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Sri Iswidayati
Penulis adalah seorang doktor dan dosen Jurusan Seni Rupa FBS UNNES
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The Spatial Lay Out of Joglo Pencu House in the Socio Cultural Change the Settlement of Kauman Community in Kudus Andriansyah, Rico; Triyanto, Triyanto; Iswidayati, Sri
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.23492

Abstract

Socio cultural life of Kauman community in Kudus Kulon (western Kudus) has changed and influenced the spatial lay out of Kudus traditional house of traditional house, Joglo Pencu. The purpose of this research was to analyze the following problems: (1) how is the socio cultural change in the settlement of Kauman Community in Kudus? and (2) how is the spatial lay out of Kudus traditional house that has been influenced by socio cultural in the settlement of Kauman community in Kudus? Methodologically, this research used qualitative method and observed interdisciplinary. The research data was collected by the technique of observation, interview, and document study. The data validity was used source triangulation. Data analysis was done by reduction, presentation, and verification of data. The research results were; first, the society in Kauman community Kudus Kulon developed influencing the population composition, economic life change, and belief system change. Second, the socio cultural change influences the spatial lay out of Joglo Pencu house. It is suggested to the heir of Kudus traditional house owner to manage the spatial lay out and to maintain it wisely the heritage house. This research is beneficial to the heir of the house and the development of science.
The Identity of Society in Typical Batik Motif “Seluang Mudik” from Sarolangun-Jambi Prasetyo, Harry; Iswidayati, Sri; Syakir, Syakir
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.27048

Abstract

The patterns of batik are strongly influenced by geographical location of the area of manufacture, the state of environment surrounding, and the flora and fauna. Sarolangun area which travesed by Batang Tembesi river makes people familiar with their natural environment. Seluang fish is small fish that Sarolangun endemic which are often waited its existence by the fishermen because of their habit swimming on the river surface in groups. The purpose of the research is to analyze batik patterns Seluang Mudik in Sarolangun regency, Jambi province. The method used in this research was qualitative with observation, interview, and document study as the technique of data collecting. The data validity used the technique of information triangulation from various sources, methods, and theories. The data analysis was done by data reduction, data presentation, and conclusion or verification. The results show that batik motif Seluang Mudik that has various decoration Seluang fish that together swim to a destination to ease the burden against the flow when they immigrate to upstream. It closely relates to the identity of Sarolangun-Jambi society means the knitted togetherness. This togetherness can be found at the events held in society that always be together. One of them is in Lumbo Biduk event, hand in hand in Baralek event, and so on. Implications given by this research is that it can be beneficial for development of batik, for the society surrounding toward environment, for young generations to recognize culture in Sarolangun and for government to support regional potential.
The Art Expression of the Prisoners 'Paintings in Class IIA Narcotic Correctional Institution, Yogyakarta Pitaloka, Mayang; Iswidayati, Sri; Triyanto, Triyanto
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.27084

Abstract

Expressing art is one of people's aesthetic needs, no exception the prisoners of class II A narcotics penal institution, Yogyakartawho fulfill their aesthetic need by doing painting activity. This is quite interesting because in the life full of freedom limitation, the citizens of the institution are still able to enliven the activity to express their aesthetic needs through painting in the prison environment. Therefore, the aim of this research is to analyse the influence of the penal institution environment toward the art expressions of the institution assisted citizens' paintings, their painting process, and the characteristics of their paintings seen in the perspectives of visual elements and principles, and in the perspective of psychoanalysis towards the painting themes. The research conducted applies qualitative and anthropology interdisciplinary approaches, aesthetics, and art psychology. The research design used is case studies. The data of the research are collected by conducting observation technique, interview, and documentation study. Then triangulation technique is used to check the validity of the data collected. Data analysis technique is conducted through reduction, presentation and verification. The results of the analysis show that, first, the environment of the penal institution has influence on the psychological stress of the prisoners which gives impact on their painting ideas, themes, and visuals; second, their creation process in various limitations do not stop their productivity in painting; and third, the visual characteristics of the prisoners’ paintings have their own uniqueness which can be seen through the perspectives of visual elements and principles related to the Id, Ego, and Superego drives in psychology which produce two categories of painting themes, i.e. political and personal themes. Both themes indicate the influences of environment, stressor, and the prisoners’ life background factors. Painting activity can be a fulfillment to the need of expressing aesthetics of every prisoner in Class IIA Narcotic Correctional Institution, Yogyakarta.
Proses Berpikir Kreatif Penciptaan Mice Cartoon dalam Harian Rakyat Merdeka Periode Pemilihan Presiden 2019 Pangesti Aprilia, Dwi; Iswidayati, Sri; Triyanto, Triyanto
Catharsis Vol 8 No 3 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i3.32825

