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All Journal Jurnal Sosioteknologi MUDRA Jurnal Seni Budaya Panggung Wimba: Jurnal Komunikasi Visual Jomantara International Journal of Art and Culture Panggung
Setiawan Sabana
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MANAGEMENT AND PATTERNS OF CULTURAL INHERITANCE IN INDONESIA Acep Iwan Saidi; Setiawan Sabana; Nia Kurniasih
Jurnal Sosioteknologi Vol. 16 No. 1 (2017)
Publisher : Fakultas Seni Rupa dan Desain ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/sostek.itbj.2017.16.1.5

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This study titled Management and Patterns of Cultural Inheritance in Indonesia puts Bali as the scope of area of this case study. To be more specific, the object of this study is limited to the phenomena that occur in relation to wood-based handicrafts as one of the activities which are based on creativity deemed most prominent among the Balinese community. The study was conducted using ethnography as a method of data collection, followed by a study based on the perspective of culture. This study has obtained some interesting findings, such as Balinese crafts was originally a creative effort of the community based on the integration of nature, culture, and religion. Unequal inheritance patterns in term of technical skills and insight deepening about the values established by the integration of the three elements of the craft has led the development of Balinese crafts towards the growth of the character of "craft workers", not a craft culture.
Ngabandungan Banda Indung Interpretasi Kepercayaan Masyarakat Sunda Rancakalong melalui Seni Visual Rini Maulina; Setiawan Sabana; Nuning Yanti Damayanti; Teddi Muhtadin
PANGGUNG Vol 30, No 2 (2020): Identitas Sosial Budaya dan Ekonomi Kreatif
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1007.355 KB) | DOI: 10.26742/panggung.v30i2.1204

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ABSTRACTIndung (mother) in Sundanese culture is not only meaningful as a mother who gives birth, but has a broadmeaning and contains motherhood. Sundanese people have a tradition of appreciating the indung, seenfrom the mention of the indung in Paribasa, Babasan, Carita Pantun, and mythology. The maternal natureof Sunan Ambu, Dayang Sumbi and Nyi Sri Pohaci, was placed in the highest position as a glorificationof the indung. The results of the study showed that the philosophy contained in the traditional ceremonyof Ngalaksa in Rancakalong, Sumedang, contains the meaning of broad indung, interpreted into the formof visual artwork “Ngabandungan Banda Indung”, based on the problem of interpretation the meaningof the mother in visual artwork has been limited to mothers who give birth. Using the Art Based Researchmethod, the creation of research-based artwork. Aimed at interpretation of the wider meaning of the landin the form of the depiction of the banda indung (mother’s wealth) such as rice plants, honje, Kawung,Kalapa, jagong, with the depiction of batik, using glass painting techniques.Keywords: Art Based Research, Banda Indung, Nyi Sri Pohaci, Rancakalong, Visual ArtABSTRAKIndung (ibu) dalam budaya Sunda tidak hanya bermakna sebagai ibu yang melahirkan, tapimemiliki makna yang luas dan mengandung sifat keibuan. Masyarakat Sunda memiliki tradisilebih menghargai indung, terlihat dari penyebutan indung pada paribasa, babasan, carita pantun,dan mitologi. Sifat keibuan terdapat pada Sunan Ambu, Dayang Sumbi, dan Nyi Sri Pohaci,ditempatkan pada posisi tertinggi sebagai pemuliaan indung. Hasil penelitian menunjukkanfalsafah yang terkandung dalam upacara adat Ngalaksa di Rancakalong, Sumedang,mengandung makna indung yang luas, diinterpretasikan ke dalam bentuk karya seni visualNgabandungan Banda Indung, berdasarkan permasalahan interpretasi terhadap makna ibu dalamkarya seni visual selama ini terbatas pada ibu yang melahirkan. Menggunakan metode ArtBased Research, penciptaan karya seni berbasis penelitian. Bertujuan sebagai interpretasi maknaindung yang lebih luas berupa penggambaran banda indung (kekayaan Ibu) seperti tanamanpadi, honje, kawung, kalapa, jagong, dengan penggambaran batik, menggunakan teknik lukiskaca.Kata Kunci: Art Based Research, Banda Indung, Nyi Sri Pohaci, Rancakalong, Seni Visual.
