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All Journal E-Jurnal Kajian Budaya E-Journal Of Cultural Studies Jurnal Pendidikan Seni Rupa WIDYA LAKSANA DHARMASMRTI: Jurnal Pascasarjana UNHI Jurnal Bisnis dan Kewirausahaan Indonesian Journal of Religion and Society
I Ketut Supir
Universitas Pendidikan Ganesha
Religion Arts Humanities Economics, Econometrics & Finance Education Social Sciences Other

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IBM KERAJINAN PENGERAJIN LOGAM DI DESA BERATAN BULELENG BALI Supir, I Ketut
JURNAL WIDYA LAKSANA Vol 1, No 1 (2012)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (35.628 KB) | DOI: 10.23887/jwl.v1i1.9120

Abstract

Desa Beratan salah satu desa di kabupaten Buleleng yang menjadi pusat kerajinan logam (emas, perak, dan kuningan). Kerajinan logam desa Beratan pernah mengalami masa keemasan dan sejak bom Bali I dan bom Bali II, meledak, kerajinan ini mengalami kemerosotan seiring dengan lesunya industri pariwisata di Bali. Sebagian besar pengerajin beralih ke  pekerjaan  lain, dan saat  ini ada  tiga  orang pengerajin yang masih setia menggeluti kerajinan. Ketiganya menghadapi masalah yang sama, yaitu bidang produksi, manajemen, dan pemasaran. Peralatan yang dimiliki pengerajin masih tradisional dan sudah tua. Pengerajin tidak memiliki pembukuan dan dokumentasi produk yang telah dibuat. Pemasaran produk sangat terbatas.Solusi yang dapat dilakukan dalam menjawab permasalahan tersebut, yaitu: (1) memodifikasi alat peleburan/pencairan emas dan perak yang digerakkan dengan tenaga listrik; (2) pengadaan alat-alat pendukung proses produksi, antara lain: bor listrik yang dapat membantu percepatan dalam proses produksi; (3) pelatihan penganekaragaman desain produk kerajinan sesuai perkembangan pasar; (4) pelatihan manajemen usaha berbasis komputer, dan perancangan dan pembuatan website atau ecommerce. Peralatan elektik sangat membantu pengerajin dalam menhemat tenaga, waktu, dan dapat meningkatkan kuantitas dan kualitas produksi. Pelatihan desain menambah wawasan pengerajin dalam menghadapi tren pasar.
PITAMAHA: MIMICRY IN ARTS AND DESIGN DURING THE COLONIAL ERA Supir, I Ketut; Atmadja, Nengah Bawa; Mudana, I Gede
E-Jurnal Kajian Budaya (Online Journal of Cultural Studies) Vol 9, No 1 (2016): February 2016
Publisher : E-Jurnal Kajian Budaya (Online Journal of Cultural Studies)

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Abstract

During the pre-colonial era the Balinese arts and design were dominated by the themes of puppetry which contained the Hindu religious teachings. When the Dutch colonial government controlled Bali, the Balinese arts and design changed. This present study is intended to explore the existence of the Pitamaha association and the attitude of the Pitamaha painters towards the domination of the modern arts and design taught by Spies and Bonnet. The qualitative method and the postcolonial theory combined with various other critical supporting theories were used in the present study. The result of the study shows that Pitamaha is the first modern association of arts in Bali. However, Pitamaha still integrated the pattern of the Balinese traditional association. In this association, the royal elites were involved as the mediators between Spies and Bonnet and the Balinese painters. Spies and Bonnet taught the modern arts which were different from and even contrasted with the Balinese arts and design. However, the Pitamaha painters welcome it. This could not be separated from the practice of teaching through hegemony and domination which contrasted with what had been desired by the Balinese painters who intended to maintain the Balinese arts and design. In such an ambivalent condition, they mimed the modern arts and design. The mimicry made was not intended to mime the modern arts and design; instead, the mimicry made was intended to interpret with reference to the norms of the Balinese arts and design.
PITAMAHA: MIMICRY IN ARTS AND DESIGN DURING THE COLONIAL ERA Supir, I Ketut; Atmadja, Nengah Bawa; Mudana, I Gede
E-Journal of Cultural Studies Vol 9 No 1 (2016): Volume 9, Number 1, February 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

