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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 6 Documents
Search results for , issue " Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni" : 6 Documents clear
ANALISA UNSUR MUSIKAL GO LABA MUSIK TRADISIONAL NGADA SEBAGAI IRINGAN TARIAN JA’I PADA SANGGAR MORA MASA KEL. TUAK DAUN MERAH (TDM 02) KEC. OEBOBO -KUPANG Ceunfin, Flora; Kian, Melkior; Dewi Tukan, Maria Klara Amarilis Citra Sinta
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1461.347 KB) | DOI: 10.26887/ekspresi.v21i1.647

Abstract

Go Laba is the traditional musical instrument of Ngada found in the studio of Mora Masa, Kupang city Nusa Tenggara Timur. Its playing pattern emphasizes more on the repetitions of rhythm. In this article, it's discussed (1) the presentation form of Go Laba as the accompaniment pattern of Ja'l dance in Mora Masa studio, Tuak Daun Merah village, Oebobo sub-district; (2) the musical element of Go Laba as the accompaniment pattern of Ja'l dance in Mora Masa studio, Tuak Daun Merah village, Oebobo sub-district. The traditional music of Go Laba consists of five gongs namely Go Wela, Go Ute, Go Dhere, Go Doa, Laba Wai and Laba Dhera. The presentation of Go Laba is the intertwined playing of rhythm that emphasizes more on the repetition of sound in order to create an aesthetic impression with 2/4 birama. Go Laba in its playing uses allegro tempo found in the rhythm of Go Wela. Based on research results, it can be concluded that Go Laba found in Mora Masa studio functions as the accompaniment of Ja'l dance used for the necessity in entertainment event and participating in the dance festival.
ANALISIS INTERPRETASI PADA SPANDUK PECEL LELE KHAS LAMONGAN Iswandi, Heri; Mubarat, Husni
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (792.41 KB) | DOI: 10.26887/ekspresi.v21i1.687

Abstract

Hidup berlangsung dengan pengalaman yang didapat. Manusia hidup bergantung dengan alam dan lingkungan disekitarnya, termasuk juga dengan karya-karya seni yang dibuat oleh manusia itu sendiri. Pengalaman seni adalah pengalaman yang didapat oleh manusia. Seperti dalam pengalaman sehari-hari, maka pengalaman seni juga merupakan suatu pengalaman utuh yang melibatkan perasaan, pikiran, penginderaan, dan berbagai intuisi manusia. Spanduk pecel lele khas Lamongan merupakan sebuah instrumen seni yang hadir dari interpretasi manusia berdasarkan pengalaman mereka ketika memahami dan mengolah kembali sebuah objek. Berangkat dari apa yang diamati, maka penulis mencoba untuk menganalisis dan mengungkap makna dari bentuk visual yang digambarkan pada spanduk tersebut. Pembedahan visual yang tergambar pada spanduk dilakukan secara mendetil. Ini bertujuan untuk mendapatkan hasil lebih dari pemaknaan yang didapat berdasarkan persepsi masyarakat dan juga penulis. Dengan kata lain, spanduk pecel lele tidak hanya diartikan sebatas dari apa yang digunakan (nilai guna) oleh penjual pecel lele, serta melihat dan mempersepsikan gambar spanduk berdasarkan varian produk makanan yang dijual, akan tetapi ada makna lain yang selama ini tersembunyi dan belum diketahui oleh masyarakat.
POLA TABUHAN MUSIK TERBANGAN DI KABUPATEN OGAN ILIR SUMATERA SELATAN Rifki, Dian; Yelli, Nofroza
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (901.765 KB) | DOI: 10.26887/ekspresi.v21i1.688

