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Proses Pembelajaran Seni Rupa Melalui Metode Bercerita Di kelas V MIT Mardlatillah Salma Putri Nur r .; Drs.Agus Sudarmawan, M.Si. .; Dra. Luh Suartini, M.Pd. .
Jurnal Pendidikan Seni Rupa Undiksha Vol. 8 No. 1 (2018)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v8i1.13631

Abstract

Penelitian ini merupakan penelitian deskritif kualitatif, yang bertujuan untuk mendeskripsikan proses pembelajaran seni rupa melalui metode bercerita di kelas V MIT Mardlatillah. Penelitian ini bertujuan untuk (1) mengetahui proses pembelajaran seni rupa melalui metode bercerita di kelas V MIT Mardlatillah, (2) mengetahui hasil gambar ilustrasi dalam pembelajaran seni rupa di kelas V MIT Mardlatillah. Data diperoleh dengan teknik obeservasi sebagai bahan penelitian, teknik wawancara untuk mendapatkan data tentang pendapat guru terkait dengan proses pembelajaran seni rupa melalui metode bercerita di kelas V Mit Mardlatillah Singaraja, teknik dokumentasi untuk memperoleh hasil yang dideskriptifkan. Hasil penelitian ini menunjukan bahwa pelaksanaan proses pembelajaran seni rupa melalui metode bercerita di kelas V MIT Mardlatillah, sebagai berikut: 1). Proses pembelajaran seni rupa melalui metode bercerita dilakukan dalam satu model pembelajaran tematik, yang berkaitan dengan pembelajaran lainnya. Guru menggunakan media pembelajaran untuk memudahkan siswa dalam pemahaman materi ajar. 2) menganalisis hasil gambar ilustrasi secara deskriptif. Kata Kunci : pembelajaran, seni rupa, metode bercerita This research is a qualitative descriptive research, for describe the fine art learning process through telling stories method in class V MIT Mardlatillah. This research for (1) know the fine art learning process through telling stories method in class V MIT Mardlatillah, (2) To know the illustration drawing result in the fine art learning process through telling stories method in class V MIT Mardlatillah. The data were obtained by obeservation technique as research material, interview technique get to data about teacher's opinion to the fine art learning process through telling stories method in class V MIT Mardlatillah, documentation technique to obtain descriptive result. The results of research show that the fine art learning process through telling stories method in class V MIT Mardlatillah, as follows: 1). the fine art learning process through telling stories method is done in a thematic learning model, the relating other to learning. The teachers using learning media to facilitate students in the teaching materials understanding. 2) analyzing the illustration drawings result in descriptive. keyword : the learning, fine arts, telling stories method
MENGGAMBAR EKSPRESI BEBAS LUKIS KACA NAGASEPAHA PADA EKSTRAKURIKULER DI SMP N 3 SUKASADA Ketut Widiastra .; Drs.Agus Sudarmawan, M.Si. .; I Wayan Sudiarta, S.Pd., M.Si. .
Jurnal Pendidikan Seni Rupa Undiksha Vol. 8 No. 3 (2018)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v8i3.13635

Abstract

Penelitian ini dilakukan berdasarkan pendekatan deskriptif kualitatif, yang bertujuan untuk mendeskripsikan (1) penerapan metode ekspresi bebas lukis kaca Nagasepaha pada ekstrakurikuler di SMP N 3 Sukasada, (2) hasil belajar metode ekspresi bebas lukis kaca Nagasepaha pada ekstrakurikuler di SMP N 3 Sukasada. Hasil yang diperoleh dari penelitian ini sebagai berikut: (1) penerapan metode ekspresi bebas lukis kaca Nagasepaha pada ekstrakurikuler di SMP N 3 Sukasada terdiri dari beberapa tahap pembelajaran. Hal ini bertujuan untuk memantapkan siswa-siswi ke tujuan yang diharapkan dari kegiatan tersebut. Tahap pertama dalam pembelajaran diawali dengan pemberian gambaran umum oleh guru ke pada siswa-siswi mengenai metode ekspresi bebas seni lukis kaca Nagasepaha dan perlengkapan yang diperlukan dalam berkarya seni lukis kaca. Tahap selanjutnya diteruskan dengan pembelajaran praktek yang terdiri dari, pembuatan sketsa awal, pemindahan objek sketsa ke permukaan kaca, tahap pewarnaan, dan Finishing (sentuhan akhir pada karya). (2) Hasil belajar metode ekspresi bebas lukis kaca Nagasepaha pada ekstrakurikuler di SMP N 3 Sukasada ditunjukkan dari berbagai tema yang ditampilkan karya siswa-siswi. Meskipun guru telah memberikan kebebasan dalam menentukan tema, masih ada beberapa karya siswa-siswi yang menunjukkan objek pewayangan sekaligus menjadi ciri khas lukis kaca Nagasepaha. Tema dari karya lukis kaca siswa-siswi dikelompokan menjadi beberapa jenis yaitu, tema pewayangan dan tokoh mitologi, tema tokoh kartun (imajinatif), tema bunga, dan tema alam benda. Kata Kunci : lukis kaca, ekstrakurikuler This research was conducted based on qualitative descriptive approach, which aims to describe (1) the application of Nagasepaha glass- free expression method on extracurricular in SMP N 3 Sukasada, (2) the result of the study of Nagasepaha glass-free expression method on extracurricular in SMP N 3 Sukasada. The results obtained from this research are as follows: (1) the application of Nagasepaha glass-free expression method on extracurricular in SMP N 3 Sukasada consists of several learning stages. It aims to stabilize the students to the expected goals of the activity. The first stage of the lesson begins with giving the teacher an overview to the students about Nagasepaha's glass-free artistic expression method and the tools needed for painting glass. The next stage is continued with practical learning which consists of, initial sketching, sketch object transfer to the glass surface, staining stage, and Finishing (final touches to the work). (2) The result of Nagasepaha glass-free expression method study in extracurricular in SMP N 3 Sukasada is shown from various themes displayed by the students. Although the teacher has given freedom in determining the theme, there are still some works of students who show the puppet show as well as the hallmark of glass painting Nagasepaha. The themes of glass painting students are grouped into several types namely, puppet themes and mythological figures, themes, themes of cartoon characters (imaginative), themes of interest, and the theme of nature.keyword : glass painting, extracurricular
PENGARUH MEDIA PEMBELAJARAN BERBENTUK GAMBAR BINATANG REALIS DAN GAMBAR BINATANG KARTUN TERHADAP KEGIATAN MENGGAMBAR ANAK - ANAK DI TK PRA WIDYA DHARMA KEMBANGSARI KINTAMANI I Kadek Budiana .; Drs.Agus Sudarmawan, M.Si. .; I Gusti Made Budiarta, S.Pd., M.Pd. .
Jurnal Pendidikan Seni Rupa Undiksha Vol. 8 No. 3 (2018)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v8i3.15147

