Article Per Year (5 Year)
p-Index From 2020 - 2025
2.459
P-Index
This Author published in this journals
All Journal Harmonia: Journal of Research and Education Jurnal Antropologi: Isu-Isu Sosial budaya MUDRA Jurnal Seni Budaya Jurnal Obsesi: Jurnal Pendidikan Anak Usia Dini Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Jantra Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences Jurnal Kajian Seni
Yasin Surya Wijaya
Unknown Affiliation
Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences Other

Published : 14 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 14 Documents
Search

 1   2 
Javanese Cultural Paradoxism: A Visual Semiotics Study on Wayang Purwa Characters of Satria and Raseksa Figures Subiyantoro, Slamet; Kristiani, Kristiani; Wijaya, Yasin Surya
Harmonia: Journal of Arts Research and Education Vol 20, No 1 (2020): June 2020
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v20i1.23838

Abstract

This study aims to explore the paradoxical character values on visual semiotics wayang purwa of Raseksa and Satria profiles. Satria and Raseksa figures were selected using a purposive sampling technique, through wayang Pandavas and Kuravas. The study was designed with qualitative research approach; the data were collected using the techniques of interviews, observation, and document analysis. The data were analyzed following the steps of data reduction, data display, and verification. The results of the research revealed that in wayang, the Raseksa and Satria figures represent a paradoxical representation of both the external structure and the inner structure. The outer structure is in the form of wayang purwa visual elements, which turns out to be the opposite shape from both Pandavas and Kuravas figures. The inner structure is more about the inseparable meaning and value from the outer structure. In semiotics, the visual element (outer structure) of Pandavas and Kuravas figures can be represented or interpreted based on their values and meanings (inner structure) in addition to show a conflict of meaning. The paradoxical cultural value in Javanese culture is essentially learning experienced-based humanity values manifested through puppet characters. This is exemplified by the Islamic example of the Prophet Muhammad and its mandatory and impossible natures.  The wayang Satria may represent the obligatory nature (good character), and wayang Raseksa represent the impossible (bad character) of humans.
Nilai Karakter pada Struktur Simbolis Visual Topeng Panji Gaya Yogyakarta Yasin Surya Wijaya
Gelar : Jurnal Seni Budaya Vol 18, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v18i1.2772

Abstract

Penelitian ini bertujuan untuk mengetahui simbolisme visual dalam topeng panji gaya Yogyakarta dan nilai karakter yang terkandung di dalamnya. Pendekatan penelitian digunakan pendekatan kualitatif dengan teknik pengumpulan data yaitu wawancara, observasi, dan analisis dokumen. Penelitian dilakukan di Desa Bobung, Gunung Kidul, Yogyakarta dengan objek penelitian topeng Panji dan subjek penelitian pengrajin dan pelestari topeng. Uji keabsahan data digunakan teknik triangulasi sumber dan review informan. Data dianalisis menggunakan teknik interaktif dengan langkah reduksi data, display data, dan verifikasi. Hasil penelitian menunjukan, (1) topeng panji gaya Yogyakarta tersusun atas simbolis visual yaitu jamang rujen, jamang rujen buto, jamang sada sakler, alis nanggal sepisan, alis menjangan ranggah, mata leyepan, mata kedhelen, mata thelengan, hidung walimiring, hidung pangotan, mulut prengesan, warna putih, hijau, merah, dan kuning dimana kesemua simbol tersebut adalah stilasi dari bentuk benda-benda alam. (2) Simbolis visual topeng panji terkandung nilai karakter yaitu ksatria, handal, waspada, kesatria namun jahat, kesederhanaan, kuat, gagah, halus, jujur, sabar, pemberani, tangkas, tangguh, pantang menyerah, protagonis, kasar, bijaksana, murah senyum, kesucian, kesetiaan, kesuburan, kedamaian, angkara murka, jahat, ceria, dan satria.
Cultural Enculturization in the Art of Masks: A Case Study of the Industrial Enterprise of Batik Kayu, Bobung, Patuk, Gunung Kidul, Yogyakarta Slamet Subiyantoro; Pujiyono Pujiyono; Kristiani Kristiani; Dwi Maryono; Yasin Surya Wijaya
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 3, No 4 (2020): Budapest International Research and Critics Institute November
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v3i4.1400

