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All Journal Humaniora Nirmana Ars: Jurnal Seni Rupa dan Desain FENOMEN Journal of Urban Society´s Arts Journal of Contemporary Indonesian Art Journal of Visual Art and Design ANDHARUPA IJCAS (International Journal of Creative and Arts Studies) IJIET (International Journal of Indonesian Education and Teaching) MUDRA Jurnal Seni Budaya Gondang: Jurnal Seni dan Budaya PRODUCTUM : Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Capture : Jurnal Seni Media Rekam Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Humaniora International Journal of Visual and Performing Arts PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Aksara: Jurnal Ilmu Pendidikan Nonformal Visual Heritage: Jurnal Kreasi Seni dan Budaya Jurnal Senirupa Warna (JSRW) ARTISTIC : International Journal of Creation and Innovation Jurnal Kajian Seni Sanggitarupa Aksa : Jurnal Desain Komunikasi Visual Cilpa : Jurnal Ilmiah Pendidikan Seni Rupa Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Student Research Journal
M. Dwi Marianto
Institut Seni Indonesia Yogyakarta
Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences Other

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Exploring Self-existence through RajutKejut Craftivism: A case study in Penjaringan Forest, Jakarta Sari Wulandari; Guntur Guntur; Martinus Dwi Marianto
IJCAS (International Journal of Creative and Arts Studies) Vol 7, No 2 (2020): Desember 2020
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v7i2.4653

Abstract

RajutKejut is a knitting community in Jakarta, Indonesia, that has been doing yarnbombing activities since 2014. In 2019, Jakarta Arts Council invited RajutKejut to collaborate with Kampung Air Baja residents in Penjaringan, North Jakarta, in a program called Young Curator Class: Titik Temu Gembira. The program combines forces between RajutKejut and urban village residents to explore life from a different perspective, specifically through art activism. This program’s spirit helps residents have joyful independent lives with dignity through art that encourages life’s passion. The RajutKejut Community shares its knowledge with residents on making necklaces from threads for their dance costumes. This research discusses how RajutKejut brings forward the passion of life through art activism. This research uses Alyce McGovern’s Craftivism method, which dissects craftivism in personal, community, and political aspects. It shows the relation of art to the residents, how art can influence and raise an individual’s potential. The community aspect shows the relation of art and the residents and how art can restore the spirit of togetherness and cooperation. On the political aspect, the art facilitates statements of empowerment from the residents. Through RajutKejut craftivism, the residents have the social capital to help them catch their breath for a while, stop their routines for a moment, and allow them to feel their existence as human beings who have expressions and feelings. Eksplorasi Eksistensi Diri melalui Kraftivisme RajutKejut: Studi Kasus di Hutan Penjaringan, Jakarta ABSTRAK RajutKejut adalah komunitas merajut di Jakarta, Indonesia yang telah melakukan kegiatan ‘bom-benang’ sejak tahun 2014. Pada tahun 2019, Dewan Kesenian Jakarta mengundang RajutKejut untuk berkolaborasi dengan warga Kampung Air Baja di Penjaringan, Jakarta Utara, dalam program Kelas Kurator Muda: Titik Temu Gembira. Program tersebut menggabungkan potensi komunitas RajutKejut dan warga kampung kota untuk mengeksplorasi kehidupan melalui perspektif yang berbeda, khususnya lewat aktivisme seni. Semangat program ini adalah membantu warga untuk memiliki kehidupan mandiri yang menyenangkan dan bermartabat, melalui seni yang mendorong gairah hidup. Komunitas RajutKejut berbagi pengetahuan kepada warga kampung kota, cara membuat kalung dari benang untuk kostum tari mereka. Penelitian ini membahas bagaimana RajutKejut mendorong gairah hidup melalui aktivisme seni. Penelitian ini menggunakan metode Craftivism Alyce McGovern, yang membedah craftivism dalam aspek personal, komunitas, dan politik. Penelitian menunjukkan relasi seni dengan warga kampung, bagaimana seni dapat mempengaruhi dan meningkatkan potensi individu. Dalam aspek komunitas, menunjukkan bagaimana seni berelasi dengan masyarakat dapat mengembalikan semangat kebersamaan dan kerjasama. Pada aspek politik, kesenian memfasilitasi pernyataan pemberdayaan dari warga kampung. Melalui kraftivisme RajutKejut, warga kampung memiliki modal sosial untuk membantu mereka mengatur napas sejenak, menghentikan rutinitas sejenak, dan memberi mereka kesempatan untuk merasakan keberadaannya sebagai manusia yang memiliki ekspresi dan perasaan.
The Art Form of Wedha’s Pop Art Portrait (WPAP) Angga Kusuma Dawami; Martinus Dwi Marianto; Suwarno Wisetrotomo
IJCAS (International Journal of Creative and Arts Studies) Vol 8, No 1 (2021): June 2021
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v8i1.5375

