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Investigating The Tourism Potential Of Nagari Pasilihan: Uncovering A Hidden Paradise In Ranah Minang
Get PDFhis article aims to prove that Nagari Pasilihan in Solok Regency has extraordinary natural and cultural resources, where these natural riches create a variety of beautiful tourism potentials. Data were obtained directly through observation and documentation. Other sources for this research also include the internet. The collected data were then adjusted between internet data and on-site conditions, along with interview results to ensure the validity of the presented data.Findings in this article include several attractive tourism potentials to be promoted, such as cultural activities within the community involving customs and traditions, a sacred grave of a respected figure believed to vibrate during significant events in the region, the beautiful Ombilin River with its clear water suitable for rafting, valuable and fascinating green stones, the Lubuk Larangan fish as part of the yearly cultural harvest, the panoramic view of Bukik Palano showcasing the beauty of the surrounding area from the summit, and the pine forest that can be a family tourist destination.Based on these findings, there is a wealth of natural potential that can be developed into tourist attractions for the wider community, and Nagari Pasilihan Solok can be considered a "Hidden Paradise." The government should take serious measures in managing these natural potentials as tourist destinations
BAGHAYUN BALAM REPRESENTASI DARI LAGU ANAK BALAM DI NAGARI KOTO TARATAK PESISIR SELATAN
Get PDFThe composition "Baghayun Balam" is a composition that departs from the tradition of the traditional song "anak balam" which is found in Nagari Koto Taratak, Sutera District, Pesisir Selatan Regency. In the beginning, this song was used in the ritual treatment of sick people, due to the influence of jinn and demons brought by other people such as witchcraft. Today the song "anak balam" has entered the realm of the rabab pasisia performing arts accompanied by the rabab pasisia and gandang oyak instruments. the song "anak balam" is usually sung in pairs (male and female) with verses that tell about the existence of subtle people in a continuous way that has a real sequence game technique, namely focusing on repetition or repetition by moving the basic tone from low to high and then back to reshape. The song "anak balam" became an inspiration for the artist to serve as material in creating a new piece of musical composition entitled "Baghayun Balam" which was worked on using a Tradition approach by Waridi who stated that the Traditional Approach is a process of creation that uses traditional idioms. which originates from Javanese karawitan without losing its original tradition. This work consists of three parts, namely the beginning, the middle, and the end which are intended to contribute to the development of traditional art so that its sustainability is maintained so that it can adapt and develop according to the mindset of the supporting communit
PENDIDIKAN KARAKTER DALAM MOTIF BATIK KUANSING, RIAU, SUMATERA: SEBUAH EKSPLORASI NILAI-NILAI EDUKATIF
No full textPenelitian ini bertujuan untuk mengetahui nilai-nilai karakter yang ada pada motif batik Kuansing(Kuantan Singingi), Riau, dan Sumatera. Penelitian ini menggunakan jenis penelitian kualitatif untuk mengkaji fenomena budaya yang dijadikan motif batik Kuantan Singingi dengan menerapkan nilai-nilai pendidikan karakter. Penelitian ini dilakukan di sentra IKM Batik Tulis Kari Maimbau dan sentra Batik Tulis Mayang Kuantan. Pengumpulan data dilakukan melalui wawancara dengan pemilik sentra IKM Batik Tulis Kari Maimbau, wawancara dengan pemilik sentra Batik Tulis Mayang Kuantan dan wawancara dengan Tokoh Adat Kuantan Singingi serta observasi dan dokumentasi. Hasil penelitian menemukan bahwa pada motif batik Kuantan Singingi