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Acintya
Published by Institut Seni Indonesia Surakarta
ISSN : 20852444     EISSN : 26555247     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Arjuna Subject : -
Articles 221 Documents
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MODEL SOUVENIR SEBAGAI PENINGKATAN KUALITAS ESTETIS DAN VARIAN PRODUK PADA SENTRA KERAJINAN GEMBRENG PASAR KABANGAN LAWEYAN SURAKARTA Henri Cholis; Satriana Didik Isnanta
Acintya Vol 10, No 1 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (833.656 KB) | DOI: 10.33153/acy.v10i1.2288

Abstract

This research entitled “Souvenir Models as an Improvement of Aesthetic Quality and Product Variety in Gembreng Crafts Center, PasarKabanganLaweyan Surakarta” in general aimed to improve the quality and product variants in Gembreng Crafts Center, PasarKabanganLaweyan Surakarta, followed by aesthetic product variants that are able to represent the city of Surakarta as an increasing competitiveness in the global market.  The specific purpose of this research is to develop the competitiveness of gembreng handicraft products with other souvenirs such as batik, wood or metal so as to attract the attention and interest of domestic and foreign tourists and indirectly also increase the income of the craftsmen.This research applied explorative exploratory research method. Therefore, it tends to be experimental; looking for novelty possibilities in the techniques and design of souvenir aesthetic products.  Data collection techniques undertaken by researchers were observations and in-depth interviews at the gembreng industry center in Pasar Kabangan Laweyan, Surakarta. The subject of this research was the gembreng craftsmen, with the aim of knowing the techniques they use and the techniques that can be explored for new products planned.  In addition, this study also interviewed some artists and culture bearers in Surakarta to find a visual image that can represent the city of Surakarta as a cultural city. Objects observed in this study were the results of the products that have been produced and the manufacturing techniques of handicraft products.  It is important to look for various possibilities for the development of the planned product designs. The existing data were validated by data reduction techniques and then they were analyzed. The results of this analysis were the basis for the development of souvenir product designs in the gembreng crafts center, Pasar Laweyan, Surakarta.The results of this development research were in the form of prototype gembreng-based souvenir products with a variety of possible variants, both the form and creativity. It is expected that the visual image of this product can represent the city of Surakarta as a cultural city. Keywords: souvenir, gembreng crafts,,Surakarta 
FOTOGRAFI URBAN LANDSCAPE DENGAN MENGGUNAKAN KAMERA LOMO Cito Yasuki Rahmad
Acintya Vol 2, No 2 (2010)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2436.247 KB) | DOI: 10.33153/acy.v2i2.143

Abstract

Landscape photography is not a new thing in photography. It is similar to the temple or street photography, only that the objects in focus are in urban regions. By using lomography camera the urban landscapes are captured in special manners that new, extraordinary images appear. They are like unnatural colour, fish eye effects, and others. Keywords: Urban landscape, Lomography
PENGUATAN CITRA MEREK BATIK DENGAN TIPOGRAFI VERNACULAR Taufik Murtono
Acintya Vol 6, No 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1340.39 KB) | DOI: 10.33153/acy.v6i2.215

Abstract

This study aims to design a brand identity of batik with vernacular typography. Vernacular typographyis typography with daily life character that is familiar with the activities of local community.Vernacular typography is used in this study because the types that are created by the previous researchdo not meet the needs of the product owners at batik center in Bayat, Klaten District. Themethod used is descriptive qualitative research to find qualitative data that is used as the base of thevernacular typography creating through the design process which is divided into four stages. Thestages covers assimilation, such as the collection and arrangement of information problem that isbeing studied; general studies, such as investigating the characteristics of the problem and possiblesolutions as well as tools and support materials; developing, creating and modifying; communicationconcerning the creative presentation of one or more solutions to the people inside and outside of theresearch team. Small scale industries such as batik center Bayat have disadvantages in accessingcreative sources because of the limited capital and opportunity. Therefore, this study becomes a helpfulthing in designing the brand identity for small industries. The results obtained include vernaculartypography design that is traced from the surrounding environment so that they produce specialtypefaces for example typographic style of batik motif, street-style typography, typographic styleengraving, handwriting-style typography, and free-style typography. Typographies that are generatedsubsequently applied in developing batik brand identity. Keywords: Typography, vernacular, brand, batik
ACCEPTIBILITY DUBBING PADA FILM ANIMASI ANAK ‘POCOYO’ Donie Fadjar Kurniawan
Acintya Vol 7, No 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1075.495 KB) | DOI: 10.33153/acy.v7i1.1993

