Jurnal Kajian Seni
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AKULTURASI BUDAYA ARAB DALAM MOTIF KALIGRAFI BATIK BESUREK BENGKULU
Full text linkBatik telah ditetapkan sebagai salah satu warisan budaya tak benda Indonesia oleh UNESCO. Batik besurek merupakan salah satu kain batik di Indonesia yang berasal dari Bengkulu. Kain batik besurek memiliki kekhasan pada motifnya, yaitu kaligrafi Arab yang menjadikan hal tersebut sebagai bentuk akulturasi budaya. Akulturasi budaya dalam kain batik besurek juga menghasilkan motif kain besurek baru hasil perkembangan dari perajin kain besurek di Bengkulu. Dalam penelitian ini dibahas tentang hasil akulturasi budaya Arab dengan budaya Indonesia pada batik besurek Bengkulu. Penelitian ini merupakan penelitian kualitatif dengan metode studi pustaka dan wawancara. Data-data diperoleh dari artikel jurnal, laporan penelitian, dan buku serta wawancara dengan narasumber. Teori yang digunakan dalam penelitian ini adalah teori akulturasi budaya dari Koentjaraningrat. Motif kaligrafi yang terdapat di dalam kain besurek tidak terlalu jelas terlihat, sehingga khat yang biasa digunakan adalah khat kabur mutlak. Hasil dari akulturasi budaya dalam kain batik besurek berupa perkembangan motif kain besurek yang terdapat bunga raflesia yang merupakan ikon dari Provinsi Bengkulu. Kata kunci: Akulturasi Budaya, Arab, Batik Besurek, Bengkulu, Kaligrafi
KAJIAN VISUAL TRANSFORMASI DIGITAL MEDIA KOMPAS MELALUI COVER EDISI NFT-RECONNECTION
Full text linkKompas sebagai media pemberitaan nasional telah bertransformasi selama 57 tahun dalam perjalanannya sebagai “Amanat Hati Nurani Rakyat”. Selama itu, Kompas telah berkembang dari media cetak dan merambah ke dunia digital berbasis internet mengikuti dinamika masyarakat. Sebagai bentuk eksistensi dan upaya perjalanan sejarah tersebut, Kompas berkolaborasi dengan seniman digital membuat sampul e-paper edisi 27/6/2022 dalam format NFT (Non-Fungible Token). Sampul berbasis digital ini menjadi menarik untuk dianalisis karena merupakan kolaborasi khusus menghadapi dunia digital virtual yang semakin berkembang masif. Penelitian ini berusaha memaparkan kajian visual berdasarkan keilmuan desain komunikasi visual. Pembacaan makna visual ini akan menggunakan analisis semiotika visual secara kualitatif deskriptif dengan pembacaan tanda-makna menggunakan Triadik Sumbo. Kajian tersebut dibantu menggunakan teori tanda oleh Charles S.Peirce dan kode-kode dari Roland Barthes. Hasil yang diperoleh dari penelitian ini akan memberikan sebuah gambaran akan realitas visual berdasarkan perkembangan teknologi dan budaya visual. Bagaimana kode-kode yang terdapat dalam tanda visual sampul e-paper Kompas mampu mengungkapkan makna konotatif selain makna denotatif dari redaksi Kompas sendiri. Sehingga pembacaan tersebut akan memperkaya kajian desain komunikasi visual sebagai penghasil tanda visual dalam dinamika masyarakat dalam menghadapi gempuran produk digital
PACITAN BATIK: CONTINUITY AND CHANGES
Full text linkThe main objective of this research is to explore and observe the existence, development, and changes of Pacitan batik, especially in the aspect of form, function and product of Pacitan batik in social, cultural and economic contexts. This research is descriptive qualitative by using a multidisciplinary approach, culture, aesthetics in the hope that it can answer all the problems. Changes caused by internal factors can occur due to new interpretations and perceptions of the Pacitan community, as a community that supports batik cloth. Pacitan people have a sense to participate in the development, innovation, ideas, and new creations of Pacitan batik. Changes caused by external factors generally occur because of relationships, communication, and social and cultural interactions with other cultures. Pacitan batik products have also experienced developments and changes, both in quantity and quality. Broadly speaking, the changes that occurred in Pacitan batik were marked by a change in its function, from the beginning as a long cloth worn by women during official events or during celebrations, to now becoming a trade commodity product. The motifs applied to Pacitan batik initially contained deep philosophical symbolic meanings, but now these meanings have been put aside, and only evaluated for their aesthetic aspects. Changes in cultural products will have an impact on the supporting community, both in terms of socio-cultural aspects, as well as socio-economic aspects. The main objective of this research is to explore and observe the existence, development, and changes of Pacitan batik, especially in the aspect of form, function and product of Pacitan batik in social, cultural and economic contexts. This research is descriptive qualitative by using a multidisciplinary approach, culture, aesthetics in the hope that it can answer all the problems. Changes caused by internal factors can occur due to new interpretations and perceptions of the Pacitan community, as a community that supports batik cloth. Pacitan people have a sense to participate in the