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Pemakaian Bahasa Indonesia dalam Lirik Lagu Jawa Kontemporer: Studi Awal Kajian Morfologis Maryani, Zulisih
Sutasoma : Jurnal Sastra Jawa Vol 8 No 2 (2020): Sutasoma: Jurnal Sastra Jawa
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v8i2.42029

Along with the times present contemporary Javanese songs with new music genres, including campursari, dangdut koplo, and hip hop. Contemporary Javanese songs are free songs by combining diatonic and pentatonic tones, without having to fulfill basic rules. By maintaining the authenticity of Javanese lyrics, there is the use of Indonesian in contemporary Javanese song lyrics. This research will examine how the use of Indonesian in contemporary Javanese song lyrics from the morphological aspects, especially those in the form of basic words and affixed words. There are three stages of strategy in this study, namely the stage of data filtering, data analysis, and presentation of the results of data analysis. The selection of data through observation is done using the basic technique, which is tapping. The tapping technique is followed by the advanced technique, which is a competent, free listening technique. The note taking technique as an advanced technique is also carried out to record the results of data listening on the data card in the form of transcription. Data analysis was performed to find out how to use Indonesian in contemporary Javanese song lyrics based on morphological aspects, especially those in the form of basic words and affixed words. It can be described that in addition to maintaining Javanese language, contemporary Javanese song lyrics also use Indonesian to convey expression and achieve aesthetics in song. Morphologically, the form of words used in relation to the use of Indonesian in contemporary Javanese song lyrics is the basic word and affix word. Basic words in the form of words that have not undergone a morphological process. Affixes used in contemporary Javanese song lyrics are suffixes, suffixes, and confixes. The affixes used are ber-, di-, meN-, ter-, and peN-. Suffixes in the form of -an, -ku, -mu, -i, -nya, and -pun. Meanwhile, there are also confixes ke-/-an, peN-/-an, di-/-kan, and meN-/-i.

Pemakaian Bahasa Indonesia dalam Lirik Lagu Jawa Kontemporer: Studi Awal Kajian Morfologis Maryani, Zulisih
Sutasoma : Jurnal Sastra Jawa Vol 8 No 2 (2020): Sutasoma: Jurnal Sastra Jawa
Publisher : Jurusan Bahasa dan Sastra Jawa Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/sutasoma.v8i2.42029

Along with the times present contemporary Javanese songs with new music genres, including campursari, dangdut koplo, and hip hop. Contemporary Javanese songs are free songs by combining diatonic and pentatonic tones, without having to fulfill basic rules. By maintaining the authenticity of Javanese lyrics, there is the use of Indonesian in contemporary Javanese song lyrics. This research will examine how the use of Indonesian in contemporary Javanese song lyrics from the morphological aspects, especially those in the form of basic words and affixed words. There are three stages of strategy in this study, namely the stage of data filtering, data analysis, and presentation of the results of data analysis. The selection of data through observation is done using the basic technique, which is tapping. The tapping technique is followed by the advanced technique, which is a competent, free listening technique. The note taking technique as an advanced technique is also carried out to record the results of data listening on the data card in the form of transcription. Data analysis was performed to find out how to use Indonesian in contemporary Javanese song lyrics based on morphological aspects, especially those in the form of basic words and affixed words. It can be described that in addition to maintaining Javanese language, contemporary Javanese song lyrics also use Indonesian to convey expression and achieve aesthetics in song. Morphologically, the form of words used in relation to the use of Indonesian in contemporary Javanese song lyrics is the basic word and affix word. Basic words in the form of words that have not undergone a morphological process. Affixes used in contemporary Javanese song lyrics are suffixes, suffixes, and confixes. The affixes used are ber-, di-, meN-, ter-, and peN-. Suffixes in the form of -an, -ku, -mu, -i, -nya, and -pun. Meanwhile, there are also confixes ke-/-an, peN-/-an, di-/-kan, and meN-/-i.

SEBUAH KAJIAN KEBAHASAAN Zulisih Maryani
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 6
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.365

The purpose of this study is to describe (1) the time of show of televisionslogan, (2) the language aspects which forming the television slogan, (3) the meaning of the slogans belong to the television station, (4) the persuasion techniques used in television slogan, (5) the influence of slogan ownerships to their television stations, and (6) to describe the differences between the specifications of local television slogans and national television slogans. Television slogan had been shown in every lag time or between the television programs. Television slogans have certain meanings in accordance with the vision, mission and the types of programs presented in a television station. To make the television slogans some linguistics aspects are applied, such as the use of sound, foreign language, and figure of speech. The persuasion techniques used in the creation of television slogan is then rationalized and identified. Having television slogans is one of the trademarks or identities of a television station, as far as it does not give a significant influence on some television stations that do not have slogans, for example in the number of the viewers. The different specifications of local television slogans and those of national television is that if in the slogan of local television they still apply local dialect or certain vocabulary from the native culture, the national television slogan apply national language or Indonesian language.Keywords: television slogans, meaning, language aspects, persuasion techniques

