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All Journal Jurnal Pendidikan dan Kajian Seni MUDRA Jurnal Seni Budaya Panggung Jurnal Rupa Studi Budaya Nusantara Atrat: Jurnal Seni Rupa Indonesia Berdaya Jurnal Senirupa Warna (JSRW) Arty: Jurnal Seni Rupa Panggung Serat Rupa: Journal of Design
Nagara, Martien Roos
Institut Seni Budaya Indonesia Bandung
Religion Arts Humanities Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Medicine & Pharmacology Nursing Public Health Social Sciences Veterinary Other

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"TRANSFORMASI" TEKNIK DAN POLA ANYAM TRADISI PADA KARYA 3D SEBAGAI UPAYA PENINGKATAN KESADARAN RAMAH LINGKUNGAN Rohandi, Teten; Nagara, Martien Roos; Noor Zaman, Farid Kurniawan
ATRAT: Jurnal Seni Rupa Vol 10 No 3 (2022): EKSISTENSI SENI DAN BUDAYA DALAM INTERPRETASI VISUAL
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v10i3.2318

Abstract

Weaving is a technique of making works of art that is done by overlapping (crossing) woven materials. Weaving patterns for artisans are molds for mass-producing woven products, while for pure/expressive works of art, patterns are used as the basic structure of the creation of the work. The focus of this research is to create pure works of art based on woven techniques and patterns with big themes to increase awareness of environmentally friendly living. In this study using the method of creation according to Hawkins, namely exploration, improvitation and forming. The stages in the work are as follows: 1) The first stage is the search stage, namely the stage where the artist tries to find an idea or ideas. 2) The next stage is the stage where the artist perfects or develops his ideas and ideas. 3) The third stage or the last stage is the visualization stage into the actual medium, namely the mature ideas and ideas are poured into the field of work according to the selected medium and technique. The results of the research are in the form of 3 dimensional pure art works using weaving techniques, patterns and media with a focus on the meaning of shifting environmentally friendly traditional culture to instant culture that causes environmental damage. It is hoped that this research will not only add to the repertoire of the diversity of works of art produced, especially in the field of weaving.Keywords: transformation, weaving, 3 dimensional artwork, environmentally friendly----------------------------------------------------------------------------------Anyaman adalah teknik membuat karya seni rupa yang dilakukan dengan cara menumpang tindihkan (menyilangkan) bahan anyam. Pola anyam bagi perajin adalah cetakan untuk memproduksi produk anyam secara masal, sedangkan untuk karya seni rupa murni/ekspresif, pola dijadikan sebagai struktur dasar pembentukan karya. Fokus penelitian ini adalah menciptakan karya seni rupa murni berdasarkan teknik dan pola anyaman dengan tema besar untuk meningkatkan kesadaran hidup ramah lingkungan. Dalam penelitian ini menggunakan metode penciptaan menurut Hawkins yaitu exploration, improvitation dan forming. Tahapan dalam berkarya adalah sebagai berikut: 1) Tahapan pertama adalah tahapan pencarian yaitu tahapan dimana si seniman berusaha menemukan ide atau gagasan. 2) Tahapan selanjutnya adalah tahap dimana seniman menyempurnakan atau mengembangkan ide serta gagasannya. 3) Tahap ketiga atau tahap terakhir adalah tahapan visualisasi kedalam medium yang sesungguhnya, yaitu ide dan gagasan yang sudah matang dituangkan kedalam bidang garap sesuai medium dan teknik yang dipilih. Hasil penelitian berupa karya seni rupa murni 3 dimensi dengan menggunakan teknik, pola dan media anyam dengan fokus makna pergeseran budaya tradisi yang ramah lingkungan ke budaya instan yang menimbulkan kerusakan lingkungan. Diharapkan penelitian ini selain dapat menambah khasanah keberagaman karya seni rupa yang dihasilkan khususnya bidang anyaman.Kata kunci: transformasi, anyaman, karya rupa 3 dimensi, ramah lingkungan
MELIHAT BENTUK KEBEBASAN MELALUI PAMERAN GRAFITIKASI Islami, Natsira Isnaini Putri; Nagara, Martien Roos
ATRAT: Jurnal Seni Rupa Vol 11 No 2 (2023): KARAKTERISTIK RUPA DALAM TRADISI DAN BUDAYA
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v11i2.2847