During the pre-colonial era the Balinese arts and design were dominated by the themes of puppetry which contained the Hindu religious teachings. When the Dutch colonial government controlled Bali, the Balinese arts and design changed. This present study is intended to explore the existence of the Pitamaha association and the attitude of the Pitamaha painters towards the domination of the modern arts and design taught by Spies and Bonnet. The qualitative method and the postcolonial theory combined with various other critical supporting theories were used in the present study. The result of the study shows that Pitamaha is the first modern association of arts in Bali. However, Pitamaha still integrated the pattern of the Balinese traditional association. In this association, the royal elites were involved as the mediators between Spies and Bonnet and the Balinese painters. Spies and Bonnet taught the modern arts which were different from and even contrasted with the Balinese arts and design. However, the Pitamaha painters welcome it. This could not be separated from the practice of teaching through hegemony and domination which contrasted with what had been desired by the Balinese painters who intended to maintain the Balinese arts and design. In such an ambivalent condition, they mimed the modern arts and design. The mimicry made was not intended to mime the modern arts and design; instead, the mimicry made was intended to interpret with reference to the norms of the Balinese arts and design.
SIKUT DAN BAHAN MENURUT KEPERCAYAAN BALI DALAM SANGGAH KAYU DI BANJAR GEROMBONG, DESA BERABAN, KECAMATAN SELEMADEG TIMUR, KABUPATEN TABANAN ., I Putu Herman Indrayana; ., Drs. I Ketut Supir, M.Hum; ., Drs. Gede Eka Harsana Koriawan
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v4i1.2543

Abstract

Penelitian ini bertujuan untuk mengetahui (1)keberadaan sanggah kayu (2)alat dan bahan pembuatan sanggah kayu (3)proses pembuatan sanggah kayu. (4)jenis sanggah kayu yang dihasilkan. Sasaran penelitian ini adalah sanggah kayu di Banjar gerombong, Desa Beraban, Kecamatan Selemadeg Timur, Kabupaten Tabanan. Sanggah kayu ini merupakan bagian dari sebuah pura yang ada di bali, yang memiliki fungsi dalam pemujaan para dewa. Pendekatan yang digunakan adalah pendekatan deskritif kualitatif. Teknik pengumpulan data yang digunakan adalah (1)teknik observasi (2)teknik wawancara (3)teknik telaah Dokumen. Instrumen yang digunakan adalah (1)instrument observasi (2)instrument wawancara (3)insrumen dokumentasi (4)Instrumen Kepustakaan. Analisis data yang digunakan dalam penelitian ini adalah (1) analisis domain yang bertujuan untuk memperoleh gambaran atau pengertian umum, relatif dan menyeluruh, dan (2)analisis taksonomi untuk mengolah data lebih lanjut, lebih rinci dan mendalam. Hasil penelitian ini memaparkan (1)keberadaan sanggah kayu yang berdiri sejak tahun 1992 hingga sekarang, (2)alat dan bahan yang digunakan sebagai berikut (a).gergaji, pahat, pengotok, palu, mesin jigsaw, mesin bor tangan, mesin serut kayu, kuas, pensil, sepidol (b). bahan terdiri atas kayu waru, kayu cempaka, kayu majagau, paku, lem serba guna, cat mowilek, cat pioneer, ijuk,genteng, cat genteng. (3)Proses pembuatan sanggah kayu melalui tahap pemilihan kayu sampai tahap finishing . (4) jenis sanggah kayu ini meliputi pesaren, taksu agung, manjangan salu wang, meru mas sri medandan, bale piyasan, rambut sedana, gedong catur.Kata Kunci : sanggah, sikut sanggah. This study aimed to determine (1) the existence of sanggahkayu (2) the tools and materials for sanggahkayu (3) the process of making sanggahkayu. (4) the type of sanggahkayu. The target of this research is sanggahkayu in Banjargerombong, Beraban Village, District East Selemadeg, Tabanan. Sanggah timber is part of a temple in Bali, which has a function in the worship of the gods. The approach used is descriptive qualitative approach. Data collection techniques were used: (1) observation technique (2) interviewing techniques (3) Document engineering study. The instruments used are (1) observation instruments (2) interview instrument (3) instrument documentation (4) Instrument Library. Analysis of the data used in this study were (1) a domain analysis that aims to gain an overview or a general sense, the relative and thorough, and (2) analysis taxonomy to process the data further, more detailed and in-depth. These results describe (1) the existence of objections wood that was founded in 1992 to the present, (2) the tools and materials used as follows: (a). Saws, chisels, pengotok, hammer, jigsaw machine, hand drill machine, wood planer machine , paintbrush, pencil, sepidol (b). material consists of hibiscus wood, wood of tropical manolia, majagau wood, nails, glue versatile, mowilek paint, paint pioneer, fibers, tile, tile paint. (3) The process of making wooden corrected through the stages of the selection of the wood to the finishing stage. (4) the type of wood objections include pesaren, taksuagung, manjangansaluwang, merusri mas medandan, bale piyasan, hair Sedana, gedongcatur.keyword : shrine, size shrine
PROFIL PELUKIS BULELENG SETELAH MASA KEMERDEKAAN SAMPAI SEKARANG ., I Made Suastika Yasa; ., I Wayan Sudiarta, S.Pd,M.Si.; ., Drs. I Ketut Supir, M.Hum
Jurnal Pendidikan Seni Rupa Undiksha Vol 6, No 2 (2016)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (542.499 KB) | DOI: 10.23887/jjpsp.v6i2.8049