Abstract

Muhammad Misrad atau Bang Mice adalah kartunis Harian Rakyat Merdeka yang memiliki kemampuan unik dalam mengekspresikan gagasannya dalam bentuk kartun. Proses kreatifnya menciptakan karya Mice Cartoon sangat menarik untuk dikaji. Tujuan penelitian ini adalah menganalisis proses kreatif Bang Mice dalam penciptaan Mice Cartoon yang dimuat Harian Rakyat Merdeka periode pemilihan presiden 2019. Metode penelitian ini adalah kualitatif. Pengumpulan data dilakukan melalui observasi, wawancara, dan studi dokumen. Teknik pemeriksaan keabsahan data meliputi triangulasi data dan sumber. Teknik analisis data kualitatif meliputi (1) reduksi data, (2) penyajian data, dan (3) verifikasi (Miles & Huberman, 1992:17), sedang teknik analisis data penelitian menggunakan teori Graham Wallas. Hasil dari penelitian menunjukkan bahwa proses berpikir kreatif Bang Mice dalam berkarya Mice cartoon yang diterbitkan Harian Rakyat Merdeka periode pemilihan presiden 2019 diawali dengan tahap persiapan yang dipengaruhi aspek internal dan eksternal kartunis, tahap inkubasi yang menjadi tahap pengeraman ide, tahap iluminasi yang ditandai dengan munculnya insight, dan tahap verifikasi meliputi pengujian yang berasal dari internal dan eksternal. Temuan penting penelitian adalah dengan pola hasil karya yang hampir sama, Bang Mice mampu mengambil sudut pandang yang kreatif sehingga menghasilkan karya menarik bagi pembaca. Penelitian diharapkan bermanfaat bagi masyarakat khususnya yang bergerak di bidang seni rupa/kartun agar mampu menghasilkan produk berkualitas melalui proses berpikir kreatif yang dilakukan Bang Mice.
Batik Batik in the Joint Business Group of Sidomulyo, Tegal: A Case Study of the Ornamentation, Function, and Inheritance Affan, Faiz; Triyanto, Triyanto; Iswidayati, Sri
Catharsis Vol 8 No 4 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i4.36426

Abstract

Producing art is a human need. This research focuses on the art production in the form of batik made by Sidomulyo Joint Business Group in Pasangan. This research aims to analyse the ornamentation of batik, explain the function of batik, and the inheritance to the next generation organized by the business group. This research employs qualitative method with socio-cultural interdiscipline and art. The researchers collected the data through observation, interview, and documentation. The analysis of the data focuses on the aesthetics, function, and the concept of inheritance (internalization, enculturation, and socialization). First, the business group produces batik with variative and aesthetics value. Second, the batik provides human value for the source of living, socialization, and cultural preservation. Third, the inheritance works through family’s intergenerational transfer and informal education. Batik Tegal has varied motives. The producer may preserve it by motivating the younger generation to keep on producing the batik in Tegal. As a suggestion, this research can become a reference for future generation about batik in Tegal and how to do it.
The Symbolic Meaning of Charaters in Wayang Lupit and Slentheng By Ki Entus Susmono Kuntoro, Adi; Iswidayati, Sri; Triyanto, Triyanto
Catharsis Vol 8 No 4 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i4.37111

