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INDONESIA
Ekspresi Seni
ISSN : 14121662     EISSN : 25802208     DOI : -
Core Subject : Humanities, Art,
Journal of Ekspresi Seni, published by ISI Padangpanjang Journal Publisher in cooperation with The Aliance of Indonesian Industrial Product Designer (ADPII), welcomes full research articles in the area of Performance Art, Culture from the following subject areas: Design History, Art History, Visual Culture, Design Methodology, Design Process, Design Discourse, Design and Culture, Sociology Design, Design Management, Art Critism, Anthropology of Art, Artifact Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architecture, Film, Multimedia, Creative Industry, Design Policy, and other historical, critical, cultural, psychological, educational and conceptual research in visual art and design
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Articles 10 Documents
Search results for , issue " Vol 13, No 1 (2011): Ekspresi Seni" : 10 Documents clear
PERLAWANAN PEREMPUAN DALAM KARYA DUA KOREOGRAFER: HARTATI DAN SUSASRITA LORAVIANTI Muliati, Roza
Ekspresi Seni Vol 13, No 1 (2011): Ekspresi Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (870.407 KB) | DOI: 10.26887/ekse.v13i1.213

Abstract

Hartati and Susasrita Loravianti are both Minangkabau female leading choreographers nowadays, who have been known for their consistency, quality, and their sensibility toward the issue of gender.  This article aims to reveal the ideology presented in the works of both choreographers and to show the critical dimension of both choreographers toward the factual problem of women today which is remain opposing traditional rules. This article is a textual study of women opponent which is reflected in the works of both choreographers, namely: Hari Ini and Ritus Diri  by Hartati; and Perempuan dalam Kaba, and Meja, Kursi, dan Segelas Jus yang Tumpah by Susasrita Loravianti.
KRIYA SENI, KELAHIRAN DAN EKSISTENSINYA Bahrudin, ahmad
Ekspresi Seni Vol 13, No 1 (2011): Ekspresi Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1450.649 KB) | DOI: 10.26887/ekse.v13i1.186

Abstract

Kriya atau sering disebut dengan kerajinan dan dalam bahasa inggrisnya disebut dengan nama craft, pada mulanya diciptakan sesuai dengan kebutuhan pada zamannya, yaitu sebegai pemenuhan kebutuhan religi/beribadah pada lampau, dan kriya berkembang tidak lagi sebagai pemenuhan kebutuhan religi tetapi sebagai pemenuhan kebutuhan pokok manusia, pada umunya memiliki fungsi praktis/applied art pada masyarakat, maka kriya sekarang ini sudah mencerminkan perubahan-perubahan dari masa lalu. Perubahan itu tidak lepas dari pengaruh berbagai aspek dari waktu ke waktu seiring dengan kemajuan zaman yang sangat cepat. Sehingga muncul dua istilah dalam kriya yaitu istilah seni kriya dan istilah kriya seni, seni kriya bersifat pada pemenuhan kehidupan sehari-hari dan memiliki fungsi praktis, sedangkan kriya seni muncul karena adanya keinginan kriyawan untuk menambahkan ekspresi dalam karya kriyanya, sehingga lahir karya-karya kriya yang lebih menekankan pada nilai seni atau estetisnya dan cenderung mengabaikan nilai fungsinya.  
“MENYAMA BERAYA” (Spirit Pluralitas Nusantara) Supenida, I Dewa Nyoman
Ekspresi Seni Vol 13, No 1 (2011): Ekspresi Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1163.84 KB) | DOI: 10.26887/ekse.v13i1.191

Abstract

 Menguatnya kesadaran terhadap pluralitas bangsa dewasa ini ditandai oleh berbagai perbedaan yang bersifat vertikal maupun horizontal. Pada satu sisi perbedaan ini dapat menjadi penghalang untuk mewujudkan integrasi masyarakat, dan di sisi lain berpotensi menjadi aset budaya bangsa yang dapat mempermudah tercapainya kemajuan bangsa. Karakter bangsa Indonesia yang dibangun atas spirit multietnis, multikultur dan multiagama membutuhkan suatu strategi yang jitu untuk menghidupkan jiwa kebangsaannya agar konflik sosial menjauh dari kehidupan bersama. Konflik horizontal antarkelompok tertentu yang pernah ada di Indonesia seharusnya menggugah bangsa ini untuk kembali merenungi; apa yang sebaiknya dilakukan dalam rangka menumbuh-kembangkan kesadaran bernegara dan berbangsa. Bersumber dari fenomena sosial ini penggarap mengaktualisasikan salah satu konsep dan nilai kehidupan yang bersumber dari kearifan lokal orang Bali dengan istilah Menyama Beraya menjadi sebuah karya komposisi musik inovatif. Konsep nilai ini bermakna universal, karena Menyama Beraya merupakan sebuah cara pandang bahwa antar sesama manusia adalah bersaudara, tanpa mempersoalkan perbedaan-perbedaan etnis, ras, budaya, agama, dan seterusnya. 
Ilau Kematian ke Seni Pertunjukan di Kelurahan Kampai Tabu Karambia Koto Solok, Sumatera Barat Syofia, Ninon
Ekspresi Seni Vol 13, No 1 (2011): Ekspresi Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekse.v13i1.187