Abstract

Abstrak Penelitian survei ini bertujuan (1) mencatat profil pelukis Buleleng setelah masa kemerdekaan sampai sekarang, (2) mendeskripsikan tema dan gaya karya pelukis Buleleng setelah masa kemerdekaan sampai sekarang. Sumber data berasal dari katalog pameran, museum Buleleng, wawancara langsung kepada pelukis Buleleng dan praktisi seni. Penulis menyusun data berupa data tertulis (teks). Data disusun dari usia yang paling tua hingga usia yang paling muda. Masing-masing pelukis ditulis profilnya, dideskripsikan pemikiran kepelukisan dan kekaryaannya (tema dan gaya). Profil pelukis Buleleng yang berhasil dikumpulkan berdasarkan kriteria yang dibuat berjumlah 23 pelukis meliputi Jro Dalang Diah, Made Githa, Wayan Putu Rugeg, Gede Mangku, Made Hardika, Nyoman Suma Argawa, Tini Wahyuni, Ari Sudarma, Made Saputra, Wayan Arnawa, Ketut Santosa, Karmawedha, Made Rakyana, Made Ariana, I Komang Suaka, I Ketut Adi Santiasa, I Ketut Samuderawan, Nyoman Nuyasa, I Nyoman Rediasa, Kadek Suwismaya, Kadek Suradi, I Ketut Kendy Paradika dan I Gede Kenak Eriada. Deskripsi pelukis tersebut, dalam pendidikan terdapat 2(dua) kategori yaitu pelukis akademis dan non akademis. Dalam keprofesian ada kategori pelukis yang melakoni aktivitas melukis sebagai profesi dan sampingan. Ada keseimbangan antara jumlah pelukis akademis dengan jumlah pelukis non akademis. Jumlah pelukis Buleleng yang yang melakoni aktivitas melukis sebagai sampingan lebih banyak daripada pelukis yang melakoninya sebagai sebuah profesi. Tema-tema yang diusung oleh pelukis Buleleng setelah masa kemerdekaan sampai sekarang meliputi pewayangan, sosial budaya, alam, spiritual, dan potret. Gaya yang diusung pelukis Buleleng meliputi gaya dekoratif, kubistis, naif, naturalis, realis, abstrak, ekspresif dan surealis. Kata Kunci : Pelukis Buleleng, Masa Kemerdekaa,, Tema dan Gaya Abstract This survey research is purposed to (1) make a note data of Buleleng artists profiles since the independence day of Indonesia until now, (2) describe theme and style of the creations of Buleleng artists since independence day until now. Resources of the data are taken from exhibition catalogs, Buleleng’s museum, direct interview with the Buleleng’s artists and art practitioners. Writer make the data as a written data (text). The Data was described from the oldest to the youngest. Each of artist’s profiles was written, the artist’s thoughts and creations (theme and style) are described. Profiles of Buleleng’s artists which gathered by the criteria are 23 artists : Jro Dalang Diah, Made Githa, Wayan Putu Rugeg, Gede Mangku, Made Hardika, Nyoman Suma Argawa, Tini Wahyuni, Ari Sudarma, Made Saputra, Wayan Arnawa, Ketut Santosa, Karmawedha, Made Rakyana, Made Ariana, I Komang Suaka, I Ketut Adi Santiasa, I Ketut Samuderawan, Nyoman Nuyasa, I Nyoman Rediasa, Kadek Suwismaya, Kadek Suradi, I Ketut Kendy Paradika and I Gede Kenak Eriada. The described artists was described in 2 (two) categories by their education record which is academic artists and non-academic artists. In professionalism there are artists who do art activity as a profession and as a side-activity. There are a balance within the number of the profession and the side-activity artists. The number of Buleleng’s side-activity artists are more than the profession artists. The themes that used by the Buleleng’s artists after the independence day is pewayangan, social-culture, nature, spiritual, and portrait. The styles that used by Buleleng’s artists is decorative, cubistic, naïve, naturalist, realist, abstract, expressive, and surrealist. keyword : Buleleng’s artists, independence, theme and style
KARYA TUGAS AKHIR SISWA JURUSAN T.I MULTIMEDIA SMK NEGERI 1 SUKASADA ., I Komang Tandingada; ., I Wayan Sudiarta, S.Pd,M.Si.; ., Drs. I Ketut Supir, M.Hum
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v4i1.3634

