Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
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Study of the Message of Feminism and Post-Colonialism in Babad Diponegoro Painting Pupuh Sinom XIV by Isur Suroso
Full text linkIn the painting about Babad Diponegoro entitled “The Garden Of Earthly Prosperity In Ground Zero” by Isur Suroso, contain meaningful messages. Every sign in the painting contain messages that represent different meaning. A lot of signs in the painting visualized feminism and pos-tcolonialism.. There are many contradictive but interrelated between signs. There are abundant messages about colonialism time in 19 century. The representation of the Prince Diponegoro, Prince’s grandmother, and abdi dalem are deformed to emphasize the message about post- colonialism and feminism. The message about feminism in this painting represented by showing women domination among me
ANALYSIS OF THE MUSICAL FORM OF KEDU’E AS AN ACCOMPANIMENT OF EAST SABU ETHNIC PADOA DANCE AT IE LOWE WINI STUDIO, AIR NONA VILLAGE, KOTA RAJA DISTRICT, KUPANG.
Full text linkPedoa dance is one of the traditional dance of East Nusa Tenggara, precisely from the Eastern Sabu Region. Pedoa dance in its presentation uses song and Kedu’e as accompaniment. Kedue is a rhythmic musical instrument that is tied to the feet of Pedoa dancers. The problem is how the musical form of Kedu'e as an accompaniment to the East Sabu ethnic Pedoa dance at the Ie Lowe Wini studio, Air Nona Subdistrict, Kota Raja District, Kupang City. The uniqueness that is found in the Pedoa dance is the presence of the Kedu'e musical instrument that is tied to the dancer's feet. Thus there are eight (8) Kedu'e rhythm patterns or Pedoa dance rhythm patterns, namely (1) Tede rhythm patterns or Tede Motion Variations, (2) Manale rhythm patterns or Manale movements, (3) Hala rhythm patterns Hala motions, (4) Heroda Rhythm Patterns or Heroda range of motives, (5) Dede Rhythm Patterns or Dede Motion patterns, (6) Lung Rhythm Patterns or Lung motion variations, (7) Hegede Rhythm Patterns or Hegede Motion Variations, (8) The My Rhythm Pattern or My Variety of My Motion. The above rhythmic patterns vary in tempo, namely Andante, Moderato and Allergo. The tempo variation follows the rhythm of the song that is sung by dancers while dancing Pedoa, besides that the tempo change especially from Andante ketempo Alergo is a consideration so that dancers can take power in a variety of fast tempo dance moves. The rhythm or tempo produced by these two musical instruments will give enthusiasm to dancers and add an Estonian and dynamic feeling to the Pedoa dance
Membangun Identitas Ronggeang Sebagai Musik Melalui Analisis Lagu Sirek-Sirek dan Baburu Babi Kelompok Rantak Saiyo di Nagari Salareh Aia Agam, Sumatera Barat
Full text linkArtikel ini membahas anlisis musik untuk membangun ronggeang sebagai musik pada kelompok Rantak Saiyo di Nagari Salareh Aia, Kecamatan Palembayan, Sumatera Barat. Gambaran dari bentuk musik ronggeang disajikan dalam notasi lagu yang dianalisis diantaranya lagu Sirek-sirek dan Baburu babi. Fokus analisis lagu dari motif, ritme, kalimat, akor serta pantun. Bentuk bernyanyi yang dilakukan dalam menyanyikan lagu tersebut adalah transkripsi musik etnis dengan kelimuan musikologi. Sebagai suatu metode memberikan gambaran musik etnis Minangkabau ronggeang. Alasan pilihan lagu Sirek-sirek dan Baburu babi yang dibawakan Rantak Saiyo utnuk dianalisis adalah dikarenakan lagu tersebut yang paling sering dimainkan dalam pertunjukkan ronggeang. Lagu yang sering mengajak penonton ingin terlibat langsung membawakan pantun-pantun secara sponta
SONGKET MOTIF DEVELOPENT OF OGAN ILIR
Full text linkSongketis a cultural heritage from the era of the Kingdom of Sriwijaya, songket has aesthetic and philosophical values on each of its motifs or designs. Weaving expertise is passed on from generation to generation using traditional tools, the complicated process of making songket has quite expensive prices. The high demand for songket makes production spread in Ogan Ilir Regency which is a border area with the city of Palembang. Although songket production centers are spread in various regions of Ogan Ilir, these area do not yet have a unique motif, the weavers only follow Palembang’s songket motifs. Making of songket motifs (nyukit) cannot be done by all weavers due to the difficult process, so that the songket motifs are developed very slowly. This research method uses qualitative methods and approaches of people center development toward the songket’s craftsmen of Tanjung Pinang village of Ogan Ilir. This is conducted to find an easier method of making motif structures (menyukit) so that the tradition of making songket motifs can continue to be preserved and developed. The results showed that the most appropriate motifs of Ogan Ilir songket to be simulated was the seluang fish motif
ASPEK-ASPEK KAJIAN PENDIDIKAN ISLAMI DALAM SENI PERTUNJUKAN SALAWAT DULANG
Full text linkAbstractSalawat dulang was identic with da’wah of Islam. It has development and changes experience dramatically in performing form or it function, and deeper delivery messages. Performing form identify that player of Salawat Dulang can adapt newest gendre of music to the salawat dulang, inded they not only can adapt that but also they can put intheaterical instrument in Salawat Dulang. Salawat dulang his also crusial function for sending message of education, culture, politic, economic, social, ect by media of communication base on market needs. Salawat Dulang is the most perferable music in whole Minangkabau and the most choosen one in community of Minangkabau. Based on statement on the top, research one to observation education of Islam and element of Salawat Dulang as performance art
THE PLAY OF MONOLOGUE PUTU WIJAYA; CREATIVE PROCESS AND PERIOD OF WRITING