terdapat nilai-nilai pendidikan karakter religius, disiplin, peduli sosial, kerjasama dan kerja keras dan peduli lingkungan pada produk batiknya. Motif-motif yang diterapkan pada batik Kuantan Singingi merupakan proses budaya yang berlaku dalam kehidupan masyarakatnya.Warna yang digunakan untuk produk batik Kuantan Singingi antara lain; hitam, merah, kuning dan hijau. Warna ini mengandung makna filosofis pada kehidupan masyarakat Kuantan SingingiPenelitian ini bertujuan untuk mengetahui nilai-nilai karakter yang ada pada motif batik Kuansing(Kuantan Singingi) Riau Sumatera. Penelitian ini menggunakan jenis penelitian kualitatif untuk mengkaji fenomena budaya yang dijadikan motif batik Kuantan Singingi dengan menerapkan nilai-nilai pendidikan karakter. Penelitian ini dilakukan di sentra IKM Batik Tulis Kari Maimbau dan sentra Batik Tulis Mayang Kuantan. Pengumpulan data dilakukan melalui wawancara dengan pemilik sentra IKM Batik Tulis Kari Maimbau, wawancara dengan pemilik sentra Batik Tulis Mayang Kuantan dan wawancara dengan Tokoh Adat Kuantan Singingi serta observasi dan dokumentasi. Hasil penelitian menemukan bahwa pada motif batik Kuantan Singingi terdapat nilai-nilai pendidikan karakter religius, disiplin, peduli sosial, kerjasama dan kerja keras dan peduli lingkungan pada produk batiknya. Motif-motif yang diterapkan pada batik Kuantan Singingi merupakan proses budaya yang berlaku dalam kehidupan masyarakatnya.Warna yang digunakan untuk produk batik Kuantan Singingi antara lain; hitam, merah, kuning dan hijau. Warna ini mengandung makna filosofis pada kehidupan masyarakat Kuantan Singing
The Tungkot Tunggal Panaluan Batak Statue As A Source Of Inspiration For The Creation Of Painting Artworks
Get PDFThe author's fascination inspired the creation of this work with the Tungkot Tunggal Panaluan Batak statue, a significant element of Batak culture, notable for its shape, history, and function. This statue portrays seven individuals supporting each other, diminishing in size, set against diverse backgrounds. The research seeks to visualize the form, history, and applicability of the Tungkot Tunggal Panaluan statue from the distant past to the present day, manifesting as paintings accompanied by descriptions of their meanings and the techniques employed in their creation. The author produced 12 paintings in this study using acrylic and oil paints on canvas. These artworks feature human figures and primitive Batak figurative statues, characterized by stylized forms, set against a simple village backdrop that serves as a historical context for Tungkot Tunggal Panaluan. Historically, this statue was employed by leaders in traditional Batak community events. The author combined three techniques—plaque, chiaroscuro, and bravura—to infuse the paintings with dynamic impressions, contrasts, and vitality. Notably, the chiaroscuro technique was employed to balance dark and light, utilizing paint colors derived from raw umber and yellow ocher combined with primary colors to evoke a vintage atmosphere. The outcomes of this research comprise 12 paintings, each titled uniquely, reflecting the author's interpretation of the Tungkot Tunggal Panaluan statue in the realm of fine art. These works offer a profound insight into the statue's form, history, and function, contributing significantly to the author's impact on the evolution of painting
ANXIETY ATTACK DALAM FOTOGRAFI EKSPRESI
Get PDFPenciptaan karya tugas akhir yang berjudul “Anxiety Attack Dalam Fotografi Ekspresi” merupakan bentuk perwujudan dari ekspresi yang mengalami gejala dari kecemasan. Karya ini bertujuan untuk memvisualisasikan ekspresi personal maupun lingkungan sosial sekitar, yang terjadi dan dirasakan, yang kemudian menjadi ide penciptaan karya fotografi ekspresi. Pada karya ini pengkarya menggunakan teori semiotika Roland Barthers, tanda yang dipakai terdiri atas dua tanda, yang pertama dan menjadi tanda utama yaitu objek manusia yang di cat menggunakan cat glow in the dark, dan tanda selanjutnya yang akan menjadi objek pendukung seperti buku, pisau, batu, gambar mata anime, pena, handphone, gembok, rantai, mainan kunci, papan tulis, bunga, lilin, gambar sayap, gambar kupu-kupu, dan berapa objek pendukung lainnya disetiap karya foto. Hasil foto dengan media glow in the dark. Metode yang digunakan dalam penciptaan karya ini terdiri dari tahapan persiapan, perancangan, perwujudan, dan penyajian
