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All Journal Panggung EDUCARE Tawarikh : Journal of Historical Studies Jurnal Budaya Nusantara
Nuning Damayanti Adisasmito, Nuning Damayanti
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Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences

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Education of Art as a Process of Innovative and Creative Cultural Heritage in the Indonesian Society Adisasmito, Nuning Damayanti
EDUCARE Vol 1, No 1 (2008)
Publisher : EDUCARE

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (219.384 KB)

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ABSTRACT: Transfer of culture from one generation to the next generation takes place in every period. This is an educational process in which knowledge was inherited to several groups of society within one particular country. The knowledge then becomes cultural heritage that will be used by the society. Indonesian art education is divided into traditional art education and modern art education. Despite the differences between the two, the transfer of Indonesian culture’s values occurs in both processes. In general, art education is a processing media of cultural heritage in the context of individual development towards a socially and culturally whole human being, since art develops creativity and sensitivity for different, ever-changing aspects of life, such as the culture and the changes within the society. Art education is considered as a process of cultural inheritance and human development – a creative process that functions as an agent of change for culture.KEY WORDS: cultural heritage, educational process, art education, and transfer of Indonesian culture’s values.About the Author: Dr. Nuning Damayanti Adisasmito is a lecturer at the Faculty of Fine Art and Design, Institut Teknologi Bandung (ITB), Indonesia. She can be contacted at: aryasena@bdg.centrin.net.idHow to cite this article? Adisasmito, Nuning Damayanti. (2008). “Education of Art as a Process of Innovative and Creative Cultural Heritage in the Indonesian Society” in EDUCARE: International Journal for Educational Studies, Vol.1(1) August, pp.81-90. Bandung, Indonesia: Minda Masagi Press owned by ASPENSI in Bandung, West Java; and FKIP UMP in Purwokerto, Central Java, ISSN 1979-7877. Chronicle of the article: Accepted (June 1, 2008); Revised (July 2, 2008); and Published (August 17, 2008).
Socio-Historical and Cultural Influences on Visual Differentiation of Wayang Kulit of Cirebon, West Java, Indonesia: A Case Study of the Attributes Differentiation of Priest Drona Puppets Koesoemadinata, Moh Isa Pramana; Sabana, Setiawan; Adisasmito, Nuning Damayanti
TAWARIKH Vol 5, No 1 (2013)
Publisher : ASPENSI in Bandung, Indonesia

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ABSTRACT: The “wayang kulit” (shadow play) is a traditional art of theatre that popular in Java and Bali, and considered as a multidimensional state of art which consists dimension of theatrical, literature, philosophy, moral education, and not to mention visual arts and crafts dimension as well, in which is the main discussion of this paper. There are several styles of Javanese “wayang kulit” based on their geographical area. Among those, Cirebon style possesses unique visualization which has resemblance to early phase of Islamic era “wayang” puppet. One of the character transformations done which includes personality and visual descriptions happened to the Priest Drona, the vital character of Mahabharata that role as “guru” (teacher) to both Pandawas and Kurawas, who was trapped inside dilemma between his warring disciples. In the adaptation version of Javanese shadow play, for some various and speculative reasons, Drona has been altered into an antagonistic character, and reached its extreme point of alteration as an absolute evil character in Cirebon version. Cirebon’s history, culture, and plural society gave significant influence on this. Drona puppets themselves have unique and specific visual attributes in comparison to other main characters puppets, and possess highly symbolic meaning beneath them. These facts told us that the character has a great significance. Later, these negative connotations of Drona was being sharpened and escalated in accordance of socio-historical events and local phenomenon, thus producing visual differentiation within the Drona puppets.KEY WORDS: “Wayang kulit”, Drona character, Cirebon area, visual, differentiations, attributes, socio-historical events, and symbolic meaning.    About the Authors: Moh Isa Pramana Koesoemadinata, M.Sn. is a Student of Doctoral Program at the Faculty of Visual Arts and Design ITB (Bandung Institute of Technology), Jalan Ganesha No.10, Tamansari, Bandung, West Java, Indonesia. Prof. Dr. Setiawan Sabana and Dr. Nuning Damayanti Adisasmito are Lecturers at the Faculty of Visual Arts and Design ITB. Corresponding author is: dronacarya@yahoo.co.idHow to cite this article? Koesoemadinata, Moh Isa Pramana, Setiawan Sabana & Nuning Damayanti Adisasmito. (2013). “Socio-Historical and Cultural Influences on Visual Differentiation of Wayang Kulit of Cirebon, West Java, Indonesia: A Case Study of the Attributes Differentiation of Priest Drona Puppets” in TAWARIKH: International Journal for Historical Studies, Vol.5(1) October, pp.43-56. Bandung, Indonesia: ASPENSI [Asosiasi Sarjana Pendidikan Sejarah Indonesia] and UVRI [Universitas Veteran Republik Indonesia], ISSN 2085-0980.Chronicle of the article: Accepted (August 5, 2013); Revised (September 9, 2013); and Published (October 28, 2013).
Bahasa Rupa Gambar Anak Berkesulitan Belajar dan Relasinya dengan Gambar Seni Rupa Tradisi Pandanwangi, Ariesa; Pialang, Yasraf Amir; Adisasmito, Nuning Damayanti
PANGGUNG Vol 24, No 2 (2014): Modifikasi, Rekonstruksi, Revitalisasi, dan Visualisasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v24i2.114

