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Feminine Romantic Style dengan Aplikasi Songket Balai Panjang Payakumbuh
Get PDFFeminine romantic is one of basic fashion styles that is synonymous with the impression of a dress that is calm, sweet, and dominated by soft design lines, the colors used in this clothing style are synonymous with soft colors, and the use of materials such as silk, borkat, crepe, silk and chiffon. To realize the feminine romantic style in clothing creation, the Balai Panjang songket was chosen as a medium applying this style to become ready-to-wear clothing. Clothing that designed is aimed at teenage women aged 19-25 years, and adult women aged 26-35 years, to make it easier for users to choose clothes for work, travel, recreation, and parties. The purpose of creating this clothing is to be able to design clothing with the theme of feminine fomantic style with the Balai Panjang songket application, then demonstrate it in the form of a fashion show, so that the designed work can be socialized to general public. Clothing with a type of feminine romantic style has never been made with the Balai Panjang Songket, so with the creation of this work it can be become a reference for the creation of work of feminine romantic style for the future. In creating the work of this final project, the artist uses creation methods such as preparation, design, embodiment to the presentation of the work carried out. The process of creating clothing uses standard boutique sewing technique, namely by using a lining material, so that the clothes are the resulting impression give a neat, and clean. The results of the design source ideas for feminine romantic style are in the form of ready to wear, ready to wear deluxe and haute couture clothing
“Dauntless” Busana dengan Sumber Ide Pavilion Cenghuang
Get PDFThe process of creating this artwork is explored as a cultural topic, and ideas are sourced from the Chenghuang Pavilion. The inspiration for this artwork comes from the pavilion, which has a strong Chinese cultural identity. The iconic form of the pavilion and the bold colors present in it add a sense of power, representing a strong and characteristic pavilion. The process of creating this artwork involves several analyses, starting from the mood board, design, calculation, selection of materials and techniques, and design simulation. The process of creating the artwork begins with the search for ideas and concepts from a similar pavilion, which has a similar architectural style and texture to the Chenghuang Pavilion. Until a mature concept is found, the selection of ideas, design, techniques, and creation of the pavilion clothing is carried out. Thus, a suitable artwork is obtained that aligns with the purpose, reasoning, and analysis of why the product was created
BENTUK SUNTIANG SEBAGAI MOTIF PAKAIAN WANITA DENGAN TEKNIK BATIK TULIS
Get PDFSuntiang is a Minangkabau women’s headdress at weddings. In making this final work using the technique of written batik with primisima cloth media on women’s clothing which aims to provide information to the public about various kinds of suntiang in Minangkabau, make the suntiang form a new motif by not leaving the form of a typical West Sumatran motif . Seven outfits, including five women’s tops and two scarves with the title of work: suntiang pisang saparak (Payakumbuh), suntiang bungo pudieng, suntiang pisang saparak (Solok Salayo), suntiang ketek, suntiang kipeh limo jurai, suntiang takondai solok and suntiang matua palambaian.ABSTRAK Suntiang adalah hiasan kepala perempuan Minangkabau pada acara pernikahan. Dalam pembuatan karya akhir ini menggunakan teknik batik tulis dengan media kain primisima pada pakaian wanita yang bertujuan untuk memberikan informasi kepada masyarakat tentang berbagai macam suntiang di Minangkabau, menjadikan bentuk suntiang sebagai motif baru dengan tidak meninggalkan bentuk motif khas Sumatera Barat, karya batik ini diaplikasikan menjadi tujuh pakaian, diantaranya lima pakaian atasan wanita dan dua selendang dengan judul karya: suntiang pisang saparak (Payakumbuh), suntiang bungo pudieng, suntiang pisang saparak (Solok Salayo), suntiang ketek, suntiang kipeh limo jurai, suntiang takondai solok dan suntiang matua palambaian
OGUANG BAKAWEK ART IN MUARO PAITI TOWARDS SELLING INDUSTRY