Abstract

Wedha's Pop Art Portrait (WPAP) has become one of the most popular visual arts in Indonesia since Wedha Abdul Rasyid decided on this style in 2010. A decade later, WPAP became part of visual arts in Indonesia, used by many millennial designers, sheltered by the chapter community in regions; Jakarta chapter, Jogjakarta chapter, Surabaya chapter, etc. Visual arts-based on faces is a strong characteristic of WPAP. Only a few have achieved the WPAP form in accordance with the art form that Wedha first brought up. Economic motives became the biggest influence on the change in orientation from WPAP art to commodity. Therefore, the art form in WPAP tends to follow market trends. This paper tries to define the existing art in WPAP, with the formulation of the problem: what is the art form in WPAP in Indonesia? The formal approach to art is an important part of knowing art in WPAP. Through descriptive-analytic, an explanation of the art form in WPAP according to the Wedha’s experience is presented in this paper. The analysis is using an analysis of interactions between members of the WPAP community in several chapters which already have a "chapter" community. The art form in WPAP has almost the same characteristics as Wedha's work in the early appearance of WPAP. Wedha had a past that grapples with artwork; making illustrations, making magazine covers, making comics, and so on. The makers of WPAP in the WPAP community also have an art form in WPAP that is the same in pattern, because it is based on WPAP that was initiated by Wedha at the beginning of its appearance. The art form in WPAP has characteristics in color and line drawing. Bentuk Seni dari Wedha’s Pop Art Portrait (WPAP) Abstrak Wedha's Pop Art Portrait (WPAP) menjadi salah satu seni visual yang banyak digemari sejak Wedha Abdul Rasyid memutuskan gaya ini pada tahun 2010. Satu dekade berikutnya, WPAP menjadi bagian dari seni visual di Indonesia, digunakan oleh banyak desainer milenial, dinaungi oleh komunitas chapter yang ada di wilayah-wilayah; chapter Jakarta, chapter Jogjakarta, chapter Surabaya, dll. Seni visual berbasis pada wajah, menjadi ciri khas yang kuat pada WPAP. Hanya sedikit yang mencapai bentuk WPAP yang sesuai dengan bentuk seni yang Wedha munculkan pertama kali. Motif ekonomi menjadi pengaruh terbesar pada perubahan orientasi dari seni WPAP menjadi komoditi. Sehingga bentuk seni dalam WPAP cenderung untuk mengikuti tren pasar. Tulisan ini mencoba untuk mendefinisikan seni yang ada dalam WPAP, dengan rumusan masalah: Bagaimana bentuk seni dalam WPAP menurut komunitasnya di Indonesia? Pendekatan formal seni menjadi bagian penting untuk mengetahui seni dalam WPAP. Melalui diskriptif-analitik, penjelasan tentang bentuk seni dalam WPAP menurut komunitasnya disajikan dalam tulisan ini. Analisis yang digunakan adalah analisis interaksi antar anggota komunitas WPAP di beberapa chapter yang telah memiliki komunitas “chapter”. Bentuk seni dalam WPAP memiliki ciri khas yang hampir sama dengan karya Wedha pada awal-awal kemunculan WPAP pertama kali. Wedha memiliki masa lalu yang bergulat dengan pekerjaan seni; membuat ilustrasi, membuat cover majalah, membuat komik, dan lain sebagainya. Pembuat WPAP di komunitas WPAP juga memiliki bentuk seni dalam WPAP yang sama secara pola, karena memang berbasis pada WPAP yang dicetuskan oleh Wedha pada awal kemunculannya. Bentuk seni dalam WPAP memiliki ciri khas dalam warna, tarikan garis, pemilihan pallet, konstruksi wajah.
Depiction of Pandemic in Indonesia Local Election 2020 Political Advertising Robby Firmansyah; Dwi Marianto
IJCAS (International Journal of Creative and Arts Studies) Vol 8, No 2 (2021): December 2021
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v8i2.6306