Abstract

Abstrak Penelitian ini bertujuan untuk mengetahui : (1) Jenis Karya Tugas Akhir Siswa Jurusan T.I Multimedia SMK Negeri 1 Sukasada, : (2) Teknik Pembuatan Karya Tugas Akhir Media Video Siswa Jurusan T.I Multimedia SMK Negeri 1 Sukasada, : (3) Kualitas Karya Tugas Akhir Media Video Siswa Jurusan T.I Multimedia SMK Negeri 1 Sukasada, Metode penelitian yang digunakan adalah metode penelitian kualitatif, sasaran penelitian ini adalah hasil karya Tugas Akhir Siswa Jurusan T.I Multimedia SMK Negeri 1 Sukasada Jenis karya tugas akhir yang dihasilkan yaitu Video Editing, Web Desain, CD Interaktif, CD Pembelajaran, Animasi kartun. Semua karya tugas akhir dikerjakan dengan teknik yang berbeda-beda, sesuai dengan jenis karya yang dibuat. Video editing, misalnya menggunakan program adobe premiere dan proses pengerjaannya pun berbeda. Semua ilmu yang diperoleh siswa dari kelas I sampai kelas III merupakan proses pembelajaran untuk medapatkan kualitas lulusan yang sesuai dengan dunia usaha/dunia industri, mulai dari proses pembuatan, desain, konsep sampai hasil akhir dimana di uji langsung oleh pihak dunai usaha. Hasil Karya Tugas Akhir Siswa Jurusan TI Multimedia SMK Negeri I Sukasada sudah bagus, kedepan supaya lebih bagus dan lebih bervariasi, baik dari segi desain, teknik pengambilan gambar, maupun teknik editing, karya Tugas akhir yang dihasilkan sudah beragam sesuai dengan tuntutan dunia usaha, kualitas hasil karya tugas akhir siswa TI multimedia sangat bagus dan sudah berani bersaing di dunia usaha/dunia industri. Kata Kunci : Kata Kunci : Tugas Akhir, Multimedia, Video Editing, Web Desain, CD Interaktif. Abstract This research aim to to know : ( 1) Final Type Masterpiece Duty [of] Student Majors of T.I Multimedia SMK Country 1 Sukasada : ( 2) Technique Making Of Final Masterpiece Duty [of] Media Video Student Majors of T.I Multimedia SMK Country 1 Sukasada : ( 3) Quality Of Final Masterpiece Duty of Media Video Student Majors of T.I Multimedia SMK Country 1 Sukasada, Method Research the used is research method qualitative, this research target is result of Final Duty masterpiece of Student Majors of T.I Multimedia SMK Country 1 Sukasada. Final Type Masterpiece duty which yielded by that is Video of Editing, Web Desain, CD Interaktif, CD Study, Animation Cartoon. All final duty masterpiece done with technique which different each other, as according to made masterpiece type. video of Editing, for example using program of adobe its workmanship process and premiere even also differ. All obtained [by] science [is] student of class of I until class of III represent study process to get the quality of grad matching with world of[is effort / industrial world, start from process of, desain, concept until end result where [in] direct test by party/ side of dunai the effort. Result Of Final Masterpiece Duty [of] Student Majors of TI Multimedia SMK Country of I Sukasada have nicely, to the fore nicer so that and more is varying, either from facet of desain, technique intake of picture, and also technique of editing, final Duty masterpiece which yielded [by] have immeasurable as according to corporate world demand, quality of result of final duty masterpiece [of] student of TI multimedia very good and have dare to compete in world of is effort / industrial world. keyword : Keyword : Final Duty, Multimedia, Video of Editing, Web Desain, CD Interaktif.
TENUN KAIN SONGKET DI DESA SUKARARA, KECAMATAN JONGGAT, LOMBOK TENGAH, NUSA TENGGARA BARAT ., Norman Efendi; ., Drs.Agus Sudarmawan, M.Si.; ., Drs. I Ketut Supir, M.Hum
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (601.068 KB) | DOI: 10.23887/jjpsp.v4i1.4301