Penggunaan Kata dan Frase ’Tidak Baku’ dalam Bidang Fotografi Zulisih Maryani
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 8
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.382

The purpose of this study is to describe the use of words and phrases'non-standard' in the field of photography are presented along withjustification. In addition, the purpose of this study is also to describe thefactors causing the writing of words and phrases' non-standard in the fieldof photography.This research used descriptive method with three stages, namely datacollecting stage, data analysis stage, and result data analysis presentationstage. Data collecting stage was conducted by observing the language used in words and phrases ‘non-standard’ in the field of photography. Observing was continued with the recording technique. Data analysis was conducted after the collected data had been classified. The analysis applied was describing the use of words and phrases 'non-standard' in the field of photography are presented along with justification and describing the factors causing the writing of words and phrases' non-standard in the field of photography. The presentation of result data analysis was presented in the informal and formal. The informal presentation of result data analysis used common words and the formal used tables.Words and phrases 'non-standard' in the field of photography is thepronunciation of words and phrases or writing does not meet standardnorms or rules that have been standardized. The words are classified asnon-standard should be avoided in formal situations or in writing scientificpapers, for example body kamera, diafrakma, detil foto, foto candit, fotoessay, fotogravi, fotografi portrait, monopot, pas photo, and tripot. Thatwords should be written bodi kamera, diafragma, detail foto, foto candid,foto esai, fotografi, fotografi potret, monopod, pasfoto, and tripod.The factors causing the writing of words and phrases' non-standard inthe field of photography include (1) the influence of foreign languages,2 especially English, (2) ignorance of the rules EYD (writing standard wordsand standard terms), and (3) the influence of non-standard pronunciation.

Fotografi Potret Wanita Penambang Pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta Arti Wulandari; Zulisih Maryani
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 13, No 1 (2017): April 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v13i1.1578

Ketegaran dan kesabaran yang luar biasa, sebagai sesama wanita, dari para wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta menjadi inspirasi bagi penulis untuk diungkapkan dalam karya fotografi dengan bentuk potret hitam putih karena potret bisa mewakili keadaan sebenarnya dari objek. Penciptaan ini bertujuan mengungkapkan kehidupan wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta dalam fotografi potret hitam putih dikaitkan dengan aspek teknis kreatif dan fungsi nilai sosialnya.Proses perwujudan mencakup tahap-tahap penciptaan dan media yang digunakan untuk mewujudkan karya seni fotografi potret yang tentunya membutuhkan bahan, alat, dan teknik. Prosedur pelaksanaan meliputi persiapan, pemotretan, proses editing, penentuan lay out, dan pencetakan hasil akhir. Karya penciptaan ini menampilkan karya-karya yang merupakan serangkaian fotografi potret wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta. Melalui foto-foto yang ditampilkan diharapkan dapat memberikan sudut pandang bagi masyarakat dalam mengapresiasi sosok wanita penambang pasir, melalui ketegaran dan kesabarannya yang luar biasa. Keunggulan karya ini adalah menampilkan foto potret wanita penambang pasir dengan hitam putih sehingga tampak lebih dramatis. Obstinacy and remarkable patience, as a fellow woman, from the women sand miners in South Slope of Mount Merapi, Yogyakarta became the inspiration for the author to be expressed in the form of photographic works with black and white portrait because a portrait can represent the actual state of the object. The aim of this creation reveals a woman's life sand miners in South Slope of Mount Merapi, Yogyakarta in black and white portrait photography associated with the creative and technical aspects of the function of social value. The embodiment process includes the stages of creation and media that are used to create works of art portrait photography that will require materials, equipment, and techniques. Implementation procedures covering the preparation, shooting, editing, determination lay out, and print the final results. This creative work featuring the works is a series of photographic portraits of women sand miners in South Slope of Mount Merapi, Yogyakarta. Through the photographs displayed are expected to provide viewpoints for society to appreciate the female figure sand miners, through fortitude and patience were outstanding. The advantages of this work is to show a portrait photo woman sand miners with black and white so that it looks more dramatic.