Abstract

Abstract In the last quartal of 2020, during the Covid-19 pandemic, local elections were held in various cities and provinces in Indonesia. As a result of the public awareness of the pandemic situation and the urgent need for solutions to its implications, the Covid-19 pandemic became a suitable theme to be addressed on election campaign media. This paper aims to generate various patterns on how candidates utilized Covid-19 pandemic imageries in their political advertising to establish their personal brand. Thematic analysis was employed to identify the various patterns on how candidates utilized Covid-19 pandemic imageries in their political advertising. 329 Covid-19 related political advertisements from various candidates were reviewed to generate patterns on candidates’ personal brand establishment. The study found that promoting Covid-19 safety protocols, candidates' strategies, and appreciation toward frontline workers became three major themes in depicting the pandemic in Indonesia local elections 2020 political advertising. Covid-19 pandemic-related imageries are employed to perform their informative functions and as a context in which political advertising can perform its persuasive function.Penggambaran Pandemik pada Iklan Politik Pemilihan Kepala Daerah 2020 di Indonesia Abstrak Pada akhir tahun 2020, di tengah merebaknya pandemi Covid-19, dilakukan pemilihan kepala daerah di berbagai kota dan provinsi di Indonesia. Sebagai hasil dari kesadaran masyarakat terhadap situasi pandemi dan pentingnya solusi-solusi dalam menghadapi implikasinya, pandemi Covid-19 menjadi tema yang sesuai untuk dibahas pada media kampanye. Karya tulis ini ditujukan untuk membentuk tema-tema dari penggambaran pandemi Covid-19 yang digunakan oleh kandidat pemilihan pada iklan kampanye dalam membentuk citra dirinya. Analisis tematis digunakan untuk membentuk berbagai pola mengenai penggambaran pandemi Covid-19 yang digunakan oleh para kandidat pada iklan kampanyenya. 329 iklan kampanye terkait pandemi Covid-19 dari berbagai kandidat dikaji untuk menghasilkan pola-pola pembentukan citra diri kandidat pemilihan. Kajian ini membentuk tiga tema dari penggambaran pandemi pada iklan kampanye politik pemilihan kepala daerah 2020 yang berupa: mempromosikan protokol keamanan Covid-19, strategi kandidat, dan apresiasi terhadap pekerja garda depan Covid-19. Penggambaran terkait Covid-19 pada iklan kampanye tidak hanya digunakan untuk menjalankan fungsi informatif iklan kampanye, tetapi juga untuk menjalankan fungsi persuasifnya.
WATER, FIRE, WIND, AND SOIL AS THE IDEAS OF CREATION OF GRAPHIC ART WORK sigit purnomo adi; Pande Made Sukerta; M. Dwi Marianto; Sri Hadi
ARTISTIC : International Journal of Creation and Innovation Vol 1, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (265.76 KB) | DOI: 10.33153/artistic.v1i2.3200

Abstract

The creation of this graphic work considers the reciprocal relationship between art and the environment as well as its preservation with an Eco Art perspective. The creation of this Eco-Graphic work uses the Artistic Creation approach which includes experimentation, reflection, and formation (art structure). This Eco Graphic work is inspired by the stimulation of creating water, fire, wind and soil in Javanese philosophy which is then processed in such a way that it becomes a graphic art work in an eco art perspective. Through inner research or inner wandering, the creator is able to visualize the work of Eco Graphic after discovering triangles, circles and lines as the main motive with the abstract expressionism model.
EARTH'S CREATION STIMULUS: CREATION OF GRAPHIC ARTS WITH USED PLYWOOD MEDIA Sigit Purnomo Adi; Pande Made Sukerta; M. Dwi Marianto; Sri Hadi
ARTISTIC : International Journal of Creation and Innovation Vol 2, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (314.355 KB) | DOI: 10.33153/artistic.v2i1.3634