Abstract

This study aims to explore the process of enculturation of mask art with a case study in the wooden batik (batik Kayu) enterprise of Bobung Village, Patuk, Gunung Kidul, Yogyakarta. This study method uses a netnographic approach, which in principle is the same as classical ethnography, except that netnography uses the internet as a research media. The data were sourced from informants, places & events, and documents or archives. Data from informants were collected using in-depth online interviews. Place and event data were collected using online participatory observation techniques. In addition, the source documents or archives were collected using data analysis techniques or literature studies on relevant online data. The validity of the data was tested by using informant review techniques and source triangulation. Data were analyzed using flow techniques with data reduction, display, and verification procedures. The results of the study show that the process of enculturation or culture of mask art, both classic masks and creative masks (batik Kayu), is carried out informally (family environment), non-formal (community, UKM, and studio), and formal (learning in schools). This enculturation process is carried out from generation to generation, when the mask is still a classic mask (Panji mask) until the mask develops into a superior product with economic and tourism value as it is today (Creative Mask). The art of batik and classical masks has become the identity of the people of Bobung Village, Gunung Kidul, who have undergone changes in form, function and meaning during the enculturation process from previous generations to the next.
Tracing the Traces of Roman Panji & Its Influence on Mask Art in Bobung, Yogyakarta, Indonesia Slamet Subiyantoro; Susilaningsih Susilaningsih; Favorita Kurwidaria; Dimas Fahrudin; Yasin Surya Wijaya
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 4, No 4 (2021): Budapest International Research and Critics Institute November
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v4i4.3117

Abstract

This study aims to explore the history of the journey of the Panji story and find out its influence on mask art in Bobung, Gunung Kidul, Yogyakarta. This study uses a qualitative descriptive approach with a historical perspective. Data sourced from informants, places & events, and documents/archives collected using in-depth interviews, participatory observation, and content analysis techniques. The validity of the data was tested with the technique of reviewing informants and triangulation of data sources. Data were analyzed using an interactive model consisting of data reduction procedures, data display, and verification or drawing conclusions. The results of the study show that Roman Panji became the original hero of the archipelago, especially Java, which experienced a peak of popularity during the golden age of the Majapahit Kingdom, namely the middle of the VIII century. Panji became a novel that spread widely covering the archipelago to Southeast Asia. The end of the VIII century until the XV century Panji Mask became a popular show where King Hayam Wuruk was famous as a mask dancer and the main dancer in racket performances. Wayang Beber is a wayang art which in the show brings the story of Panji. Wayang Beber art is in Pacitan, East Java, but also in Karangmojo, Gunung Kidul Yogyakarta. Mbah Karso was the first mask master who was influenced by the Panji story and created the masks that still exist and thrive in Bobung, Gunung Kidul, Yogyakarta. In the current era, Panji Masks have been commodified into handicraft products with economic and tourism value.
Topeng Panji Profil Satria, Raksasa, Dan Dewi Sebagai Sumber Rekonstruksi Pendidikan Karakter: Kajian Semiotika Rupa Slamet Subiyantoro; Pujiono Pujiono; Kristiani Kristiani; Dwi Maryono; Yasin Surya Wijaya
Jantra. Vol 15 No 1 (2020): Juni
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52829/jantra.v15i1.127

Abstract

Panji masks represent faces of figures in the Panji legend. This study is focused on exploring the values of character education in Panji mask structure of knights, giants, and ladies characters from Semiotics perspective as a source of character education reconstruction. The study was conducted descriptively and qualitatively. Data in the from of information were obtained from key informants, places or events, and documents or archives related to Panji Mask. The data were collected through indepth interview techniques, participatory observation, and analysis of documents or archives. The data validity was tested by source triangulation and review informant techniques.The data were analyzed by an interactive analysis model consisting of three stages: data reduction, data presentation, and data verification. The result of the study shows that in the Panji Mask structure of knights, giants, and ladies characters reflect excellent character education values to reconstruct the nation character. This study is important and beneficial as the results suggested by the research might be contributive for the nation character building completing the other researches’ result which mainly focus on Panji Mask in performing arts.
Peranan Perempuan Dibalik Eksistensi Topeng Klasik dan Kreasi Yang Mendunia: Studi Kasus Desa Wisata Budaya Bobung, Gunung Kidul, Yogyakarta Slamet Subiyantoro; Mulyanto Mulyanto; Yasin Surya Wijaya
Jantra. Vol 15 No 2 (2020): Desember
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52829/jantra.v15i2.138