MOBIL MAINAN DIECAST SKALA 1:24 DALAM FOTOGRAFI STILL LIFE Dio Rama Aditia; Zulisih Maryani; Oscar Samaratungga
Specta: Journal of Photography, Arts, and Media Vol 1, No 1 (2017)
Publisher : Institut Seni Indonesia Yogyakarta

Mobil mainan merupakan suatu benda yang biasa dimainkan oleh anak-anak. Akan tetapi berbeda halnya dengan mobil mainan jenis diecast, yakni mobil mainan yang terbuat dari logam kemudian dicetak ke dalam bentuk yang diinginkan. Mobil mainan diecast yang memiliki berbagai macam ukuran tidak hanya dimainkan oleh anak-anak karena pada perkembangannya diecast menjadi karya seni yang menarik untuk dikoleksi dan dipajang salah satunya mobil dengan ukuran skala1:24. Dengan demikian muncul keinginan untuk menampilkan mobil mainan diecast dalam bentuk karya fotografi. Alasan pemilihan ukuran skala 1:24 adalah ukurannya yang terbilang sedang dan mempunyai detail kemiripan yang cukup baik sehingga cocok digunakan untuk foto stilllife. Selain itu, ukuran mobil mainan diecastskala 1:24 juga cenderung kurang diminati oleh para kolektor shingga diharapkan penciptaan karya seni ini dapat meningkatkan minat para kolektorterhadap diecastskala 1:24. Teknik fotografi still life merupakan salah satu metode dalam fotografi yang digunakan untuk keperluan komersial. Teknik still life digunakan untuk mempermudah penataan objek yang dikombinasikan dengan diorama. Kemudian penataan cahaya dan komposisi dalam teknik ini mampu menjadikan sebuah objek menjadi lebih bernilai jual. Ditambah dengan teknik olah digital focus stacking yang membantu menguatkan detail dari sebuah produk mobil mainan. Penciptaan karya fotografi ini bertujuan untuk menampilkan sebuah mobil mainan yang menyerupai mobil sesungguhnya sehingga dapat menarik perhatian penikmat foto dan juga pencinta mobil mainan diecast khususnya yang berskala 1:24. Hasil dari penciptaan karya seni ini didapatkan bahwa mobil mainan yang semula hanya benda mati saja, melalui fotografi dapat diciptakan menjadi sebuah karya seni visual yang tampak lebih nyata. Mobil mainan diecast merek Welly ini banyak ditemukan hasil pengecatan yang kurang maksimal. Akan tetapi, penggunaan set diorama sebagai elemen pendukung sangat membantu untuk menguatkan kesan lebih nyata sehingga secara umum penciptaan karya seni ini dapat menambahkan nilai jual pada mobil mainandiecast skala 1:24.Kata kunci: mobil mainan, diecast skala 1:24, fotografi, stilllife Abstract Diecast Toycar 1:24 Scale in Still Life Photography. A toy car is an object commonly played by children. Diecast is way a different type of toycar which is made of metal and then formed into the desired shape. Diecast cars with variety of sizes not only played by children because in its development the diecast is becoming into an interesting work of art to be collected and displayed, one of them is with a scale of 1:24. Thus, it seems interesting to feature diecast toycars in the form of photography works. The reason for choosing scale of 1:24 is because this size is quite moderate and the detail similarity is good enough so that it will be suitable to be used in still life photography. In addition to that, the size of the 1: 24 scale diecast toycar also tends to be less desirable by collectors so it is expected that the creation of this artwork can increase the interest of collectors for the 1:24 scale diecast. Still life photography technique is one of the methods in photography used for commercial purposes. Still life technique is used to facilitate the arrangement of objects to be combined with diorama. Then, the arrangement of light and composition in this technique can make an object becomes more valuable. Coupled with the technique of digital focus stacking that helps strengthen the details of a toycar product. The creation of this photography work aims to showcase a toycar that resembles a real car so as to attract the attention of photo enthusiasts as well as diecast car enthusiasts especially for 1: 24 scale. The result of the creation of this artwork shows that toycars which were originally only inanimate objects, through photography can be made into a work of visual art that looks more real. The paintings in Welly diecast toyscars are found not really good enough. However, the use of diorama sets as a supporting element is helpful to reinforce a more realistic impression so that in general the creation of this work can add a commercial value to a 1:24 scale diecast toycar. Keywords: toycar, diecastscale 1:24, photography, still life

REOG TULUNGAGUNG DI SANGGAR TARI DANDHANG SAPUTRO MUDHO DALAM FOTOGRAFI DOKUMENTER Abdul Kholid; Edial Rusli; Zulisih Maryani
Specta: Journal of Photography, Arts, and Media Vol 1, No 2 (2017)
Publisher : Institut Seni Indonesia Yogyakarta