Seni Lukis Modern Bernafaskan Islam di Bandung 1970-2000an Agus Cahyana; Reiza D Dienaputra; Setiawan Sabana; Awaludin Nugraha
PANGGUNG Vol 30, No 1 (2020): Polisemi dalam Interpretasi Tradisi Kreatif
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2421.146 KB) | DOI: 10.26742/panggung.v30i1.1136

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ABSTRACTWriting the history of the development of modern Indonesian painting from thematic point of viewstill refers to importance events that compose the mainstream of contemporary art trends in Indonesiainfluenced by the West. While events that are no less important relating to the emergence of aesthetictendencies related to religion have been marginalized, especially in modern art with Islamic breath becomeimportant part in the history of the development of modern Indonesian painting, aesthetic approach toanalyze the visual elements present in the painting. The result of this study the development of modernIslamic art in Bandung shows that there are 4 period of development, the 70s, the 80s, the 90s, and 2000s.This division of time is based on thematic tendencies that emerge and became the main tendencies at eachtime.Keywords: Painting, modern, Islam, BandungABSTRAKPenulisan sejarah perkembangan seni lukis modern Indonesia dari sudut pandang tematik hinggasaat ini masih mengacu pada peristiwa penting yang menggubah arus utama kecenderunganseni rupa kontemporer di Indonesia yang dipengaruhi Barat. Sementara peristiwa yang tidakkalah penting berkaitan dengan munculnya kecenderungan estetik yang berkaitan denganagama menjadi terpinggirkan, khususnya dalam seni lukis modern bernafaskan Islam. Halitu yang menjadi latar belakang penelitian ini dilakukan dengan tujuan agar perkembanganseni lukis modern bernafaskan Islam menjadi bagian penting dalam sejarah perkembanganseni lukis modern Indonesia khususnya di kota Bandung. Penelitian ini menggunakan metodesejarah visual yang tentu melibatkan pendekatan estetik untuk menganalisis unsur-unsurrupa yang hadir dalam lukisan. Hasil dari penelitian ini perkembangan seni lukis modernbernafaskan Islam di kota Bandung secara tematik menunjukkan bahwa terdapat 4 periodeperkembangan, yaitu masa tahun 70-an, masa perkembangan di tahun 80-an, di tahun 90-andan tahun 2000-an. Pembagian masa ini berdasarkan kecenderungan tematik yang muncul danmenjadi kecenderungan utama pada tiap masa.Kata Kunci: Seni lukis, modern, Islam, Bandung
Revitalisasi Ragam Hias Batik Keraton Cirebon dalam Desain Baru Kreatif Komarudin Kudiya; Setiawan Sabana; Agus Sachari
PANGGUNG Vol 24, No 2 (2014): Modifikasi, Rekonstruksi, Revitalisasi, dan Visualisasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (521.699 KB) | DOI: 10.26742/panggung.v24i2.116

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ABSTRACT Respecting traditions of the nation, which is preserving a batik tradition. Cirebon is the region that has a rich cultural treasures batik varied. Given its development, with a variety of Cirebon Kraton, Kraton Batik Cirebon products nowadays have more characteristics, e.g.: (1) Kasepuhan Kraton on Singa Barong’s ornament; (2) Kanoman Kraton on Paksi Naga Liman’s ornament; (3) Kacirebonan Kraton on Bintulu’s ornament and (4) Kaprabonan on Dalung’s ornament and motif without pictures of animals.This research needs to exploring, discovering, and formulating design elements (ornament, mate- rial, and color). This study used ethnographic method and experimental visuals method for ornaments on Kraton Batik Kasepuhan, Kanoman, Kaprabonan, and Kacirebonan based on historical cultural influences from Hinduism, Islam, China, and Europe.As long batik owned by all Cirebon Kraton which is available during this condition can not be iden- tified and their physical condition is damage. Thus in order to preserving the old batiks, it is necessary to reproduce a creative new batik designs with any dimensional aspects. Keywords: Revitalization, Kraton Batik Cirebon, Creative,    ABSTRAK Dalam kerangka menghargai tradisi suatu bangsa, yaitu melestarikan sebuah tradisi di an- taranya berkarya batik, yang merupakan warisan budaya Indonesia. Cirebon adalah wilayah yang memiliki kekayaan khasanah budaya batik yang variatif, baik yang masih tetap ada hing- ga kini, maupun yang sudah punah. Mengingat di dalam perkembangannya, Keraton Cirebon dengan aneka produk Batik Keraton Cirebon kini terbagi dalam tiga keraton dan satu peguron yang mempunyai ciri khas, antara lain: (1) Keraton Kasepuhan pada ragam hias Singa Barong; (2) Keraton Kanoman pada ragam hias Paksi Naga Liman; (3) Keraton Kacirebonan pada ra- gam hias Bintulu; (4) Peguron Kaprabonan pada ragam hias Dalung dan motif tanpa gambar hewan.Perlu dilakukan penelitian untuk menggali, menemukan, dan memformulasikan khusus- nya unsur teraga (ragam hias termasuk di dalamnya corak, bahan, dan warna). Penelitian ini menggunakan metode etnografi dan eksperimen visual terhadap ragam hias Batik Keraton Kasepuhan, Kanoman, Keprabonan, dan Kacirebonan yang berlandaskan pada kesejarahan mulai dari pengaruh budaya Hindu, Islam, Cina, dan Eropa.Adapun batik-batik lama yang dimiliki oleh seluruh Keraton Cirebon yang ada selama ini kondisinya tidak bisa dikenali secara umum dan kondisi fisiknya sudah rapuh menuju kondisi rusak. Dengan demikian guna menjaga kelestarian batik-batik lama tersebut maka diperlukan penelitian agar bisa dibuat reproduksinya menjadi desain batik baru kreatif. Kata kunci: Revitalisasi, Batik Keraton Cirebon, Kreatif,
Film Indie “Tanda Tanya (?)”, Representasi Perlawanan, Pembebasan, dan Nilai Budaya Riksa Belasunda; Setiawan Sabana
PANGGUNG Vol 26, No 1 (2016): Nilai dan Identitas Seni Tradisi dalam Penguatan Budaya Bangsa
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (453.628 KB) | DOI: 10.26742/panggung.v26i1.161

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ABSTRACT The study was conducted in an effort to learn more about  the notion that indie film as a representation  of resistance  against restrictions as well as a representation  of liberation  and democratization  of post-reform  media. Aa well as an effort to find out more about  how the free interpretation   of audience’s  on the film’s text. The case study  conducted through  the research object  indie film “Tanda  Tanya (?)”.  A qualitative  research  approach  to cultural studies through  interdisciplinary   research  method hermeneutic  phenomenology with descriptive inter- pretative techniques. The film’s text is a representation  of resistance  on the socio-political condi- tion of the New Order  period are influenced  by: (a) reform euphoria that created  freedom; (b) the expression  of which is contrary to the narrative  of nation  hegemony; (c) circulation  of audio- visual media; (d) highlighted  the efforts  of local identity  and local-global dialectic.  In relation to the interpretation   of the text contained cultural values; radical relativity  and the plurality. Keywords: indie film, film’s text, resistance and liberation, cultural values     ABSTRAK Penelitian dilakukan sebagai upaya untuk mengetahui lebih jauh anggapan bahwa film indie sebagai representasi perlawanan atas pembatasan sekaligus sebagai representasi pembebasan dan demokratisasi media pasca reformasi. Juga sebagai upaya untuk mengetahui lebih jauh bagaimana interpretasi bebas penonton atas teks film. Studi kasus dilakukan lewat obyek penelitian film indie “Tanda Tanya (?)”. Merupakan penelitian kualitatif dengan pendekatan cultural studies melalui metode penelitian interdisiplin fenomenologi hermeneutik dengan teknik deskriptif interpretatif. Teks film ini merupakan representasi perlawanan atas kondisi sosial-politik masa Orde Baru yang dipengaruhi oleh: (a) euforia reformasi yang menciptakan kebebasan; (b) ekspresi yang bertentangan dengan narasi hegemoni negara; (c) sirkulasi media audio-visual; (d) upaya menonjolkan identitas lokal dan dialektika lokal-global. Dalam kaitannya dengan interpretasi teks terdapat nilai- nilai budaya; relativitas radikal dan nilai pluralitas. Kata kunci:  film indie, teks film, perlawanan dan pembebasan, nilai-nilai budaya
