SURYA SENI
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PERMAINAN
No full textThe Game.The process of art creation in general includes (a) to realize self-existence in life (culture); (b) to respond the real life (local and global) as a sculptor (artist); (c) to visualize the respose in an art work; (d) to realize the desire to communicate self by the relevant means and ways; (e) to realize that visual objects consist of a series of human signs that keep, process, and obtain meaningful information through objective and subjective description; (f) to realize that each individual has different patterns of social, political, and culturalgames.In particular, we seek possible types of game we commonly fi nd to be combined with social, political, and cultural conflicts. The role of playing and being played among humans in the world is symbilized in the art work.This is an observativory and exploratory study. Observation was conducted to collect scientifi c verbal and visual facts and information. The observed games and dynamics of humans are taken to be the idea of the sculpture. Exploratory method is employed to express possible visual symbols in sculpture. It can be concluded that: (1) there are different ways and means of games in the society; (2) the games that people play are full of confl icts; (3) the work of sculpture can be used to communicate the real games containing moral values ofhuman in a constructive way.Keywords: Games and Moral Value
UPAYA PENINGKATAN NILAI ESTETIK AKSESORI BUSANA DARI BAHAN TEMPURUNG KELAPA
No full textFashion accessories made from coconut shells that is unique, distinguishable, and simpel have a limited function, hence the customer does not like it. This research was made of fi nd any alternatives to improve the aestethic value of fashion accessories made from coconut shells and also to fi nd the interest rate of consumer towards the application of the coconut shells accessories design.This research was done by using quasi experiment approach to make the sample consists of three sets of fashion accessories (necklace, bracelet and earrings) that are different in style and form. To fi nd the interest rate of the consumer, survey was done towards female consumers. The sample taking was being done accidentally and we got 75 responders. The data was gathered with questionaire technique fi lled when the responders looked at the sample of fashion accessories made from coconut shells.The result of the research shows that to improve the aestethic values of the fashion accessories made from coconut shells can be done by giving more modern details and the plays of the color that has a parallel tone with the occasion.Beside, the interest rate of the consumer towards the fashion accessories made from coconut shells is considered high. In a rank, the application of the accessories that consumers like the most is the accessories with the basic shape ofa ros, supported with pearl beads in salmon pink; have a feminin style, classy and etnically modern. The second one is the accessories with the basic shape if diamondcompleted with a spiral-look capper wire as its supporting matter. It has a style of simpel, casual and trendy.The last is the accessories with the basic shapeof oval with a creamy brown sea shell as its supporting matter,and has a style of traditional and classic.Keywords: Aestethic value, the consumer’s interest rate, fashion accesso- ries, and coconut shells
TARIAN CAHAYA DALAM FOTOGRAFI
No full textLight Dance in Photography. Light dance is a theme of creation that is based on the art of photography. The photographic technique is done directly on the stage. Therefore, the capture of the aesthetical moment is determined by intensive observation, time availability, and the perception of the photographer.The purpose is to explore and to present the unique and surprising visual aspect of the dancer’s body movement through photographic technique such as static camera, mobile camera, lenses manipulation and any possible kind of photographic technique.The methods are: (1) tangram and quantum approaches (2) trial and error and (3) observation and lateral thinking. The psychological aspect contributesin capturing a scene. Emotional feeling such as joy, happiness, and motivation mix with fear, depression, and worry. This, in fact, generates different passion.It seems that the event can cause the greater effect of the quantum leap. Thus all creation became more unique and interesting.The result of shows that the camera capture to ward the light refl ection of the acting dancer can generate new image other than the image of the dancer.The new image can be alike the movement of water, wind, dust, dew, fi re, stone, tree and abstract.Keywords : dance and lightI. PENDAHULUANA. Latar Belakang Pencipta
EKSOTIKA AGROPOLITIKA
No full textThe Exotic of Agropolita. Custom ceremony of Gorontalo bride is not just a ritual procession which interesting, but also can create sacred atmosphere, so that at the execution not only impressing the luxuriant and hilarious, but containsthe certain symbolic meaning as expression of message of lives for the routers generations and wide publics.Gorontalo is one of agrarian area in Indonesia. For sustaining of economic growth rate, Gorontalo most have rest on agricultural sectors. Realize this potency, hence government of Gorontalo Province targeting “Agropolitan Program” asdevelopment pillar. One of the pre-eminent commodities is corn. Agropolitan Program is able to increases corn production and productivity. Temporarily, exploiting of corn is focused at the seed only, the stem and leaf applied for livestockfood mixture, while the husk only becomes garbage (read: waste). The corn husk if tilled with creative tapped will produce functional and non-functional masterpieces which loaded with esthetic nuance, and the symbolic meaning. Even, can becomes pioneer in processing sector of the corn husk and mascot for Gorontalo.Manifestation of dressmaking masterpiece from this corn husks, is a moral responsibility and real contribution, as response to its problematic and dynamics.Visual materialization is crated in installation art which collaborated with fashion show. The beauty, potency of natural resources, and custom ceremony of Gorontalo bride becomes inspiration of creation of dressmaking and other visual artmasterpiece, and then entitled by “The Exotic of Agropolita”.Keywords: custom ceremony, corn husk, and modifi cation of cloth
