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Acintya

acintya
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Published by Institut Seni Indonesia Surakarta

ISSN : 20852444 EISSN : 26555247 DOI : -

Core Subject : Humanities, Art,

Arts Humanities

Arjuna Subject : -

Articles 8 Documents

Search results for , issue "Vol 11, No 2 (2019)" : 8 Documents clear

Eksistensi Karawitan Putri Di Kota Budaya (Studi Kasus Karawitan Sekar Praja Putri, Pemerintah Kota Surakarta) Mutiara Dewi Fatimah
Acintya Vol 11, No 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

ABSTRAKKarawitan adalah bagian dari hidup oleh masyarakat Solo. Kondisi psykologis masyarakat Solo juga mempengaruhi berkembangnya karawitan di kota budaya. Salah satunya fenomena karawitan putri yang sampai saat ini masih terdengar meski lirih gaungnya di lingkungan seniman Solo dan sekitarnya. Sekitar tahun 80an karawitan putri mulai bermunculan, seiring diadakannya Lomba Karawitan Putri di Radio Republik Indonesia (RRI Surakarta). Fokus dari penelitian ini adalah karawitan sekar praja putri dimana karawitan putri masih diterima baik oleh masyarakat dan mampu bertahan walaupun telah digerus jaman. Sampai sekarang karawitan putri terus berkembang, adanya sekolah seni SMK N 8 Surakarta (SMKI/ Konser Vatori Surakarta) dan Perguruan Tinggi Seni (ASKI menjadi STSI sekrang ISI Surakarta) serta sanggar-sanggar seni menjadikan karawitan selalu ada dan tetap hidup.Kata Kunci: karawitan, karawitan putri. ABSTRACTKarawitan is a part of life for the people in Solo. The psychology condition of Solo community also influenced the development of karawitan in the cultural city. One of them is the female karawitan which is still heard, until now even with the soft echo among the Solo artists and its surroundings. In 1980s the female karawitan music began to emerge, along with the Women's Karawitan Contest that was held at Radio Republik Indonesia (RRI Surakarta). Focus of this research is the Karawitan Sekar Praja Putri with the female musicians which are still well received by the community and are able to survive even though it has been crushed by the era. The female karawitan continues to grow until now. The existence of SMKN 8 Surakarta (Vocational High School), ISI Surakarta (Indonesia Institution of Arts) and art studios make karawitan always exist and stay alive.Keywords: karawitan, female karawitan.

PROSES KREATIF (STRUKTUR TEKNIK KARYA LUKISAN) DEWA MADE MUSTIKA Syamsiar Syamsiar
Acintya Vol 11, No 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

AbstractThis study aims to describe the ceative process (techniques and structures) of Dewa Made Mustika’s paintings in 1994-2018. Dewa Made Mustika is a man born in Tegalalang, Gianyar, Bali, on August 25, 1974. He grew up in Bali and continued his art education at the Indonesian Institute of Arts Yogyakarta in 1994 and graduated in 2000. The creative process of Dewa Made Mustika, reflected in his paintings, is interesting because the energy that exists in the creative process is extraordinary over time. His work on display at the Cultural Park of Yogyakarta in 2017 showed a remarkable energy, not only big that reaches 2800 cm long and 280 cm wide but also with excellent expressive-figurative cultivation technique. If the work of Dewa Made Mustika has tremendous energy at this time, then what about-the works that were created at the beginning of the study at the Indonesian Institute of Arts Yogyakarta up to his present super jumbo works, how the shape structure, the coloring and the techniques used in order to give an idea of how the creative process takes place. This is important for artists from an arts institute to become inspiration in learning the progress of a successful artist in developing his career. The research technique used is descriptive research technique by collecting data based on the facts, summarizes the existing data and presenting it.Keywords: Creative Process, Structure, technique, Paintings, Dewa Made Mustika

Studi Eksperimentasi Teknik Pewarnaan Akrilik dan Outlinefirst Pada Kekaryaan Lukis Wayang Beber Sutopo Sutopo
Acintya Vol 11, No 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