Abstract

Ilau Dance is in fact an imitian of ilau tradition dance
GANRANG PA’BALLE DALAM RITUAL ACCERA’ KALOMPOANG DI KALANGAN BANGSAWAN GOWA - SULAWESI SELATAN Razak, Amir
Ekspresi Seni Vol 13, No 1 (2011): Ekspresi Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1022.993 KB) | DOI: 10.26887/ekse.v13i1.192

Abstract

Ganrang Pa‟balle is an ensemble consisting of two pairs of ganrang (drum), a piuk-puik (flute), and a dengkang (gong). This ensemble is usually performed in traditional or ritual ceremonies among Makassar ethnic group. Among the aristocrat group, this music is routinely performed each year in the ritual ceremony to clean Gowa kingdom‟s royal objects, which is usually called upacara accera’ kalompoang. The presentation of Ganrang Pa‟balle has structured patterns of rhythm. The patterns are Tunrung balle sumange’ (to boost the spirit or soul), tunrung rua (two-rhythm stroke), and tunrung pakanjara (pakanjara stroke). The three patterns must be played with a structure in a kalompoang ritual ceremony. Apart from a ritual ensemble, Ganrang Pa‟balle is also considered as a heritage of Gowa kingdom (kalompoang). Non-existence of this music in a ritual ceremony is believed to be a problem in kalompoang. Without the sound of the drum, the ceremony will lose its spirit. In addition to that, it will dishonor the spirit of the late aristocrats which is believed to be residing in every royal objects.  
(Doda Idi) Vokabuler Aceh yang Terlupakan Soeryana, Dharminta
Ekspresi Seni Vol 13, No 1 (2011): Ekspresi Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1020.87 KB) | DOI: 10.26887/ekse.v13i1.193

Abstract

The development and growth of healthy children is inseparable from the success of a mother to and mentally, one through a child a bedtime song. Humming lullabies to a child is one of the heritages of cultural activities that is inherited by the preceding generation to the next generation to preserve to this day. Chanting poetry which contains advice, teaching points, values and principles of life to child will be useful for the child‟s development.
SETUBUH DUA WANITA Susanti, Dewi
Ekspresi Seni Vol 13, No 1 (2011): Ekspresi Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1074.722 KB) | DOI: 10.26887/ekse.v13i1.188

Abstract

The choreography “Two Women Intercourse” is inspired by the increasingly common social phenomena called lesbianism. The basis of its gestures derives from Malay and Minang traditional dances with contemporary touches to easily communicate it to its audience. The dance is choreographed using an environmental choreographing technique that involves ten dancers consisting of two male dancers and eight female dancers. Expressing the idea of lesbianism the dance “Two Women Intercourse” is tinged with the soul expression resulting from the real world story of some choreographer’s friends. The choreography is performed in a cafe called Bambo Resto Yogyakarta in order to accommodate the glamour and the freedom of night life. The phenomena of lesbianism is more clearly observed in certain community that often organize the meeting in the cafes considered to be public space with high privation as modernity icon. The atmosphere of the Bambo Resto cafe is highly relevant to the theme of the choreography and its architecture as well as its landscape are used to support the necessity of chorographical aesthetics. 
DINAMIKA KEBERLANGSUNGAN TABUIK PARIAMAN Asril, Asril
Ekspresi Seni Vol 13, No 1 (2011): Ekspresi Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1027.243 KB) | DOI: 10.26887/ekse.v13i1.183

Abstract

The existence of Tabuik has undergone some dynamics of change in a variety of situations. The tug of war in a number of situations and political interest between government and community is just like a wave of life. It is too often the case that the dynamics reach the point where there should be a willingness to shift and the loss of some symbols of tabuik‟s ritual and magical power as a cultural obligation for Pariaman community. The role of the government as a player in the dynamics of tabuik‟s existence can be regarded as “positive patronage” for the sustainability of tabuik in future. 
PEMBELAJARAN MUSIK TALEMPONG UNGGAN BERBASIS LITERATUR MK, Asri
Ekspresi Seni Vol 13, No 1 (2011): Ekspresi Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1082.896 KB) | DOI: 10.26887/ekse.v13i1.189

Abstract

Ensambel musik Talempong Unggan termasuk klasifikasi jenis Talempong Duduak (Rea) Minangkabau yang terdapat di daerah Unggan, Sumatera Barat. Berdasarkan konsep musikal dan teknik permainan melodinya yang khas, musik tradisional ini terpilih menjadi salah satu mata kuliah praktik di Program Studi Seni Karawitan ISI Padangpanjang semenjak tahun 1993 yang lalu. Sistem pembelajaran Talempong Unggan untuk sekitar 30 orang mahasiswa digunakan metode dan teknik pembelajaran yang berbasis literatur untuk mencapai sasaran kompetensi mata kuliah ini. Namun, sistem oral penting digunakan dosen agar terbangun komunikasi pembelajaran yang lebih berkesan. Semua melodi Talempong Unggan yang menjadi materi praktiknya ditranskripsi dengan sistem notasi angka. Motif ritme gendang dan Aguang ditulis dalam bentuk simbol-simbol notasi khusus. Segala data musikal diformulasikan ke dalam metode, teknik, dan etude pembelajaran musik Talempong Unggan yang berbasis literatur di PS Seni Karawitan ISI Padangpanjang.  
Eksistensi Lagu/Musik Anak (Musik Populer, Tradisi dan Media Masa) hartitom, hartitom
Ekspresi Seni Vol 13, No 1 (2011): Ekspresi Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1914.704 KB) | DOI: 10.26887/ekse.v13i1.184

Abstract

Indonesia Chiledren Song

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