Abstract

This study is to explore how the voiceover or dubbing can fulfill all the criteria of a good job in the perspective of Target Language user. To produce voiceover or dubbing in kid film program is really a multi-dimensional job. The first dimension is the linguistic aspects which rules two languages both source language (SL) and target language (TL). Sometimes we find a very long phrase or clause in SLand we finally get the voiceover or dubbing as a quite short phrase or clause and the vice versa. The second dimension is the scope of the social culture that also covers both sides. Sometimes, we find a very difficult terminology in SL to find the acceptability in TL. It is because the specific use relating toevery social and cultural background. English has many words that is hardly found in Indonesia Language. The next dimension is naturality. How a composition in SL should be voiceover or dubbing in the same naturality in the sense of TL. All of those conditions should be answered to the bestsolution by the director of voice over or dubbing. Therefore the results must consider the naturalness language dubbing for children. Vocabulary is selected in such a way that the story can get into the domestic children.The subject of this study is Kid Film Program ‘Pocoyo’ episode A Little Drummer and the Indonesian voice over or dubbing version.Keywords: dubbing, the source language, target language.
STUDI PENCIPTAAN SENI KINETIK “RAMPOGAN” Satriana Didiek Isnanta; Deni Rahman
Acintya Vol 10, No 2 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2457.638 KB) | DOI: 10.33153/acy.v10i2.2277

Abstract

The study of the creation of kinetic artwork with the title “Rampogan” focuses on the study of the creation of installation works that can move (kinetic). The purpose of this experiment-based art creation is to explore the possibilities of novelty on three aspects, namely: (1) visual rampogan aspects of the wayang kulit purwa as a representation of ideas, (2) aspects of the medium / material used and (3) mechanics aspects that can move the aesthetic elements of the work.The theme of the work in this creation study originated in Javanese cultural art, namely “Rampogan” (the puppet child who describes the dynamics of warriors leaving for war). This represents the idea of creating works about social phenomena that occur in Indonesia now, where the common life of the nation and state has been torn apart by a group of people who force the will of their groups by going down the streets.The method of creating this work uses a method of “artistic creation” which consists of three stages of creation, namely: (1) the experimental stages related to the exploration of materials, tools and techniques. (2) the contemplation stage relating to the exploration process of several alternative metaphors that will be used in the work, and (3) the formation stage which is the process of materializing the work by considering the principle of composition and structure.The output of this creation study is the creation of a kinetic work with the title “Rampogan”, scientific articles in national journals and intellectual property rights.Keywords: kinetic art, rampogan, Javanese culture
KESENIAN RANDAI MINANGKABAU DITINJAU DARI SEGI ESTETIKA TARI Elindra Yetti
Acintya Vol 2, No 1 (2010)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2850.695 KB) | DOI: 10.33153/acy.v2i1.113

Abstract

Randai is an art unification of movement, vocal. literature, and theater: Chairul Harun. in Pustaka Msata Budaya qfRandai Minangkabau, describes that Randai has existed through a long historical joumey sine:twentieth century. Randai more develops in the area of Darek. It is an area in central West Sumatera thatbecames a center af Minangkabau culture development. Randai represents a dance of people in gmup moving toforrn a circle, dancing while singing and doing applause and mainly presenting a story. As one of the dance cultures that becomes an icon afMinangkabau society, this research would like to convey theaesthetic substantion adhered in Randai. The aesthetic aspects that would be studied include the aspects of harmony, purity and clearance, as well as unity aspect. This article is supposed to give an idea of study which can complete the aesthetic aspects of Randai as a cultural product.Key wards: Randai, aesthetic, harmony, pure, unity
DRAMA TARI ARJUNA WIWAHA KARYA S. MARIDI MAESTRO TARI TRADISI KARATON GAYA SURAKARTA SEBUAH KAJIAN ESTETIK S., Sumargono
Acintya Vol 8, No 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (699.902 KB) | DOI: 10.33153/acy.v8i2.1943

