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MEMOSISIKAN BAHASA RUPA VT SEBAGAI “PISAU ANALISIS” DAN “KONSEP BERKARYA” DALAM BIDANG SENI RUPA DAN DESAIN, DI ERA DISRUPSI Harto, Dwi Budi; Dharsono, Dharsono
Proceeding SENDI_U 2018: SEMINAR NASIONAL MULTI DISIPLIN ILMU DAN CALL FOR PAPERS
Publisher : Proceeding SENDI_U

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Disrupsi dapat diartikan kekacauan atau gangguan akibat perubahan era manual menuju digital. Dampak utama era disrupsi adalah pada dunia bisnis, namun bisa juga terjadi pada bidang lain, misalnya bidang SRD (Seni Rupa dan Desain). Bahasa rupa vT adalah salah satu terminologi keilmuan dalam kajian bidang SRD. Tujuan penelitian/penulisan ini adalah untuk memosisikan bahasa rupa vT sebagai “pisau analisis” dan sebagai “konsep berkarya” dalam kajian bidang SRD di era disrupsi. Metode/pendekatan penelitian yang digunakan adalah kualitatif dengan analisis model interaktif dan pendekatan analisisnya adalah metode kepustakaan dan kritik sumber, digunakan untuk mendiskripsikan hasil penelitian. Berdasarkan hasil penelitian ini dapat disimpulkan bahwa di era disrupsi ini bahasa rupa vT sebagai “pisau analisis” dan “konsep berkarya” diposisikan sebagai: (1) pijakan/dasar dalam menentukan keilmuan SRD yang sesuai dengan artefak/seni budaya Indonesia, dengan dasar pengalaman sejarah penjajahan ± 350 tahun oleh bangsa Barat; kompetitor dalam kekacauan persaingan bahasa kata dan bahasa rupa dunia, dengan andalan bahasa rupa tradisinya yang khas; (3) kompetitor dalam persaingan keilmuan SRD yang datang dari luar/Barat; dan (4) pioner bahkan bisa juga menjadi futurist dalam gagasan berkarya dan keilmuan SRD pada masa kini dan masa mendatang.

SOEGIJA BIOPIC FILM, POLITICAL AFIRMATION, AND POLITICAL IDENTITY: DECONSTRUCTION OF INDONESIAN HISTORIOGRAPHY Kartika, Bambang Aris; Prihatini, Nanik Sri; Hastanto, Sri; Dharsono, Dharsono
Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i1.3111

Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.

CREATION AND TRANSFORMATION OF BARONGAN LEMPUNG IN BLORA Muksin, Muksin; Dharsono, Dharsono; Hastanto, Sri; Damayanti, Nuning Y.
ARTISTIC : International Journal of Creation and Innovation Vol. 1 No. 1 (2020)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v1i1.2995

Barongan is a ritual medium in the rituals of the sacred traditional ceremonies. Its shape and character emit a scary and frightening aura. Children Blora make artificial barongan become barongan lempung as toys. This study focuses on the issue of transformation in the barongan lempung Blora. This study uses a qualitative approach with direct observation methods, interviews, artifact data and literature studies. Data analysis uses an interactive analysis approach. The results of the study showed that: (1) The existence of the mask barongan is in the heart’s of Blora people, has the form of a sacred, fierce and frightening, but its presence is always eagerly awaited by adults to children as entertainment; (2) the mask barongan gives a distinct impression in the hearts of children, so that barongan sacred inspires the emergence of barongan lempung (clay mask) as their toys; (3) The shape of the barongan lempung is created by imitating it directly from the original barongan.

CARNIVAL FASHION CREATIVITY AT MALANG FLOWER CARNIVAL (MFC) Sunandar, Agus; Dharsono, Dharsono
ARTISTIC : International Journal of Creation and Innovation Vol. 1 No. 1 (2020)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v1i1.2996

Malang Flower Carnaval (MFC) which has worldwide, the results of the creation of these activities have been staged in various countries in the world. MFC has successfully entered the COE (Calender of Event) of the Indonesian Ministry of Tourism 3 times. The existence of this event supports and strengthens the predicate of Malang City as a Creative City in Indonesia. This success is interesting to do a study of how the fashion creativity that has been created from the MFC. This study uses a qualitative approach specifically Roland Barthes's fashion function theory and Edmund Burke Feldman's function theory of art. The results of the study showed that the creativity of the carnival dress appeared in the visualization of the shape of hair such as temples, gold ornaments, ornamental elements, and body gestures that symbolized the beauty of local dance. In addition, the carnival costumes can be a representation of local culture as an idea of creation. Implementation of a fashion carnival can encourage community creativity which ultimately increases public welfare.

