Article Per Year (5 Year)
p-Index From 2019 - 2024
1.789
P-Index
This Author published in this journals
All Journal Nirmana Texture : Art and Culture Journal Abdi Seni Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Intervensi Komunitas: Jurnal Pengabdian Masyarakat Jurnal Desain Komunikasi Visual Nirmana
Satriana Didiek Isnanta
Unknown Affiliation
Religion Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences Other

Published : 23 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 23 Documents
Search

 1   2   3 
KAJIAN DESAIN TOYOTA KIJANG DAN PENGUATAN CITRA PADA MASYARAKAT SOLO Isnanta, Satriana Didiek
Nirmana Vol 9, No 1 (2007): JANUARY 2007
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (176.965 KB) | DOI: 10.9744/nirmana.9.1.pp. 10-19

Abstract

Indonesia's modern consumer societies develop in conjunction with the history of global economy and the transformation of consumer capitalism. This happens in many communities in cities of Indonesia, including Solo. With a population of 500 thousand at night and 1.5 million during the day, it is a potential market for global products. Therefore, it is obvious if the Solo people's tastes are no different than other communities, because of the consumer behaviour and global economy that are intertwined. The value of the meaning of products have also shifted, such as with cars. Cars that usually function as a vehicle no different than a wagon, have changed into a symbol of social class for the modern society, even for the people of Solo. The functions and facilities of the Various brands and types of cars, and elements that are related to automotive technology, are not too different. What makes the difference between these cars lays on the design of the form and image. This form design is able to create an image for certain social class for its user and its product brand. The most interesting phenomenon from automotive products in Indonesia is what happened with Toyota Kijang. Since its launch on 1977, Toyota Kijang, which is on its fifth generation this year, has succeeded in becoming the number one choice for cars for Indonesians. Abstract in Bahasa Indonesia: Masyarakat konsumen Indonesia mutakhir tumbuh beriringan dengan sejarah globalisasi ekonomi dan transformasi kapitalisme konsumsi Hal ini terjadi di banyak masyarakat perkotaan Indonesia termasuk masyarakat kota Solo. Dengan jumlah penduduk sebesar 500 ribu jiwa pada malam hari dan 1,5 juta jiwa pada siang hari merupakan pasar potensial bagi produk-produk global, maka tidak mengherankan bila selera masyarakat Solo sekarang tidak ubahnya dengan selera masyarakat lain karena perilaku konsumtif dan globalisasi ekonomi sangat terkait. Dalam menilai sebuah makna produkpun juga telah bergeser, tak terkecuali mobil. Mobil yang fungsi awalnya hanya merupakan alat angkut yang tidak ada bedanya dengan gerobak telah menjadi satu penanda pencitraan kelas sosial bagi masyarakat modern sekarang, tak terkecuali masyarakat Solo. Mobil berbagai merk dan jenisnya ini ternyata fungsi dan fasilitas serta unsur yang berhubungan dengan teknologi otomotifnya tidaklah jauh berbeda. Justru yang membuat mobil ini berbeda terletak pada desain bentuk dan citra. Desain bentuk inilah yang mampu membuat pencitraan bagi klasifikasi kelas sosial bagi pemakaianya, disamping tentu saja branded produknya. Fenomena yang paling menarik dari produk otomotif yang terjadi di Indonesia adalah Toyota Kijang. Sejak diluncurkan tahun 1977, Toyota Kijang yang tahun ini sudah memasuki generasi ke V telah berhasil menjadi mobil pilihan nomor satu bagi masyarakat Indonesia. Kata kunci: desain, pencitraan, Toyota Kijang, dan prilaku konsumen masyarakat Solo.
BOOMING SENI LUKIS INDONESIA, SIAPA YANG DIUNTUNGKAN? Satriana Didiek Isnanta
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (828.412 KB) | DOI: 10.33153/dewaruci.v5i2.787

Abstract

In the development of fine art in Indonesia there was once an interesting phenom- enon, namely, “painting boom.”  It first happened in 1987, then in 1991-1992, in1999-2000, and the last in 2007.  Painting was booming for the first time in coinci- dence  with the economic crisis in 1997 and this phenomenon grew stronger.   The economic crisis which was indicated by the collapse of private banks, the deprecia- tion of rupiah against dollar, and the stoppage of wheel of real sectors which led to unemployment in  cities, caused capital flight and transfer of investment to other sectors, especially to artistic objects.  Painting was suddenly believed as an object of investment which could  give a big advantage in short time.   Then a business community of painting emerged  and most of the businesspersons were Chinese. And the paradigm changed from painting as a work of art which had philosophical- aesthetic value to a commodity which was  subject to commerce law.   In other words, painting had become a commodity and entered the global capitalist indus- try.  And then the question is why painting could change into a special object which people were willing to collect and invest in.   This writing is  trying to answer the above question using an economic-politic approach and discuss who  took part in making painting enjoy a boom and who was the most powerful and took an advan- tage.
TV Lokal Pembentuk Identitas Kultural Antara Harapan Dan Kenyataan (Studi Kasus Terang Abadi Televisi Surakarta) Satriana Didiek Isnanta
Ornamen Vol 5, No 2 (2008)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (947.863 KB) | DOI: 10.33153/ornamen.v5i2.915

