Koes Yuliadi
Institut Seni Indonesia Yogyakarta

Published : 6 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 6 Documents
Search

REALITAS SOSIAL MINANGKABAU DALAM PERTUNJUKAN TEATER “CADIK PATAH” Fitri Noveri; Koes Yuliadi; Sahrul Sahrul
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 1 (2017): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (109.029 KB) | DOI: 10.26887/bcdk.v4i1.556

Abstract

ABSTRACT Cadik Patah play is a play inspired by Minangkabau people’s reality in West Sumatra highland namely Lima Puluh Kota district. This search is inspired from many domestic conflicts occurred in Minangkabau as the result of kinship pattern in the household namely conflict happened between married children’s families with their parents (parents in law) as the result of the existence of several household heads in one nuclear family.Besides being inspired by those things above, Cadik Patah play is also materialized into tragicomedy drama namely the combination of tragedy drama and comedy-drama. The content of its story consists of sadness and humor/jokes that entertain audiences. Story told has serious conflict and funny humorous scenes that decrease tension. In the following scene, the tension of story conflict improves so drama becomes more exciting and attractive and then the audiences want to enjoy it continuously.Cadik Patah script is then believed to take hyperrealist style. Hyperrealist intended by the authors is that in the making of this drama, authors will look for objects that are interesting in object material itself. Although this style is influenced by instrumental theater or environmental theater, it can be observed that both of them have differences. If instrumental theater is the theater inspired by ritual or it uses available instruments, the style called as hyperrealist by the author still applies the strict arrangement of the dramatic plot like in realist plays. It is just that the author tries to explore the smallest object into an interesting theme to be discussed by characters in Cadik Patah play. Keywords: Drama, Cadik Patah, Social Reality, Tragicomedy.
ULU AMBEK: SEBUAH PERTARUHAN NILAI Dilmai Putra; Koes Yuliadi; Wilma Sriwulan
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 2 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (132.932 KB) | DOI: 10.26887/bcdk.v3i2.545

Abstract

ABSTRACT Ulu ambek is the battle among nagari (=villages) and among their customary leaders through their fighters namely pandeka ulu ambek. The battle is the fight of values which stakes the greatness, honor, and prestige of a nagari and all of its equipments. The battle is done in order to gain recognition and existence from other nagari. Ulu ambek is conceptualized and created as a battle which honors sportsmanship, ethics, and aesthetics. Sportsmanship can be seen from its rules and the rule keepers; ethics can be seen from the way to do it; and aesthetics can be seen from the movement. In Minangkabau society, the terms balahie babatin means that there are things that can be seen physically and the others that can only be felt mentally. In physical appearance, ulu ambek is seen as an attractive movement that’s equal to suntiang, a traditional head ornament of Minangkabaunese’s bride. In spiritual way, ulu ambek is a battle using spiritual and supernatural power. Through the spiritual and supernatural power, ulu ambek is presented in the movements of attacking and repelling opponent’s strike without any physical contact.                                                                                                                      Keywords: Ulu ambek, battle, value, ethics, sportsmanship, nagari
REPRESENTASI RASISME PEREMPUAN PADA FILM “NOTHING SPECIAL” KARYA FERTHAMANSYAH Suryanto Suryanto; Rosta Minawati; Koes Yuliadi
PROPORSI : Jurnal Desain, Multimedia dan Industri Kreatif Vol 3, No 1 (2017): PROPORSI November 2017
Publisher : Universitas Potensi Utama

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22303/proporsi.3.1.2017.92-102

Abstract

Film Nothing Special merupakan film pendek yang menceritakan seorang mahasiswa yang memilki segalanya baik materil maupun moril. Lala memiliki karakter yang kasar dan sombong, Lala sangat dengan mudah untuk melakukan perbuatannya dengan temannya dan memerintahkan sesuai dengaan keinginannya. Penelitian ini menganalisis penggambaran perempuan sebagai pelaku kekerasan dalam film Nothing Special. Metode yang digunakan adalah analisis representasi, yang digunakan untuk menggambarkan konstruksi ideologis dan wacana mengenai perempuan dan rasisme dalam film Nothing Special. Hasilnya, didapati bahwa seseorang perempuan yang merasa paling benar dan karena mempunyai uang  yang banyak jadi ia dapat membeli segala dan memarahi teman-temannya. Ketika teman-temannya merasa kesal dengan peran utama perempuan yaitu Lala maka mereka mencuri dan menyiksa perempuan tersebut atas perbuatannya kepada mereka dan disinilah peniliti ingin membahas atau mengkaji representasi rasisme antar perempuan dengan teman yang kurang mampu dan mudah untuk dibully sesuka keinginan Lala.
DARI “ARCA” KE ARJA: ADAPTASI “PANJI” DALAM PERTUNJUKAN ARJA DI BALI Koes Yuliadi
Berkala Arkeologi Vol 33 No 1 (2013)
Publisher : Balai Arkeologi Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (590.659 KB) | DOI: 10.30883/jba.v33i1.9