UTILIZATION OF STRAW IN FURNITURE DESIGN Dharsono, Dharsono; Sumarno, Sumarno; Dwi Atmaja, N.R. Ardi Candra
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 1 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i1.3413

Waste straw from rice harvesting in Indonesia, especially in the city of Solo and its surroundings, is very abundant and has not been utilized optimally yet. This is an economic potential if it is developed with furniture products which are the leading export products in the city. The purpose of this creation is (1) Utilization of straw rope as a material for supporting application in making furniture (2) Furniture products using wood and straw applications. To achieve the goal, it takes steps or methods of creating works by utilizing emic and ethical data, including: experimentation, contemplation, and formation. From the creative process, it produces: (1) quality straw gyres and is suitable for use as supporting applications in furniture products, (2) Furniture products with wood and straw rope applications that are tested and feasible to produce.

TRANSFORMATION OF TENGKULUK TANDUK WITH WEAVING TECHNIQUES Sari, Lidia Purnama; Akmal, Ahmad; Dharsono, Dharsono
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 1 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i1.3925

Tengkuluk is one of the traditional clothing equipment (head cover) of a Bundo Kanduang (biological mother) in the Minangkabau tribe. Currently tengkuluk is rarely used in everyday life, only used in traditional events or other official activities. This reality encourages the creation of this tengkuluk work to be carried out. The method of creating works used consists of three stages, namely experimentation, reflection, and formation. The result of the creation of this work shows that the tengkuluk made with woven techniques and pandan leaf material and decorated with Swarovski looks practical and flexible when used by mothers and teenagers in their daily lives. This new creation in the form of the Koto Gadang tengkuluk expresses the meaning of philosophical values, namely the responsibility of women when they have married.

PANCA WASTA TEACHINGS AS A SOURCE OF INSPIRATION CREATION FOR DHAPUR KRIS Nugroho, Haris Fajar; Dharsono, Dharsono
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 1 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i1.3931

Panca Wasta is a teaching at the level of family life which contains advice on values that elevate human position in personality, nobility, welfare and knowledge that must be possessed by a man (Javanese) in particular. The focus of the creation of the work is in the form of a kris blade which is inspired by the five elements of the Panca Wasta teachings which contain; wisma, turangga, kukila, curiga and wanita, using recycled metal. The purpose of the creation of this work is to create a dhapur kris blade using recycled metal with a metaphorical tinatah motif from the five elements of the panca wasta teachings. The creation of works uses an artistic creation approach, namely; experiment, contemplation and embodiment of works. The resulting work is a kris blade complete with warangka, hulu/jejeran/ukiran, mendhak, and pendok of Surakarta style. When the teachings of Panca Wasta are used as the concept of creating a kris, it shows that the work of a kris is quite interesting, has aesthetic beauty and full of philosophical values and meanings.

RICE STRAW FOR INTERIOR ELEMENTS OF A LOCAL “WEDANGAN” CULINARY BUSINESS IN SURAKARTA Sumarno, Sumarno; Dharsono, Dharsono; Dwi Atmaja, N.R. Ardi Candra
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 2 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i2.3999

Rice straw is abundant and inexpensive as post-harvest crop residue. Rice straw can be processed into a variety of products for interior space filling through creative efforts. This research seeks to empower farmers by utilizing rice straw as crop residue and to create natural-style products for the interior space-filling of a local culinary business (wedangan), as wedangan is a typical culinary business that is traditional, fast-growing, and trendy in Surakarta City and its surroundings. The design method is based on design thinking procedures, which include empathizing, defining, ideating, prototyping, and testing. Empathy for low-income farmers is expected to add value and profit through rice straw processing. Wedangan's interior space-filling products are designed around the kantong semar flower (Nepenthes sp.). The prototype (as a design embodiment) is developed in collaboration with the farmers. This type of experience is intended to serve as training and assistance. Product testing is conducted through market research and product application in wedangan interiors in this city. As a result, business managers and visitors alike appreciate interior space-filling products. Economically, this product development for interior space filling represents a viable business opportunity for farmers to pursue as a secondary occupation.