Abstract

Penelitian ini bertujuan untuk mengetahui (1) Keberadaan sejarah/fenomena tenun kain songket di Desa Sukarara (2) Alat dan bahan yang dipakai untuk pembuatan kain tenun songket di Desa Sukarara (3) Proses pembuatan kain tenun songket di Desa Sukarara (4) Jenis motif dan makna simbol yang ada pada tenun kain songket Desa Sukarara. Penelitian menggunakan metode deskritif kualitatif dengan tahapan (1) rancangan penelitian (2) sasaran penelitian (3) instrument penelitian (4) instrument observasi (5) instrument wawancara (6) instrument dokumentasi (7) instrument kepustakaan (8) instrument pengumpulan data (9) analisis data. Hasil penelitian menunjukkan (1) Sejarah/fenomena keberadaan tenun kain songket pada abad ke- 14 pada masa kerajaan suku Sasak Lombok. (2) Bagian alat dan bahan kain tenun songket yaitu Lampat jajak, Daun jajak, Jejanggel, Tutukan, Lelagan, Lelidi, Penggulung, Lurusangun, Belida, Sisir, Apit, Anakapit, Lekot, Talilekot, Peliting, Teropong, Hanean 9 Jari, Hanean 11 jari, benang Kapas, Katun, Misrais, dan Piber/rayon. (3) Proses pembuatan tenun kain songket Desa Sukarara: bahan baku benang, Penanjinan, Penjemuran, Pengelosan, Penghanian, Pencucukan sisir, Penggulungan, Pemaletan, danmenenun (4) Jenis motif dan makna simbol tenun kain songket Desa Sukarara yaitu: Motif Subahnala, Motif Bintang Empat, Motif Kembang Komak, Motif Dobbel Trudak, Motif Rang-rang, Motif Nanas, Motif Bangket, Motif Alang, Motif Barong, Motif Keker, dan Motif Kemalu. Kata Kunci : sejarah tenun songket, motif, simbolmakna, Desa Sukarara This study aimed to determine (1) The existence of weaving songket history/phenomenon in Sukarara Village (2) The equipment and materials used for the manufacture of songket in Sukarara Village (3) The process of making songket in Sukarara Village (4) The type of motifs and the meaning of symbols that exist in songket of Sukarara Village. The research used qualitative descriptive methods with the stage as follows (1) design research (2) research objectives (3) research instrument (4) observation instrument (5) interview instrument (6) documentation instrument (7) literature instrument (8) data collection instruments (9) data analysis. The research’s results showed that (1) The history/phenomena of the existence of songket in the 14th century in the kingdom of Sasak tribe of Lombok. (2) The equipment and materials of songket are Lampat jajak, jajak leaves (daunjajak), Jejanggel, Tutukan, Lelagan, Lelidi, Rollers, Lurusangun, Belida, Comb, Apit , Anak apit,Lekot, Talilekot, Peliting, Binoculars,Hanean 9 Fingers, Hanean 11 fingers, Cotton yarn, Cotton, Misrais, and Piber/rayon. (3) The process of making songketof Sukarara Village: Yarn materials, Penanjinan, Drying, Pengelosan, Penghanian, Pencucukan comb, Curl, Pemaletan, and weave (4) The type of motifs and the meaning of symbols in songket of Sukarara village namely: Subahnala motif, Four Star (Bintang empat) motif, Kembang Komak motif, Trudak dobbel motif, Rang-rang motif, Pineapple motif, Banqueting (Bangket) motif, Alang motif, Barong motif, Keker motif and Kemalumotif. keyword : history of songket , motifs, symbol’s meanings, Sukarara Village
KOMPONEN PENJOR HIAS DI DESA KAPAL, MENGWI, BADUNG ., I Gede Hendra Putrawan; ., Drs. I Ketut Supir, M.Hum; ., I Gusti Made Budiarta, S.Pd
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v4i1.2133

