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Imaji: Jurnal Seni dan Pendidikan Seni
Published by Universitas Negeri Yogyakarta
ISSN : 16930479     EISSN : 25800175     DOI : -
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Education Environmental Science Social Sciences
IMAJI is a journal containing the results of research/non-research studies related to arts and arts education, including fine arts and performing arts (dance, music, puppetry, and karawitan). IMAJI is published twice a year in April and October by the Faculty of Languages and Arts of Universitas Negeri Yogyakarta in cooperation with AP2SENI (Asosiasi Program Studi Pendidikan Seni Drama, Tari, dan Musik se-Indonesia/Association of Drama, Dance, and Music Education Study Programs in Indonesia).
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Search results for , issue "Vol 7, No 2 (2009): IMAJI AGUSTUS" : 9 Documents clear
SISTEM PENILAIAN KARYA SENI RUPA DAN KERAJINAN Suharto -
Imaji Vol 7, No 2 (2009): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (150.9 KB) | DOI: 10.21831/imaji.v7i2.6634

Abstract

This writing is aimed to give wider concept to society or readers especially for candidates of fine art teacher to make assessment for fine art works. It is indeed such a standard, but a candidate of assessor must be able to make and have an objective assessment. The results show that assessing fine arts both pure fine art and applied ones can be viewed from some point other than fine art structure viewing only idea in the form of message, imagination, illusion, desire, and fantasy of the artist other than considering work physical form element, principle, media and effective technique. There are some ways to assess a work from aesthetical side resulted in the writing. Firstly, the presence of initial reaction (clarifying initial identification) of an art work. Secondly, exposition involving further identification of art elements in an art work, which the art elements including : line, plane, color, value, format, texture, and space. Another, there are design principles consisting of balance, harmony, central, interest, movement, proportion, restriction, model pattern, rhythm, unity, and variety. Beside considering fine art elements, it also requires to consider design elements including : balance, emphasis, euryhmy, harmony, horror vacui, limitation, movement, pattern proportion, rhythm, unity, and variety. Elements and principles are much higher to consider the design and closer with its pure art consideration of using fine art component consisting of theme or subject matter, form, and meaning or content. Thirdly, analyzing by further identification on order of organization in an art work as art principles used to arrange art elements in an art work. Fourthly, interpretation of meaning as a communication form the artist to feel the atmosphere and idea in the art work by considering the history, creative process, environment, political/social condition, innovation, philosophy, and economy. Fifthly, evaluation process to consider the intended interpretation both on meaning and artistic service in the art work. The benefit expected from the research is giving the public wider insight to know more on the assessment of fine art works that the common society and academician know qualified art work objectively and subjectively. Kata kunci: penilaian, karya seni, dan proses evaluasi
HEGEMONI KEKUASAAN TERHADAP SENI PEDALANGAN -, Sutiyono
Imaji Vol 7, No 2 (2009): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (160.117 KB) | DOI: 10.21831/imaji.v7i2.6635

Abstract

Tulisan ini akan menguraikan pokok bahasan relasi antara kekuasaan dan kesenian. Permahaman ini menyangkut bentuk afiliasi antara dalang wayang kulit (seniman) dengan pihak penguasa dalam hal ini adalah pemerintah atau negara (state). Aspek sub-bidang kajian ini adalah pertunjukan wayang kulit Jawa yang cukup mengental dengan kehidupan budaya masyarakat Jawa. Kajian hegemoni kekuasaan terhadap seni pedalangan akan terarah jika harus melihat secara lurus pada tawaran Gramsci yang menyebutkan bahwa hegemoni memberikan definisi terhadap konsep politik dan konsekwensi pada tugas yang harus diemban oleh partai politik. Dalam hal ini partai politik harus mampu mengelola instrumen hegemoni untuk mengelabuhi masyarakat luas agar menjadi patuh dan mau dikuasai oleh partai politik tersebut. Seperti langkah-langkah yang diambil oleh partai Golkar sebagai kendaraan politik rezim penguasa Orde Baru yakni dengan mengelola pertunjukan wayang sebagai wadah ekspresi sosial dan interaksi antara penguasa dan rakyat. Sebelum wadah ini efektif dan memadai, maka instrumen yang seni pedalangan harus dihegemoni terlebih dahulu. Bentuk kesenian beserta dalang dan komunitasnya harus ditaklukkan, agar semua pesan dan doktrin penguasa terhadap kesenian dapat tercapai. Kesenian benar-benar dapat menjadi kuda emas, yakni kendaraan politik yang manis dan jitu untuk memperoleh dan mempertahankan kekuasaan. Kata kunci: wayang, seni pedalangan, dan hegemoni
DISTORSI BENTUK IMAJINER UNTUK PENCAPAIAN HARMONI I Made Bendi Yudha
Imaji Vol 7, No 2 (2009): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (747.228 KB) | DOI: 10.21831/imaji.v7i2.6630