Abstract

 Natural phenomena, especially climate change, are increasingly worrying lately. Graphic art can be used to express concern for the environment in response to climate change. The creation of this graphic art work uses the concept of the earth's creation stimulus. The creative methods used include: experimentation, contemplation, and formation. Abstract Expressionism was chosen as the style of personal expression in the creation of this work. The creative technique used is high printing technique with used plywood media. The results of the creation process show that the visualization of the concept of the earth's creative stimulus produces the forms of circles and lines. These forms are the main motif in the creation of graphic art with the stimulation of this earth's creativity 
Ondel-ondel kekinian: boneka besar Betawi di zaman modern Mita Purbasari; M Dwi Marianto; M Agus Burhan
PRODUCTUM Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Vol 3, No 6 (2019)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/productum.v3i6.2429

Abstract

Ondel-ondel is an ancient Betawi’s art work named Barongan, in simple shaped of one pair off greater puppets, complete with the music companion. At the beginning, ondel-ondel was a part of Betawinese scared rituals then become one of Jakarta’s icons. Ondel-ondel can be found until today either in performing arts and decoration element form. In its development as the decoration element form, ondel-ondel is not only the great puppet for buildings and stages decorator, but also has been positioned as a part of cultural tourism and society living needs. Moreover, ondel-ondel has been used to be an inspiration to produce souvenir to support industry. Ondel-ondel is not longer just made in big size, but also in mini size in form of 2 or 3 dimensions, so it is easy to be carried as a souvenir, which represents Jakarta and Betawi. To find out the value behind the sign changed, this qualitative research used the semiotic approach. Connection or relation between symbolic sign in ondel-ondel structure and building elements were collaborated with society condition as the background and impact of the society on that time to get the value. The changes of ondel-ondel’s meanings and functions in building elements have been produced and contracted as its user way of thinking based on its form and context. The meaning interpretation of ondel-ondel craftsman and audience in particular time would be different with government’s policies. Key words: ondel-ondel, building elements, souvenir, meaning, function
Nurturing Sanity Through RajutKejut Craftivism Sari Wulandari; Guntur Guntur; Rob Goodfellow; Martinus Dwi Marianto
IJCAS (International Journal of Creative and Arts Studies) Vol 9, No 1 (2022): June 2022
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v9i1.6975