EMPAT LAFADZ DZIKIR DAN MASJID SEBAGAI IDE PENCIPTAAN KALIGRAFI DALAM SENI KRIYA KULIT
No full textFour Lafads Inspiring Features to Create Calligraphy in LeatherCraft. Dzikir is believed to be a medium of calling and remembering Allah by articulating particular words or sentences as they were taught by Rasulullah. Dzikir is not only an effective means to bring about feelings of peacefulness and tranquillity, but also an inspiring source to create leather craft product. The underlying aspect of dzikir messages refl ected in the works of art is the spiritualpower of dzikir itself. It is expected that the messages may remind people to be always aware that they will always encounter some problems in life. The calligraphy presented as a work of art in the current project was created through a sequence of methods consisting of the exploration stage, design process, (alternative designs and selected one), and the production stage. The messages of dzikir were represented in the form of calligraphy with some modifi cation in Arabic which was subsequently applied in the form of a mosque. The calligraphy of dzikir and the mosque were created as a two-dimensional work of arts using teak wood, chrome and brass. It refl ects the greatness of Allah and the warmness of Baitullah. Through this creation, dzikir and mosque are manifested as a work of arts which is intended both to stir up the feeling of love to God and to maintain the harmonious relationship with human beings and other creatures in the world.Keywords : dzikir, mosque, and calligraph
POSTER HAK ASASI ANAK
No full textTalking about children world is always fun because there is innocence, cheerfulness, honesty, and a lot of hope. Since the future of our nation and country is on their shoulders. But, in everyday life, a lot of children cannot enjoy the beautiful “Garden of Eden”. Not only few children that are in fact fl ung away in the “sick world”. They have to live their days with pains, have no hope, and their rights are taken by force.On television and other various media, we can almost see and read everyday that children become violent victim in family (KDRT). The violent criminal can be the closest ones (father, mother, older brother/sister, uncle, aunty), and canbe also foreign people (in kidnapping case, children exploitation). The Law of Children’s Rights Protection seems to be powerless. The clauses that threaten the criminals do not make them frighten or deterred. Not all children of courseundergo bad experiences. There are still a lot of children who can grow and develop in conducive environment. They feel love as they should have and their basic rights are fulfi lled.By taking the subject of children world, and in purpose taking pictures of children world from two different sides as mentioned above, the aim of designing this poster is to remind, make society realize, especially them who care of children,to see the reality around us. In fact, there are a lot of children who need our hands, attention, and deserve our fightagainst some factors that take their rights by force.Through poster media with photographic approach, we can show the reality that will easily be understood by society. It is real photos that show the real condition so that they can convince and awaken those who see the photos.Keywords: Poster, Children’s right, and Photograph
FUNGSI ALAT MUSIK SULIM DALAM PESTA PERKAWINAN ADAT MASYARAKAT BATAK TOBA
No full textSulim is bambo fl ute of Batak Toba society, is one of many traditional music instrument of Batak Toba society. It must combine ceremony. This instruments be close to the Batak Toba people since Opera Batak ceremony by Tilhang OberlinGultom. After that, Batak Toba people always use the sulim on some of the traditional ceremony.There are three questions that need explanation thy are: (1) How is the chronology of traditional wedding ceremony of Batak society, (2) What is the function of sulim in the traditional mariage ceremony of Batak Toba society, and (3) Whythe Batak Toba people use the sulim in their traditional mariage, in this problem to be explain by multi diciplined approach. Resuld of this reseach aprove that traditional mariage ceremony performed closely by the people. Music ansambel with the sulim instruments after to accompanyitems of ceremony. Sulim as the main choise to accompany the ceremony because it has the register of note that longer than another instruments, for example hasapi, sarune etek, sarune bolon, and garantung; sulim has specific expression and style.Keyword: Suli
ARANSEMEN NICOLAI VARFOLOMEYEFF ATAS LAGU NYIUR HIJAU CIPTAAN MALADI: KAJIAN MUSIKOLOGIS