Abstract

This research aims at elaborating the percussion pattern of Terbangan music in Tanjung Batu sub-district Ogan Ilir district. The observation was conducted by using observation technique, interview, and documentation on one of the performances of Terbangan music in Ogan Ilir district Sumatera Selatan. The research method used was a qualitative method so it's obtained research result in which Terbangan music is art that uses the musical instruments of Terbangan and gong. Terbangan comes from Arabian country played by hitting it using hand palm. This musical instrument of Terbangan is made of Leban wood that has a round form with 30 cm diameter and 10 cm height. The surface of Terbangan uses x-ray plastic. This musical instrument belongs to the kind of membranophone musical instrument, and it means that the sound produced comes from beating on the membrane. The other musical instrument as accompaniment is gong made of brass with a bulge in the middle of the gong. The pattern of percussion in the art consists of three parts namely the percussion pattern of initial rhythm, the percussion pattern of kincat rhythm, and the percussion pattern of yahum rhythm.
KONTINUITAS PARADIGMA KERAKYATAN AMRUS NATALSYA, TINJAUAN IKONOGRAFI-IKONOLOGI LUKISAN “TANAH AIRKU” (2013) Khairi, Miftahul
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (930.081 KB) | DOI: 10.26887/ekspresi.v21i1.686

Abstract

This study analyzes the Amrus Natalsya’s painting entitled "Tanah Airku" (2013). As a senior Indonesian painter which ideology of the "kiri" and popular in the history of modern art Indonesia certainly has strongly experiences about social phenomena that occur in Indonesia. By analyzing this painting, the author would like to see continuity in expressing social phenomena that includes style, theme and concept and meaning of his work. Through approach to art history with a grand theory of iconography and iconology from Panofsky may reveal a problem research. The research result is a style of painting is categorized in style ekspressionisme with metaphoric symbols. This style was developed in the era of pluralism in art. The painting is the theme of power with the basic concepts of resistance and struggle of the people to defend their rights.  These themes are variants of the theme and concept of the aesthetic paradigm of social realism convention during LEKRA. Symbolic value expressed by Amrus Natalsya in the painting "My Fatherland" (2013) is the crystallization of  struggle of human living symbol to defend their rights. Based on such analyzes shown continuity revolutionary populist paradigm expression in his paintings with new forms and expressions along with the spirit of the era. 
SIFAT-SIFAT DOSA DIRI DALAM SENI RUPA KERAMIK Abdillah, Admiral Akhir; Wahyuningsih, Novita
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (866.709 KB) | DOI: 10.26887/ekspresi.v21i1.681

Abstract

Dosa merupakan suatu kegiatan atau aktifitas yang menyalahi ketentuan hukum Tuhan. Namun disayangkan bahwa dosa seolah tidak bisa lepas dari kebanyakan manusia. Pengkategorian sifat dosa oleh gereja Katolik pada masa kejayaan Kristen yang disebut “Seven Deadly Sins” memberikan informasi untuk mengenali sifat-sifat dosa yang sering dialami oleh diri sendiri. Seven Deadly Sins dan sumber pustaka lainnya yang berusaha menjelaskan tentang dosa dari beberapa sudut pandang agama di Indonesia memunculkan pemahaman baru tentang dosa. Berdasarkan pemahaman baru tentang dosa dan sifat-sifatnya, karya seni rupa keramik diciptakan. Material utama yang digunakan adalah tanah liat dari Bentangan, Klaten, Jawa Tengah, yang telah diolah sehingga memiliki tingkat ketahanan suhu yang lebih baik. Proses penciptaan menggunakan teknik handbuilding, pinch, dan cetak padat. Pendekorasian menggunakan hias intaglio, camelo, dan hias kerrawang, sedangkan pewarnaan keramik menggunakan teknik underglaze firing. Karya keramik series “sifat-sifat dosa diri” memiliki harapan bawa karya yang tercipta mengandung nilai rekreatif dan edukatif, sekaligus sebagai peringatan bahwa ada sifat-sifat dosa yang mengancam kita di kehidupan sehari-hari.
GETTRUNG ALAT MUSIK NON KONVENSIONAL DARI KAYU Haris, Asep Saepul
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (729.176 KB) | DOI: 10.26887/ekspresi.v21i1.682

Abstract

Gettrung is a non conventional musical instrument which was produced from exploration. This  instrument was made of Surian dan Mahogany woods. The shape of Gettrung is quite simple, it looks like square. The sound elements of Gettrung were the result of the parts which follow the direction based on its shapes; circle and square. Cutting the line was done until the particular part, that line was not cut to the end of the line. It means there were still some part left and it caused the vibration which produce the sound at the end (trung). This instrument was finally named as Gettrung, it comes from Get which means vibrating sound and trung which means the result of the final sound. Gettrung was categorized into percussion type. The existence of Gettrung contributes to the capability to collaborate with other instruments which have had convention (basic/standard).

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