Abstract

As people in almost all countries in the world, Indonesians are currently struggling to deal with the Covid-19 pandemic by making their activities more selective and prioritizing their needs based on needs. Mental health is also a priority, and more attention needs to be paid to personal and environmental hygiene issues. The RajutKejut Community is a group of female crocheters who ‘yarn bomb’ in public spaces using crochet works. Given pandemic conditions, where most activities are limited, and loneliness and social isolation have become major concerns, this group remains connected using advanced digital technology to share news, views, and stories. And in doing so, they have supported each other in the best possible way: through an activity characterized by meditative nuances practised in a quarantined atmosphere. Thus, a new space for both contemplation and reflection has been created. This has preserved the quality of the community’s work but it has also resulted in other benefits as well. For example, the body's immune system can be strengthened by maintaining good mental health and especially by generating feelings of happiness and joy. To this end, the community has held yarn bombing activities in their respective neighbourhoods and then shared their collective and individual experiences. The research question that arises then is, how can a communal craft-related activity like crochet raise awareness and understanding of the human condition amid a pandemic? This study uses the phenomenology of perception developed by Maurice Merleau-Ponty as an analytical method to better comprehend the world of the RajutKejut community, with special reference to the current pandemic. Amongst other observations, this research illustrates that the pandemic has encouraged many people to look to the past and, in doing so, realize that their existence in the present can be defined by structured craft projects, which caused them to make better-informed decisions about the future. In this process, human beings begin to chart their existence using their bodies and, in doing so, awaken mindfulness of self. Memelihara Kewarasan Melalui Kraftivisme RajutKejut Abstrak Seperti halnya di hampir seluruh negara di dunia, masyarakat Indonesia saat ini sedang berjuang menghadapi pandemi Covid-19, mengharuskan membatasi aktivitasnya lebih selektif, dan memprioritaskan keperluan berdasarkan kebutuhan. Kesehatan mental juga menjadi prioritas, selain masalah kebersihan pribadi dan lingkungan. Komunitas RajutKejut adalah sekelompok perajut perempuan yang melakukan ‘yarn bombing’ di ruang publik menggunakan karya rajut. Dengan kondisi pandemi, di mana sebagian besar aktivitas dibatasi, kesendirian dan isolasi sosial menjadi perhatian utama, komunitas ini tetap terhubung satu sama lain dengan memanfaatkan kecanggihan teknologi digital, untuk berbagi berita, pandangan, dan cerita. Dan dalam melakukannya, mereka berusaha untuk saling mendukung dengan cara terbaik: melalui aktivitas bernuansa meditatif yang dipraktikkan dalam menjalani karantina. Dengan demikian, terbentuk ruang baru untuk kontemplasi dan refleksi. Hal ini telah menjaga kualitas kerja masyarakat di samping menghasilkan manfaat lain. Misalnya, sistem kekebalan tubuh dapat diperkuat dengan menjaga kesehatan mental yang baik dan terutama dengan membangkitkan perasaan bahagia dan gembira. Untuk itu, komunitas ini mengadakan kegiatan ‘yarn bombing’ di lingkungan masing-masing dan berbagi pengalaman kolektif dan individu. Pertanyaan penelitian yang kemudian muncul adalah, bagaimana kegiatan terkait kraf komunal seperti merajut ini dapat meningkatkan kesadaran dan pemahaman tentang kondisi manusia di tengah pandemi? Studi ini menggunakan pemikiran fenomenologi persepsi yang dikembangkan oleh Maurice Merleau-Ponty sebagai metode analisis untuk lebih memahami dunia komunitas RajutKejut, dengan referensi khusus pada pandemi saat ini. Melalui pengamatan, penelitian ini menggambarkan bahwa pandemi telah mendorong banyak orang untuk melihat ke masa lalu dan dengan melakukan itu, menyadari bahwa keberadaan mereka di masa sekarang dapat ditentukan oleh proyek kraf yang terstruktur, sehingga membawa mereka dapat membuat keputusan yang lebih tepat tentang dunia masa depan. Dalam proses ini manusia mulai memetakan keberadaan mereka dengan menggunakan tubuh, sehingga membangkitkan kesadaran diri.
Mascot: An alternate method to prevent the misuse of visual assets in Indonesia's Covid 19 prevention campaign Paku Kusuma; Dharsono Dharsono; Martinus Dwi Marianto; Guntur Guntur
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.656

Abstract

This article discusses the use of visual assets during the covid-19 pandemic in Indonesia. There are regulations related to restrictions on movement for everyone during the pandemic, and there is much confusion in information, resulting in information chaos, and one of the reasons is the inappropriate use of visual assets as a medium for the Covid-19 prevention campaign in Indonesia. This study aims to identify the misuse of these visual assets. This study uses visual data spread on social media and observation to examine billboards, banners, and the like scattered in the community. In addition to visual data, interviews were also conducted with graphic designers. The questions asked were about the reasons for determining the design and their motivation in utilizing visual assets. The analysis is carried out by building relationships between the designs created, the use of visual assets, and contextual relationships with other interests outside the substance of the Covid 19 prevention campaign program in Indonesia. The results of the study show that visual assets are not used proportionally in conveying the Covid-19 prevention campaign in Indonesia. The conclusion is that there is no policy that provides direction regarding the provisions for the use of visual assets in preventing the Covid-19 health disaster in Indonesia. This research contributes to the government because this research finds a rule model for the use of visual assets in Indonesia
Konstruksi Gender melalui Senjata Tradisional Bé. Rang di Sumbawa Nusa Tenggara Barat Muhammad Tomi; Wiwik Sushartami; M. Dwi Marianto
Jurnal Kajian Seni Vol 7, No 1 (2020): Jurnal Kajian Seni Vol 7 No 1 November 2020
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1201.892 KB) | DOI: 10.22146/jksks.60448