Abstract

The endorsement of Undang Undang /UU 2002 number 32 (Indonesian Law System) about broadcase is to emerge an important standing point of the existence of local television. It is because of the fulfillness of the formal legal and democratic in Indonesia. Local television implementating spirit of autonomous is felt by the viewer as the spectrum of our broadcast. Covering by dense local programs local television has always served the best programs for Indonesian viewers realizing the local genious.Besides, the ideal of this UU broadcast is to build the foundation for the system of broadcast decentralisation. In short, the local government has also right to take a better benefits from its broadcast both the range of the diversity of the content and diversity of ownershipIt looks very ideal when the UU 2002 about broadcast want to make a good and fair share of economical benefits. But we have a big question : How far our local investor can compete with nasional even gobal investors? How can local program compete with others from national or even global program?. Moreover, can local program format as a local culture identity can compete againts national or even global program format?Those are three big questions that really want to be analysed in this paper. Using the focus in case study of Terang Abadi Television (TATV Surakarta) as local televisionIt is expected to find out an ideal television format program to make a ultural identity as well as profit for economical sides. Key words : Local television, cultural identity.
Ekspresi Seni Dan Intervensi Publik (Studi Kasus Balai Soedjatmoko Tahun 2003-Sekarang) Satriana Didiek Isnanta
Ornamen Vol 5, No 1 (2008)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (917.526 KB) | DOI: 10.33153/ornamen.v5i1.897

Abstract

Talking about “The Expression of Art and Public Intervention” always relates to the artist’s communication process as the creator of art and the enjoyer (public). Or in other words, the artwork in this case is the painting as the social medium or communication vehicle of artist idea to another people. In daily social reality, the dialogic process between the artist and public frequently encounters misconception.This results from several problems: firstly, the artwork is multi-interpretative in nature, thereby leading to varied perception; secondly, the different “values” adopted by the artist and the public; and finally, the difference between the artist and several communities in the society in defining “the public space”.The three problems above will be discussed and explored in this paper. Focusing on the case study in Balai Soedjatmoko from 2003 onward, it is expected that this paper will find an agreement that can mitigate the “public intervention” into the emergence of artwork in the public spaces in the future.Keywords: Artistic Expression, Social Body, and Public Space.
Pendampingan Proyek Seni Rupa Secara Daring Pada Saat Wabah Covid-19 di Komunitas Ruang Atas Surakarta Satriana Didiek Isnanta; Much Sofwan Zarkasi
Intervensi Komunitas Vol 3 No 1 (2021)
Publisher : ITB Ahmad Dahlan Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32546/ik.v3i1.1123

Abstract

Komunitas Ruang Atas pertama kali didirikan pada tahun 2015, berlokasi di Ngemplak Sutan, RT 1/RW 37 Mojosongo, Surakarta. Awalnya, sebuah rumah kontrakan ditempati oleh beberapa mahasiswa Seni Rupa ISI Surakarta yang tergabung dalam kelompok kecil bernama Pemuda Teyeng (Pe Te). Karena akumulasi bersama beberapa kelompok seperti Pe Te dan SAYAP (Proyek Artis Muda Surakarta). Seiring berjalannya waktu, Ruang Atas menjadi salah satu komunitas seniman muda yang paling aktif di Surakarta dalam menyelenggarakan kegiatan. Masalahnya, pandemi Covid-19 telah membuat program kegiatan seni harus didesain ulang secara online. Dengan adanya hal tersebut maka pelaksana PKM mendampingi Proyek Seni Rupa Online Selama Wabah Covid-19 di Komunitas Ruang Atas Surakarta,” dengan menggunakan metode Participatory Rural Appraisal (PRA) yang menekankan pada keterlibatan masyarakat dalam segala kegiatan mulai dari perencanaan,pelaksanaan, dan evaluasi program kegiatan dan model bina lingkungan, yaitu pendekatan yang melibatkan masyarakat secara langsung sebagai subjek dan objek pelaksanaan kegiatan pengabdian kepada masyarakat. Keluaran dari PKM ini adalah terselenggaranya kegiatan ilmiah dan artikel.
Perjuangan Masa Sekolah Sebagai Inspirasi Penciptaan Karya Seni Lukis Angling Yoga Bayu; Satriana Didiek Isnanta
Texture:Art and Culture Journal Vol 4, No 2 (2021)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (629.389 KB) | DOI: 10.33153/texture.v4i2.4191