Penelitian berjudul Studi Eksperimentasi Teknik Pewarnaan Akrilik Dan Outlinefirst Pada Kekaryaan Wayang Beber ini menekankan pada studi eksperimentasi kekaryaan wayang beber dengan fokus pengembangan teknik sungging wayang beber pada media kain primisima. Penganekaragaman teknik sungging dengan bahan pewarnaan cat akrilik dimaksudkan untuk mencari alternatif pengembangan produk-produk kriya.Perlunya hal tersebut diangkat dalam penelitian ini karena teknik sungging khususnya teknik sungging dengan menggunakan cat akrilik merupakan salah satu hasil budaya tradisi klasik. Dengan penelitian ini nantinya akan diperoleh sebuah alternatif pengembangan seni lukis sungging wayang beber yang akan memperkaya kasanah seni rupa tradisi yang berdampingan dengan bentuk-bentuk seni modern saat ini, terutama aplikasi teknik outlinefirst.Adapun tujuan penelitian ini adalah untuk mengembangan teknik sungging agar dapat digunakan oleh para mahasiswa di perkuliahan, para seniman, dan pengrajin sehingga secara tidak langsung akan meningkatkan nilai jual sekaligus memberi alternatif pengembangan teknik. Selain itu juga untuk menganekaragamkan teknik sungging pada produk kriya. Sedangkan metode yang digunakan dalam penelitian ini dilaksanakan menggunakan metode kualitatif dengan pendekatan holistik yang memanfaatkan salah satu keunikan dalam seni tradisi yaitu teknik sungging wayang beber.Kata Kunci : wayang beber, teknik sungging, teknik outlinefirst.

BERGADA RAJAMALA SEMANGGI Tubagus Mulyadi; Slamet Slamet
Acintya Vol 11, No 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

ABSTRACTRajamala is a puppet character from Mahabarata story which represents an incarnation of Dewi Loroamis’ disease in a form of a small-giant little boy. Rajamala is a symbol of disaster that must be removed from human life. This event inspired Sultan HB X to create a ship Cantik Baito in the form of Rajamala’s face in order to get safety trip to Madura through Semanggianchorage at Bengawan Solo River. The Rajamala at Cantik Baito, then, became inspiration for the Semanggi community to create“Bergada Rajamala”, an army with Rajamala mask. This creation is related to the anchoragesite in Semanggi. The problem of this study is about how to brand Rajamala as an icon of Semanggi and why it is necessary to make “Bergada Rajamala” in Semanggi parade. This study uses the method of creation through observation, exploration, experimentation, reflection, and formation. The results obtained include the creation of the parade dance or “Bergada” dance that use Rajamala mask costumes that is called “BergadaRajamalaSemanggi.”KeyWords: Rajamala, Bergada, Semanggi.

PETA TEORITIK PENGKAJIAN TEATER: DARI TEORI STRUKTURALIS SAMPAI POSTRUKTURALIS Wahyu Novianto
Acintya Vol 11, No 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

AbstractThis article tries to map out the structuralist and poststructuralist theories as the basis of theater studies. So far, the studies of theater performed by theater academics have always been based on structuralist views; examining aspects of form, meaning, style and exclude the human aspects as forming agents of the structure. Structuralist view is antihumanist. It says that the sign has meaning when it is associated with other signs in a systematic unity of structure and not from its relation to the individu (artists). According to poststructuralist view, it is very possible to do a cultural study of theatrical text by looking at the interrelationship between one text and another outside, including social, cultural, literary, political, and other texts that are present randomly and overlapping (juxtaposition). Therefore, this theoretical mapping needs to be done in order to enrich the theater academics to conduct theater performances studies.Keywords: studies, theoretical map, structuralist, poststructuralist

SUNDRAWING SEBAGAI TEKNIK EKSPERIMENTASI FOTOGRAFI anin astiti
Acintya Vol 11, No 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

AbstractThe sundrawing technique has been done by artists or photographers in photography in the 19th century. In the following years, they did something related to the making of photography. The practicality can be synergized with the standards in this study so that the tools used to make photograms can be done outdoors, using sunlight. For this reason, the process of making these tools is a process, which will be described in the inovated method.The sundrawing technique is a technique of exposing paper or light sensitive media using sunlight. Sundrawing in this case the author uses to realize a photogram that can be done outside the dark room, by utilizing sunlight, so it will be like the shooting process with conventional cameras in general. The main thing that must be done is to make a device in the form of a photogram camera which is then equipped with a lightproof bag / changing bag that is useful for removing paper from a photogram camera. By using the changing bag, there is no need for a dark room to enter and replace paper in the photogram camera.Keywords: sundrawing, experimentation, sun, photogram.