Abstract

Tujuan dari penelitian ini adalah untuk menjelaskan peranan perempuan dibalik eksistensi topeng klasik dan topeng kreasi yang mendunia. Kajian ini adalah penelitian kualitatif deskriptif dengan pendekatan studi kasus yang dilakukan di desa wisata budaya Bobung, Gunung Kidul, Yogyakarta. Data bersumber dari informan, tempat & peristiwa, dan dokumen/arsip yang dikumpulkan dengan teknik wawancara mendalam, observasi partisipatif, dan analisis dokumen atau arsip. Keabsahan data diuji dengan teknik triangulasi sumber dan review informan. Analisis data digunakan teknik analisis interaktif dengan prosedur reduksi, display, dan verifikasi. Hasil penelitian menunjukan bahwaperempuan memiliki peranan besar dibalik eksistensi seni topeng klasik dan kreasi yang telah dikenal masyarakatdunia. Peranan ditunjukkan dari kiprah mereka dalam penciptaan topeng dan pertunjukan tari topeng. Peran perempuan lebih pada hal-hal sifatnya lembut dan rumit yang memerlukan tingkat kecermatan, kesabaran, ketelatenan, keuletan, dan rasa yang tinggi.
Kajian Nilai Pendidikan Karakter dalam Simbolisme Visual Topeng Panji & Relevansinya pada Pembelajaran Apresiasi Seni Rupa di SMA Yasin Surya Wijaya; Slamet Subiyantoro; Lili Hartono
Jurnal Kajian Seni Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1373.533 KB) | DOI: 10.22146/jksks.41883

Abstract

Tujuan penelitian ini adalah ingin menjelaskan nilai pendidikan karakter dalam simbolisme visual topeng Panji dan relevansinya dalam pembelajaran apresiasi seni rupa di SMA. Penelitian menggunakan pendekatan penelitian kualitatif. Teknik pengumpulan data yang digunakan wawancara, observasi, dan analisis dokumen pada koleksi museum, koleksi pengrajin, dan sumber pustaka lain. Data dianalisis dengan langkah reduksi data, display data, dan verifikasi. Hasil penelitian menunjukan bahwa topeng Panji memiliki banyak simbolisme visual dari beberapa tokoh. Simbol-simbol yang ditemukan yaitu bentuk jamang, alis, mata, hidung, mulut, dan warna wajah topeng. Masing-masing simbol memiliki nilai pendidikan karakter. Nilai pendidikan karakter yang telah ditemukan relevan dalam Kurikulum 2013 yang berbasis karakter dan kompetensi. Dilain sisi, topeng panji dapat digunakan sebagai materi ajar dalam pembelajaran apresiasi seni rupa di SMA. Siswa dapat mengevaluasi dan mendiskripsikan sejarah, unsur seni, bentuk, dan makna topeng. Terdapat dua manfaat, pertama siswa tahu tentang seni rupa tradisi, dan kedua siswa memiliki karakter yang baik melalui hasil dari pembelajaran tersebut.
Esensi Manusia sebagai Makhluk Berseni dan Beragama Yasin Surya Wijaya; Samsul Maarif
Jurnal Kajian Seni Vol 7, No 2 (2021): Jurnal Kajian Seni Vol 7 No 2 April 2021
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3090.236 KB) | DOI: 10.22146/jksks.64209