CITRA DIRI SEBAGAI STIMULUS PENCIPTAAN KARYA SENI LUKIS
No full textSelf-image is an individual's knowledge of self related to mental images, personality, appearance, and abilities. The self-image that is built from time to time can be very positive or negative, the determinant of this can be seen from the stages of psychosocial development theory, the turbulent phase for the author from the adolescent stage to early adulthood. Based on the author's experience of the self that developed during the maturation process when searching for identity and living in a new environment, it cause to negative speculations about self. This self-perception becomes a stimulus for writers in creating works of art. The presence of this work is a form of self-reflection to become a better individual. The form of artwork that is realized is representational artwork using deformation in the form of idealization with mixed media on canvas using plaque and aquarel techniques. The method of creation carried out at the preparation stage is selecting ideas, observing objects, and producing reference images, proceeding to the design stage, this stage making visual strategies, alternative sketches, and selecting sketches, then at the embodiment stage the preparation of tools and materials and transfer of sketches onto canvas as a painting medium, cultivating the work to completion and proceeding to the presentation stage, after all the stages are carried out then an exhibition is held. The project of this work has been realized into five works of art, with the titles “Anxiety”, “Ego”, “Field of Mind”, “Reparation”, “Reflective Decision”
PENGARUH KEMAMPUAN MENGGAMBAR MOTIF TERHADAP HASIL BELAJAR KRIYA BATIK SISWA KELAS XI DI SMKN 8 PADANG
Get PDFThis research is a quantitative research. The data were analyzed using descriptive statistical analysis. This research aimed to determine the effect of ability to drawing motifs of class XI at SMKN 8 Padang and the factors that influence the ability to drawing motifs. The population in this research were students of class XI majoring in Textile Crafts department at SMKN 8. Meanwhile, the sample was selected based on "purposive sampling" which is taking samples based on special characteristics that are in accordance with the research objectives. Sample were 30 students of class XI from Textile Crafts department. The questionnaire is used to collect the data. Questionnaires are arranged based on the variable of drawing ability, the motives are described based on variable indicators, then developed into items of questions. While the data's achievement are taken by teacher subject in final grade documentation. The results of this study indicate that the relationship between the ability to draw motifs with batik craft learning outcomes is significant. The average score of ability to drawing motifs (3.00) while the average score of learning achievement (3.00)
VISUALISASI BURUNG HANTU MELALUI TEKNIK BATIK TULIS
Get PDFThe creation of this final work aims to visualize the beauty of owls in Textile Crafts using the written batik technique in the basic form of cloth. The method of creating this final work goes through five stages, namely: 1) preparation, 2) elaboration, 3) synthesis, 4) concept realization, and 5) completion. The embodiment of this idea is summarized in 7 works entitled: 1) Pungguk Karat, 2) Beluk Jampuk, 3) Punggok Cokelat, 4) Serak Jawa, 5) Celepuk Rajah, 6) Ketupa-ketupa, 7) Celepuk Reban ABSTRAKPenciptaan karya akhir ini bertujuan untuk memvisualisasikan keindahan dan kecantikan burung hantu dalam karya Seni Kriya Tekstil dengan teknik batik tulis dalam bentuk dasar kain. Metode penciptaan karya akhir ini melalui lima tahap yaitu: 1) persiapan, 2) elaborasi, 3) sintesis, 4) realisasi konsep, dan 5) penyelesaian. Perwujudan dari gagasan ini terangkum di dalam 7 karya dengan judul: 1) Pungguk Karat, 2) Beluk Jampuk, 3) Punggok Cokelat, 4) Serak Jawa, 5) Celepuk Rajah, 6) Ketupa-ketupa, 7) Celepuk Reba