Abstract

Wayang Lupit and Slentheng are the characters played in Carangan performance by Ki Entus Susmono. The characters are based on Punawakan. This research analyses the visual elements of Wayang Lupit and Slentheng by Ki Entus Susmono. This research uses qualitative method with semiotic approach. The researchers collected the data from observation, interviews, and documentation. The data were validated by triangulation. The analyses of the data were through data reduction, presentation, and verification. The visual analysis of the characters implemented the theories of Ferdinand De Saussure and Roland Barthes. The findings show that: 1) The characters of Wayang Lupit wear Tegalese costumes, which are clothes, black trousers (in some cases wear Sarong), and iket wulung (a head band); 2) The character of Slentheng wears moslem apparel with sarong and kupluk/peci (moslem cap). Besides, the researchers found that the symbolic meaning of Wayang Lupit and Slentheng are reflected through its use of traditional costume. pakaian adat. In the end, this research can become a reference for similar study in the future, specifically for art education study in the future.
PERKEMBANGAN BENTUK TOPENG BARONGAN DALAM RITUAL MURWAKALA DI KABUPATEN BLORA Pambudi, Fivin Bagus Septiya; Iswidayati, Sri; Supriyanto, Teguh
Catharsis Vol 4 No 2 (2015)
Publisher : Universitas Negeri Semarang

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Abstract

Ritual Murwakala ini merupakan ritual ruwatan yaitu ngruwat wong sukerta. Rumusan masalah penelitian ini (1) Bagaimanakah perkembangan bentuk topeng Barongan Blora yang digunakan dalam ritual Murwakala (2) Bagaimanakah fungsi topeng Barongan yang digunakan dalam ritual Murwakala (3) Bagaimana makna dalam tiap bentuk perkembangan topeng Barongan yang digunakan dalam ritual Murwakala. Tujuan penelitian ini (1) Untuk mengetahui dan menjelaskan perkembangan bentuk topeng barongan Blora dalam ritual Murwakala (2) Untuk mengetahui dan menjelaskan fungsi topeng Barongan dalam ritual Murwakala (3) Untuk mengetahui dan menjelaskan makna dalam tiap bentuk perkembangan topeng Barongan dalam ritual Murwakala. Penelitian ini menggunakan metode kualitatif, mengumpulkan data (1) Observasi mengamati terhadap pertunjukan Barongan (2) wawancara yaitu dengan mewawancarai seniman Barongan Blora, Pawang barongan, dan tokoh Blora (3) Data dokumen yang didapat berupa dokumentasi arsip kebudayaan yang ada di kota Blora. Hasil yang diperoleh dalam penelitian ini yaitu perkembangan bentuk topeng barongan blora yaitu sebelum kemerdekaan sampai 1945, setelah kemerdekan sampai orde lama, orde  baru – reformasi, periode reformasi - tahun 2009, 2010 sampai sekarang. Fungsi Barongan Blora yaitu, Barongan murni sebagai sarana ritual Murwakala, Barongan dalam ritual Murwakala Pertunjukan Panggung. Saran Mengembangkan kesenian daerah khusunya kesenian topeng Barongan di kabupaten Blora bisa berkembang dan dalam hal pelestarian seni tradisi.Ritual murwakala is ritual ruwatan namely ngruwat wong sukerta. The formulation of the research 1) how the development of the mask barongan Blora used in ritual murwakala 2) how function mask barongan used in ritual murwakala 3) how meaning in every the development of a mask barongan used in ritual murwakala .The purpose of this research is 1) to know and explain the development of the mask barongan in ritual murwakala 2) to know and explain function mask barongan on rites murwakala 3) to review and explain the meaning of for the development of a mask barongan in ritual murwakala. This research using the qualitative method ,while to collect the data done by 1) observation 2) interview 3) data on documents. The results in this research that is the development of the form of a mask barongan Blora occurring in some the period that is the period before independence until 1945,after independence until order lama,new order to reform,tahun2009 reform,2010 until now.Function mask barongan blora on rites murwakala that is as a means of ritual murwakala and as a stage performance.Function barongan blora namely , pure barongan as a means of a ritual murwakala, barongan on rites murwakala a stage performance.
FUNGSI DAN MAKNA BIDE DALAM KEHIDUPAN MASYARAKAT DAYAK KANAYATN DI KABUPATEN LANDAK KALIMANTAN BARAT Dodo, Dodo; Iswidayati, Sri; Rohidi, Tjetjep Rohendi
Catharsis Vol 5 No 2 (2016)
Publisher : Universitas Negeri Semarang