Abstract

The creation of this final project entitled The Struggle for the School Period as an Inspiration for the Creation of Painting Art is a response to the author's experience of being part of rural children who have dreams of studying in a big city. The limit of the discussion is on the struggle of a child in an underprivileged family, determined to study at the SMK level in Solo, which tends to require a lot of money than school in the village. The struggle for the school period is a form of effort to complete the study period smoothly even though there are constraints. The purpose of the creation of this final project is to create a work of art that painting inspiration from the struggles of the school period by explaining the concept of its creation, the process of its creation and the meaning of the artwork created. The creation of works refers to the three stages of creation proposed by Herman Von Helmholtz, including the stages of collecting facts, data and sansation, the deposition stage and the stage of expressing the form of an artwork. This final project produces six works of decorative-surrealistic painting that emphasize visual forms by cultivating stylization, deformation and transformation using acrylic paint on canvas media and using plaque and sungging techniques as ideas for color processing.Keywords: school period struggle, painting, decorative-surrealistic, sungging
PERANCANGAN FESTIVAL SENI KAMPUNG “KARANGASEM KLECO KUNCARA” Satriana Didiek Isnanta; Taufik Murtono; Joko Budiwiyanto
Abdi Seni Vol 11, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v11i2.3463

Abstract

Pemkot Suakarta membuat even budaya berbasis kampung (festival kampung) yang diselenggarakan di tiap-tiap Kalurahan. Ada 54 Kalurahan yang setiap bergiliran membuat festival budaya selama setahun. Tujuan even tersebut adalah pengembangan potensi seni budaya lokal yang ada di tiap kalurahan sebagai penunjang pariwisata kota Surakarta.  Diharapkan festival kampung yang diselenggarakan oleh kalurahan-kalurahan di kota Surakarta selain sebagai penunjang pariwisata, meneguhkan kota Solo sebagai kota budaya. Maka perlu kiranya untuk membuat Festival yang mampu merepresentasikan atau memunculkan kembali budaya lokal yang diharapkan dapat membangkitkan jati diri Kota Solo dalam  bentuk kemasan festival, termasuk Kalurahan Karanagsem.Mengingat hal tersebut, maka pelaksana PKM melakukan pendampingan terhadap festival kampung di Kalurahan Karangasem dengan tajuk’” Karangasem Kleco Kuncara”. Metode yang digunakan adalah Participatory Rural Appraisal (PRA) yang menekankan keterlibatan masyarakat dalam keseluruhan kegiatan mulai dari perencanaan, pelaksanaan dan evaluasi program kegiatan dan Model Community development yaitu pendekatan yang melibatkan masyarakat secara langsung sebagai subyek dan obyek pelaksanaan kegiatan pengabdian kepada masyarakat. Luaran PKM ini adalah branding festival dan KI.
MURALDEFINISI DAN SEJARAH PERKEMBANGANNYA Satriana Didiek Isnanta
Acintya Vol 8, No 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2816.903 KB) | DOI: 10.33153/acy.v8i2.1933

Abstract

The presence of the mural in the development of human civilization have been found long ago. Murals or painted walls has existed since prehistoric times that the site is in caves. Mural always follow human civilization, including modern human civilization now. In modern civilization, mural functions continue to evolve, as well as wall hangings, mural also serves as a medium for propaganda, protest against the authorities, the existence of self-identity politics and group, artistic expression, and as an advertising medium. In the context of contemporary art, murals entry in the genre of public art (publicart) and street art (street art), which in conjunction with other types of street art like graffiti. Problems arise when, performers (creator), public (apresiator) and government (stakeholders-holder regulation) do not understand the definition and historical development of this mural, so it can not distinguish between murals and graffiti. This gives rise to misunderstanding among them. On the one hand, considers that the expression of art, on the other hand considers murals make the city dirty. Therefore, it is important to make a study of literature relating to the definition and development mural to be a reference material for mural artists and government policy makers. Kepustakan research method is using a discourse analysis of data taken from various books, scientific articles, photo and video documentation, catalogs and media coverage.Keywords: murals, public art, contemporary art.
STUDI PENCIPTAAN SENI KINETIK “RAMPOGAN” Satriana Didiek Isnanta; Deni Rahman
Acintya Vol 10, No 2 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2457.638 KB) | DOI: 10.33153/acy.v10i2.2277

