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Wayang untuk Dalang Multi Level Usia Sebagai Wahana Pelestarian Seni Tradisional Aziz, Abdul; Suseno, Bayu Aji; Junaidi, Junaidi
JURNAL SATWIKA Vol 2, No 1 (2018): April
Publisher : Cultural Institute University of Muhammadiyah Malang

Penelitian ini bertujuan untuk melestarikan wayang tradisi melalui dalang berbagai usia. Wayang tradisi bersifat mono level dan diformat untuk dalang laki-laki dewasa, sehingga kurang sesuai dengan dalang multi level usia. Mengapa model wayang format multi usia dapat dijadikan sebagai wahana pelestarian wayang tradisional? Jawaban pertanyaan ini dapat diperoleh melalui perancangan model wayang berukuran fisik dan jiwa dalang berbagai level usia. Metode eksperimen digunakan untuk menciptakan wayang multi format, sedangkan pembahasannya berdasarkan teori struktur. Lima macam format boneka wayang kulit purwa dapat dihasilkan untuk diterapkan kepada dalang anak-anak, anak, remaja awal, remaja akhir, dan dewasa, yaitu: (1) Wayang kaper, untuk dalang tingat anak-anak; (2) Wayang kidangkencanan untuk dalang tingkat anak; (3) Wayang jaranan, untuk dalang tingkat remaja awal; (4) Wayang banthèngan, untuk dalang tingkat remaja akhir; dan (5) Wayang gajahan, untuk dalang tingkat dewasa. Kelima jenis wayang ini dapat dipakai sebagai wahana untuk pelestarian seni tradisional, karena memiliki kesesuaian format fisik dan jiwanya.

Local Pride Movement As A Local Sneaker Branding Strategy Suseno, Bayu Aji; Hidayat, Anwar
Journal of Indonesian Applied Economics Vol 9, No 2 (2021)
Publisher : Department of Economics, Faculty of Economics and Business, Universitas Brawijaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21776/ub.JIAE.009.02.6

This research aims to determine the revival of local pride tagline or slogan as a social movement for being proud of wearing local sneaker brand. In this research, the branding theory was used to analyze the formation of local pride or being pride of Indonesian-made products slogan or taglines. This research used a qualitative method with an analytic descriptive approach. Meanwhile, data were collected through non-participant observation to obtain an overview or information about objective or event conditions. The research result showed that the local pride movement practiced through cross-industry collaboration with influencers was able to build the brand personality of local shoes on consumersâ€™ buying interests. The level of consumer ethnocentrism in the community resulted in brand awareness providing significant effects on the decision to buy local shoes. It was also in line with the government policy through restriction on imported commodities for products or goods that can be made domestically. The Content digital marketing was adopted by developing a proud Indonesian products theme. It was carried out through a hashtag for #LocalPride to increase the number of local shoes product sales, and it also can be used as a promotional tool that has proven to be effective to increase the number of followers on social media.

Eksistensi Seni Grafis Monoprint dalam Kesenirupaan Yogyakarta Bayu Aji Suseno
Journal of Urban Society's Arts Vol 1, No 2 (2014): October 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v1i2.792

Tujuan penelitian ini adalah ingin memahami persoalan yang muncul dalameksistensi seni grafis monoprint seniman Yogyakarta. Pertanyaan yang diajukan(1) apakah cetak monoprint merupakan suatu bentuk penyimpangan terhadapkaidah seni grafis konvensional; (2) bagaimana pengaruh booming lukisan dalamkeberadaan praktik seni grafis monoprint. Keberadaan praktik monoprint sejalandengan perkembangan seni rupa kontemporer yang merespons kekayaan teknik danmedium baru, yang disertai dengan konsep pemikiran seniman yang lebih plural.Namun, proses kreatif pegrafis tersebut seringkali dipandang kritis dan sinis olehsebagian pihak karena karya yang dihasilkan oleh seniman tidak hanya ada satuedisi (eksklusif ) seperti lukisan. Dalam rentang waktu tahun 2008 sampai 2011,beberapa seniman yang bermukim di Yogyakarta mengadakan pameran tunggalseni grafis monoprint. Kota Yogyakarta memiliki sejumlah seniman muda yangmenekuni praktek cetak tersebut, antara lain: Andre Tanama, Ariswan Adhitama,Irwanto Lentho, dan T.A Sitompul. Hasil penelitian ini menunjukkan bahwa praktikseni grafis monoprint ternyata mampu bersaing dengan lukisan. Pengaruh boominglukisan menjadikan seni ini bukan lagi merupakan satu pencarian jati-diri, namunsebagai satu alternatif bentuk komoditas dengan label seni rupa modern The Existence of Monoprint Art in Yogyakarta. The existence of monoprint practicegrows in line with the development of the contemporary art that responds the inventionof new techniques and media accompanied by the artists’ more pluralistic thinking.Unluckily, the creative process of the monoprint artist is often critically judged andcynically looked at by some people because the work produced by the artist is only oneedition (exclusive), just like painting. From 2008 to 2011, several artists living inYogyakarta held a solo exhibition of monoprint. Yogyakarta has a number of young artistswho devote their life to practice the art of printing, among others are Andre Tanama,Ariswan Adhitama, Irwanto Lentho, and TA Sitompul. This study is intended to findout whether monoprint making practice is considered as a deviation of the graphic artconventional rules and how the painting booming influences the monorprint existence.From the analysis, it can be inferred that a monoprint is capable of competing a paintingand the booming of painting is no longer considered as a search of identity but more as analternative of commodity form with the label of modern visual art.

