewing the famous Indonesian directors, namely Garin Nugroho. The result is that the film does not only exploit women's bodies by highlighting the visualization of the beauty and beauty of the female body, but also the need for acting skills and martial arts skills as an added value for actresses. In addition, it is necessary to strengthen the writing of action film scripts and character development so that the quality of action films in Indonesia will be more victorious and can compete in the international film scene. Keywords: artists, Indonesian film, female heroes, film studies
Belajar dari Amatir: Kreativitas Komunitas Perancang Grafis Urun Daya Murtono, Taufik; Soewarlan, Santosa; Soewardikoen, Didit Widiatmoko; Guntur, Guntur
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 8 No. 03 (2022): September 2022
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v8i3.6933

Abstract

Abstrak Urun daya rancang grafis merupakan fenomena yang menarik untuk diteliti mengingat Indonesia adalah salah satu penyumbang sumber daya urun daya terbesar di dunia. Walaupun mendapat penolakan dari asosiasi dan para profesional, eksistensi para perancang grafis urun daya tetap berdaya. Penelitian ini bertujuan untuk mengetahui pengalaman para perancang dalam mengembangkan kemampuan kreatif dan sikap perancangan sehingga mampu bertahan dan diterima oleh klien. Penelitian ini akan berguna bagi peneliti dan dunia akademis yang selama ini lebih banyak mengadopsi prinsip, metode, dan etika perancangan modern yang mapan. Pengalaman komunitas akan menyumbang keberagaman dalam praktik perancangan. Penelitian ini menggunakan metode fenomenologi yang mengandalkan data hasil wawancara dan pengamatan. Langkah penelitian dimulai dengan investigasi pengalaman pribadi, dilanjutkan penelusuran sumber etimologis dan pergeseran makna untuk memperoleh deskripsi pengalaman perancang. Metode penelitian ini bertujuan menyarikan pengalaman kreatif para perancang menjadi pemahaman tentang sifat khas dari pengalaman tersebut. Hasil yang didapatkan adalah deskripsi pengalaman perancang dari proses kreatif sejak fase meniru, modifikasi, konseptualisasi, hingga transformasi. Pengalaman belajar dan bekerja membentuk perancang yang akomodatif terhadap segala perubahan dan toleran terhadap klien. Penelitian menyimpulkan adanya nilai strategis dari penghargaan perancang terhadap keberadaan klien, produk, dan lingkungannya. Hal ini juga ditandai dengan perkembangan praktik kreatif. Proses perancangan tidak lagi mengandalkan logika perancang semata. Kata Kunci: fenomenologi, kreativitas, rancang grafis, transformatif, urun daya AbstractGraphic design crowdsourcing was an interesting phenomenon to be researched, considering that Indonesia is one of the most crowdsourcing contributors resources in the world. Despite being rejected by associations and professionals, the existence of crowdsourcing graphic designers remained significant. This study aimed to determine the experience of designers in developing creative abilities and design attitudes so that they could survive and be accepted by clients. This research will be helpful for researchers and academics who have been adopting more established principles, methods, and ethics of modern design. Community experience will contribute to diversity in design practice. We used phenomenological methods that relied on data from interviews and observations. The research step begins with an investigation of personal experience, followed by a search for etymological sources and shifts in meaning to obtain a description of the designer's experience. This method aims to extract the creative experience of designers into an understanding of the distinctive nature of those experiences. The results describe the designer's experience in the creative process from the imitation, modification, conceptualization, and transformation phases. The research concludes a strategic value in the designer's respect for the existence of the client, the product, and the environment. The design process no longer relies on the designer's logic alone.  Keywords: creativity, crowdsourcing, graphic design, phenomenology, transformative
Analysis photo of the year 2006 Indonesian press photo award based on the three visual layers theory Prasetyo, Andry; Guntur, Guntur; Ajidarma, Seno Gumira; Soewarlan, Santosa
Gelar : Jurnal Seni Budaya Vol. 22 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v22i1.5521

