Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
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Pelestarian Kesenian Bangreng Di Jawa Barat Melalui Film Dokumenter
Full text linkPenulisan membahas proses pembuatan film dokumenter budaya berdurasi 25 menit yang melibatkan tahapan praproduksi, produksi, dan pasca produksi. Dalam perancangan film dokumenter penulis berperan sebagai dokumentaris yang bertanggung jawab dalam periset, membuat naskah, praproduksi, produksi, dan tahap pasca produksi. Mengkaji pentingnya pelestarian kesenian tradisional “Bangreng” di Jawa Barat sebagai bagian dari warisan budaya dengan nilai historis dan sosial tinggi. Kesenian Bangreng, berasal dari Terbang Buhun, mencerminkan kehidupan sosial dan spiritual masyarakat serta menjadi simbol identitas budaya di tengah arus modernisasi. Metodologi penelitian menggunakan pendekatan deskriptif kualitatif, dengan pengumpulan data melalui wawancara, observasi, dan analisis dokumen. Hasil penelitian menunjukkan bahwa generasi tua berperan penting dalam mentransfer pengetahuan kesenian Bangreng kepada generasi muda, meskipun menghadapi tantangan seperti kurangnya minat dan pengaruh budaya luar. Penelitian ini mengusulkan judul dokumenter “Bangreng,” taebang dan ronggeng di kabupaten Sumedang. Judul ini menggambarkan filosofi ngarumat, yaitu merawat dunia, dengan fokus khusus pada kesenian Bangreng. Dokumenter ini diharapkan meningkatkan pemahaman dan apresiasi masyarakat terhadap kesenian tradisional yang kaya akan nilai budaya dan lingkungan. Dukungan pemerintah, lembaga budaya, dan media massa sangat penting dalam upaya pelestarian ini. Pembuatan film dokumenter diidentifikasi sebagai solusi efektif untuk mendokumentasikan dan mempromosikan kesenian Bangreng serta meningkatkan kesadaran masyarakat. Kolaborasi antara komunitas lokal, pemerintah, akademisi, dan media diperlukan untuk mengembangkan program pelestarian yang berkelanjutan, sehingga kesenian Bangreng dapat terus hidup dan diwariskan kepada generasi mendatang sebagai bagian integral dari identitas budaya Jawa Barat
Bentuk Pertunjukan dan Makna Teks Seni Tutur Bak'ba dalam Masyarakat Desa Simpang Parit Kabupaten Merangin Provinsi Jambi
Full text linkBak’ba merupakan salah satu seni bertutur kata yang tumbuh dan berkembang di Desa Simpang Parit. Bak’ba termasuk pada jenis sastra lisan berupa pantun yang dinyanyikan dengan irama. Bak’ba berfungsi sebagai media menyampaikan pesan dan media hiburan. Awalnya, pertunjukan Bak’ba hanya diiringi dengan gendang Melayu. Seiring berjalannya waktu, Bak’ba mengalami perkembangan dalam bentuk penambahan alat musik seperti viul, gong, dan ketuk. Teks pantun yang disampaikan dalam Bak’ba menggunakan bahasa daerah Desa Simpang Parit yang mengandung makna tentang percintaan, kesedihan, kegembiraan, sindiran, nasihat-nasihat kehidupan maupun informasi teraktual yang ada di lingkungan masyarakat Desa Simpang Parit. Penelitian ini mengkaji tentang Bentuk Pertunjukan dan Makna Teks Seni Tutur Bak’ba dalam Masyarakat Desa Simpang Parit, Kabupaten Merangin, Provinsi Jambi. Tujuan penelitian ini adalah untuk mendeskripsikan bentuk pertunjukan dan makna teks seni tutur Bak’ba. Penelitian ini menggunakan metode penelitian kualitatif dengan teknik pengumpulan data secara observasi, dokumentasi, dan wawancara di lapangan untuk mendapatkan hasil penelitian sesuai konteks yang bersifat deskriptif. Hasil penelitian ini menjelaskan tentang bentuk pertunjukan meliputi unsur dan struktur pertunjukan dan makna yang terkandung pada teks seni tutur Bak’ba memiliki makna denotatif dan makna konotatif. Kata kunci: Bak’ba, Bentuk Pertunjukan, Makna Tek
Difference Between Mordan Soda Ash and Tohor Lime on the Results of the Ivory Cacak Leaf (Sanchezia speciosa) on Wolfis Fabric Using the Pounding Technique
Full text linkThis research is based on the use of ivory cacak leaves (Sanchezia speciosa) to provide motifs and colors using the ecoprint technique. The purpose of this study is to describe the color name and color fastness to washing, the result of ecoprint with a punch/pounding technique using ivory cacak leaves on wolfis material. The type of data in this study is primary data with data collection techniques using research instruments in the form of questionnaires. The color name using mordan soda ash produces the color name of mudy waters brown #AC915C on the tip of the leaf, the name of the color light brown #D7C370 on the leaf bone branch, the name of the color of wheat light brown #E2D4B3 on the mother of the leaf bone, the name of the color camougflage green #777850 on the flesh of the leaf, the name of the color of golden sundance #C1AF68 on the edge of the leaf, and the name of the color of clam shell pink #BDB693 at the base of the leaves. While the color name using the lime mordan produces the name of the golden sundance color #B69F5E on the tip of the leaf, the name of the pale golden color #F2E4AF on the leaf bone branch, the name of the color of wheat light Brown #D8D3B5 on the mother of the leaf bone, the name of the color camougflage green #72794D on the flesh of the leaf, the name of the color golden sundance #BCA76F on the edge of the leaf, and the name of the pale yellow color #E4DDBD at the base of the leaves. The color fading resistance to washing in wolfis materials using mordan soda ash and lime there was a significant difference in the 3rd wash