Abstract

Art is an expression of feeling and soul. It is the crystallization of anidea that derives from imaginative soul experience through observation, deepthinking on the phenomena of social environment. Then, through intellectualability and internal or external motivation raises an intuitive vibration thatstimulates inner emotion to be artistically expressed through the language ofvisual art work.For Balinese, rerajahan is one of literature works which has a valueand symbolic meaning of the all life aspects both on macro and micro cosmos.It is also depicting the energy that is a symbol of gods and evil character.These all are the reflection of dualistic. These concepts which are overlappingand interdependent to each other must be kept appropriately in order tomaintain the harmony.The concept of harmony that exists in rerajahan seems neglected oreven left behind when we compare with the phenomena life in society. Thiscan be seen on the inappropriate acts either to the nature or human life. As weknow, an exploitation of natural resources, the inappropriate authority acts ofparticular parties or people, gender, discrimination on law and human rights,and inappropriate acts of state administration.These phenomena generally make the increase of ecological crisis andthe degradation of human moral or get the level of social poverty even worse. Atpresent, these inappropriate acts are getting out of control because the spreadtakes place both on the low and elite levels. So, these are very complexphenomena just like a messy thread that needs to be solved holistically. Thecomprehension of all the above values have brought some ideas regarding on thelife meanings in which its philosophical concepts in an abstract way astatically areimplemented into the painting art work by combining both the representative andabstractive concepts. It is also implemented in term of applying varied line, color,and textures. It is hope that impasto technique can represent certain symbol andmeaning in order to give the value of the authenticity of the art work which has anartistic personal values and novelty.Key word : Painting art work, distortion of imaginary shape and harmony
PENGEMBANGAN METODE ANALISIS BENTUK DALAM PENGAJARAN SENI LUKIS DI JURUSAN PENDIDIKAN SENI RUPA FBS UNY I Wayan Suardana
Imaji Vol 7, No 2 (2009): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (266.747 KB) | DOI: 10.21831/imaji.v5i1.6685

Abstract

This study is aimed at identifying the effectiveness of form analysis method in the teaching of drawing art to the third semester students in Visual Art Education Study Program of FBS UNY. Form analysis uses a rational approach to visual art learning which is hoped to help the students in creating and thinking about drawing art. This research is queasy-experimental using nonequivalent control-group design. The population is the Visual Art Education students of 2007. The sample, which was 32 students, was intact: 18 are from class A as the experiment group and 14 from class B as the controlled group. The data analysis technique is covariant analysis to differentiate the mean of students' achievement in both groups, by considering their achievements in the previous semester. The result shows that significant difference exists in the mean of students' achievements of the experiment and controlled groups (F = 4,441, p = 0,043). In conclusion, the form analysis can improve the students' achievement in drawing art. Key words: form analysis method in the teaching of drawing art
STRATEGI PEMBELAJARAN SENI LUKIS ANAK USIA DINI DI SANGGAR PRATISTA YOGYAKARTA Tri Hartiti Retnowati
Imaji Vol 7, No 2 (2009): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (325.795 KB) | DOI: 10.21831/imaji.v7i2.6636

Abstract

The aim of this study are to know instructional strategy on painting art for pre-schooler children at Sanggar Pratista Yogyakarta. The subjects on this study are pre-schooler children and the teacher who follow the actvity at this place. The data get by using observation, interview, and documentation. The data were analyzed by using descriptive approach on two step. The first step analyzed data has been done during collected data from observation, interview, and documentation. All the data were reducted to get the main information that will be used on this study. The second step all the main information that get from first step were served reguraly to make conclution about this study. The finding show that the instructional stategy on painting art for pre-schooler children used indivually instructional model with giving examples method. The purpose of giving examples was to give early model and than the children has to continue the examples that has been given by the teacher. The giving examples method was effective to motivate children on expressing skill, coloring skill, and find new object on their painting. Keywords: instructional strategy, giving examples method, indivually instructional model
EKSISTENSI RERAJAHAN SEBAGAI MANIFESTASI MANUNGGALNYA SENI DENGAN RELIGI I Wayan Sudana
Imaji Vol 7, No 2 (2009): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (319.455 KB) | DOI: 10.21831/imaji.v7i2.6631

Abstract

Rerajahan is one of Bali culture product that was axist since prahindu period, but until today still exist and eternal. The existence and conservation rerajahan in Bali because of support from several culture institute that was good not only private institute (traditional) but also goverment institutes. The commitment of that institutes to keep the existence of rerajahan, because the meaning and the function still relate with social community life. Rerajahan formed a picture and written and has symbolic meaning, that believed have spiritual power or magical power and have a great effect. In the other hand, visually, the figurs and motives in rerajahan is very expressive, inspirative, and has aesthetics quality. Therefore, rerajahan have two values. There are religious value and aesthetics value, that believe as one of manifestation the singleness of art and religion. Keywords: rerajahan, art and religion
DESAIN GRAFIS SEBAGAI MEDIA UNGKAP PERIKLANAN R. Kuncoro Wulan Dewojati
Imaji Vol 7, No 2 (2009): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (308.338 KB) | DOI: 10.21831/imaji.v7i2.6633

