SURYA SENI
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EKSPRESI TOPENG
No full textExpression of Mask. Mask Art represent is one of the cultural heritage result of Indonesian nation there is since long time and continued till now. Mask art have the symbolic value of characterization human being as according to teaching moral-etic. Symbolic value look at concept of face forming from mask with the colour cloth. Visual aesthetic method formulation from meaningful mask art of characterization symbolism is played by every fi gure. Mask very interesting to made the source of inspiration of textile creation. Starting frombackground and idea which explained above, writer aim to to create the artistic textile in the form of valuable mask of decorative, unique, artistic, and ethnic. Base on text above, writer want to create textile creation two and three dimensional from the source of idea form the mask that made by assorted of mask expression. Process the making of this creation through three step and that are exploration that have source from idea of scheme and materialization through the creative new planning of inovatif creation The substance is used are the some kind media, hutch, agel, glass, brass, wood, shell of coconut withmacrame technique. In materialization more emphasizing of personal expression without leaving meaning and message which implied in the source of creation idea. The realization of art creations is not only concerning of visual beauty butalso meaning and fi ll the masterpiece.Through the process from the creation idea or accomodating the writer’s desire in creating the art creation. This creation is expected can be the one effort to preserve in society. Folk art must be interpreted by a alertness to prevent of thestabilization of tradition development suitable to demand from new culture.Keywords : expression, mask, and makrame
KEINDAHAN DI BALIK TRAGEDI
No full textThe use of transportation facilities represents the metaphor of “double-sides sword”, on the one hand it gives usefulness, on the other hand it gives destruc- tiveness. An ideal dualism of modern culture achievement, and the tragedy in- herently implied. While the comfort of traveling embodies the positive side, the pollution and car accident represent the negative side. We have no other alternative, nevertheless, since the modern culture demanded such a high mobility that the use of modern transportation is unavoidable. Almost everyday we heard and read in mass media about various accident of car crashes. Even in minor cases, the victims or damages are always unavoidable. In a huge scale, the accident of transportation might take a great many victimsand material damages. Consequently, the survivors or the relatives of the casualties might experience mourning and sadness, even trauma. These are what we might call tragedies, the ones causing human suffering.Viewed as an event, accident left at least two realities: the one associated with mental/psychological implication and the other related to the factual objects that create automatically new “meaning”, even transformation to other “meaning”.In my opinion, the wrecked cars, or those with the paint peeled off, or the chassis detached, or the whole body burnt out, represent the factual reality of the objects undergone the transformation of “meaning”. A paradoxical reality ofmeaning: between the one referring to the traumatic side, and the other that signify the visually artistic side. It is on this paradoxical meaning that I based my creative exploration to create my photographic artworks. Observation mightinspire an unexpected visual composition. For example, a vehicle with its fabulous design might experience a sudden crash that creates effects such as dented or broken into pieces, while at the same time it creates something unique or fascinating. Here, I saw “the meaning of the beauty” behind the tragic outcome. By photographing the most unique and the most interesting of the broken pieces of the wrecked cars using the close-up function, an artistic and aesthetical photographic artwork might be created. That is the reason for me to choose the title “Beauty behind Tragedy”. Keywords: photographic artworks, tragedy and beauty
KETELANJANGAN DALAM SENI LUKIS INDONESIA: PERSPEKTIF KRITIK SENI RUPA
No full textNudity in the Indonesia Painting: Perspective of Art Critics. Nude painting (art) is not something new in Indonesia. Many archaeological remains show how nudity, from its most sacred to its mundane forms, has existed in many cultures of this Nusantara archipelago.Although not all of the painters’ (artist’s) current creativity is infl uenced by the custom of this ancient mystic culture, it can be said, however, that the creative heritage of these people of Nusantara who expressed nudity as a language of symbolicand religion languages: lingam-yoni for example, has had an infl uence on these artists especially on the Balinese painters (artists).The creative principle, which obviously of a bigger infl uence has been the tradition of nude painting as part of the teaching process of academic arts, which initially intended to strengthen the skill in anatomic rendition but later developed into a subject of visual art that challenge the artists’ independent