Get PDFTourism art is combination of ‘art domain’ and ‘tourism industry domain’. When it comes together, it would present a new kind of proper product called ‘tourism art’. The combination of those two domains inspires us to rise up the Village of Muaro Paiti which has various talents. Therefore, in the matter of actualizing Creative Industry program, the final aim of the program is to prepare the Village of Muaro Paiti to be “art tourism of creative industry”. Traditional artists should be placed as business partner of tourism, not a worker of it who should obey and bow to tourism management, but they are expected to be able collaborating with the tourism instead. The exploitation of tourism operator or worker must soon be stopped due to the dense of visitation of international visitors who wish to closely see the uniqueness, speciality and high valuable of its arts and traditional cultures. The contribution of Creative Industry program in the future is to prepare Muaro Paiti society to be ready in collaboration with tourism department as a partner of art college: Indonesia Art Institute of Padangpanjang.Keywords: Oguang Bakawek; Tourism; Creative Industry..KESENIAN OGUANG BAKAWEK DI MUARO PAITI MENUJU INDUSTRI JUAL ABSTRAKSeni wisata merupakan perpaduan antara ‘domain seni’ dengan ‘domain industri pariwisata’. Bila keduanya bertemu akan menghadirkan satu jenis produk seni yang lazim disebut ‘seni wisata’. Pertemuan dua domain yang demikian menarik untuk dijadikan sumber inspirasi untuk mengangkat kesenian Oguang Bakawe di Muaro Paiti, maka dalam rangka perwujudan kegiatan industri, satu capaian adalah Kenagarian Muaro Paiti siap menuju industri jual, guna peningkatan taraf perekonomian rakyat.Seniman tradisi harus dipahami sebagai mitra bisnis pariwisata, bukan buruh pariwisata yang harus patuh dan tunduk pada manajemen pariwisata, namun dapat bekerjasama dengan pariwisata. Eksploitasi operator wisata terhadap seniman tradisional haruslah dihentikan mengingat wisatawan datang ke daerah-daerah tentu berkeinginan melihat dari dekat kekayaan seni dan budaya tradisional yang unik, khas, dan bernilai keaslian. Dampak dari kegiatan kreatifitas pendukung musik Saiyo di Muaro Paiti ke depannya masyarakat siap bekerjasama dengan pihak mitra dari Perguruan Tinggi Seni: Institut Seni Indonesia (ISI) PadangpanjangKata Kunci: Oguang Bakawek; Seni Pariwisata; Industri Kreatif
TARI TANDUAK DALAM KEHIDUPAN MASYARAKAT NAGARI LUBUAK TAROK KABUPATEN SIJUNJUNG: SUATU KAJIAN SEMIOTIKA
Get PDFTanduak dance is a traditional performing art form that is performed within the royal court, and without this dance, guests are not allowed to enter the kingdom. Over time, the dance has also been performed in community events, under the supervision of the village head. The existence of Tanduak dance is recognized by the local community as the identity of the village and a genuine cultural product of Nagari Lubuak Tarok, carrying special meanings in the lives of its supporting community. These meanings include the four colors of fabric used in the Tanduak props and the twenty-two mirrors, all of which hold significance in the dance. The aim of this research is to explore and understand the meanings embedded in Tanduak dance in Nagari Lubuak Tarok. The research method used is qualitative, collecting data through observation and studying traditional arts, particularly Tanduak dance and its environment, audio and visual documentation, and interviews with artists and the community. This research is analyzed using semiotic theory. In general, this study found the extent to which artists foster solidarity through the use of universal symbols in their artistic activities
TARI INDANG PADUSI DI KAMPUNG BUDAYA NAGARI JAWI JAWI KABUPATEN SOLOK SUMATERA BARAT: DALAM PERSPEKTIF ETIKA DAN ESTETIKA