Abstract

Desain grafis lahir dari kebutuhan manusia akan komunikasi melalui bahasa visual sejak abad ke- 19 hingga jaman modern. Mulai dari penggunaan simbol-simbol sederhana sampai perangkat komputer yang canggih. Desain yang berakar dari senirupa murni yang kemudian berkembang menjadi fungsi identifikasi, informasi, instruksi serta Promosi dan Presentasi. Desain grafis adalah suatu media untuk menyampaikan informasi melalui bahasa komunikasi visual dalam wujud dwimatra ataupun trimatra yang melibatkan kaidah-kaidah estetik. Elemen-elemen desain yang utama terlibat dalam desain grafis adalah sebagai bahan pokok (ingredients) yang berupa : garis, huruf, bentuk (shape) dan tekstur. Sedangkan struktur (structure)-nya adalah pengorganisasian elemen-elemen desain tersebut. Struktur desain yang baik adalah hasil integrasi prinsip-prinsip desain yang akurat pada proses penempatannya. Prinsip-prinsip desain yang utama terdiri dari : keseimbangan (balance), kontras, unity, nilai (value) dan warna. Sebagai akibat dari proses interaksinya dengan dunia seni, sosial budaya, industri dan perdagangan, maka berbagai corak atau style desain grafis semakin kaya dan berwarna-warni. Kata kunci : desain grafis, bahasa komunikasi visual
INTERNALISASI PENGAJARAN SENI TARI PADA SEKOLAH LANJUTAN TINGKAT PERTAMA Wahyu Lestari
Imaji Vol 7, No 2 (2009): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (291.284 KB) | DOI: 10.21831/imaji.v7i2.6637

Abstract

Penelitian ini bertujuan untuk mengetahui proses internalisasi pengajaran seni tari di SLTP Negeri se Kabupaten Sleman DIY. Pendekatan penelitian yang digunakan adalah pendekatan kualitatif, artinya mendeskripsikan proses pembelajaran secara apa adanya. Alat utama pengumpul data penelitian ini adalah observasi, wawancara, dokumentasi, dan tes. Data dianalisis secara deskriptif persentase. Hasil penelitian menunjukkan bahwa pembelajaran seni tari dilakukan dengan cara sosialisasi, enkulturasi atau pembiasaan, sehingga internalisasi tercapai. Hasil pembelajaran yang dicapai siswa juga akan menunjukkan keberhasilan guru dalam pelaksanaan mengajarnya. Prestasi seni tari secara afektif berpengaruh terhadap prestasi pembelajaran tiga mata pelajaran yang lain. Melihat hasil penelitian ini disarankan perlunya penelitian lanjutan dengan sampel yang lebih luas pada sekolah lanjutan. Kata Kunci: sosialisasi, enkulturasi, internalisasi, seni tari.
REPRESENTASI TRADISI DAN BUDAYA LOKAL DALAM SENI RUPA KONTEMPORER YOGYAKARTA Kasiyan -
Imaji Vol 7, No 2 (2009): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (346.252 KB) | DOI: 10.21831/imaji.v7i2.6632

Abstract

This study is aimed at describing three main matters, namely: 1) the representation forms of tradition and local culture dimensions in Yogyakarta contemporary fine arts work representations; 2) the way tradition and local culture dimensions in Yogyakarta contemporary fine art work represented; and 3) factors influencing the strength of tradition and local culture dimensions in the Yogyakarta contemporary fine art work representations as mentioned. This study is a qualitative one with the use of heurmeneutic approach as the main approach underlying the study. The main instrument is the researcher himself, accompanied by the use documentation procedure. The data are in the forms of painting work documentations taken from various exhibition catalogues. The data are analyzed by using the descriptive qualitative technique, containing four steps, namely: data reduction, display, data anlysis, and conclusion making. The results of the study can be described as the following. 1) There is one dominant matter related to the representations of Yogyakarta contemporary fine art representation of the 90s era, that is, the presentation of tradition and Javanese local culture; 2) the deconstructive approach is used to represent the dimensions of tradition and local culture in Yogyakarta contemporary fine arts of the 90s. This approach ends in the use of art representation forms that tend to be critical, metaphorical, and parodical; 3) Factors influencing the strength of these dimensions in Yogyakarta contemporary art representations of the 90s also appear in the 2000s era, that can be divided into two, namely: first, its contact with the international art discourse influences, and second, the Postmodernism paradigm supports that has been widely developing and becoming the current topic in the culture of Indonesian society. Keywords: dimension of tradition, contemporary art, Yogyakarta

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