creativity. Indeed, several Indonesian artists explore nudity very intensely as their language of expression. And several visual phenomena inherent in their works become widely recognized as artistic and conceptual achievements and receive awards from the global art community. It’s true that works with nudity as their subjects do not receive immediate acceptance from the publik. Some actually experience confl ict and even rejection; conflict which arises from the lack of agreement over the standard valuethat an art work has to be read solely from an artistic parameter.Reading the existing confl ict on the one hand, and refl ecting upon the enormous appreciation on the other, especially the recognition of concepts behind those works with subject of nudity, makes the research on Nudity in the Indonesian Paintings evermore urgent. Keywords: Indonesian Nude Painting and Eroticis
RUANG
No full text“Space” is a choreography inspiration by a story Pendam Tujuh of Kerajaan Kingdom in Riau Province. Pendam Tujuh means in ground keeping ground. It tells about seven girl who are kept in gound because of their act of disseminating information about the out-of marriage pregnancy of Batin Betina(a governor in Keritang Kingdom). The story is passed on orally among Riau people. The choreographer sees the story in comparison with the present condition of prisoners. They are imprisoned because of certain guilt and must live in a jail. The author got the idea of the creation a year ago when he saw the occurrences taking place amidst the people. When we observe, there are many news in television and magazine about violence, drugs abuse, robbery, rape, riots, and murderthat infl ict a loss on others and on the criminals. The criminals are punished in jail because of the guilt, they committiet. The “Space” consideret to be a chorographical exposure is interpreted to be a violence space in the attitude andbehavior with the burying spirit. It means that whoever is in the burying space or the jail, he or she will be fettered, confi ned and loss the space to have certain attitude and behavior as decent human being.Keywords: Pendam Tujuh and space
CITARASA JAJAN PASAR YOGYAKARTA DALAM DESAIN GRAFIS
No full textPeople in Yogyakarta truly respect cultural inheritance and the ancestors’ tradition. The existence of Yogyakarta Palace truly supports the development of its culture. The various kinds of traditional events continually develop in the society, such as marriage, pregnancy, birth ceremony, and so forth. On thoseevents, there will be specifi c snacks and meal that are often called as “sesaji”. One of them is “jajan pasar”. In fact, “jajan pasar” that develops in the society is very unique and varied.In spite of the fact of many reasons, there are things which are diffi cult to fi nd or no longer produced anymore, furthermore some kinds of snack are no longer available and consequently forgotten. Regarding to above mentioned problems it is necessary to do research and documenting such ‘jajan pasar’ as complement to a number of books of food making which are mostly exposing modern food recipes. As a matter of fact publication on Yogyakartan traditional food-making and recipes is very rare, ifnot available.This book entitled entitled “Citarasa Jajan Pasar Yogyakarta” (Flavour of Yogyakartan ordinary snacks) is one of the efforts to preserve cultural heritage of Yogyakarta. The design of the book not only cover the aesthetic and functional aspects to promote the jajan pasar as cultural heritage to preserve, but also taps visual potentials of the food as graphic elements to communicate.Keywords: Jajan pasar, cultural heritage
Kinanthi untuk Solo Gendèr dan Orkestra
No full textKinanthi adalah sebuah judul komposisi musik, yang merupakan eksperimentasi penciptaan komposisi untuk gendèr solo dan orkestra.Dalam karya ini dilakukan dua eksperimentasi, yang pertama penalaan gendèr barung (gendèr besar) ke sistem tangga nada diatonis (musik Barat), dan yang kedua memfungsikan instrumen gendèr sebagai instrumen solo, yang berarti instrumen utama yang diiringi orkestra.Salah satu konsep yang harus dipahami dalam proses penciptaan ini adalah memahami kaidah-kaidah dan elemen-elemen musik dan gamelan. Tulisan ini akan sedikit membahas mengenai hal tersebut.Kata kunci: gendèr, orkestra, eksperimen
EIGHTEEN WHEELS of STEEL DALAM FOTOGRAFI SENI
No full text“Eighteen of Wheels of Steel in Art Photography.” This project is aimed at expressing the photographer’s feelings and deepest aesthetic emotions based on his experiences with the existence of the heavy duty vehicles. The basis of photography is an expression media through the aesthetic and artistic instinct according to the elements of art and composition such as color, line, balance, light and dark, rhythm, and angle.The concept of this creation of photographic works is Eighteen (18) Wheels of Steel in art photography. The objects here are focused on heavy duty vehicles i.e. 18 Wheels of Steel, which are also or called trailers. The objects taken as the photography resources are presented in the representations of realistic forms as well as abstract patterns which can embody the artistic language of emotive expression using a creative and aesthetic approach. These works of photography