Abstract

This article aims to analyze the work of the 2016 Indonesian Press Photo Award Photo of the Year entitled "Tinjau Titik Api," using the "Three Visual Layers" theory. Photo of the Year 2016 was chosen because it has the advantage of good visual value and high news value, especially for people in the news. The three visual layers analysis includes optical, cultural, and photographic meaning. The optical aspect is for the non-blind eyes, the cultural aspect includes known visual appearances and unknown visual appearances, and the photographic aspect has a functional appearance, personal appearance, and subjective appearance. The research method is qualitative analysis because its implementation is based on visual analysis to find meaning from photos depicting three figures who are symbols of the strength of the Indonesian state, namely, the President of the Republic of Indonesia, Joko Widodo, TNI Commander General Gatot Nurmantyo, and Chief of the Indonesian National Police General Badarudin Haiti, who is inspecting the location of forest and land fires, in Geronggong Village, Ogan Komering Ilir Regency, South Sumatra. Data analysis involves: Scrutinizing relevant and irrelevant information, reducing data, compiling codes against findings data, and verifying codes as a reference for discussion and conclusion. The research results show that the 2016 Photo of the Year contains meaning that shows the Indonesian government's commitment to dealing with forest and land fires in Sumatra. The photo has advantages in terms of visual value which is reflected in the composition, depth of focus, and expression of the president, and in terms of news value, it is superior in terms of character value, as well as another advantage in the closeness of the photographer to the object of the event.
BUKAN HANYA KANCA WINGKING PUSPA KARIMA DALAM STIGMA GENDER MENUJU PANGGUNG INTERNASIONAL Nugroho, Mukhlis Anton; Sunarmi; Soewarlan, Santosa
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5732

Abstract

The rapid development of the digital era has changed the view of women's roles that were previously confined to household responsibilities, and now the stigma is starting to erode. In Javanese culture, there is the concept of "kanca wingking" which refers to the role of women at home to perform tasks such as cleaning, cooking, taking care of children, and so on. However, with the advent of the women's emancipation movement, the stigma has begun to fade as many women have careers. The same thing happened in the traditional music scene in West Java. Gender stigma also emerged by prohibiting women to play the Rebab instrument in Sundanese karawitan. This paper discusses how Puspa Karima, whose members are all women, tries to change the gender stigma in Sundanese karawitan performances. The method used is qualitative as a research procedure that produces descriptive data in the form of written or spoken words from people through the interview stage. In addition, data can also be collected through observation of people's behavior in the field on the object of research. The results of this paper show that Puspa Karima not only succeeded in changing the gender stigma that applies to Sundanese karawitan performances, but Puspa Karima actually succeeded in bringing gender issues in the case of karawitan art to the international arena. Keywords: Gender Stigma, Kanca Wingking, Women, Sundanese Karawitan
Manortor as a Solidarity and Identity Building Media of Mandailing Ethnic Group in Rokan Hulu, Riau Province Novita, Elmi; Soewarlan, Santosa; Sukerna, Nyoman
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v22i2.36753

Abstract

This study aimed to explore manortors as a medium for building solidarity and identity for the Mandailing community in Rokan Hulu Regency, Riau Province. The research method was carried out through observation of manortor performances in Menaming, Bangun Purba, and Khaiti Villages as Mandailing ethnic dominions in Rokan Hulu. The observation focused on the movement aspect of the manortor. In-depth interviews were conducted to reinforce the data obtained through the observation of the manortor and to explore how aspects of the movement in the manortor build solidarity and identity. The results showed that manortor is a dance that embodies kinship relationships with dalihan na tolu. The form of movement, standing position, and order of performance should be in line with the norms of kinship. The group members dance together with movements representing kinship relationships and strengthening kinship relationships, building solidarity and a strong self-identity.English translation. 
Co-Authors Asri Budiarto Daniar Wikan Setyanto Didit Widiatmoko Guntur Guntur Harahap, Rina Yanti Novita, Elmi Nugroho, Mukhlis Anton Pande Made Sukerta, Pande Made Prasetyo, Andry Purwo Prihatin Seno Gumira Ajidarma, Seno Gumira Sri Wahyuni Muhtar Sufiana, Sufiana Sukerna, Nyoman Sumbo Tinarbuko Sunarmi Sunarmi Sunarmi Taufik Murtono