PEMBUATAN EKSTRAK PEWARNA ALAM KAYU MAHONI UNTUK BENANG SONGKET DI STUDIO PINANKABU CANDUANG KABUPATEN AGAM
Get PDFThis research is about mahogany wood natural dye for songket yarn at Pinankabu Studio. The purpose of this study was to describe the recipe, extraction technique and color results of natural mahogany wood at the Pinankabu Canduang studio, Agam Regency. This study used descriptive qualitative method. Data collection techniques include observation, interview, and documentation techniques. Data analysis techniques include data collection, data reduction, data presentation, and data verification. The results showed that the recipe for making mahogany wood extract used a ratio of 1:10, where 1 kg of mahogany was dissolved in 10 liters of water. Then the technique of making mahogany wood extract includes preparing tools and materials according to the dose, natural ingredients are boiled with water until they shrink by half from the initial dose. After that the stew is filtered and cooled. The colors produced by the mahogany wood extract at Studio Pinankabu are beige, blackish ash, and brown.ABSTRAK Penelitian ini tentang pewarna alam kayu mahoni untuk benang songket di Studio Pinankabu. Tujuan penelitian ini adalah mendeskripsikan resep, teknik pembuatan ekstrak dan hasil warna bahan alam kayu mahoni distudio pinankabu canduang kabupaten agam. Penelitian ini menggunakan metode deskriptif kualitatif. Teknik pengumpulan data meliputi teknik observasi, wawancara, dan dokumentasi. Teknik analisis data meliputi pengumpulan data, reduksi data, penyajian data, dan verifikasi data. Hasil penelitian menunjukkan bahwa resep pembuatan ekstrak kayu mahoni menggunakan perbandingan 1:10, dimana 1 kg kayu mahoni dilarutkan dengan 10 liter air. Kemudian teknik pembuatan ekstrak kayu mahoni meliputi menyiapkan alat dan bahan sesuai takaran, bahan alam direbus dengan air hingga menyusut setengah dari takaran awal. Setelah itu hasil rebusan disaring dan didinginkan. Warna yang dihasilkan ekstrak kayu mahoni di Studio Pinankabu yaitu warna beige, abu kehitaman, dan coklat
Makna Simbolik Kelambu Tujuh Lapis dalam Prosesi Pernikahan Suku Mukomuko di Kelurahan Bandar Ratu Provinsi Bengkulu
Get PDFSkripsi ini merupakan hasil penelitian mengenai makna simbolik kelambu tujuh lapis dalam prosesi pernikahan Suku Mukomuko di Kelurahan Bandar Ratu Kabupaten Mukomuko. Metode penelitian yang digunakan dalam skripsi ini adalah metode kualitatif yang menggunakan pendekatan etnografi melalui metode analisis deskriptif kualitatif. Teori yang digunakan adalah interpretivisme simbolik. Teknik pengumpulan data menggunakan observasi, wawancara, studi pustaka, dan dokumentasi. Hasil penelitian mengungkapkan bahwa prosesi pernikahan Suku Mukomuko memiliki empat tahap yaitu acara batanyo, pertunangan, khatam Al-Qur’an dan pelaksanaan pernikahan. Kelambu tujuh lapis memiliki tujuh lapisan dimana lapisan pertama disebut tile yang memiliki makna sebagai perempuan sebagai makhluk yang rapuh, kemudian lapisan kedua hingga ketujuh yang disebut beludru memiliki makna sebagai penjagaan diri. Selain itu, kelambu tujuh lapis juga memiliki lima warna dasar kain yaitu warna putih, merah, hijau, kuning, dan merah muda yang penggunaan warnanya diacak pada keenam lapis kelambu kecuali warna putih yang wajib digunakan di lapisan pertama. Adapun fungsi kelambu tujuh lapis adalah sebagai penentu status sosial dan sebagai simbol seorang gadis