The Narration of Symbolic Animalistic Metaphors in Indonesian Contemporary Painting
Full text linkThis research aims to describe the symbolic narrative of animalistic metaphors in Indonesian contemporary painting as a medium of criticism of the socio-political dynamics in Indonesia. The method used in this research is qualitative with Paul Recouer's Hermeneutic approach that interprets animalistic symbols through layers of literal meaning. The data in the research shows the meaning of the animalistic metaphor in painting that presents visual symbols resulting from the creative expression of artists, including Djoko Pekik, Gatot Indrajati, and Suraji. The animalistic metaphor in Indonesian contemporary painting is one of the symbolic aspects of the similarity of human nature or political rulers with the nature of animals that are considered to have savage, wild, greedy and have no conscience. Each artist has his own way of delivering criticism through painting by using historical dramatization, humor, and satire. The animalistic metaphors in these works are coupled with the selection of titles that lead to a parody. The animalistic metaphor is told visually narrative, expressing the artist's expression of anxiety and criticism that is able to bridge the aesthetic experience and critical reflection on the reality of Indonesia's current socio-political condition
Te’o Renda: Its History, Meaning, and Function for the Rotenese Community in the Past and the Present
Full text linkThis research aims to examine traditional te'o renda music from an ethnomusicological perspective. Using Ethnomusicology theories by Sri Hastanto that are relevant to those of Mantle Hood, the study explores changes and continuities in the presentation of te'o renda in Rote society. Conducted using qualitative methods, focusing on the discipline of ethnomusicology to understand the meaning and function of traditional music within cultural contexts, the research found that te'o renda and sasandu gong have undergone significant changes. In the past, sasandu and te'o renda played crucial roles in wedding ceremonies, particularly in traditional engagement rituals. However, their current usage has diminished, indicating a decline in their essence and sacredness. Other findings include the history, meanings, and functions of te'o renda for Rote communities past and present, as well as the construction of emic notations applied in te'o renda performances. This approach enables accurate and authentic documentation of traditional music, which is expected to contribute to the preservation and revitalization of Rote music culture. Thus, this research not only enhances theoretical understanding but also provides a foundation for efforts to conserve traditional music through emic notation methods
Management of Performing Arts in the Wayang Orang Ngesti Pandowo Performances in Semarang
Full text linkPenelitian ini bertujuan untuk mendeskripsikan manajemen seni pertunjukan pada pergelaran Wayang Orang Ngesti Pandowo di Semarang. Metode yang digunakan adalah kualitatif deskriptif dengan pendekatan fenomenologi, melalui observasi dan wawancara. Hasil penelitian menunjukkan bahwa sistem manajemen yang diterapkan bersifat hibrid, menggabungkan nilai tradisional dan prinsip manajemen modern. Lima fungsi manajemen (perencanaan, pengorganisasian, pengarahan, pelaksanaan, dan pengawasan) dijalankan secara kolektif dan berbasis komunitas. Faktor pendukung utama antara lain dedikasi seniman, dukungan pemerintah, dan pemanfaatan media digital. Namun, tantangan yang dihadapi mencakup regenerasi seniman, dokumentasi administrasi, dan promosi digital yang belum optimal. Penelitian ini merekomendasikan penguatan kapasitas manajerial dan strategi pelestarian berbasis teknologi agar kelompok seni ini mampu beradaptasi dan berkelanjutan di era modern.Kata Kunci; manajemen seni pertunjukan, wayang orang, Ngesti Pandowo, budaya tradisional, Semaran
Representation of Minangkabau in the film Onde Mande!