Ideologi Seni Rupa Indonesia Era 1990-an Pada Karya Tisna Sanjaya Anggiat Tornado; H. Dadang Suganda; Setiawan Sabana; H. Reiza D. Dienaputra
PANGGUNG Vol 24, No 2 (2014): Modifikasi, Rekonstruksi, Revitalisasi, dan Visualisasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (545.403 KB) | DOI: 10.26742/panggung.v24i2.111

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ABSTRACT The 1990s was the spirit of the New Art Movement undeniable as the embryo of the development of art in the 1990s. Fine art combining all the art that developed (sculpture, painting and printma- king and performance art) by some of the artists who eventually become aesthetic choice. This re- search used emic and etic, semiotic and hermeneutic approach. The research result describes Tisna Sanjaya ideology in the process of creative work tends to raise the issue in this case social critic.Tisna Sanjaya more knows from the source which was appointed to be the theme of his work. Installation art and performace art are an art form that is recognized by Tisna that can communicate directly with the people who were subjected to his art. Tisna Sanjaya as an artist who has the inclination and ideology, art as follows: a) Awareness of the problems though art can not reply on the matter then and there, because art takes time to find the answer. b) Representation of the things that happen to be reported continuously up through artpeople can catch from the issues that are and have happened. Keywords: Ideology,  Art in The 1990’s, Tisna Sanjaya  ABSTRAK Era 1990-an adalah semangat Gerakan Seni Rupa Baru yang tak dapat dipungkiri sebagai embrio dari perkembangan seni rupa 1990-an. Seni rupa yang memadukan seluruh seni yang berkembangh (antara seni patung, seni lukis dan seni grafis dan performance art) berkembang dan mendapat tem- pat oleh beberapa seniman yang akhirnya menjadi pilihan estetikanya. Penelitian ini menggunakan pendekatan hermeneutik, semiotik dan etik dan emik.Hasil penelitian memaparkan ideology Tisna Sanjaya dalam proses kerja kreatifnya cenderung mengangkat persoalan kritik sosial.. Tisna Sanjaya sebagai seniman yang memiliki kecenderungan dan memiliki ideologi,  seni sebagai berikut: a) Penyadaran terhadap persoalan walaupun seni tidak dapat menjawab dari persoalan tersebut saat itu juga , karena seni membutuhkan waktu untuk me- nemukan jawabannya. b) Representasi dari hal yang terjadi yang harus dikabarkan terus menerus hingga lewat seni orang dapat menangkap dari persoalan yang sedang dan pernah terjadi. Kata kunci: Ideologi, Seni Era 1990-an, Tisna Sanjaya 
Graffiti sebagai Pengisi Ruang Komunikasi Simbolik Seni Jalanan Masyarakat Urban Rudy Harjanto; Setiawan Sabana
PANGGUNG Vol 23, No 4 (2013): Membaca Tradisi Kreatif, Menelisik Ruang Transendental
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (274.23 KB) | DOI: 10.26742/panggung.v23i4.153

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ABSTRACT Public spaces in a city have become more vibrant with the presence of street art which displays colorful and interesting shapes. The concept of public spaces evolves, so does the acceptance of the people as part of the city landscape, and in turn creates a symbolic communication between the street artists and the urban society. The communication may offer new insights to the world of art in the context of space, and each art represents joy, courage, fear, and anxiety arising from the graffiti art- ists. Artists conception to the world of street art, space and text influence each other, despite at some level they are all independent and separated. Street art is not only a masterpiece that explores form or ornamental