Abstract

ABSTRACT Children with learning disabilities have creative capabilities that sometimes unnoticed by their pa- rents or teachers. Their creative capabilities are usually observed from their drawings, which as creative as the drawings created in traditional arts. The aim of this research is to determine the relationship between drawings from children with learning disabilities compared to the drawings created in traditional arts.The research methods employed is a qualitative descriptions with visual languages approaches. The approaches used are contents of wimba, way of wimba, enlargement and shrinkage. It can be shown that the way of drawing by children with learning disabilities has direct relationship with the traditional arts. The way of wimba of these children’s drawings is having similar characteristics with the way of wimba in traditional arts.  This similarity is observed from the unique way of drawing of these children which are figurative objects drawn on a flat sand surface, various backgrounds, various relieves, tranparencies, emphasizing large objects, green colour, and symmetrical compositions. These similarities are constructed because these children do not know about perspective drawing and gravitational principles in the draw- ing, somethings which are also found in traditional art, so that both tend to have similar way of wimba in drawings. The characteristics of drawing by children with learning disabilities can be seen from the way of wimba figures which are schematics, which should already surpassed by children with similar age. Keywords: Children, Drawings, Learning disabilities, Traditional arts, Visual language    ABSTRAK Anak berkesulitan belajar mempunyai kreativitas yang belum diketahui oleh orang tua bah- kan guru. Kreativitas yang tergali dari gambar yang dihasilkan oleh Anak Berkesulitan Belajar (ABB), sama kreatifnya dengan gambar yang berasal dari seni rupa tradisi. Penelitian ini untuk mengetahui relasi antara gambar ABB dengan gambar seni rupa tradisi. Relasi adalah hal yang membuat adanya keterhubungan antara gambar ABB dengan gambar seni rupa tradisi.Metode penelitian ini adalah deskriptif kualitatif dengan pendekatan bahasa rupa. Bahasa rupa yang dipergunakan adalah isi wimba, cara wimba, diperbesar atau diperkecil. Hasil pene- litian ini diketahui bahwa cara gambar anak memiliki relasi dengan gambar seni rupa tradisi, yaitu cara wimba gambar ABB mempunyai karakteristik kemiripan dengan gambar seni rupa tradisi. Hal tersebut dapat diamati dari cara khas gambar anak yaitu objek figur digambarkan diatas rata tanah, aneka latar, aneka tampak, tembus pandang, objek yang besar dibuat penting, warna hijau, komposisi simetris. Kemiripan tersebut karena anak-anak belum mengenal gam- bar perspektif dan gaya gravitasi pada gambar, hal yang sama juga ditemui dalam seni rupa seni tradisi sehingga mereka memiliki kecenderungan penggambaran cara wimba yang mirip. Sedangkan karakteristik gambar ABB dapat dilihat dari cara wimba figur yang menyerupai bagan, padahal untuk anak seusianya anak sudah melampaui bentuk tersebut. Kata kunci: Anak-anak, Bahasa rupa, Berkesulitan Belajar, Gambar, Seni rupa tradisi
TRANSFORMASI VISUALISASI GAMBAR ILUSTRASI : pada Naskah Jawa Periode 1800-1920, Sebagai Refleksi Gejala Sosial-Budaya Masyarakat Jawa Adisasmito, Nuning Damayanti
Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG
Publisher : LPPM Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no1.a298

Abstract

The tradition of writing and drawing illustrations found in old manuscripts in various ethnic In- donesia, especially on Java community. Most Old Javanese manuscript contains illustrations that unique and local characteristics of Javanese art. Illustration of the ancient Javanese manuscripts are well documented and have a varied range of visual form, unique in styling, how to draw, the theme, as well as a visual object. Visual image is an illustration concept frameworks Java community, as well as a reflection of social life - Javanese culture Colonial period. Illustration on Java Script period 1800-1920 as an aesthetic concept attainment the expression symbol of the Java community. The illustrations in old Javanese manuscripts in 1800-1920 showed a correlation sustainability of such visual language in the era of the past to the present and into the characteristics of Java illustration style, which is the development over time. Illustration of the old Javanese manuscript in the year 1800-1920 has changed and developed its visual state as the interaction between the animism in the Pre-Hinduism era, cultural of Hinduism-Budhism, Islamic and Colonialism paradigms. Of all these characteristics into the connecting thread is narrative, symbolic and simplification form of the nature (stylized), two-dimensional shapes and stylized concepts wayang. Keywords: illustration, illustration tradition, colonialism 1800-1920, Java script, stylized
HISTORIOGRAFI GLOBALISASI BATIK MASA KOLONIAL DAN TANTANGAN GLOBAL ERA KONTEMPORER Adisasmito, Nuning Damayanti
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : LPPM Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no2.a1577

Abstract

With regard to the long history of the creation of Batik Indonesia and its development, batik technique becomesone that is recognized as the world cultural heritage. UNESCO on October 2 , 2009 recognized belonging of Batik to the nation of Indonesia which became world heritage, then October 2nd at once also celebrated as National Batik Day. This is the work of many parties and government support. Batik is a product of indigenous culture of Indonesia, especially made by the people of Java Island, but now scattered centers of batik industry almost throughout theIndonesian archipelago, not only in Pekalongan, Solo, Yogyakarta, Madura, Tasikmalaya, Cirebon, Garut. This fact adds to the rich variety of Batik Nusantara.
Co-Authors Ariesa Pandanwangi Mohammad Isa Pramana Koesoemadinata Setiawan Sabana Yasraf Amir Pialang, Yasraf Amir