Full text linkThis article describes the results of the film study on Onde Mande! (2023, Paul Fauzan Agusta). In general, this film tells the story of the conflicts and intrigues that occurred among residents on the shores of Lake Maninjau who intended to build their village. However, there is a discourse in the story's structure. This film's narrative structure does not only show Minangkabau's life and culture.
In this research, the film Onde Mande! is seen as the language behavior of a social group. The analysis technique is based on the storytelling structure, which includes characterization, setting, and focalization (point of view). The characters' actions are analyzed through screenshots and divided into categories of sequential scenes. The results of both analyses are then analyzed further by viewing it as a representation of a society, in this case, the Minangkabau, through the symbols in the film.
As a result, the narrative of this film builds the character of the Minangkabau people, who are proud of their Minangkabau heritage. They are willing to sacrifice for the progress and prosperity of their hometown. On the other hand, the meaning of the emerging symbols builds up a discourse on power relations. This film creates the impression of social protest against the reigns. The ruler's inability to improve the welfare of his people must be paid for by the fraudulent actions of members of his society
Effect of Alum, Iron Sulfate, and Quicklime Mordants on the Ecoprint Quality of Loropetalum chinense Leaves on Satin Fabric Using the Hapazome Technique
Full text linkThis study was motivated by the use of pitaloka leaves (Loropetalum chinense) to create patterns using the hapazome technique with the help of mordants and fixatives. The purpose of this study is to describe the color names, clarity of motif shapes, and washfastness of the results of the hapazome ecoprint technique using pitaloka leaves on Roberto fabric. This study is an experimental study with Roberto fabric as the research object, which was given motifs using the ecoprint technique. The type of data in this study was primary data sourced from questionnaires filled out by 15 panelists. The data analysis technique in this study used ANOVA and was analyzed with the Friedman K-Related Sample test. Ecoprint results without mordant, alum mordant, tunjung, and pure lime produced a variety of colors. The results of the clarity of the ecoprint motif using pitaloka leaves (Loropetalum chinense) on Roberto fabric without mordant showed that 67% of panelists stated that it was clear, with alum mordant 53% of panelists stated that it was very clear, with tunjung mordant 40% stated that it was clear, and with pure lime mordant 40% stated that it was clear. The results of the Friedman k-related test for color fastness to washing using alum mordant were 0.001 0.05, meaning there was no significant difference from the ecoprint results of pitaloka leaves
The Ecranisation of the Wayang Padang Play Script by Wisran Hadi into a Film Script
Full text linkThis research discusses the process of translating the drama script Wayang Padang by Wisran Hadi into a film scenario. Ecranization is the process of adapting from a text medium to a visual medium, which involves the transformation of narrative, characters and aesthetic elements. In this context, the research aims to identify the changes that occurred during the ecranization process, including story simplification, character adjustments, and visual processing to meet cinematic needs. The research results show that there are a number of significant modifications in the transfer from drama script to film scenario. Narrative transformation is carried out by simplifying the dialogue and storyline to create a more dynamic rhythm according to cinema needs. Visual development is a key element in the ecranization process, where the depiction of settings, costumes and character gestures are optimized to strengthen visual appeal. However, this research also found challenges in maintaining the cultural essence and moral messages contained in original works, especially in an effort to adapt them to modern audiences. The conclusion of this research emphasizes that the process of recreating the drama script "Wayang Padang" is not just a transfer of medium, but is also a creative effort to harmonize local cultural traditions with the film format. With the right approach, ecranization can be an effective means of introducing traditional literary works to the younger generation and a wider audience, without losing the underlying cultural value
Visualizing the Incantatory Power of the Sijundai Ritual: A Reinterpretation of Magical Phenomena through the Dance Work Migrasi Magis
Full text linkMigrasi Magis is a research-based dance creation that reinterprets the Sijundai magical phenomenon in Minangkabau culture. The ritual involves the use of spells and saluang music believed to possess supernatural power that psychologically and physically affects victims. Through observation, exploration, improvisation, formation, and evaluation, the artist transforms elements of space, time, energy, and property into visual symbols of the spell’s potency. The reinterpretation approach transforms this spiritual practice into an artistic expression through dance theatre, marked by dramatic tension, symbolism, and emotional intensity. The work embodies magical aesthetics derived from traditional rituals while portraying human desires, vengeance, and remorse. Migrasi Magis demonstrates how dance serves as a reflective space for social, spiritual, and psychological phenomena within Minangkabau society. Field data were collected through interviews with shamans, performance observations, and literature review, strengthening conceptual validity, aesthetic choices, and cultural context. This work illustrates that performing arts can negotiate tradition and modernity through contextual artistic interpretatio