Abstract

This writting will disclose and identify the aesthetics of Arjuna Wiwaha dance by aplying a special attention to the analysis of dance’s elements and the relations of one element to the others. The notation patterns of the music of the dance were described in detail so that it was posible to identify the tempo,laya,rhythm,musical taste and the pattern of kendangan mungkus. The result is that we know the choreography of Arjuna Wiwaha dance has a harmonious impression. This aesthetic analysis was based on the aesthetic concept of Javanese traditional dancing of Surakarta style,both the techniqueand its taste. The concept covers pacak, pancat, lulut, luwes, ulat,wiled, rhythm and gendhing which are known as hastha sawanda. This writing at least can make a contribution to the aesthetic analysis on dance of Surakarta style and possibly other styles.Keywords: Arjuna Wiwaha, aesthetic, gendhing, dance movement, dramatic design.
PENGALAMAN EKSPLORASI PERTUNJUKAN TARI DALAM ACARA PEMBUKAAN FESTIVAL SEBAGAI TEMUAN METODE CIPTA SENI (Studi Kasus Proses Penciptaan Karya Tari Seno Kridho) S., Samsuri; Anggono Kusumo Wibowo
Acintya Vol 9, No 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (942.493 KB) | DOI: 10.33153/acy.v9i1.2125

Abstract

In the domain of public dance performances, aspects of space, time, and particular interests greatlyaffected creative outcomes. Space, time, and particular interests were sometimes considered as limiting the creativity. In this art work planning, the limitation of space, time and interests were used as atrigger for creativity. On this occasion the dance performance creation would be directed to make aset of dance performances as a festival opening by carrying a wayang story titled “Dewa Ruci”, andtrying to show typical performance requirements for a festival opening ceremony, namely: festive, fullof surprises, message events, and still pay consideration to the dramaturgy impression in the packaging. Dance performances as the opening of a festival was a form of performances packaging thatwere within the limits of space, time, and particular interests, it could not be negotiated. While theshort duration still demanded excitement and surprise, the message content of the event must beshown in the work. This became a huge creative challenge for an artist. The experience of creating aperformance in this interest context, became a methodological experience that could be proposed asa finding.Keywords: festival opening perfomance packaging, drama “Dewa Ruci”.
ASPEK-ASPEK KOMUNIKASI DALAM PROSES KEKARYAAN SENI PERTUNJUKAN Anhar Widodo
Acintya Vol 1, No 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3594.673 KB) | DOI: 10.33153/acy.v1i2.65

Abstract

This research try to expose all the kind of human communications in pe,formance art—especially dance. Indeed, human communication is usefulifor creative process of idea exploration. With qualitative approach and interview method to digg various data, this research expose a kind of communication context that built in creative pmcess of dance arts. The Director of one of a masterpiece peiformance art, Kalabendu, HDwi Wahyudiarto, S. Kar, M. Hum. will be the main source.Balancing interaction and adaptation that match with each portion dan responsibility, make creative performance art process so smooth to be done. A democratic culture, full filling in purpose to reach the best, will guarantee a creative independence an searching creativity exploration to gain the beginning aim—that match with the deal in the first outline scenario. Various communication define of seven specific contextual circumstances. That was two persons communication; interview; a little communication group; public communication; organizational communication; mass communication; and inter-cultural communication. Shape of communication that built in art making process more intens to balancing reciprocal communication. Group and personal communication together in linear concept between communicator and communican in gainning the same purpose. Key words: communication contexts, art, democratic, kalabendu.
KONSTRUKSI DAN REPRODUKSI SIMBOLIK TRADISI JAWA DALAM PERTUNJUKAN TEATER REMAJA DI KOTA SOLO Isa Ansari
Acintya Vol 6, No 1 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (256.893 KB) | DOI: 10.33153/acy.v6i1.185

Abstract

This research aims to identify and describe how the adult’s theater groups express java tradition intheir art performances, specifically when local government is focusing on revitalizing the tradition.To reach the main purpose, researcher uses cultural reproduction perspective which develops aroundsociologist and anthropologist. In data analyzing, the researcher tries to combine the cultural reproductionand dramaturgy theories in theater. Therefore the analyzing process is done by dividing structureand texture. The research result shows that there are two important points done by the adult’stheater groups. First is negotiating the performance form in the artistic and value. Second is transformingthe aesthetic of performance.Keywords: construction, reproduction, Java tradition

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