coloring, but it is an integral part of a city. Every street art carries a theme through which to interact, and creates a medium to communicate symbolically. The visual and physical form of street art has become an entity to communicate about a variety of topics, including social criticism with various packages of thematic, symbolic, and politic visuals as well as entertaining (recreative) thus art in the context of street life has a wider potential. Keywords: space, street art, and communication  ABSTRAK Ruang-ruang publik di kota lebih semarak dengan kehadiran karya-karya seni jalanan yang menampilkan keindahan visual. Konsep ruang-ruang kota berkembang dan peneri- maan masyarakat berubah dengan mencerminkan terciptanya komunikasi simbolik antara perupa jalanan   dengan masyarakat kota. Pemahaman fenomena komunikasi visual ini dapat menawarkan wawasan lain bahwa dunia kesenian dalam konteks ruang, masing- masing memiliki sifat keriangan, keberanian, ketakutan, dan kecemasan yang ditimbul- kan dari seniman graffiti. Konsepsi perupa jalanan tentang dunia kesenian, ruang, dan teks memberikan pengaruh satu sama lain, meskipun pada tingkat tertentu: ketiganya berdiri sendiri-sendiri dan terpisah. Seni jalanan ini tidak hanya sekadar karya yang mengete- ngahkan  representasi bentuk, ornamen pewarnaan, namun menjadi bagian dari sebuah kota. Seni jalanan menorehkan tema-tema yang menjadi sarana untuk saling berinteraksi, dan seni jalanan menjadi sarana untuk saling berkomunikasi secara simbolik. Visualitas dan bentuk fisik karya seni jalanan menjadi penanda entitas dalam berkomunikasi dengan berbagai topik, termasuk kritik sosial dengan berbagai kemasan visual tematis, simbolis, politis sekaligus menghibur (rekreatif), sehingga seni dalam konteks kehidupan di jalanan memiliki potensi yang lebih luas. Kata kunci: ruang, seni jalanan, dan komunikasi
Pemanfaatan Imaji Bali Dari Instagram Sebagai Metode Berkarya Seni Rupa Bertemakan Identitas Willy Himawan; Setiawan Sabana
PANGGUNG Vol 27, No 1 (2017): Pergeseran Dimensi Estetik dalam Teknik, Pragmatik, Filsafat, dan Imagi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1360.825 KB) | DOI: 10.26742/panggung.v27i1.238

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AbstrakPraktek penciptaan karya seni rupa pada dasarnya memiliki regularitas yang didasari oleh common sense (nalar wajar), dalam proses permulaan, produksi hingga apresiasinya. Dalam sejarah Seni Rupa Indonesia, persoalan itu hadir oleh karena suatu prinsip yang disebutnya sebagai prinsip modernism. Modernisasi yang terjadi di Bali melalui pengaruh orang-orang barat dan utamanya perkembangan pariwisata telah menstrukturkan Bali pada identifikasi tentang tempat yang khas dengan budaya kehidupan sehari-hari masyarakatnya, panorama alam serta suasana mistis-eksotis yang selalu menginspirasi.Penelitian ini melihat pemanfaatan identifikasi tentang Bali, melalui imaji-imaji yang terdapat dalam media sosial Instagram,pada praktek penciptaan karya seni rupa dengan menggunakan nalar wajar yang ditawarkan oleh metodologi visual.Pemanfaatan imaji-imaji tentang Bali yang terdapat pada Instagram telah menggeser situs produksi yang akan menimbulkan makna-makna baru, namun tidak menghilangkan makna-makna dan konteks yang sebelumnya melekat padanya.Kata kunci: bali, identitas, imaji, praktek penciptaan, metodologi visualAbstractThe led-practice of art basically have a regularity that is based on the common sense, on the beginning of the process, the production and its appreciation. In the history of Indonesian Arts, this issue is present because of the principle of modernism. Modernization is happening in Bali through the influence of the western and main tourism development that structured Bali on the identification on the images of distinctive culture with unique daily life, natural scenery and mystical-exotic atmosphere that always inspire.This research looked at the use of the identification of Bali, through the images contained in Instagram, the led-practice sensed by visual methodology. The Application of images of Bali contained in Instagram has shifted production sites which will give inflict to new meanings, but it does not eliminate the meanings and contexts that were previously attached to it.Keywords: bali, identity, images, led-practice, visual methodology 