Abstract

Keberadaan bisnis penjor yang ada di Desa Kapal sangat menjanjikan untuk mengangkat perekonomian masyarakat di Desa Kapal, Mengwi, Badung, disamping itu, Penjualan komponen penjor memang sangat membantu masyarakat Bali yang ada di sekitar desa Kapal, karena dengan adanya penjualan komponen-komponen penjor hias masyarakat dengan lebih praktis dan cepat untuk mengerjakan penjor. Penelitian ini bertujuan mendeskripsikan alat, bahan yang digunakan, proses pembuatan, dan komponen yang dibuat. Teknik pengumpulan data menggunakan teknik observasi, teknik wawancara, teknik dokumentasi. Analisis data yang digunakan dalam penelitian ini adalah analisis domain yang bertujuan untuk memproleh pengertian umum, relative dan menyeluruh, analisis taksonomi untuk mengolah data lebih lanjut, lebih rinci dan mendalam. Kata Kunci : Komponen penjor, ragam hias Penjor business presence in the Kapal village was very promising to lift the economy in Kapal Village society, Mengwi, Badung. In addition, the sale of penjor component was very helpful to balinese people that are around the Kapal village, cause with the sale of ornamental components Penjor people becomes more practical and faster to work Penjor. This study aimed to describe the tools, the materials used, the manufacturing process, and the components are made. Data collection techniques used were observation techniques, interviewing techniques, and documentation techniques. Analysis of the data used in this study were domain analysis that aimed to get common sense and relatively thorough, analytical taxonomy to process the data further, more detailed and in depth. keyword : Component Of Penjor , decorative art
KERAJINAN BESI DI DESA EMBUNG KARUNG KECAMATAN KOPANG LOMBOK TENGAH ., Rido Amriadi; ., Dr.Drs.I Ketut Sudita, M.Si; ., Drs. I Ketut Supir, M.Hum
Jurnal Pendidikan Seni Rupa Undiksha Vol 6, No 1 (2016)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v6i1.8551