Abstract

Panji stories that were spread throughout Indonesia and Southeast Asia were not only known as old literature. Panji stories were also sculpted as the reliefs on temples in East Java. The existence of the text shows the historical facts that form the basis for the emergence of the Panji stories. Panji figure could be a manifestation of the life of kings in the past. The presence of papyrus, relief, and also stage performance that tell the story of Panji showed that there is a correlation among literature, relief, and performance, in the realm of art creation. Are Panji stories stay preserved as part of the development of art in Indonesia? Arja performances in Bali could describe how Panji stories can still be traced. Arja's performance used Panji stories as a source. Now Arja is existence can still be seen through its variety of plays. However, this does not make the panji story disappear in the Arja's performance. This issue will be addressed as a consequence of the adaptation of the revolving art. Not only in the present, but in the past a pattern of adaptation that can transpose works from different disciplines has already emerged. Panji stories can be known through papyrus, relief, and performances. Today it is still going without being recognized. 
IDENTITAS DAN KRITIK DALAM STAND UP COMEDY Tofan Gustyawan; Koes Yuliadi
Jurnal Cerano Seni | Pengkajian dan Penciptaan Seni Pertunjukan Vol. 1 No. 01 (2022): Cerano Seni | Pengkajian dan Penciptaan Seni Pertunjukan
Publisher : Universitas Jambi

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (691.565 KB) | DOI: 10.22437/cs.v1i01.18416

Abstract

Stand up comedy merupakan pertunjukan yang mengedepankan olah bahasa sering menjadi sarana dalam menyampaikan kritik. Kritik berfungsi sebagai alat untuk menganalisa, mengevaluasi sesuatu dengan tujuan memperluas apresiasi juga memperbaiki situasi. Indonesia sebagai negara yang menjamin kebebasan berpendapat, menjadi suatu peluang dalam menyampaikan berbagai macam kritik, terutama dalam stand up comedy.  Stand up comedy bukan sekedar menciptakan olah bahasa dari berbagai kegelisahan yang dibuat menjadi sebuah joke tanpa dasar. Namun lebih mendalam yaitu menyadari identitas sebagai bagian dari kirtik. Penciptaan pertunjukan stand up comedy berjudul Jalan Rusak sebagai wujud kritik dari refleksi atas identitas pengkarya. Identitas sebagai dasar yang tidak dilupakan dalam menyampaikan kritik. Identitas sebagai dasar yang dapat mengurangi ketegangan dalam menyampaikan kritik dalam komedi. Hal tersebut membuka ruang berpikir dalam bereksplorasi dalam proses penciptaan. Proses penciptaan membuka peluang seluas-luasnya dengan disiplin keilmuan yang lain dalam rangka membentuk karya. Stand up comedy menjadi pilihan yang ideal sebagai media seni dalam menyampaikan  pendapat terutama kritik agar  pendapat dapat diterima dengan baik.
Adaptation and Representation of Narcissistic Desires of Calon Arang's Text in Bali Koes Yuliadi
Journal of Urban Society's Arts Vol 9, No 2 (2022): October 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v9i2.6486

Abstract

Rangda and Barong appear a lot in performing art, paintings, and tattoos in Bali.  The sacred rituals involving the two creatures always attract attention—likewise forms of performances and crafts for tourists.  Historically the existence of Rangda and Barong started from the text of Calon Arang, which initially came from the island of Java in Indonesia.  This fact shows how the Balinese people attach themselves to myths and then develop them in creative works.  The relationship between the narrative text and visualization will be the material to see what desires are behind their consciousness and unconsciousness in understanding the Calon Arang.  There is an antagonistic offer on the characterizations and the creative process that perceives Calon Arang's story. The process of studying the object uses a qualitative method. In a time, observe and be directly involved in the Rangda and Barong ceremonies, see these figures' performances, visit markets and art galleries, and interview Balinese artists and cultural figures.  This process concludes that the continuous adaptation process based on the Calon Arang text involves the spiritual and creative power of the Balinese people as part of their narcissistic and analytic desires. Rangda and Barong always provide new phenomena in creative works with antagonistic ideas. Analyzing this data is very important to understand the concepts created, outcomes, and the spirituality of the interwoven in the development of Balinese art. Adaptasi dan Representasi Hasrat Narsis Teks Calon Arang di Bali. Rangda dan Barong merupakan figur yang sering terlihat pada pertunjukan seni, lukisan, dan tato di Bali. Agenda ritual sakral yang melibatkan keduanya selalu menarik perhatian. Demikian juga ketika ia muncul dalam bentuk pertunjukan dan kerajinan untuk wisatawan. Secara historis keberadaan Rangda dan Barong tidak bisa dilepaskan dari teks Calon Arang yang pada walnya berasal dari Pulau Jawa di Indonesia. Kenyaaan ini menunjukkan bagaimana keterikatan masyarakat Bali dengan mitos dan kemudian mengembangkannya dalam karya kreatif. Relasi teks naratif dan visualisasnya akan menjadi bahan untuk melihat hasrat apa yang ada di balik kesadaran dan ketidaksadaran mereka dalam menghayati Calon Arang. Terlihat adanya tawaran antagonistik pada penokohan dan proses kretif yang merpersepsi cerita Calon Arang. Proses pengkajian objek di atas menggunakan metode kualitatif.  Selain mengamati dan terlibat langsung dalam upacara Rangda dan Barong, melihat pertunjukan yang melibatkan figur tersebut, mengunjungi pasar dan galeri seni, juga wawancara dengan beberapa seniman dan budayawan Bali. Proses ini memberikan simpulan bahwa proses adaptasi yang berkenajutan berdasar teks Calon Arang melibatkan daya spiritual dan kreatif masyarakat Bali sebagai bagian dari hasrat narsistik dan anaklitik. Rangda dan Barong selalu memberikan fenomena baru dalam karya kreatif dengan berbagai gagasan yang antagonistik. Menganalisis data ini sangat menarik untuk memahami gagasan penciptaan, keberlanjutan karya, dan jalinan spiritualitas dalam perkembangan seni Bali hingga saat ini.