TRANSFORMASI ESTETIK SENI KRIYA; KELAHIRAN DAN KRIYA MASA KINI Zam, Riswel; Dharsono, Dharsono; Raharjo, Timbul
Gorga : Jurnal Seni Rupa Vol. 11 No. 2 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i2.36026

This paper discusses the aesthetic transformations in craft art. The discussion focuses on craft art as a form of socio and cultural bonding in the past that developed into a part of individual culture and a means of self-expression in the present. Studies are conducted on aesthetic components, such as the form, purpose, and expressive content found in crafts. To achieve the goals, studies in the form of qualitative research using cultural and artistic methods are employed. According to the research, craft art is ingrained in human life and has existed from prehistoric times to the present. The philosophy that guided the development of ancient crafts is founded on a metaphysical perspective, a charge of spiritual, religious, and magical principles that form works of high quality crafts and reflect the soul of their era. The philosophy that guided the development of ancient crafts is founded on a metaphysical perspective, a charge of spiritual, religious, and magical principles that form works of high quality crafts and reflect the soul of their era. Modern or contemporary craft art, which displays aesthetic inclinations as a result of the interaction and effect of freedom of expression, is currently referred to as art craft. The thought and philosophy of art also influenced the creation of crafts, by adapting of understanding Western™s fine art to the archipelago's cultural norms. These adaptations and acculturations make craft art a manifestation that is affected and reflects societal changes that occur in Indonesia or along with the soul of the times. Keywords: aesthetic transformation, art craft. AbstrakTulisan ini membahas transformasi estetik dalam seni kriya. Pembahasan difokuskan pada seni kriya sebagai ikatan sosio-kultural pada masa lampau yang berkembang ke dalam aspek individu-kultural sebagai media ekspresi personal pada saat ini. Kajian dilakukan terhadap unsur-unsur estetik yang meliputi bentuk, fungsi, dan muatan ekspresi yang terkandung dalam kriya. Untuk mencapai tujuan digunakan kajian berupa penelitian kualitatif melalui pendekatan kebudayaan dan pendekatan estetik. Temuan yang diperoleh adalah bahwa seni kriya melekat dan berjalan seiring dengan kehidupan manusia sejak masa prasejarah sampai sekarang. Penciptaan kriya masa lampau dilandasi oleh filosofi yang berorientasi pada pola pikir metafisis, muatan nilai-nilai spiritual, religius, dan magis yang menghasilkan karya-karya kriya adiluhung dan mencerminkan jiwa zamannya. Sementara seni kriya modern atau kontemporer menunjukkan kecenderungan estetik sebagai interaksi dan pengaruh kebebasan berekspresi, kriya ini dikenal dengan kriya seni. Pemikiran dan filsafat seni juga memberi pengaruh pada penciptaan kriya, dengan mengadopsi aliran-aliran seni rupa Barat yang disesuaikan dengan kebudayaan nusantara. Penyesuaian dan akulturasi tersebut menjadikan seni kriya sebagai manifestasi kesenian yang dipengaruhi serta mencerminkan perubahan-perubahan sosial yang terjadi di Indonesia atau seiring dengan jiwa zaman.Kata Kunci:transformasi estetik, seni kriya. Authors:Riswel Zam : Institut Seni Indonesia PadangpanjangDharsono : Institut Seni Indonesia SurakartaTimbul Raharjo : Institut Seni Indonesia Yogyakarta References:Adryamarthanio, V. (2022). Batik Pesisir: Sejarah, Ciri-ciri, dan