Urban Screen pada Ruang Publik: Media Interaksi Kreatif dalam Meningkatkan Makna Tempat Litta Primasari; Setiawan Sabana
Wimba : Jurnal Komunikasi Visual Vol. 2 No. 1 (2010)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3653.009 KB) | DOI: 10.5614/jkvw.2010.2.1.5

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Urban screen is a new media screen that performs on the public space. Its existence isnot only enriches the visual landscape of public space, it also indirectly creating public participation both passive and active. If properly created, urban screens can produce relational space that useful to increase the meaning of place. The emergence of relation between physical space and virtual space, material and immaterial, dynamic and static, and between public and private interests will produce the augmented place. The Augmented place will continually create a new different place from we have known. The existences of new media screen may inspire the public to interact among people and people with the place and in the end creates engagement with the place. This paper contributes to inspire the urban planners to increase the meaning of the place in the city of space which have decreased in space quality and provide motivation for the artists to build interaction between art work and public sphere. This paper will focuses on the emergence of relational space in the form of public response to the urban screen.
Study of the Form and Meaning of the Nawa Gapura Marga Raja as an Artefact of the Cirebon Cultural Community: Form and Meaning Nawa Gapura Marga Raja Fadhly . Abdillah; Setiawan Sabana; Imam Santosa
JOMANTARA Vol. 1 No. 2 (2021): Vol. 1 No. 2 July 2021
Publisher : Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (844.116 KB) | DOI: 10.23969/jijac.v1i2.4371

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A work of traditional culture by the geniuses of Cirebon's past, named Nawa Gapura Marga Raja, is one of the historical buildings that are still sacred. There are 9 doors or gates, each of which is gathered in one area of ​​the building. The form and meaning of the number of gates for the author is a very interesting phenomenon to study, its relation to cultural expressions that allow so many symbolic values ​​to be interpreted. This study of form and meaning aims to analyze and gain knowledge related to the form and visual meaning of the gates in this building. To find out the meaning of the physical form of Nawa Gapura Marga Raja, this study uses an art criticism approach from Edmund Burke Feldman with the visual narration method of Gerard Genette. In the process, the research goes through the following stages; literature study, observation, and conducting interviews with related parties. From the results of the analysis, it is understood that the structure of the form and layout of the building is heavily influenced by the spatial concept of primordial culture mixed with a new culture, so that it represents a myth, also has meanings that are closely related to religious teachings, culture and leadership values. Keywords: form, art criticism, visual narrative, meaning, nawa gapura marga raja
Co-Authors Abdillah, Fadhly Acep Iwan Saidi Agus Cahyana Agus Sachari Anggiat Tornado Awaludin Nugraha H. Dadang Suganda Imam Santosa Ira Adriati Kiky Rizky Soetisna Putri Komarudin Kudiya, Komarudin Litta Primasari Maulina, Rini Mohamad Zaini Alif NIA KURNIASIH Nuning Yanti Damayanti Reiza D. Dienaputra Riksa Belasunda Rini Maulina Rudy Harjanto Teddi Muhtadin Tjutju Widjaja Willy Himawan