Get PDFThis research title is Female Indang dance in cultural village Nagari Jawi Jawi, Solok Regency, West Sumatra from an ethical and aesthetic perspective. The purpose of this research is to find out about Female Indang dance from an ethical and aesthetic point of view. In this research writing, the writer used a qualitative method that is a description of the analysis, which means all data obtained, both written data and data in the field, are described and then analyzed according to the research problem. The theory that the writer used in this research is the ethical theory proposed by K. Bertens, he stated that ethics can be divided into descriptive ethics and normative ethics and, an aesthetic theory proposed by Dharsono Sony Kartika, he stated that there are five conditions of beauty, namely: unity, harmony, symmetry, balance, and conflict (contras).The beauty of this dance can be seen by its shape and by the value contained in the female Indang dance. Judging from the skill of movement, makeup, and costumes, Dendang (verse) has its own beauty of form and value. Female Indang dance is a dance work sourced from male Indang dance. The presence of female Indang dance experienced pros and cons, especially from Ninik Mamak circles who thought it was unethical for a Baselo woman to dance in public. Along with the times and if women still maintain the provisions, maybe female dancers today can be tolerated
METODE PENCIPTAAN TARI KONTEMPORER “TUBUHKU, PUISI YANG BERGERAK”
Get PDFThe creation of the concept for the performance My Body, Poetry That Moves is summed up from social reality. This concept is inseparable from the results of observations of the reality of the community where the phenomenon occurs. The results of the observations will be an important note for the creator. The observation results can be used as a basis and it can be concluded that in the era of modernization, with the rapid development of technology, it has positive and negative effects on the younger generation and society. On the positive side, the Indonesian nation has progress in the fields of communication and information, intellectual progress and thinking and so on. Meanwhile, the negative side of the Indonesian nation is unconsciously experiencing a tremendous setback, namely the erosion of morals, mentality, values which eventually becomes an instantaneous life. The process of creating My Body, Moving Poetry is carried out in several stages, namely contemplating the ideas presented and developed, rebuilding the empirical, reading various books as sources and supports in explaining concepts and observing the creation techniques. At the next level, the phenomenon captured is disclosed by pouring it into the form of body text which is expressed through the properties presented and contextual issues that contain message content. In the process of creating the artist, he pours out and marries the concept of contemporary body and choreography with a mix of local content and Minangkabau ideom
HER STORY: PERWUJUDAN NARASI INFERIORITAS PEREMPUAN DALAM KARYA MEDIA CAMPURAN
No full textABSTRAK Pada ranah penciptaan karya seni, seorang perupa dapat mengkomunikasikan sebuah gagasan melalui representasi hasil karyanya. Begitu pula dengan gagasan mengenai isu inferioritas perempuan dalam peran gender. Dalam penciptaannya, “Her Story” teercipta menggunakan artistic research dengan metode penciptaan David Campbell, yaitu Preparation, Concentration, Incubation, Illumination, dan Verification. “Her Story” menghasilkan lima karya media campuran dengan dua pendekatan utama, yaitu 1) representasi inferioritas dan keliyanan perempuan yang digambarkan melalui visual figur perempuan dengan warna-warna mencolok dan pendekatan realis 2) representasi konstruksi sosial yang destruktif yang digambarkan melalui visualisasi tanaman yang disajikan menggunakan teknik sulam. Pada akhirnya, proses kreatif ini tidak hanya bertujuan untuk merepresentasikan gagasan melalui karya seni, namun juga mengajak untuk merefleksikan realita yang ditemui dalam kehidupan sosial dan budaya. Kata Kunci: Narasi Perempuan, Media Campuran, Seni RupaABSTRACTIn the creative process of art making, an artist can communicate an idea by representing his work with the issue of women's inferiority in gender roles. In the creation, “Her Story” was created using artistic research with David Campbell's creation method: Preparation, Concentration, Incubation, Illumination, and Verification. “Her Story” produces five mixed media works with two main approaches, such as 1) representation of women's inferiority and otherness depicted through the visualization of female figures with striking colors and a realist approach 2) representation of destructive social construction depicted through the visualization of plants presented using embroidery techniques. In the end, this creative process aims to represent ideas through works of art and invites us to reflect on the realities encountered in social and cultural life.