Abstract

Penelitian ini bertujuan untuk mengetahui; (1) Sejarah kerajinan besi di Desa Embung Karung kecamatan Kopang Lombok Tengah , (2) Bahan dan alat dari memproduksi kerajinan besi di Desa Embung Karung kecamatan Kopang Lombok Tengah, (3) Proses pembuatan produk kerajinan besi di Desa Embung Karung kecamatan Kopang Lombok Tengah, (4) Jenis produk kerajinan besi di Desa Embung Karung kecamatan Kopang Lombok Tengah. Subyek penelitian adalah pengrajin besi di desa Embung Karung kecamatan Kopang Lombok Tengah. Jenis penelitian yang digunakan adalah penelitian deskriptif kualitatif. Metode pengumpulan data yang dilakukan adalah menggunakan metode observasi, wawancara, dokumentasi, dan kepustakaan. Hasil penelitian menunjukkan bahwa (1) Keberadaan Kerajinan Besi di Desa Embung Karung kecamatan Kopang Lombok Tengah: (a) Sejarah Desa Embung Karung, (b) Sejarah Kerajinan Besi di Desa Embung Karung, (2) Bahan dan alat yang digunakan, (a) Bahan Yang digunakan Membuat kerajinan Besi di Desa Embung Karung, (b) Alat yang digunakan Dalam Proses Mengolah Besi , (3) Proses Pembuatan Kerajinan Besi, (a) Proses Membuat Mangan (Perkakas Besi), (b) Proses Membuat Selut, (c) Proses Membuat Gagang Kerajinan Besi, (4) Jenis dan Bentuk Produk kerajinan Besi di Desa Embung Karung kecamatan Kopang Lombok Tengah, (a) Produk Untuk Pertanian, (b) Produk untuk Rumah Tangga, (c) Produk Untuk Hiasan atau Pusaka.Kata Kunci : Kerajinan, besi This research was aimed to determine (1) The history of iron craft in the Embung Karung village, Kopang districts, Central Lombok, (2) Materials and tools from producing iron crafts in the Embung Karung village, Kopang districts, Central Lombok, (3) The process of making handicraft products of iron in the Embung Karung village, Kopang districts, Central Lombok, (4) The type of craft products of iron in Embung Karung village, Kopang districts, Central Lombok. Subject of this research is iron craft in the Embung Karung village, Kopang districts, Central Lombok. This type of this research was descriptive qualitative study. Methods of data collection were using observation, interview, documentation, and literature. The results showed that (1) The existence of Iron Craft in the Embung Karung village, Kopang districts, Central Lombok: (a) Historical of Embung Karung Village, (b) History of Iron Craft in the Embung Karung Village, (2) Materials and tools used, (a) materials used to make Iron Craft in the Embung Karung Village, (b) the tools used in the process of managing Iron, (3) Process of making Iron Craft, (a) Process to make Mangan (Tools Iron), (b) Process to make ooze, (c ) Process to make handle of Iron Crafts, (4) Types and Forms of Iron Craft product in Embung Karung village, Kopang districts, Central Lombok, (a) Products for Agriculture, (b) Products for Household, (c) Products for Decoration or Heritage.keyword : Crafts, Iron
WAYANG WONG TEJAKULA (SEBUAH KAJIAN SENI RUPA) ., Putu Ari Widana; ., Drs.Jajang S,M.Sn; ., Drs. I Ketut Supir, M.Hum
Jurnal Pendidikan Seni Rupa Undiksha Vol 6, No 1 (2016)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v6i1.8733