Abstract

This paper deals with how the gender construction is realized through bé. rang in the community of Rempe Village, Seteluk District, West Sumbawa. Bé. rang is a traditional weapon of the Sumbawa people in the form of a slaughter weapon made by a panre (master/blacksmith). In general, the people of Sumbawa recognize three types of gender, namely tau salaki (male), tau swai (female) and tau calabai (transgender). The absence of tau swai and tau calabai in the nganyang tradition, the use of the term bé. rang as sanak salaki (brother), and differentiation and restriction of access to tau swai and tau calabai from the use of bé. rang, becoming the reason this research was conducted. The problem of this research is dissected using the concepts of externalization, objectivation, and internalization proposed by Peter L. Burger and Thomas Luckmann (1990). The results of this study indicate that in general gender construction occurs through bé. rang. This gender construction produces “value standards” which tend to be masculine and few discriminatory but quite dynamic. Besides that, the gender construction that is manifested through bé. rang is very structure/hierarchical and tends to be negotiative. This can be seen from how tau calabai that are still given the opportunity to access bé. rang salaki with the consideration that they will return to the “normal” tau salaki. The gender hierarchy is reflected in the classification according to the type of bé. rang that can be accessed, such as tau ode (boys), tau taruna (youth), tau salaki rango (adult men), tau swai (female) and tau calabai (banci) is evidence of a very structured and hierarchical gender construction. This gender construction occurred, was inherited and strengthened by existing institutions in the Sumbawa community such as the family, the West Sumbawa Regency Government, the Tana Samawa Customary Institution, the Rempe Village Government, schools, and the Titik Api group also played an important role as a tool of legitimacy in gender construction through bé. rang. Penelitian ini menyoal bagaimana konstruksi gender terwujud melalui bé. rang di masyarakat Desa Rempe, Kecamatan Seteluk, Kabupaten Sumbawa Barat. Bé. rang sendiri merupakan senjata tradisional masyarakat Sumbawa berjenis senjata penebas yang dibuat oleh seorang panre (empu/pandai besi). Secara umum masyarakat Sumbawa mengenal tiga jenis gender yakni tau salaki (laki-laki), tau swai (perempuan) dan tau calabai (banci). Ketidakhadiran tau swai dan tau calabai dalam tradisi nganyang, adanya penggunaan istilah bé. rang sebagai sanak salaki (saudara laki-laki), serta pembedaan dan pembatasan akses tau swai dan tau calabai terhadap penggunaan bé. rang, menjadi alasan penelitian ini dilakukan. Permasalahan penelitian ini dibedah dengan menggunakan konsep eksternalisasi, objektivasi, dan internalisasi yang dikemukakan Peter L. Burger dan Thomas Luckmann (1990). Hasil penelitian ini menunjukkan bahwa secara garis besar konstruksi gender memang terjadi melalui bé. rang. Konstruksi gender tersebut menghasilkan “standar nilai” yang cenderung maskulin dan sedikit diskriminatif namun cukup dinamis. Selain itu konstruksi gender yang terwujud melalui bé. rang sangat terstruktur/hierarkis dan cenderung negosiatif. Hal itu dapat dilihat dari bagaimana tau calabai yang masih diberi kesempatan untuk mengakses be.rang salaki dengan pertimbangan akan kembali menjadi tau salaki “normal”. Adapun hierarki gender tergambar dari adanya klasifikasi sesuai jenis be. rang yang dapat diakses seperti tau ode (anak laki-laki), tau taruna (pemuda), tau salaki rango (laki-laki dewasa), tau swai (perempuan) dan tau calabai (banci) merupakan bukti terjadinya konstruksi gender yang sangat terstruktur dan hierarkis. Konstruksi gender tersebut terjadi, terwariskan dan diperkuat oleh lembaga- lembaga yang ada dalam masyarakat Sumbawa seperti keluarga, Pemerintah Daerah Kabupaten Sumbawa Barat, Lembaga Adat Tana Samawa, Pemerintah Desa Rempe, sekolah-sekolah, dan kelompok Titik Api juga berperan penting sebagai perangkat legitimasi dalam konstruksi gender melalui bé. rang.
Media Alternatif Seni dan Konstruksi Identitas Studi Kasus Tentang Zine Blcak Metal Istiqomah Kurnia Budiarti Kusuma; Vissia Ita Yulianto; Martinus Dwi Marianto
Jurnal Kajian Seni Vol 8, No 2 (2022): Jurnal Kajian Seni Vol 8 No 2 April 2022
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.65009