Abstract

AbstractThis study is motivated by the gap between the disciplines of art and religion, which are generally considered separate and inseparable. This paper intends to prove that art and religion are actually complementary disciplines and humans cannot be separated between the two. This study aims to explain how the essence of human as a creature is religious, artistic, and religious also artistic at the same time. This study used qualitative research methods with informant data sources, places & events, and documents or archives. Data were collected using in-depth interviews, participatory observation, and document analysis. Interviews were aimed at 6 different religious figures from the IMP organization (Indonesia Merayakan Perbedaan), namely Islam, Christianity, Catholicism, Hinduism, Buddhism, and Believers. Observations are aimed at human activities of various religions in religion and art which are carried out offline and online. Document analysis is aimed at extracting data from books, journals and other literature. The validity of the data was tested by source triangulation and informant review techniques. Data were analyzed using interactive analysis techniques with data reduction, display, and verification procedures. The results of the study show that humans are actually creative creatures so that the emergence of religion and art cannot be separated from human creativity in seeking true truth. Humans have institutionalized religion while not for art, so that art and religion are not really to be contested. Artwork and religious worship are manifestations of the truth as a result of human reflection. The conclusion is that art and religion are institutions that are inseparable and complementary, which are essential for humans. AbstrakKajian ini dilatarbelakangi oleh adanya kesenjangan antara lembaga seni dan agama yang umumnya dianggap terpisah dan tidak dapat disatukan. Tulisan ini hendak membuktikan bahwa sejatinya seni dan agama menjadi disiplin yang saling melengkapi dan manusia tidak bisa lepas antara keduanya. Kajian ini bertujuan untuk menjelaskan bagaimana esensi manusia sebagai makhluk beragama, berseni, dan beragama sekaligus berseni. Kajian ini menggunakan metode penelitian kualitatif dengan sumber data informan, tempat & peristiwa, dan dokumen atau arsip. Data dikumpulkan dengan teknik wawancara mendalam, observasi partisipatif, dan analisis dokumen. Wawancara ditujukan pada 6 tokoh agama berbeda dari organisasi (IMP) Indonesia Merayakan Perbedaan yaitu Islam, Kristen, Katolik, Hindu, Budha, dan Penghayat Kepercayaan. Observasi ditujukan pada aktifitas manusia dari berbagai agama dalam beragama dan berseni yang dilakukan secara offline maupun online. Analisis dokumen ditujukan untuk mengali data yang bersumber dari buku, jurnal, dan literatur lainya. Keabsahan data diuji dengan teknik triangulasi sumber dan review informan. Data dianalisis dengan teknik analisis interaktif dengan prosedur reduksi data, display, dan verifikasi. Hasil kajian menunjukan bahwa manusia sejatinya adalah makhluk kreatif sehingga munculnya agama dan seni tidak lepas dari kreativitas manusia dalam upaya mencari kebenaran sejati. Manusia telah melembagakan agama sedangkan tidak untuk seni, sehingga seni dan agama sejatinya tidak untuk dipertentangkan. Karya seni dan ibadah agama merupakan manifestasi kebenaran hasil renungan manusia. Kesimpulanya adalah bahwa seni dan agama menjadi lembaga yang keduanya tidak dapat dipisahkan dan saling melengkapi juga dibutuhkan manusia secara esensial.
Commodification and Authenticity of the Panji Bobung Mask Traditional Art In Putat Tourism Village Slamet Subiyantoro; Kristiani Kristiani; Dwi Maryono; Dimas Fahrudin; Yasin Surya Wijaya
Jurnal Antropologi: Isu-Isu Sosial Budaya Vol 24, No 2 (2022): (December)
Publisher : Universitas Andalas

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25077/jantro.v24.n2.p232-240.2022

Abstract

Panji has evolved into a well-known folklore and an art form that provides a source of income for its conservationists. The purpose of this research is to examine the commodification and authenticity of Topeng Panji art in Bobung as an effort to face the era of globalization and localize the nation's cultural arts. The research was conducted in Bobung, Putat, Patuk, Gunung Kidul, Yogyakarta. This study uses a qualitative descriptive approach with a single case strategy. Data is sourced from informants, venues and documents/archives collected with in-depth interview techniques, participatory observations, and content analysis. The validity of the data is tested by source triangulation techniques and informant reviews. Data analysis is conducted with interactive analysis models with data reduction, data display, and verification procedures. The results of this study show that the Commodification of Topeng Panji is based on the increasing and complex needs of the community where the source of income from agriculture and plantations is not enough. The authenticity or art of Topeng Panji tradition in Bobung is maintained by the community by introducing it to the younger generation from an early age.
Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and Gagahan Profiles in Bobung, Yogyakarta Wijaya, Yasin Surya; Tjahyadi, Sindung; Yulianto, Vissia Ita
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v22i2.37093

Abstract

This study focuses on Panji masks in Bobung, Yogyakarta region. The study aims to explain the shape, meaning, and paradoxical aesthetic value in the visual form of panji masks focused on alusan and gagahan profiles. A qualitative approach with a multiple-case strategy conducted in the research. Data sources derived from documents/archives, informants, and places/events collected by document analysis techniques, in-depth interviews, and participatory observation. Data validity was tested by data sources triangulation and review informants. Interactive techniques with data reduction procedures, data display, and data verification analyzed data. The results show that the structure of the panji mask in Bobung was composed of visual forms which contained philosophical meanings. The shape and meaning of the Bobung panji masks in Alusan and Gagahan profiles contain an aesthetic value that is dualistic antagonistic (paradoxical). The panji masks in Bobung contain paradoxical aesthetic values in two patterns, three patterns, four patterns, and five patterns. The conclusion is that the visual form of Panji masks in Bobung, Yogyakarta, is structured by paradoxical aesthetic value.
Co-Authors Dimas Fahrudin Dimas Fahrudin Dwi Maryono Dwi Maryono Dwi Maryono Hartono, Lili Kristiani Kristiani Kristiani Kristiani Lili Hartono Mulyanto Mulyanto Mulyanto Pujiono Pujiono Pujiyono Pujiyono Samsul Maarif Samsul Maarif Sindung Tjahyadi Slamet Subiyantoro Slamet Subiyantoro Slamet Subiyantoro Susilaningsih Susilaningsih Yulianto, Vissia Ita