Abstract

Penelitian ini bertujuan untuk mendeskripsikan: (1) Rupa topeng Wayang Wong Tejakula (2) Rupa mahkota Wayang Wong Tejakula. (3) Rupa busana Wayang Wong Tejakula. Penelitian ini merupakan penelitian deskriptif dengan pendekatan kualitatif. Sasaran penelitian ini adalah rupa topeng, rupa mahkota, dan rupa busana Wayang Wong Tejakula dengan memilih Gede Putu Tirta dan Putu Sentana sebagai narasumbernya. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) observasi, (2) wawancara, dan (3) pendokumentasian. Hasil temuan dalam penelitian ini adalah: (1) Wayang Wong Tejakula mengempon 175 topeng, Topeng wayang wong dapat dikelompokkan menjadi empat karakter, yaitu karakter ksatria raja dan punggawa, karakter raksasa raja dan punggawa, karakter pluaga (kera) raja dan punggawa, dan karakter putri. (2) Mahkota setiap tokoh hampir sama, yaitu terdiri atas sekar taji,rumbing, garuda mungkur, gelung, pudakan, pidpid, bunga pucuk, daun girang. Hanya saja yang membedakan adalah motif dan gelungnya, yakni gelung agung pada tokoh ksaria dan raksasa raja, gelung kapit surang pada tokoh ksatria, raksasa dan pluaga (kera) punggawa, gelung tajug pada tokoh pluaga (kera) raja dan gelung sita pada tokoh putri. (3) Busana wayang wong tokoh ksatria sama dengan busana tokoh raksasa, yaitu terdiri atas badong, angkeb pala, awiran pendek, angkeb tundu, saput prada, baju panjang, gelang kana, kadutan, semayut, pendel, kain putih, stewel dan celana. Busana tokoh pluaga(kera), terdiri atas badong, angkeb pala, awiran pendek, angkeb tundu, awiran panjang, semayut, awiran bangkiang, ikuh (ekor), kain poleng, celana, stewel, baju kaos panjang, kilat bau, dan gelang kana. Sedangkan busana putri terdiri atas badong lanying, simping, tutup dada, lamak, ampok-ampok, sabuk lilit, baju panjang prada. Kilat bau, gelang kana, kain prada.Kata Kunci : wayang wong tejakula, topeng wayang wong, mahkota wayang wong, busana wayang wong This study was aimed to describe: (1) the masks' characteristics of Wayang Wong Tejakula, (2) the crowns' characteristics of Wayang Wong Tejakula, (3) the wardrobes' characteristics of Wayang Wong Tejakula. This research was designed as descriptive qualitative research. The objects of the research were the characteristics of masks, crowns, and wardrobes of Wayang Wong Tejakula in which Gede Putu Tirta and Putu Sentana were being the ones who were interviewed. Data of this research were obtained through (1) observation, (2) interview, and (3) documentation. The results of this research show: (1) Wayang Wong Tejakula has 175 masks that fall into 4 figures; the knight and the courtiers, the king of giant and the courtiers, the king of apes and the courtiers, and the princess. (2) The crowns of each character are quite similar that consist of sekar taji, rumbing, garuda mungkur, gelung, pudakan, pidpid, hibiscus flowers and girang leaves. The differences are only in the pattern and gelung (coil) in which the knight and the king of giant wear gelung agung (agung coil), the knights, the giants, and the courtiers of apes wear gelung kapit surang (kapit surang coil), the king of apes wears gelung tajug (tajug coil), and the princess wears gelung sita (sita coil). (3) The knights and the giants wear similar wardrobes, they are badong, angkeb pala, awiran pendek, angkeb tundu, saput, baju panjang, kadutan, semayut, pendel, white cloth, stewel, and pants. Apes kingdom wears badong, angkeb pala, awiran pendek, angkeb tundu, awiran panjang, semayut, awiran bangkiang, ikuh (tail), poleng cloth, pants, stewel, long T-shirt, kilat bau, and gelang kana. Meanwhile, the princess wears badong lanying, simpng, chest cover, lamak, ampok-ampok, sabuk lilit, baju panjang prada, kilat bau, gelang kana, and prada cloth. keyword : wayang wong tejakula, the masks of wayang wong, the crowns of wayang wong, the wardrobes of wayang wong.
Co-Authors ., Dewa Agung Mandala Utama ., I Komang Wikrama ., I Made Suastika Yasa ., Mirza Prastyo ., Putu Ari Widana ., Rido Amriadi Agus Sudarmawan Dewa Agung Mandala Utama . Dr. I Nyoman Tika,M.Si . Drs.Jajang S,M.Sn . Gede Eka Harsana Koriawan I Gede Hendra Putrawan . I Gede Mudana I Gusti Ayu Tri Agustiana I Gusti Made Budiarta I Ketut Sudita I Komang Tandingada . I Komang Wikrama . I Made Suastika Yasa . I Nyoman Sila I Putu Herman Indrayana . I Wayan Arinata . I Wayan Arinata ., I Wayan Arinata I Wayan Muderawan I Wayan Sadia I Wayan Sudiarta IDA AYU MADE ISTRI UTAMI . Kadek Rossinta Dewi Made Ayu Wiranti Mirza Prastyo . Nengah Bawa Atmadja Ni Komang Arie Suwastini Ni Komang Arie Suwastini Norman Efendi . Putu Ari Widana . Putu Warta Riadi . Rido Amriadi .