PENCIPTAAN KARYA SENI RUPA ABSTRAKSI WAJAH TOGOG DAN TOPENG BUJANG GANONG DENGAN TEKNIK CBT (CETAK BENANG TARIK) Sofwan Zarkasi; Bening tri Suwasono
Acintya Vol 11, No 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

ABSTRACT”Penciptaan Karya Seni Rupa Abstraksi Wajah Togog Dan Topeng Bujang Ganong Dengan Teknik CBT (Cetak Benang Tarik)”( The Creation Of Abstraction Artworks Of Togog’s Face And The Mask Of Bujang Ganong With CBT (Print Thread) Technique) by Sofwan Zarkasi and Bening Tri Suwasono is based on the opportunities related to creativity and experimentation in two-dimensional works of art that utilize systems or techniques of creation in graphic arts, which have two-dimensional print art characters. One of them is creating mono print graphic artwork with a print process that utilizes tensile threads, namely threads that are colored and printed on paper and pulled with a little pressure. This research aims to open wide opportunities for creativity in two-dimensional works of art. The method applied in the creation of works in this study is using the theoretical approach of L. Chapman, which mentions three stages. The first stage is finding ideas by approaching the source of inspiration; the second stage includes refinement, development and establishment of the initial idea, including how the artist perfects, develops and establishes the initial idea which in this case relates to the search of forms, the choice of medium, tools, materials, and techniques; and the third stage, visualization into media, namely how artists visualize in the media. Indirectly the theory also put forward the experimentation, which in this study is the technique of Tensile Print (CBT) which produces the image prints in the form of lines that form the visual subject of Togog’s face and Bujang Ganong’s face mask in two-dimensional media. The results of this aristic research are two-dimensional works of art in the form of abstractions of Bujang Ganong masks with the characteristics of printed characters from the attraction of colored threads.From the creation of abstraction artworks of Togog’s face and the mask of Bujang Ganong with CBT (Print Thread) technique, this two-dimensional art works with the traditional dimensions is expected to be rich of innovation, both in technique and form, so that it can raise the prestige of the arts.Keywords: Fine Arts, two dimensions, abstraction, puppets, CBT.

REINTERPRETASI SIMBOL BATIK DEMAK afrizal afrizal
Acintya Vol 11, No 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

AbstractThis article wants to reinterpret the symbol of batik Demak that has been lost for hundreds of years. Demak as the first Islamic empire, in its time, becomes the center of Islamic Javanese culture and a cultural figure with the various cultural products. One of the cultural products in Demak is batik. The context of this study views Batik Demak as a cultural form, namely artifacts that contain a discourse of self-representation found by ideographic aspects of the initiator and the culture that produce to it. This discourse is reflected in the form or figure of the object as well as the implicit meaning. Batik Demak is considered to be a cultural heritage in Demak since hundreds of years ago. It had, once, disappeared then in 2006 it was reappeared. This must cut the strings of history about the meaning and function of Batik Demak in ancient times. Batik Demak tends to present when each region in the territory of Indonesia, especially Central Java is promoting batik with regional motifs. The reinterpretation of symbols that emerge seems to be a strategy of branding or imaging an area. The meaning of the symbol of batik does not really represent the pattern of life of Demak community as manifested in the five typical motives of Demak.Keywords: Batik Demak, Reinterpretation, Symbols

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Albertus Rusputranto Ponco Anggoro, S.Sn., M.Hum

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Albertus Rusputranto Ponco Anggoro, S.Sn., M.Hum

Contact Email acintya@isi-ska.ac.id

Phone -

Journal Mail Official acintya@isi-ska.ac.id

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Location Kota surakarta, Jawa tengah INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Albertus Rusputranto Ponco Anggoro, S.Sn., M.Hum

Contact Email
acintya@isi-ska.ac.id

Phone
-

Journal Mail Official
acintya@isi-ska.ac.id

Editorial Address
-

Location
Kota surakarta,

Jawa tengah

INDONESIA