Wayang Multi-Level Linguistic sebagai Pendidikan Karakter Berbasis Nilai Pancasila Bayu Aji Suseno; Junaidi Junaidi
JPK (Jurnal Pancasila dan Kewarganegaraan) Vol 6, No 1 (2021): Januari
Publisher : Universitas Muhammadiyah Ponorogo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24269/jpk.v6.n1.2021.pp68-77

Penelitian ini bertujuan untuk meningkatkan budi pekerti bangsa Indonesia di lingkungan lembaga pendidikan formal melalui media wayang. Dalam mencapai tujuan penelitian tersebut dilakukan metode ceramah dan demontrasi dengan menggunakan landasan teori fungsional sosial atau sistem sosial Talcott Parsons. Hasil dari penelitian ini menunjukkan bahwa wayang menjadi media multi linguis (bahasa daerah dan nasional) dan multi level (jenjang usia dan tingkat pendidikan) yang berdasarkan semboyan Bhineka Tunggal Ika dalam wadah Negara Indonesia dan nilai-nilai yang terkandung dalam Pancasila, yaitu: Nilai Ketuhanan, Nilai Kemanusiaan, Nilai Kesatuan, Nilai Kebijaksanaan, dan Nilai Keadilan. Dalam suatu pertunjukkan wayang mengajarkan nilai tidak secara dogmatis (harus diterima kebenarannya) dan teoritis sebagai suatu indoktrinasi (paham kebenaran hanya dari satu sisi), tetapi secara demokrasi dan kongkret dengan menghadirkan kehidupan tokoh-tokoh sebagai teladan yang nyata. Wayang multi-level linguistic menjadi media pendidikan karakter sebagai rujukan bagi tenaga pendidik (guru) dan peserta didik (siswa) pada lembaga pendidikan di seluruh wilayah Indonesia.Wayang Multi-Level Linguistic as Character Education Based on Pancasila Values. This study aims to improve the character of the Indonesian nation in formal educational institutions through wayang media. In order to achieve the research objectives, lectures and demonstrations were carried out using the social functional theory foundation or Talcott Parsons' social system. The results of this study indicate that wayang is a multi linguist (regional and national language) and multi level (age level and education level) media based on the motto of Bhineka Tunggal Ika in the Indonesian State container and the values contained in Pancasila, namely: Divine Value, Humanity Value, Unity Value, Wisdom Value, and Justice Value. In a puppet show teaches values not as dogmatic (the truth must be accepted) and theoretically as an indoctrination (understanding the truth from one side only), but democratically and concretely by presenting the lives of the characters as real role models. Multi-level linguistic wayang has become a character education medium as a reference for educators (teachers) and students (students) in educational institutions throughout Indonesia

MENJAGA TRADISI CABLAKA DI ERA MILENIAL MELALUI COVER MAJALAH ANCAS BANYUMASAN Bayu Aji Suseno; Luqman Wahyudi
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 1, No 2 (2020): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v1i2.1629