Penciptaan karya berorientasi pada sosok seniman Suratmin Wibisono sebagai dasar acuan atau kerangka cerita pemahaman tentang eksistensi Reog Tulungagung yang dikembangkan di sanggar miliknya. Reog Kendhang sebelum diubah nama menjadi Reog Tulungagung adalah sebuah tarian penggambaran prajurit kerajaan yang memiliki latar belakang yang bersinggungan dengan masyarakat Tulungagung. Dandhang Saputro Mudho merupakan sanggar seni yang mengembangkan serta melestarikan kesenian tari tradisional yang telah ditetapkan menjadi ikon Kabupaten Tulungagung ini. Metode EDFAT digunakan dalam pengambilan gambar. Metode entire untuk pengambilan menyeluruh, detail dalam pengamatan bagian tertentu, frame sebagai cara pengemasan foto yang terfokus, angle pengambilan sudut yang menarik, serta time untuk pemvisualisasian pergerakan objek. Selain itu, bentuk potret digunakan untuk mengenalkan objek secara personal. Foto-foto dokumenter yang diciptakan berjumlah 20 karya foto tunggal. Setiap karya disusun sedemikian rupa sehingga membentuk sebuah narasi teks visual. Hasil pemilihan karya kegiatan yang paling banyak adalah kegiatan yang dilakukan di lingkungan sanggar Dandhang Saputro Mudho. Hal ini dikarenakan sanggar bukan hanya menjadi pusat berkegiatan seni, tetapi juga tempat anggota sanggar bermain dan bersosialisasi. Selain itu, lokasi sanggar yang juga berdekatan dengan rumah Suratmin dan beberapa anggota sanggar. Kata Kunci: reog tulungagung, sanggar tari dandhang saputro mudho, fotografi dokumenter

MENYUSUN KEMBALI INGATAN DAN KENANGAN DALAM STAGED PHOTOGRAPHY Eri Rama Putra; Soeprapto Soedjono; Zulisih Maryani
Specta: Journal of Photography, Arts, and Media Vol 2, No 1 (2018)
Publisher : Institut Seni Indonesia Yogyakarta

AbstrakKenangan merupakan apa yang pernah ada dan terjadi pada masa lalu dan menjadi bagian dari memori kehidupan banyak orang. Dengan kemampuannya yang bersifat dokumentatif, fotografi mampu merekam yang abstrak menjadi nyata. Fotografi terlahir untuk memburu objektivitas dengan kemampuannya dalam menggambarkan realitas visual. Praktik fotografi adalah pintu masuk untuk melihat dan menyelami banyak hal. Karya-karya ini dibuat menggunakan arsip-arsip foto yang berlokasi di Yogyakarta sebagai bentuk kenangan visual milik subjek yang digunakan sebagai acuan untuk direkonstruksi dengan metode staged photography. Metode ini dilakukan dengan upaya menata dan mengatur subjek, teknik fotografi, dan alur narasi untuk menampilkan perubahan-perubahan yang terjadi. Lewat praktik fotografi yang dilakukan, para subjek diajak untuk bernostalgia merasakan kembali kenangan-kenangannya. Secara tidak langsung, para subjek diajak untuk lebih peduli pada fotografi dengan menjaga dan memelihara arsip-arsip foto yang dimilikinya.Kata kunci: kenangan, staged photography, rekonstruksi, arsip foto AbstractReconstructing Memory and Remembrance in Staged Photography. Recollection is something which existed and happened in the past and became a part of people’s life memory. With its documentative ability, photography could record abstract things into something real. Photography was born to hunt objectivity through the ability in picturing visual reality. The practice of photography is also a gateway to see and delve into many things. This project used photo archives located in Yogyakarta as a form of visual recollection from the subjects which would be used as the reference to be reconstructed with staged photography method. This method was conducted by arranging and managing the subject, choosing the appropriate photography techniques, and create the the narrative plot in order to show the changes which have occured. Through this project, the subjects were invited to reminisce the memory by recollecting their memories. It also urged the subjects to be more caring in keeping and preserving their photo archives.Keywords: reconstruction, recollection, photo archive, staged photography

WAYANG PANDAWA COMIC AS EDUCATION MEDIA FOR CHILDREN CHARACTER Wiekandini Dyah Pandanwangi; Zulisih Maryani
LEAD (Language, Education and Development) Vol 2 No 2 (2023): Vol, No. 2 March (2023)
Publisher : Program Studi Pendidikan Bahasa Inggris Fakultas ilmu Budaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20884/1.lead.2023.2.2.8339

Wayang (puppet) has been embodied in Indonesian especially Javanese life. Wayang contains local wisdom which is important for Indonesian character building and identity and it is manifested through its plot and characters. Local wisdom-based character building as Indonesian identity is significant for young generation to create an intelligent, virtuous, and good personality generations. One of ways to build a character in children is by internalizing local wisdom through introducing wayang stories and characters. All characters in wayang are adapted from the original character of Indonesian people. The life philosophy embodied in wayang through the stories and characters are significantly comprehended for deep and useful essence for life. Particularly, it is necessary to be introduced to elementary students. By doing so, a wayang comic is proposed in this research as the education media for children character building.

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