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Abstract

Bide merupakan bagian dari perlengkapan atau sarana yang digunakan dalam upacara ritual adat suku Dayak Kanayatn, tikar Bide mampu memberi kepuasan spiritual atau emosional lewat penampilan yang indah dan artistik. Masalah yang dikaji dalam penelitian ini; (1) Fungsi apa yang terkandung dalam Bide?; dan (2) Bagaimana makna simbolik yang terkandung dalam Bide?. Metode penelitian ini adalah kualitatif dengan pendekatan interdisiplin (antropologi, sosiologi, seni rupa dan semiotika). Teknik pengumpulan data dengan teknik observasi, wawancara, dan studi dokumen. Pemeriksaan keabsahan data menggunakan triangulasi sumber, dengan prosedur analisis data menggunakan reduksi data, penyajian data, dan verifikasi data. Hasil Penelitian menunjukan bahwa, tikar Bide bagi masyarakat Dayak Kanayatn adalah sebagai alat perekat tali persaudaraan. Dalam upacara adat, Bide sebagai alas tempat duduk dalam mempersatukan masyarakat, sehingga dengan kesatuan dapat tercipta suasana yang damai, adat merupakan aturan yang berlaku disetiap kehidupan mereka. Makna simbolik Bide adalah lambang kebersamaan dan pemersatu suatu kelompok masyarakat, dengan tujuan supaya masyarakat tetap menjaga solidaritas, kebersamaan, dan tanggung jawab. Sesuai dengan fungsinya, ketika ditempatkan dalam kontek budaya, Bide menjadi suatu identitas, karakter dan bisa juga harga diri.
PATUNG PANTAK DAYAK KANAYATN Kajian Bentuk dan Fungsi dalam Perubahan Sosial Budaya Andrianus, Andrianus; Iswidayati, Sri; Triyanto, Triyanto
Catharsis Vol 5 No 2 (2016)
Publisher : Universitas Negeri Semarang

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Abstract

Patung Pantak merupakan karya seni yang hadir dari hasil produk budaya Suku Dayak Kanayatn. Keberadaan patung Pantak dalam kehidupan masyarakat Suku Dayak Kanayatn merupakan tindakan sosial masyarakat untuk mengekpresikan budaya melalui sebuah patung. Berubahnya budaya bertani masyarakat memberikan dampak terhadap bentuk dan fungsi patung Pantak. Penelitian ini bertujuan menganalisis dan memahami masalah bentuk dan fungsi pada patung Pantak dalam konteks perubahan sosial budaya masyarakat Suku Dayak Kanayatn. Metode penelitian menggunakan pendekatan penelitian kualitatif. Data penelitian dikumpulkan dengan teknik pengamatan, wawancara mendalam, dan dokumentasi. Hasil penelitian menunjukan perubahan sosial budaya masyarakat Suku Dayak Kanayatn dari beberapa aspek kehidupan mempengaruhi aspek yang berhubungan dengan budaya serta orientasi nilai budayanya. Salah satu aspek kebudayaan yang dipengaruhi dengan terjadinya perubahan sosial budaya itu adalah karya seni, termasuk disini karya seni patung. Tegasnya bentuk dan fungsi karya seni patung Pantak Dayak Kanayatn berubah seiring dengan tejadinya perubahan sosial budaya masyarakatnya. Tampaknya peran budayawan dan bidang pendidikan yang sejatinya menjaga, mempertahankan serta melestarikan suatu produk budaya belum terlihat jelas, sehingga dalam hal ini Perlu memberikan pengetahuan kepada masyarakat yang menjadi pemilik suatu kebudayaan untuk secara bijak dalam menyikapi setiap kemajuan yang berdampak dalam sebuah kebudayaan dan perlunya untuk memasukkan karya seni patung Pantak sebagai materi ajar untuk memperkenalkan salah satu produk budaya dari Suku Dayak Kanayatn.
Makna Simbolis dan Fungsi Tenun Songket Bermotif Naga pada Masyarakat Melayu di Palembang Sumatera Selatan Tahrir, Romas; Rohidi, Tjetjep Rohendi; Iswidayati, Sri
Catharsis Vol 6 No 1 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17020