Motif. https://kompas.com/stori/read/2022/04/27/090000579/batik-pesisir--sejarah-ciri-ciri--dan-motif (diakses tanggal 1 November 2022).Ahmad, A. S. E. (2021). Kritik Sejarah Batik Sidoarjo. Gorga¯: Jurnal Seni Rupa, 10(1), 137. https://doi.org/10.24114/gr.v10i1.24626.Burhan, M. A. (1999). Nilai Estetik dalam Seni Lukis di Indonesia. Jurnal Seni, ISI Yogyakarta., VI(3).Dharsono, D. (2016). Kreasi Artistik, Perjumpaan Tradisi Modern dalam Paradigma Kekaryaan Seni. Yogyakarta: Citra Sains.Dillistone, F. (2002). The Power of Symbols. Jakarta: Penerbit Kanisius.Feldman, E. B. (1967). Art As Image and Idea. USA: Prentice Hall.Gie, T. L. (2004). Filsafat Seni: Sebuah Pengantar. Yogyakarta: Pusat Belajar Ilmu Berguna.Guntur, G. (2021). Kriya Retro, Biutifikasi dan Legatimasi Artistik. Yogyakarta: Pusat Belajar Ilmu Berguna.Gustami, S. (2007). Butir-butir Mutiara Estetika Timur, Ide Dasar Penciptaan Seni Kriya Indonesia. Yogyakarta: Prasista.Joedawinata, A. (2001). Seni Kriya dan Desain di Lingkungan Perguruan Tinggi. Jurnal SR&D Fakultas Seni Rupa Dan Disain ITB, Bandung, 1.Junaedi, D. (2016). Estetika Subjek, Objek, dan Nilai. Yogyakarta: ArtCiv.Kamal, M. N. (2020). Kerajinan Perak Tinjauan Pada Proses Dan Makna Simbolis Ornamen Di Home Industry Di Koto Gadang. Gorga¯: Jurnal Seni Rupa, 9(2), 409. https://doi.org/10.24114/gr.v9i2.21229.Kartika, D. S. dan N. G. P. (2004). Pengantar Estetika. Yogyakarta: Rekayasa Sains.Marianto, M. D. (2011). Menempa Quanta Mengurai Seni. Yogyakarta: Badan Penerbit ISI Yogyakarta.Najoan,Stephanie Jill., J. C. M. (2011). Transformasi Sebagai Strategi Desain. Media Matrasain, 8(2), 117“130. https://doi.org/https://doi.org/10.35792/matrasain.v8i2.330Nugraha, A. (1999). Kriya Indonesia, Sebuah Wilayah Sumber Inspirasi Yang Tak Terbatas. Yogyakarta: Prasista.Ponimin, & Guntur. (2021). The COVID-19 War in Ceramic Arts: Navigating Aesthetic and Symbolic Expressions. Aisthesis. Pratiche, Linguaggi e Saperi Dell™estetico, 14(1), 81“99. https://doi.org/10.36253/aisthesis-12056.Raharjo, T. (2011). Seni Kriya dan Kerajinan. Yogyakartaa: Program Pascasarjana Institut Seni Indonesia Yogyakarta.Sakti, Z. (2017). Pengertian Unsur Estetika dan Unsur Ergonomis Produk Kerajinan. https://www.aelilmu.com/2017/09/pengertian-unsur-estetika-dan-unsur-ergonomis-produk-kerajinan-html (diakses tanggal 1 November 2022).Soedarso. (2006). Trilogi Seni; Penciptaan, Eksistensi, dan Kegunaan Seni (Cetakan Pe). Yogyakarta: BP ISI Yogyakarta.Strauss, A. dan J. C. (2007). Dasar-dasar Penelitian Kualitatif. Jakarta: Pustaka Pelajar.Sullivan, L. (1896). Number BY. Lippincott´s, 403“409.Sunarto, K. (2004). Pengantar Sosiologi (Revisi). Jakarta: Lembaga Penerbitan Fakultas Ekonomi Universitas Indonesia.Zam, R. (2006). Cerek dalam Ekspresi Kriya Logam. Yogyakarta: Institut Seni Indonesia Yogyakarta.Zam, R., & Ferawati, F. (2020). POTENSI DAN PELUANG PENGEMBANGAN KERAJINAN COR KUNINGAN SUNGAI PUAR DALAM ERA REVOLUSI INDUSTRI 4.0. Artchive: Indonesia Journal of Visual Art and Design, 1(1), 46. https://doi.org/10.53666/artchive.v1i1.1561.Zuhdi, B. M. (2010). PERKEMBANGAN KONSEP KRIYA. 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SOEGIJA BIOPIC FILM, POLITICAL AFIRMATION, AND POLITICAL IDENTITY: DECONSTRUCTION OF INDONESIAN HISTORIOGRAPHY Kartika, Bambang Aris; Prihatini, Nanik Sri; Hastanto, Sri; Dharsono, Dharsono
Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i1.3111

Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.

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