The publication of Ancas Banyumasan magazine is intended for market segmentation or target audience (consumers) of the millennial generation in the Barlingmascakep area (Banjarnegara, Purbalingga, Banyumas, Cilacap and Kebumen). The cover image of Ancas Banyumasan magazine presents a role model for local teenagers or young people who are not well known or less popular with an understated or simple (pose) style or attitude. The title of the main article of Ancas Banyumasan magazine uses Penginyongan language with persuasive sentences with provocative tones to maintain the character of the Cablaka culture which means speaking frankly or as is. This research uses a qualitative method with a descriptive analytic study approach, while data collection is by non-participant observation to obtain a picture or information on an objective state or certain event based on clear facts. The results of the study aimed to analyze the meaning of the cablaka concept in the cover design of Ancas Banyumasan magazine in building awareness of the millennial generation of the value of local wisdom. Penerbitan majalah Ancas Banyumasan ditujukan untuk segmentasi pasar atau target audience (konsumen) generasi milenial di wilayah Barlingmascakep (Banjarnegara, Purbalingga, Banyumas, Cilacap dan Kebumen). Image cover majalah Ancas Banyumasan menghadirkan role model remaja atau anak muda lokal yang tidak terkenal atau kurang popular dengan (pose) gaya atau sikap bersahaja atau sederhana. Judul artikel utama majalah Ancas Banyumasan menggunakan bahasa Penginyongan dengan kalimat persuasif bernada provokatif untuk mempertahankan karakter budaya cablaka yang berarti berbicara terus terang atau apa adanya. Penelitian ini menggunakan metode kualitatif dengan pendekatan studi deskriptif analitik, sedangkan pengumpulan data dengan observasi non-partisipan untuk memperoleh gambaran atau informasi terhadap suatu keadaan objektif atau peristiwa tertentu berdasarkan fakta yang jelas. Hasil penelitian bertujuan untuk menganalisis makna konsep cablaka dalam desain cover majalah Ancas Banyumasan dalam membangun kesadaran (awareness) generasi milenial terhadap nilai kearifan lokal.Kata kunci : Cablaka, cover, majalah, ancas, banyumasan

Wayang untuk Dalang Multi Level Usia Sebagai Wahana Pelestarian Seni Tradisional Junaidi Junaidi; Bayu Aji Suseno; Abdul Aziz
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 2 No. 1 (2018): April
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v2i1.7019

Penelitian ini bertujuan untuk melestarikan wayang tradisi melalui dalang berbagai usia. Wayang tradisi bersifat mono level dan diformat untuk dalang laki-laki dewasa, sehingga kurang sesuai dengan dalang multi level usia. Mengapa model wayang format multi usia dapat dijadikan sebagai wahana pelestarian wayang tradisional? Jawaban pertanyaan ini dapat diperoleh melalui perancangan model wayang berukuran fisik dan jiwa dalang berbagai level usia. Metode eksperimen digunakan untuk menciptakan wayang multi format, sedangkan pembahasannya berdasarkan teori struktur. Lima macam format boneka wayang kulit purwa dapat dihasilkan untuk diterapkan kepada dalang anak-anak, anak, remaja awal, remaja akhir, dan dewasa, yaitu: (1) Wayang kaper, untuk dalang tingat anak-anak; (2) Wayang kidangkencanan untuk dalang tingkat anak; (3) Wayang jaranan, untuk dalang tingkat remaja awal; (4) Wayang banthèngan, untuk dalang tingkat remaja akhir; dan (5) Wayang gajahan, untuk dalang tingkat dewasa. Kelima jenis wayang ini dapat dipakai sebagai wahana untuk pelestarian seni tradisional, karena memiliki kesesuaian format fisik dan jiwanya.

Perubahan Balungan Lampahan dalam Pakeliran Wayang Kulit Purwa Gaya Surakarta Junaidi Junaidi; Bayu Aji Suseno
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

The Changes on Balungan Lampahan in Pakeliran of Purwa Puppet of Surakarta Style.This research aims to increase the appreciation of the shadow puppet purwa pakeliran according to the times and society. Balungan lampahan as the basic framework, is static and never to be changed, but then it is dynamic and full of changes. The method used is descriptive comparative, while data analysis is based on the structure theory of the wayang play by Alton L. Becker and Arnold Hauzer's social change. The results can be found in three forms of balungan lampahan namely: (1) overnight, (2) compact, and (3) solid. Change is partial and total due to changes in the society that supports wayang, namely as the art of royal ritual traditions (monarchy and ritualism) turning into modern art and entertainment (modern and profane). Thus, the change in balungan lampahan represents changing times and society, so it needs to be appreciated by the puppeteers for the pakeliran.Keywords: changes; balungan lampahan; pakeliran; shadow puppets; Surakarta style

Commodification of high heels against women's bodies on dancer Jathil Obyog in the Reog Ponorogo art show Bayu Aji Suseno; Putri Prabu Utami
Masyarakat, Kebudayaan dan Politik Vol. 35 No. 3 (2022): Masyarakat, Kebudayaan dan Politik
Publisher : Faculty of Social and Political Science, Universitas Airlangga

The performing art of Reog Ponorogo is a cultural heritage of the people of East Java which continues to experience development and several changes and progress. This study aims to identify the practice of commodifying high heels to complement the clothing of female dancer Jathil Obyog in the Reog Ponorogo art show. This study uses a qualitative method with a phenomenological approach. The results of this study explain that the high heels of Jathil Obyog dancers have value in supporting the appearance so that the legs look level, as well as forming a sturdy and proportional body posture in protecting the feet of female dancers in outdoor performances. The high heel exchange rate on Jathil Obyog's dancer's clothing is to raise the social status to an economic aesthetic value, while the symbolic value of high heels is a marker of sexuality for the female dancer Jathil Obyog to convey aggressiveness and eroticism to the audience, especially men. The conclusion of this study shows that high-heeled shoes can increase the sexual attractiveness (female body) of Jathil Obyog dancers by using a combination of semi-transparent or see-through tops, as well as the use of short pants that will make the thighs and buttocks look slimmer.