Abstract

“Gratifikasi” is an exhibition that focuses on contemporary painting with a touch of graffiti. Uncle Joy’s artworks employ painting techniques and graffiti methods, combined with materials such as fabric scraps, glue, thread, paper mache, acrylic, and spray paint. Uncle Joy portrays freedom in expressing opinions and painting beyond traditional boundaries, resembling the rebellious nature of graffiti. He utilizes these mediums due to his personal experience and familiarity with the street art community. He repurposes discarded fabrics and scraps to experiment with various materials and create diverse artworks. One intriguing aspect of Uncle Joy’s works is the use of canvas and installations as a medium to criticize urban life issues. Through this exhibition, Uncle Joy represents the freedom of artistic creation and the power of expression. He demonstrates that the freedom of expression is not limited to graffiti on the streets but can be realized through canvas and other mediums. Additionally, Uncle Joy incorporates waste materials into his artwork, reminding us of the importance of environmental consciousness and its future impact. Keywords: Graffiti, contemporary, waste materials ------------------------------------------------------------------------------------ Gratifikasi merupakan pameran yang berfokus pada seni lukis kontemporer dengan sentuhan grafiti. Karya-karya Uncle Joy menggunakan teknik melukis dan metode grafiti, yang dipadukan dengan media seperti kain perca, lem, benang, paper mache, akrilik, dan cat semprot. Uncle Joy menggambarkan kebebasan dalam menyampaikan pendapat dan melukis di luar batasan tradisional, mirip dengan gaya grafiti yang memberikan ruang untuk pemberontakan. Uncle Joy menggunakan media ini karena pengalaman pribadinya dan keakraban dengan kelompok seni jalanan. Dia memanfaatkan kain bekas atau kain perca yang tidak terpakai untuk bereksperimen dan menjelajahi berbagai bahan dalam menciptakan karya seni yang beragam.Salah satu hal menarik dari karya-karya Uncle Joy adalah penggunaan bidang kanvas dan instalasi sebagai media untuk mengkritik isu-isu kehidupan urban. Melalui pameran ini, Uncle Joy menggambarkan kebebasan dalam berkarya seni dan menyampaikan pendapat. Ia menunjukkan bahwa kebebasan ekspresi tidak hanya terbatas pada grafiti di jalanan, tetapi dapat diwujudkan melalui kanvas dan media lainnya. Selain itu, Uncle Joy menciptakan karya menggunakan limbah sampah sebagai bahan untuk menciptakan karya seni yang memukau, yang sekaligus mengingatkan kita akan pentingnya peduli terhadap lingkungan sekitar dan dampaknya di masa depan. Kata Kunci: Grafiti, kontemporer, limbah sampah
POTENSI DAYA TARIK GALERI SOPHILIA MEMAJANG KARYA SENI BERGAYA EROPA DAN CINA KUNO Rahayu, Nisa Restu; Nagara, Martien Roos
ATRAT: Jurnal Seni Rupa Vol 11 No 2 (2023): KARAKTERISTIK RUPA DALAM TRADISI DAN BUDAYA
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v11i2.3186