Abstract

Zine Black Metal Istiqomah adalah bentuk media alternatif yang mengusung tema identitas hibrid black metal dan Islam.Menggunakan konsep perpaduan identitas musik underground black metal dan identitas Islam, zine Black Metal Istiqomah menarasikan pesan keagamaan bahasa yang santai tanpa intensi menggurui. Menggunakan metode penelitian kulitatif, penelitian ini fokus, untuk menginvestigasi bagaimana strategi pengkarya, zine, dalam menegosiasikan san mengonstruksi dua identitas yang saling bersebrangan tersebut. Penelitian dianalisis secara tekstual mengunakan teori semiotika Roland Barthes untuk memahami desain karya dan bentuk visual zine Black Metal Istiqomah. Bentuk visual karya kemudian dianalisis secara kontekstual menggunkan teori hibriditas Jan Pieterse untuk mengungkap proses negosiasi identitas black metal dan identitas Islam. Hasil penelitian ini menunjukkan zine Black Metal Istiqomah mengalami proses negosiasi pada bentuk visual karya, berupa peyederhanaan beberapa simbol identitas secara visual. Identitas black metal pada zine berperan sebagai tanda visual karya, sedangkan identitas Islam berperan pada bagian konten cerita. Pda akhirnya zine Black Metal Istiqomah merupakan bentuk penggabungan identitas yang berhasil menciptakan identitas kekaryaan dan secara tidak langsung menciptakan bentuk identitas hibrid atau nbaru yaitu Black Metal Istiqomah di kalangan Penggemarnya
Co-Authors Andreas James Darmawan Angga Kusuma Dawami Ariesa Pandanwangi Arum Wilis Kartika Ayuningtari Biosa, Sito Fossy Darmawan, James Dayani, Elin Siska Dendi Suwandi Dendi Suwandi Devy Ika Nurjanah Dharsono Dharsono Dharsono Dharsono Dharsono Dharsono Donna Carollina, Donna Dono, Heri Fuad Safrudin Guntur - Guntur Guntur Guntur Guntur Guntur Guntur Guntur, Guntur Handayani, Ayu Puji Haniatussa''adah I Kt. Suteja I Nyoman Sedana I Wayan Setem, I Wayan Ida Bagus Komang Sindu Putra Ilham Ramadhani Jauhari Jauhari, Jauhari Kurnia Budiarti Kusuma M Agus Burhan Mita Purbasari Mita Purbasari Mita Purbasari Wahidiyat Mita Purbasari Wahidiyat Muchammad Bayu Tejo Sampurno Muhammad Tomi Nur Sahid Nur ‘Azah Paku Kusuma Pande Made Sukerta Pande Made Sukerta Pande Made Sukerta Pande Made Sukerta Pande Made Sukerta, Pande Made Purwanto - Putra, M. Edo Pratama Ramadhani, Ilham Ranangsari, Kosalalita Anggiyumna Rob Goodfellow Rob Goodfellow Robby Firmansyah Sampurno, Muchammad Bayu Tejo Sardono W Kusomo Sari Wulandari Sari Wulandari Sari Wulandari sigit purnomo adi Sigit Purnomo Adi Sofyan, Nur Ahmad Sri Hadi Sri Hadi Sri Hadi Sri Hadi Sri Margana St. Hanggar Budi Prasetya Suastiwi Suastiwi Suwarno Wisetrotomo Syahrazad, Hanan Syamsul Barry Syeifty Syeifty T Slamet Suparno Tjipto Rahardjo, Sudjadi Tomi, Muhammad Tri Septiana Kurniati Utama, Whima Rahmat Vissia Ita Yulianto Wahidiyat, Mita Purbasari Wiwik Sushartami Wiwik Sushartami Yayi Suryo Prabandari