Abstract

Tenun Songket Palembang Sumatera Selatan merupakan salah satu songket terbaik di Indonesia. Motif naga divisualkan kedalam tenun songket karena diyakini memiliki makna simbolis. Tujuan penelitian ini adalah (1) ingin mengetahui motif naga dijadikan unsur utama dalam kerajinan tenun songket (2) ingin menganalisis visualisasi naga dalam tenun songket, (3) ingin memahami makna simbolis dan fungsi tenun songket bermotif naga pada masyarakat Melayu di Palembang Sumatera Selatan. Metode penelitian yang digunakan metode kualitatif. Data penelitian diperoleh melalui, observasi, wawancara, dokumentasi. Teknik analisis data yang digunakan adalah pengumpulan data, reduksi data, penyajian data dan kesimpulan. Hasil penelitian menunjukan bahwa: Pertama, Tenun songket bermotif naga dijadikan sebagai motif utama karena motif tersebut yang pertama dibuat oleh Gede Munyang masa dulu (nenek moyang) sebelum adanya motif-motif tiga negeri dan kenanga dimakan ulat; Kedua, bentuk visual naga yang ada pada tenun songket merupakan visualisasi pengaruh naga Cina; Ketiga, makna simbolis tenun songket bermotif naga merupakan unsur kepercayaan masyarakat Sumatera Selatan yang terkandung pemahaman kehidupan dilihat dari makna unsur satu kesatuan dan merujuk pada tatanan dalam berkehidupan yang berisi pemahaman terhadap konsep pengharapan, kesucian, perlindungan, kemakmuran, jati diri, dan ajaran dalam ruang lingkup kehidupan sosial. Berkaitan dengan fungsinya, masyarakat Palembang menggunakan tenun songket bermotif naga dalam tradisi pernikahan. Weaving Songket Palembang South Sumatra is one of the best songket in Indonesia. Visualize them into a dragon motif on songket as it is believed to have symbolic significance. Problems examined in this study are: (1) want to know the dragon motif used as a key element in the craft of weaving songket (2) wants to analyze the visualization of a dragon in songket, (3) to understand the symbolic meaning and function of songket weaving patterned dragon on the Malay community in Palembang in South Sumatra. The method used qualitative methods. The data source is the people of Palembang in South Sumatra and patterned songket weaving dragon. Analysis technique used is data collection, data reduction, data presentation and conclusion. The research shows. First, patterned songket weaving dragon serve as the main motive for the first motif created by Gede Munyang first period (ancestor) before any other motives. Second, the visual form of the dragon that is in the weaving songket is a visualization of the influence of the Chinese dragon. Third, the symbolic meaning of the dragon patterned songket is an element of public confidence in South Sumatra. Contained in the understanding of the meaning of the elements of life seen a whole and refers to the order in life which provides an understanding of the concept of hope, purity, protection, prosperity, identity, and the teachings within the scope of social life. In connection with the public function Palembang songket weaving patterned using dragon in their marriage tradition.
Co-Authors Affan, Faiz Andriansyah, Rico Andrianus Andrianus, Andrianus Anik Rahmawati, Anik Dodo Dodo, Dodo Fivin Bagus Septiya Pambudi, Fivin Bagus Septiya Harry Prasetyo, Harry Hartono Hartono Ijah Hadijah, Ijah Kuntoro, Adi Mayang Pitaloka Pangesti Aprilia, Dwi Prihatini, Luciana Intan Rimasari Pramesthi Putri, Rimasari syakir syakir Tahrir, Romas Tahrir, Romas Teguh Supriyanto Tjetjep Rohendi Rohidi, Tjetjep Rohendi Wahyu Lestari