development, innovation, ideas, and new creations of Pacitan batik. Changes caused by external factors generally occur because of relationships, communication, and social and cultural interactions with other cultures. Pacitan batik products have also experienced developments and changes, both in quantity and quality. Broadly speaking, the changes that occurred in Pacitan batik were marked by a change in its function, from the beginning as a long cloth worn by women during official events or during celebrations, to now becoming a trade commodity product. The motifs applied to Pacitan batik initially contained deep philosophical symbolic meanings, but now these meanings have been put aside, and only evaluated for their aesthetic aspects. Changes in cultural products will have an impact on the supporting community, both in terms of socio-cultural aspects, as well as socio-economic aspects
Pilihan Komponis Piano Indonesia terhadap Struktur dan Bentuk Musik sebagai Upaya Menghadirkan Kebaruan dalam Penyusunan Karya
Full text linkPada tahun 1920-an, komponis Indonesia mulai memberikan perhatiannya untuk menyusun komposisi musik "serius" atau dapat dikatakan memiliki kedekatan dengan konsep penciptaan karya musik di Eropa. Hal ini dapat dikaji berdasarkan pendekatan musikologi yang memberi ruang untuk melihat keterkaitan konteks sejarah dengan konvensi penciptaan karya pada periode tertentu. Penulis dalam hal ini membuka ruang analisis dengan melihat sejauh mana keterkaitan konsep penciptaan karya komponis Indonesia dengan para komponis sebelumnya, terutama dalam hal struktur dan bentuk musiknya. Penelitian ini memberikan informasi baru kepada kita bahwa karya komponis Indonesia memiliki karakter baru yang dapat dipahami sebagai bagian kebaruan dalam konteks penyusunan karya-karya piano. Kebaruan ini tidak terlepas dari pilihan komponis terhadap material musik yang digunakan dan ruang untuk melakukan penyesuaian terhadap bentuk-bentuk musik yang diformalkan dan menjadi karakter komposisi musik pada periode tertentu. Penelitian ini dapat menjadi referensi bagi para pianis dalam hal interpretasi musik dan dapat digunakan sebagai materi pembelajaran untuk mata kuliah, seperti; Analisis Bentuk Musik, Komposisi, Pengkajian Musik, Harmoni, Teori Musik, Kritik Musik, dan Perkembangan Musik Barat di Indonesia
Kombinasi Warna Sulaman Suji Cair pada Produk Selendang di Daerah Koto Gadang Sumatera Barat
Full text linkPenelitian ini bertujuan untuk mendeskripsikan kombinasi warna sulaman suji cair pada produk selendang di daerah Koto Gadang Sumatera Barat. Penelitian ini menggunakan metode deskriptif kualitatif dengan sumber data primer dan sekunder, serta teknik pengumpulan data melalui observasi, wawancara, dan dokumentasi. Hasil penelitian ditemukan 3 jenis kombinasi warna yaitu kombinasi warna analog dan monokromatik pada motif, dan kombinasi warna polikromatik dalam satu produk selendang dengan jumlah warna yang berbeda-beda. Selendang model 1 ditemukan 13 jenis warna, meliputi orange tua, orange, orange muda, orange kekuningan, kuning, kuning muda, pink tua, pink, pink muda, pink keputihan, putih, hijau muda, dan hijau kekuningan. Selendang model 2 ditemukan 16 jenis warna, meliputi merah keorangean, orange tua, orange, orange muda, orange kekuningan, kuning, merah hati, merah tua, merah muda, pink tua, pink, pink muda, pink keputihan, putih, hijau tua, dan hijau muda. Sedangkan selendang model 3 ditemukan 12 jenis warna, meliputi orange tua, orange, orange muda, orange kekuningan, kuning, pink tua, pink, pink muda, pink keputihan, putih, hijau tua, dan hijau lumut
Pertunjukan Beralas Bumi Beratap Langit: Investigasi Keaktoran dan Ruang melalui Site-Specific
Full text linkActing is considered as a way of art, the experience of acting placed as an aesthetic sublimation. The process can be seen from the development of the actor who was originally the subject of language turning into the subject of desire to become the subject of encouragement. Central to the Site-specific approach is a concern to the potential of unconventional spaces. The development of theatrical studies, particularly on actors and space, there seems to be little clarity on the parameters of this approach and it appears to have become a flexible term in which many manifestations have begun to accumulate. The Site-Specific approach seeks to use unique site landscape properties. Locations were chosen based on their ability to reinforce storytelling and form a clearer backgrounf for actors in a theatrical production. This paper aims to investigate a personalized Site-specific approach to performance interests in order to provide insight into the modes of acting and actors as subjects in theatrical performances. The practicality of the site-specific approach to the theater stage model resulted in the following conclusions: 1) natural sets create an atmosphere of intimacy, 2) help actors feel active immersion in the world that is being played, and 3) provide rich cultural visualizations that are relevant to the actor's image