ANALISIS PENCIPTAAN FILM FIKSI “IBU” KARYA RICI VIONDRA DALAM TEORI CENTRAL CHARACTER POINT OF VIEW
No full textABSTRAK Film “Ibu” merupakan film fiksi berdurasi 18 menit, menceritakan seorang anak berumur 10 tahun dalam melihat dan mengamati lingkungan sekitarnya. Pengalaman dari apa yang dilihat dan diamati mempengaruhi prilaku dan sikap anak itu. Bahkan si anak mencontohkan apa yang dilakukan oleh orang di sekitarnya. Plot dalam film fiksi “Ibu” linier, dimana peristiwa pada cerita ini dirangkai secara berurutan. Metode yang digunakan untuk mewujudkan penempatan satu sudut pandang Central Character pada tokoh Anggit, berupa pendekatan unsur naratif dan unsur sinematik. Pendekatan unsur naratif yang dilakukan terdiri penggunaan plot linier yang dimana penceritaan lurus secara berurutan. Pendekatan unsur sinematik yang dilakukan terdiri dari aspek sinematografi dan mise en scene. Sebagian dari film ini menggunakan teknik Kamera Angel dengan menggunakan subjective shot dan point of view. Pada aspek mise en scene, dilakukan pendekatan pada bloking pemain. Seluruh aspek pada unsur naratif dan sinematik sangat membantu terwujudnya penempatan satu sudut pandang central character pada tokoh Anggit. Kata Kunci: Film Ibu, naratif sinematik, central character. ABSTRACTThe film "Ibu" is an 18-minute fictional film which tells of a 10-year-old child seeing and observing the environment around him. The experience of what is seen and observed influences the child's behavior and attitude. Even the child exemplifies what the people around him do. The plot in the fictional film "Ibu" is linear, where the events in this story occur sequentially. The method used to realize the placement of a central character point of view in the character Anggit is in the form of an approach to narrative elements and cinematic elements. The narrative element approach that is carried out consists of using a linear plot in which the storytelling occurs sequentially. The cinematic element approach that is carried out consists of cinematographic aspects and mise en scene. As part of this film using an angel camera technique using subjective shots and point of view. In the mise en scene aspect, the approach is taken to blocking players and costumes. All aspects of the narrative and cinematic elements are very helpful in realizing the placement of a central character point of view in the character Anggit.
New Pado: Komposisi Musik Dari Kasus Musikal Melodi Pado-Pado
Get PDFPenciptaan ini bertujuan untuk memberikan apresiasi baru mengenai sebuah komposisi baru yang bersumber dari kesenian tradisi mansi solok yang berangkat dari pado-pado dalam bentuk musik populer. Fungsi dari penciptaan ini adalah sebagai perwujudan kreativitas pengkarya dalam membuat sebuah komposisi yang berangkat dari kesenian tradisi, sekaligus menjadi sebuah perbandingan bagi pengkarya dalam membuat komposisi karawitan. Berkaitan dengan karya ini Pengkarya menafsirkan kembali fenomena musikal yang terdapat pada kesenian Mansi Solok ke dalam bentuk komposisi musik karawitan dengan pendekatan populer. Permainan dari pado-pado bermain di wilayah yang mendekati nada f, gis, bes, c, cis, dis, f. Nada-nada tersebut merupakan nada asli dari mansi solok. Berdasarkan analisis tersebut pengkarya akan menggarap dan mengembangkan kesenian mansi solok tersebut ke dalam bentuk komposisi karawitan diberi judul “new pado” dalam bahasa indonesia “new” artinya adalah baru. “pado” dalam bahasa Minangkabau yaitu diraso-rasoan. Karyaini merupakan tafsiran kembali ke dalam bentuk garapan komposisi baru yang tetap mengacu pada nilai-nilai dan etika dari pertunjukan tradisi Mansi Solok. Maka pengkarya berharap komposisi karawitan yang berjudul “New Pado“dapat menjadi apresiasi bagi mahasiswa dan sivitas akademika ISI Padang panjang terutama untuk Program Studi Seni Karawitan. Kata Kunci: New Pado; Mansi Solok; Pado Pad