Simulator Tato Tradisional Papua dengan Aplikasi Inkhunter Mengunakan Model ADDIE Bayu Aji Suseno; Retnoning Adji Widi Astuti; Muchammad Rizky Kadafi
Imaji Vol 20, No 2 (2022): IMAJI OKTOBER
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/imaji.v20i2.48506

Penelitian ini bertujuan untuk mengeksplorasi pengembangan dan penggunaan aplikasi InkHunter berbasis Augmented Reality untuk mengoptimalkan aspek pengetahuan dan keterampilan mahasiswa dalam merancang motif tato tradisional Papua dalam perkuliahan ornamen di Jurusan Seni Rupa dan Desain Institut Seni Budaya Indonesia Tanah Papua. InkHunter adalah aplikasi simulator tato yang menggunakan metode marker based tracking untuk mengidentifikasi pola atau marker dari motif ornamen pada tato tradisional Papua melalui kamera perangkat mobile (smartphone atau gadget) menjadi objek virtual 3D ke lingkungan nyata secara real time. Penelitian ini termasuk jenis penelitian dan pengembangan (research and development) yang bertujuan untuk mengembangkan perangkat lunak (software) menjadi media pembelajaran dalam prosedur praktikum mata kuliah. Model ADDIE digunakan dalam penelitian pengembangan desain pembelajaran yang terdiri dari lima fase yaitu analysis (A), design (D), development (D), implementation (I) dan evaluation (E). Hasil penelitian ini menunjukkan bahwa teknologi augmented reality dapat digunakan untuk membuat media pembelajaran interaktif, sehingga mampu meningkatkan kemampuan mahasiswa untuk memahami keberadaan tato tradisional di Papua yang terancam punah. Kata Kunci: augmented reality, inkhunter, motif, tato, papua. Papuan Traditional Tattoo Simulator with Inkhunter Application Using the ADDIE Model Abstract This study aims to explore the development and use of Augmented Reality-based InkHunter applications to optimize students' knowledge and skills in designing traditional Papuan tattoo motifs in ornamentation lectures at the Department of Fine Arts and Design at the Indonesian Institute of Cultural Arts, Tanah Papua. InkHunter is a tattoo simulator application that uses a marker-based tracking method to identify patterns or markers from ornamental motifs on traditional Papuan tattoos through a mobile device camera (smartphone or gadget) into 3D virtual objects to a real environment in real time. This research is a type of research and development which aims to develop software into learning media in course practicum procedures. The ADDIE model is used in learning design development research which consists of five phases, namely analysis (A), design (D), development (D), implementation (I) and evaluation (E). The results of this study indicate that augmented reality technology can be used to create interactive learning media, so as to improve students' ability to understand the existence of traditional tattoos in Papua which are threatened with extinction. Keywords: simulator, augmented reality, inkhunter, motif, tattoo, papua, ADDIE

Jokowi’s Sneakers Politics: Personal Branding, Politics of Imaging and Millenial Votes The 2019 Presidential Election Bayu Aji Suseno; Putri Prabu Utami
Politika: Jurnal Ilmu Politik Vol 13, No 2 (2022)
Publisher : Program Magister Ilmu Politik, Universitas Diponegoro

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/politika.13.2.2022.321-336

This study aims to determine the use of sneakers as an artifactual communication medium that affects public perception (potential voters), to form millennial political identities to increase the popularity and electability of the incumbent presidential candidate Jokowi in the 2019 Indonesian presidential election campaign. The theoretical basis for personal branding is to determine the politics of imaging as a millennial leader against Jokowi's hypebeast style with sneakers. This study uses a qualitative research method with a phenomenological approach. The research subject focuses on the phenomenon of Jokowi's hypebeast style with sneakers as a personal branding strategy to win votes from millennials. In contrast, the research object is the sneaker product used by Jokowi during the presidential election campaign from 23 September 2018 to 13 April 2019. The results of this study explain that Jokowi's branding strategy of wearing sneakers is redesigning for self-image in introducing a new identity as a millennial leader. Jokowi is hypebeast style considered to break the new presidential dress order by following the fashion trends that are developing in the country. Joko Widodo (Jokowi) is trying to restore public trust by wearing sneaker brands from local and foreign manufacturers, thus placing Jokowi as an old-class politician who appears contemporary (hype) by adapting the style of millenials.

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