Kajian Budaya Perkotaan Perspektif Lefebvrian Tentang Ruang Urban Kontemporer dan Seni sebagai Disalienasi
No full textCultural studies has developed into an intrinsically interdisciplinary research practice. The emergence of Urban Cultural Studies, as an extensive field of cultural studies, tries to clarify that the humanities-centered method of urban cultural studies requires a common ground that can unite social scientists and humanities scientists, in an effort to understand urban culture by focusing on its textual dimensions. Identifying urban problems as an interdisciplinary scientific work centered on urban areas, seeks to find ways to return intellectual specialization to the totality of understanding of “cultural texts”. This paper explores the formulation of urban cultural studies to bridge the discussion about the material condition and the cultural imagination of the city in a wider social context. The focus is on the analysis of Henri Lefebvre's thoughts on urban philosophy, urban modernity, and contemporary urban culture. Lefebvre reveals an awareness of the importance of space. Space in Lefebvre's understanding is the field of experience that is perceived, felt, and, most importantly, actually lived. Through Lefebvrian's perspective, this paper offers an understanding that the position of artwork, as one of the manifestations of urban culture, by overcoming disciplinary fragmentation can be seen as a disalienation strategy, becoming "living art" in the perspective of "work" as an effort to overcome product instrumentalization. This is also what the study of urban culture must realize; the totality of understanding of urban phenomena, or urban space as a reality and complexity of knowledge, cannot be understood in a compartmental way, which is only accepted as a collection of objects-economics, sociology, history, demography, psychology, or geology
Proses Kreatif Komponis Kontemporer Slamet Abdul Sjukur dalam Berkarya Seni
Full text linkArtwork is part of a culture that is created because of a process related to constructive creativity. This process is often referred as the creative process. The creative process can be viewed from related aspects, influencing elements, or the stages in it. The creative process that will be discussed by researcher is the creative process of a music artists who want to create something new and unique, often referred to as new music or contemporary music. The purpose of this study is to see how the stages of the creative process of contemporer composer Slamet Abdul Sjukur in creating the artwork. The method of this research is a qualitative research with literature studies, interviews and also observations of Slamet's artworks as the research subjects. Slamet is a composer who emphasizes the simple concept of producing something great, a concept known as the minimax concept. From this study, it was found that Slamet Abdul Sjukur is a contemporary composer who involves all stages of the creative process in creating artwork. However, the details of the stages of ideas and the implementation of Slamet's creative process on one artwork are very different from one another. This then makes each of Slamet's artworks have their own uniqueness
Kajian Motif Batik Gajah Oling dalam Busana Tari Gandrung Khas Banyuwangi dengan Pendekatan Etnosemiotika dan Estetika
Full text linkIndonesia adalah negara kepulauan yang memiliki beragam kebudayaan dan kesenian daerah yang unik dan menjadi identitas dari daerah tersebut. Penelitian ini berfokus pada kebudayaan yang ada di daerah Banyuwangi, Jawa Timur secara khusus batik dengan motif Gajah Oling. Penelitian ini menggunakan metode penelitian deskriptif dengan teknik penelitian wawancara, observasi, dan studi literatur. Motif batik gajah oling akan dikaji dengan menggunakan pendekatan etnosemiotika dan estetika yang bertujuan untuk mendeskripsikan motif batik gajah oling dan inovasinya serta penerapannya pada tata busana tari Gandrung
Indonesian Poetry Song Composition in Musicology Perspective
Full text linkThis research is an attempt by the author to answer various debates that exist to this day. This debate is often a stumbling block for musicians and also in the field of formal and non-formal education. They are in a confusing position because of the various terms that exist and the identification of the concept of Indonesian vocal music composition which is less comprehensive. Therefore, there is a personal selfishness that tends to reduce the true meaning of the work itself. The author uses a musicological perspective as an entry point to provide a new discourse regarding the composition of Indonesian vocal music. This musicological approach is a process of study, investigation and reflection while still paying attention to the relationship between context and compositional work. The author is also aware of the limitations of the space and time of the research, so that this research is not possible to fully cover all vocal music works composed by Indonesian composers. However, the author believes that the research approach carried out can be used to discuss other vocal music works