Abstract

Generally, galleries in Indonesia exhibit local art in traditional to contemporary style, but there is one gallery, the Sophilia Gallery, which is different from other galleries. The gallery displays almost all the works of art in European and Chinese styles and the gallery is permanent. This is an attraction for the general public, of course. The purpose of the discussion about what is the attraction of the gallery is as a means of introducing society in the world of art in particular the art of European and Chinese style. Not only do you know or see the paintings, but you can also know the history of the painting. This research method uses descriptive approaches as well as collection techniques by visiting galleries, viewing works of art, listening to what the tour guide tells, and documentation. There is an informant or tour guide who explains about the history and meaning of the paintings in the gallery. The results of the research showed that the gallery is really attractive, because the number of enders that come is approximately 100 people a day with a variety of purposes not only appreciating, but visitors can learn and create content for personal and public needs. Keywords : Art Criticism, Fine Art Galleries, Paintings ------------------------------------------------------------------------------------ Pada umumnya galeri-galeri di Indonesia memajang karya seni lokal berupa gaya tradisi sampai kontemporer, namun ada salah satu galeri yaitu Galeri Sophilia yang berbeda dari galeri lainnya. Galeri tersebut menampilkan hampir keseluruhan karya seni gaya eropa dan cina dan galeri tersebut bersifat tetap. Hal tersebut menjadi sebuah daya tarik bagi masyarakat umum tentunya. Tujuan dari pembahasan mengenai apa yang menjadi daya tarik galeri tersebut yaitu sebagai sarana mengenalkan masyarakat dalam dunia seni khususnya seni gaya eropa dan cina. Bukan hanya mengenal atau melihat lukisan, namun juga bisa mengetahui sejarah yang terdapat pada lukisan tersebut. Metode penelitian ini penulis menggunakan pendekatan deskritif serta teknik pengumpulan dengan mengunjungi galeri, melihat karya-karya seni, mendengarkan apa yang tour guide sampaikan., serta dokumentasi. Terdapat satu informan atau tour guide yang menjelaskan mengenai sejarah dan makna lukisan-lukisan yang ada pada galeri. Hasil penelitian menunjukan bahwa galeri tersebut memang memiliki daya tarik, karena banyaknya pengujung yang datang berjumlah sekitar 100 orang dalam sehari dengan tujuan yang bermacam-macam bukan hanya mengapresiasi, namun pengunjung dapat belajar dan membuat konten untuk kebutuhan pribadi maupun umum. Kata kunci: Kritik Seni, Galeri Seni Rupa, Lukisan
KATASTROFE : REINTERPRETASI SOSOK DEWI SRI SEBAGAI GAGASAN PENCIPTAAN KARYA LUKIS Wicitra, Kirana Kusuma; Setiadi, Gabriel Aries; Nagara, Martien Roos
ATRAT: Jurnal Seni Rupa Vol 11 No 3 (2023): KARYA RUPA DALAM BINGKAI TRADISI DAN BUDAYA
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v11i3.3194