Abstract

The study of the creation of kinetic artwork with the title “Rampogan” focuses on the study of the creation of installation works that can move (kinetic). The purpose of this experiment-based art creation is to explore the possibilities of novelty on three aspects, namely: (1) visual rampogan aspects of the wayang kulit purwa as a representation of ideas, (2) aspects of the medium / material used and (3) mechanics aspects that can move the aesthetic elements of the work.The theme of the work in this creation study originated in Javanese cultural art, namely “Rampogan” (the puppet child who describes the dynamics of warriors leaving for war). This represents the idea of creating works about social phenomena that occur in Indonesia now, where the common life of the nation and state has been torn apart by a group of people who force the will of their groups by going down the streets.The method of creating this work uses a method of “artistic creation” which consists of three stages of creation, namely: (1) the experimental stages related to the exploration of materials, tools and techniques. (2) the contemplation stage relating to the exploration process of several alternative metaphors that will be used in the work, and (3) the formation stage which is the process of materializing the work by considering the principle of composition and structure.The output of this creation study is the creation of a kinetic work with the title “Rampogan”, scientific articles in national journals and intellectual property rights.Keywords: kinetic art, rampogan, Javanese culture
STUDI PENCIPTAAN KARYA SITE SPECIFIC DANCE “HELAI KERTAS” Eko Supendi; Satriana Didiek Isnanta
Acintya Vol 12, No 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i1.3140

Abstract

ABSTRACTDance has experienced extraordinary development. Now, dance is no longer in the area of fairies but has entered the modern civilization, the tradition is shifted to the industry and academic. This is because of the role of academic dancers who conduct the research, both creation studies and scientific studies. Dance has become the object of laboratories in the studios of art academics in Indonesia and various parts of the world, so that dance laboratories and studios have emerged in various places in Indonesia. Now dance is not only seen as practicing soul, dance is no longer limited to the beauty of aesthetic invisible , but dance  also has explored other art worlds, such as theater and fine arts.Now it is difficult to distinguish between dance and theater performance. The above phenomenon often becomes a trend of artists. Art observers call it a contemporary phenomenon. Contemporary phenomena continue to develop in artists and academic world. Contemporary art is critical towards social problems around it as well as the art itself. Contemporary spirit does not only break the ice of one art discipline but also across art disciplines. Almost all elements of dance are explored and developed, one of which is site specific dance. A genre of contemporary dance that focuses on creating dance works using special places.This study uses an artistic research method. The researchers as well as the creators of site specific dance works is in the lobby of the H.U office Solopos. The research stages are in accordance with the stages of artistic research.Keywords: site specific dance, space, body, time, dance.  ABSTRAK Seni tari telah mengalami perkembangan yang luar biasa.  Sekarang, tari tidak lagi berada di wilayah peri-peri, tetapi telah masuk ke sentrum peradaban modern, dari kantong-kantong tradisi bergeser ke kantong-kantong industri dan akademik. Hal tersebut tidak lepas dari peran penari akademik yang melakukan riset, baik studi penciptaan maupun kajian ilmiah. Tari telah menjadi objek laboratorium di studio-studio akademisi seni di Indonesia dan berbagai belahan dunia, sehingga bermunculan laboratorium-laboratorium dan studio tari di berbagai tempat di Indonesia.Tari saat ini dipandang tidak saja berolah sukma, tari tidak lagi sebatas keindahan estetika yang kasat mata, tetapi tari sudah menjelajah dunia seni lainnya, seperti teater dan seni rupa.Sekarang sulit membedakan antara penyajian tari dan teater. Fenomena di atas sering menjadi trend para seniman individual. Kalangan pengamat seni menyebut fenomena tersebut sebagai fenomena kontemporer. Fenomena kontemporer terus berkembang dalam kalangan seniman dan lingkungan akademik. Seni kontemporer selain kritis terhadap persoalan sosial yang ada di sekitarnya juga kritis kepada seninya sendiri. Spirit kontemporer tidak hanya mendobrak kebekuan sekat –sekat satu disiplin seni, tetapi juga lintas disiplin seni. Hampir semua elemen tari dieksplorasi dan dikembangkan, salah satunya adalah site specific dance. Sebuah genre seni tari kontemporer yang fokus kepada penciptaan karya tari menggunakan tempat-tempat yang khusus.Penelitian ini menggunakan metode penelitian artistik, dimana peneliti sekaligus pencipta karya site specific dance di lobi kantor H.U. Solopos yang tahapan penelitiannya sesuai dengan tahapan riset artistik. Kata kunci: site specific dance, ruang, ketubuhan, waktu, tari. 
Co-Authors Afri Wita Ahmad Fajar Ariyanto Angling Yoga Bayu Apip Apip Asmoro Nurhadi Panindias Asmro Nurhadi Panindias Deni Rahman Eko Supendi Ernasthan Budi Prasetyo Farid Dwi Bagus Sugiharto Joko Budiwiyanto Much Sofwan Zarkasi S., Syamsiar Taufik Murtono