Full text linkPutu Wijaya is one of the most important Indonesian playwrights in writing, both; short stories, novels, drama scripts, and even monologue scripts. At the moment the manuscript is published, published 118 titles published in the book "100 Monologue Works: Putu Wijaya". On the sidelines of his recovery, Putu Wijaya who was plagued by a brain hemorrhage due to a mild stroke was still an actor performing a monologue script titled "OH". Being born as one of the Balinese aristocracies did not make Putu Wijaya remain in his caste, even the days were filled with authorship, he never gave up. Do not want the gnawing disease to stop the field being cultivated. Long before the Japanese occupation of Indonesia, Putu Wijaya's tenacity was seen in defending the world of authorship. This research on Putu Wijaya is grouped based on creativity and the periodization of Putu Wijaya from its inceptio
SOCIAL REFLECTION IN THE CREATION OF MATI KONYOL VIDEO ARTWORKS
Full text linkCorruption is not a culture , not a habit , but corruption is a crime . According to a survey by Transparency Internasional Indonesia (TII) in 2013, Indonesia was ranked 114 in the list of corrupt countries in the world. The artwork titled "Mati Konyol" is a response to the social phenomenon, is the phenomenon of corruption in Indonesia . Source of idea creation of "Mati Konyol" includes : (1) corruption; (2) paper puppets; (3) iluminated Cut Paper Light Box . The process of creating the artwork of "Mati Konyol" was carried out throught following steps : (1) the manufacture of paper puppets , which includes the step of : sketching drawing , cutting sketches , perangakaian partially the result of cuts , perangakaian overall results of the test piece and the light on the paper puppet; (2) the making of video art; (3) editing video and audio; (4) merging video with paper puppets that have shaped diorama . This artwork is an amalgamation of two different artistic elements into a unity that gave birth to the new work . So, This artwork “Mati Konyol” works can be categorized as new media art artworks. This Artwork aims to satirize the corruptor who now has no shame. Visual shame these corruptor visible like a actor in this video present without clothing or semi-nude
EXISTENCE OF RATOH BANTAI DANCE IN THE STUDIO OF BUANA BANDA ACEH
No full textRatoh Bantai dance is one of traditional dances from South Aceh that has its unique characteristics. According to its name, Ratoh Bantai uses property that is different from ordinary dances in Aceh province namely pillow. In the past, this dance became the popular dance in the society but the appearance of various dances that are more upbeat and energetic make Ratoh Bantai dance starting to become unpopular in the society. This research took the subject “effort of maintaining the existence of Ratoh Bantai dance. The purposes of this research are to know and describe the effort of maintaining the existence of Ratoh Bantai dance. Research method used is descriptive qualitative method. Data were obtained through observation, interview, and library research. Research result obtained is Buana studio as one of studios that maintain the traditional dance of Ratoh Bantai conducts teaching effort to its protégés in the studio every month so the protégés of Buana studio still know the repertoire of dances in Aceh, especially Ratoh Bantai dance that’s almost forgotten by today young generation. Besides that, this research also described the choreography aspect of Ratoh Bantai dance in Buana studio.
CLUBBING PATTERN OF TERBANGAN MUSIC IN OGAN ILIR DISTRICT SUMATERA SELATAN
No full textThis research aims at elaborating the percussion pattern of Terbangan music in Tanjung Batu sub-district Ogan Ilir district. The observation was conducted by using observation technique, interview, and documentation on one of the performances of Terbangan music in Ogan Ilir district Sumatera Selatan. The research method used was a qualitative method so it's obtained research result in which Terbangan music is art that uses the musical instruments of Terbangan and gong. Terbangan comes from Arabian country played by hitting it using hand palm. This musical instrument of Terbangan is made of Leban wood that has a round form with 30 cm diameter and 10 cm height. The surface of Terbangan uses x-ray plastic. This musical instrument belongs to the kind of membranophone musical instrument, and it means that the sound produced comes from beating on the membrane. The other musical instrument as accompaniment is gong made of brass with a bulge in the middle of the gong. The pattern of percussion in the art consists of three parts namely the percussion pattern of initial rhythm, the percussion pattern of kin-cat rhythm, and the percussion pattern of yahum rhythm
THE CONTINUITY OF AMRUS NATALSYA’S POPULIST PARADIGM, ICONOGRAPHY-ICONOLOGY REVIEW OF “TANAH AIRKU” (2013) PAINTING
No full textThis study analyzes the Amrus Natalsya’s painting entitled "Tanah Airku" (2013). As a senior Indonesian painter with the ideology of "kiri" that’s popular in the history of Indonesia modern art certainly has strongly experiences about social phenomena that occur in Indonesia. By analyzing this painting, the author wants to see the continuity in expressing social phenomena including style, theme, concept, and meaning of his work. Research problem was revealed through the approach of art history and a grand theory of iconography and iconology from Panofsky. The research result is a style of painting categorized in expressionism style with metaphorical symbols. This style is developed in the era of art pluralism. The theme of this painting is the power of people in defending their rights with the basic concepts of resistance and struggle. These themes are variants of the theme and concept of the aesthetic paradigm from social realism convention during LEKRA. Symbolic value expressed by Amrus Natalsya in the painting "My Fatherland" (2013) is the crystallization of human’s struggle as the living symbol of defending their rights. Based on such analysis, it’s shown the continuity of expression of revolutionary populist paradigm in his paintings with new forms and expressions along with the spirit of the era.