No full textNicolai Varfolomeyeffs arrangement on Maladi’s Nyiur Hijau is one of the products of this Russian musician since he resided in Indonesia during the national independence era. Maladi, who composed this song in 1945, was a nationalist fighter for national freedom, and he later became one of the ministers under Sukarno’s administration. The song of Nyiur Hijau is very popular in the community. As a national song, it is a cultural asset, which becomes a compulsory song in musical contests; it is sung in schools, college and universities; it is aregularly broadcasted by RRI and TVRI, and it was popular among the audience of musical concerts.Nicolai is very well know in the community, especially amongst the community of music educator, as a teacher of cello, a great composer, and a conductor.In fact, he was also very good at composing music, particularly of Russian style.Due to some political consideration at that time, however,he chose to arrange Indonesia songs only.That’s why he was better known for his arrangement ofsong such as: Kupinta Lagi, Ati Raja and Bengawan Solo. Asa graduate of the famous Moscow Conservatory, Nicolai was very talented and at arranging music to enhance the music’sbeauty.As a music teacher, orchestra, and the science of orchestraat SMIND/AMI (Sekolah Musik Indonesia/Akademi Musik Indonesia) in 1952-1970. He received an art award from the provincial government of Yogyakarta Special Province in 1993, although he had already passed away and he was buried in Sasana Laya Yogyakarta.His life in Yogyakarta was totally dedicated to teaching and developing Western music and upgrading Indonesia music.There are plenty of Nicolai’s works, but most of whose documents are missing. Apart from the fact that it is still played, Nyiur Hijau is selected as the object of this research because of several considerations, such as its existing score,its popularity, available resources, its creative arrangement, and the writer’s experience with the arrangement. Nicolai creativity was amazing when he worked on NyiurHijau, he was capable of illustrating various moods through the instruments, which ‘sing’ like human voice. This repertoire consist of orchestra and choir as a unity like a piece of symphony.Sound effect and voice in his arrangement can be imagined as Nicolai’s optimism, as a great musician whose ambition is to build Indonesia music to be equal to word-class music.Keywords: arrangement, creativit
MENCARI TELUR GARUDA Video Fitur Multi Kanal
No full textLooking for the Egg of Garuda: Multi Channel Video Feature. Republic of Indonesia proclaimed its independence on 17th August 1945. As an inde-pendent nation, the people of Indonesia considered the “Garuda Pancasila” – asymbolic eagle like bird standing for the state ideology named Pancasila - as theoffi cial symbol of the country.Ironically the history of that country symbol has never been noticed in thestate history. This is the question: why has such an important history never beendocumented by Indonesian historians? Whereas, the greatness of nations couldbe measured by how they could appreciate their history. Whilst, now more andmore, the meaning of Pancasila as the state principle is fading away, or manypeople begin forgetting its signifi cance.‘Looking for the egg of Garuda’ is an expression to metaphorise an effortto fi nd out where did our country symbol come from. Who were the people involvedin the designing process of Garuda as the state symbol.This video being displayed in a documentary feature format, tries to relivethat very moment in shape of “Wayang Suluk”, showed in multi-canal way asa new alternative to learn the history, in hope that this presentation can increasethe pride of , as well as affection to our motherland.Keywords: Garuda Pancasila, Important Historical, and Wayang Sulu
TAMANSARI MONGSO RENDHENG KARYA HENDRO MARTONO DAN BAGHAWAN CIPTONING KAJIAN KONSEP KOREOGRAFI LINGKUNGAN
No full textThe research is aimed to determine, examine, and analyze an Architectural Choreography of Hendro Martono and Baghawan Ciptoning’s Tamansari Mongso Rendheng (TMR) presented on 1 and 2 March 2003 in Tamansari Keraton Yogyakarta. Conceptual Study on Choreography of TMR is a qualitative research conducted on November – June 2006. Data collecting techniques employed in the research were interview, observation, documentary study, and literaturestudy. Interview was conducted by directly asking questions to choreographers, artists, educational workers watching TMR, and the society around Tamansari.Observation was conducted by directly observing the TMR. Documentary study was regularly conducted through video record of TMR. Literature Study was conducted by reading documents relating TMR and literature on choreography. Results of the research show that: First, TMR choreography is an architectural choreography resulted by movement and sound exploration in a room of old building offering new discourse in efforts to fi ll and to bring to life ancient architecture through cultural behavior. Choreographic concept of TMR was conducted by observing Tamansari and its environment through choreography not only as entertainment, but also choreography as multifunction not only a dance performance but also a learning model for history, architecture, tourism, culture, sociology, and modern transformation. Second, the creation process of TMR included: experiencing, comprehending, imagining, implementing, and giving forms. TMR is divided into eight presentations of each repertoire as follow: 1) Gapura Panggung: photographs exhibition, 2) Gedong Sekawan: keroncong music, Glass Srimpi, Flamenco, Waltz, fl ash of past period, Dagelan Parikeno, 3) Umbul Binangun: Srimpen Lelumban, 4) Pasarean Ledhoksari:the servant’s (abdi) activities in well, Kamasutra, and Ngadi Sarira, 5) Gapura Agung: Isen-isene Jagad, 6) Kampung Taman: real life of the society, 7) Sumur Gumuling: Donga Joged, and 8) Urung-urung: self-contemplation of the onlookers after enjoying TMR.Keywords: Choreography, Architectural, Tamansari Environment, and Mangsa Rendhen