Abstract

Looking back at the history meaning of Dewi Sri’s existence for Indonesian people is not only stored in her rice plant breeding tradition (seren taun) and her figure which is seen as a mere goddess of rice and plants. However, it is also related to how values, social issues and local wisdom are passed down from generation to generation. This is also illustrated through the author’s analysis and observation of the story of Wawacan Sulanjana and Dewi Sri’s role in it. Talking about values, problems and views on life that are derived is so crucial, especially when it has a significant and long-lasting effect. Art in this case exists as a medium for communicating the views and ideas of one of life’s issues, as well as re-elevating Indonesian folklore which is projected through a contemporary lens. The author uses the reinterpretation method through the author’s point of view and experience and divides it into three phases, each of which represents a different conflict. Created through the medium of oil painting. With the production of this report, it can help readers learn and provide new experiences related to the field of fine arts. Keywords: Catastrophe, Goddess Sri, Reinterpretation, Art Painting ------------------------------------------------------------------------------------ Menelisik kembali pada sejarah makna eksistensi Dewi Sri bagi masyarakat Indonesia tidak hanya tersimpan pada tradisi pemuliaan tanaman padinya (seren taun) serta sosoknya yang dipandang sebagai dewi padi dan tumbuhan semata. Namun juga, memiliki keterkaitan terhadap bagaimana nilai- nilai, masalah sosial serta kearifan lokal diturun temurunkan. Hal ini pun tergambar melalui analisis serta observasi penulis terhadap kisah Wawacan Sulanjana dan peran Dewi Sri didalamnya. Berbicara mengenai nilai, problem serta pandangan hidup yang diturunkan ini menjadi begitu krusial terutama ketika hal itu memberikan efek yang cukup signifikan dan berkepanjangan. Seni dalam hal ini hadir sebagai media berkomunikasi terhadap pandangan dan gagasan salah satu isu kehidupan, serta sebagai pengangkatan kembali cerita rakyat Indonesia yang diproyeksikan dalam kacamata masa kini. Penulis menggunakan metode reinterpretasi melalui sudut pandang serta pengalaman penulis dan membaginya menjadi tiga fase yang masing-masing mewakili konflik yang berbeda. Diciptakan melalui medium lukis cat minyak. Dengan terbuatnya laporan ini, dapat membantu pembaca mempelajari serta memberikan pengalaman yang baru terkait bidang kesenirupaan. Kata Kunci: Katastrofe, Dewi Sri, Reinterpretasi, Karya Lukis
Recognizing the Character of Children with Special Needs Through Digital Motif Design Using the Visual Language Method Roos Nagara, Martien; Perangin-Angin, Dede Ananta K
Mudra Jurnal Seni Budaya Vol 40 No 2 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v40i2.3081

Abstract

Every individual, including children with special needs, possesses creative potential that can be continually developed. This creativity is often expressed through visual media, such as images, which serve as a means of communication to convey messages, emotions, and thoughts. However, children with special needs often face unique challenges in expressing themselves, such as difficulties with verbal communication, limited motor skills, and cognitive barriers. Therefore, an inclusive and adaptive approach is essential to ensure that these children can fully express their creativity. One promising method for fostering creativity is the use of digital technology, such as Adobe Photoshop, to create digital motif designs. Through digital motif design, children with special needs can not only express themselves visually but also explore various shapes, colors, and compositions without limitations. This research aims to analyze digital motif works created by children with special needs using a visual language approach. The focus is on the objects depicted (wimba) and how they are arranged within a field (tata ungkap). Through this research, we hope to identify the personality traits of children with special needs through the interpretation of their digital motif designs. This analysis may also support the classroom learning process, provide stimulation, and enhance motivation. As a result, children’s communication, emotional expression, and abilities can be further explored. The findings of this research indicate that the use of digital media facilitate creative expression in a more inclusive and adaptive way. Thus, the artworks produced by children with special needs are not only unique and interesting but also reflect their ability to adapt and innovate despite challenges.
Co-Authors Agus Cahyana Agus, Cahayana Aji, Widianto Satrio Akhmad Baehaqi, Faiq Anandhita Alvina Damayanti Anggita Ayu Anjani Anis Sujana Anjani, Anggita Ayu Asep Miftahul Falah Damayanti, Anandhita Alvina Dudi Muhammad, Rizziq Ramadhan Fauzi, Mochamad Fitra, Annisa Gabriel Aries Setiadi Gabriel Aries Setiadi, Gabriel Aries Hadianto Hadianto Hadianto, Hadianto Islami, Natsira Isnaini Putri Kirana Kusuma Wicitra Kurniawan, Dede Ananta Malena Wati Putri Matin, Sella Sabrina Muhamad Rafli Ramdan Nan Quddus, Sang Padi Natsira Isnaini Putri Islami Nisa Restu Rahayu Perangin-Angin, Dede Ananta K Putri, Malena Wati Rahayu, Nisa Restu Ramadhani, Novia Dwi Ramdan, Muhamad Rafli Ramli, Zaenudin Rufus Goang Swaradesy Sella Sabrina Matin Shafanissa, Winna Sri Mulyati, Evi Supriatna Supriatna Teten Rohandi Wicitra, Kirana Kusuma Widianto Satrio Aji