therefore take the forms of expression based on the photographer’s experiences with the existence of the heavy duty vehicles which are cruisers or huge, strong, powerful vehicles. The creation of these photographicworks was based on the expression as a basic pattern of creation relying on the colors and forms of the objects with aesthetic considerations based on the creative ideas and technical competences. So that the results from thisphotographic creation are not just forms of documentations but forms of art work presentations on a creative-aesthetic level as well.The approach is focused on the creative-aesthetic aspect which emphasized composition manipulations and photographic techniques such as the selection of objects, using the exact exposures, using the picture formats, and the angle ofshooting. These techniques of course were used based on photographic technical considerations which were oriented to possibilities in practical implemen- tations. In this respect, therefore, in order to fi t the works to the concepts, a thematic grouping of trailers was done, based on detail, refl ection, on moving, and silhouette. The works of photography, therefore, will offer new experiences in perceiving trailers. In photographic view, trailers basically have distinct aestheticvalues as objects of photography which will enrich the spectators’ visual insight. Keywords : 18 Wheels of Steel, Fine Art Photography, and Creative-aestheti
MENGADILI SANG SAPURBA BERDASARKAN MITOS SANG SAPURBA
No full textThe manuscript of “Mengadili Sang Sapurba” is a process by the writer in creating a theater play. The play inspired by the reality of people’s life and poverty the of Riau using two old Malay manuscipts of Malay History and The Tale of Hang Tuah, the writer try to “embrace” these issues. Sejarah Melayu or The Malay History describes an agreement between a king called Sang sapurba and a Malay leader named Demang Lebar Daun. This agreement gave the king power that made him stand above the law. Even when the king and his family did wrong things, his people could not stop them. Meanwhile Hikayat Hang Tuah, represented by main character of Hang Jebat, struggled against the cruelty and arbitrariness of the ruling king. The rebellion started when Hang Jebat disagrees with an unjust death penalty delivered bythe king to his best friend Hang Tuah. Nowadays, writer sees the agreement between Sang Sapurba and Demang Lebar Daun is still hunting Malay (Riau) people. This can be seen in the current condition in Riau, where the Malays have no courage to fi ght their rights. In theplay of Mengadili Sang Sapurba, the writer feels the needs of embracing the past in order to learn and take a lesson from it.Keywords: Sang Sapurba, Hang Jebat, and Agreement
GITA ARDAYA
No full textA creation of art is infl uenced by the artist life experiences. The more experience he has the more skillful he is. A composer is also infl uenced by his/her background and the way he or she interprets phenomena around him/her. The idea can be form his or her imaginative experience, observation, exploration ofsocial life, religious matter, culture, tradition and nature. The composition of Gita Ardaya is a music composition containing basic values based on sense of honesty to life that brings them to prosperity.This composition consists of fiveparts namely: (1) Byar, means morning; (2) Pamitan,meansask for leaving, farewell; (3) Taberi, means diligent or work hard; (4)Titiyoni,means midnight; (5) Loka, means the universe. The process of making this music involves a lot of instruments both westernand eastern musical instruments. The composition does not state a tone or note, and the core sound of the music is arranged and creates new image.Keywords: meaning, expression, honesty, and sounds
GROMPOL DAN SIDO ASIH SENSASI IMPIAN PERADUAN
No full textGrompol and Sido Asih Royal Bed Sensation. Batik is an art-work comes from native Indonesia culture that has high value. There are many philosophy values inside it, according to each motif ornaments and elements. The decreasingnumber of batik users has became a concern for the writer, so that an idea emerges from it to use batik as a source of inspiration in an art-work making.Sido Asih and Grompol are kinds of batik’s motif from a lot of motifs that have specifi c philosophical meaning. “Grompol” means to gather around with “Sido Asih” means to be loved or love and affection have been combined nicely as the elements for royal bed in a bridal room which are implemented on somematerials such as: bed sheet, primisima (shantung) dacron and siphon cloth, beside the other elements like wooden carving and cendani bamboo that also have royal their own meanings. It was expected that the philosophy inside this artworkbecome the refl ection of the bridal couple’s life in the future in wading across their life.From many processes that have been done, then it was produced an art work that has its own uniqueness, that is the combination between the modern and glamorous elements represented by tassels and curtains with traditional, superiorand supreme values on batik cloth. The basic of creation of this art-work uses textile craftsmanship, especially batik and quilting techniquesKeywords: batik, grompol, sido asih, and royal be