Abstract

Penelitian ini bertujuan untuk (1) mendeskripsikan proses penggunaan media pembelajaran contoh gambar binatang realis dan gambar binatang kartun di TK Pra Widia Dharma, (2) mendeskripsikan hasil belajar dengan metode mencontoh gambar binatang realis dan gambar binatang kartun. Penilitan ini adalah penelitian deskriptif dengan model pendekatan kualitatif. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) observasi, (2) wawancara, dan (3) dokumentasi. Langkah – langkah penelitian dilakukan dengan (1) merencanakan model pembelajaran dengan menggunakan media pembelajaran berupa gambar contoh binatang realis dan gambar kartun, (2) membuat media pembelajaran berupa gambar binatang kartun dan realis. Analisis data menggunakan analisis deskriptif kualitatif Hasil penelitan ini adalah (1) gambar contoh yang diberikan banyak yang di kembangkan oleh anak – anak (2) pengembangan gambar contoh paling banyak yang dilakukan anak adalah menambahkan gambar benda atau kegiatan keseharian mereka atau pengalaman yang menurut mereka berkesan seperti gambar ogoh – ogoh karena pada saat penelitian masih suasana hari raya nyepi. Kata Kunci : Kata kunci: media pembelajaran, gambar binatang realis, gambar binatang kartun. . This study aims to (1) describe the process of using learning media of examples of realist animal images and cartoon animal images in Pra-Widya Dharma kindergarten, (2) to describe learning outcomes with the method of modeling realist animal pictures and cartoon animal images. Research is a descriptive research with a qualitative approach model. Data collection in this research is done by technique (1) observation, (2) interview, and (3) photo documentation. The research step is done by (1) planning the learning model by using the instructional media in the form of picture of realist animal sample and cartoon image, (2) making learning media in the form of cartoon animal image and realist, data analysis using qualitative descriptive analysis The results of this research are (1) sample images given by many children developed (2) the development of the most images of the children's example is to add pictures of objects or their daily activities or experiences that they think are like ogoh ogoh research is still the atmosphere of nyepi feast. keyword : Keywords: learning media, realist animal pictures, cartoon animal pictures
SISTEM PENURUNAN KETERAMPILAN SENI LUKIS WAYANG KAMASAN OLEH I NYOMAN MANDRA I B SHINDU PRASETYA .; Drs.Agus Sudarmawan, M.Si. .; I Wayan Sudiarta, S.Pd., M.Si. .
Jurnal Pendidikan Seni Rupa Undiksha Vol. 9 No. 1 (2019)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v9i1.17013

Abstract

SISTEM PENURUNAN KETERAMPILAN SENI LUKIS WAYANG KAMASAN OLEH I NYOMAN MANDRA Oleh Ida Bagus Shindu Prasetya, NIM 1412031025 Jurusan Pendidikan Seni Rupa ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan (1) latar belakang murid I Nyoman Mandra dalam menimba keterampilan melukis wayang Kamasan, (2) tahapan-tahapan yang dikerjakan I Nyoman Mandra di dalam mengajarkan melukis wayang Kamasan pada muridnya, dan (3) hasil karya lukis para murid I Nyoman Mandra dalam pembelajaran melukis wayang Kamasan. Subjek dan objek penelitian ini adalah karya lukis I Nyoman Mandra sebagai referensi belajar murid-muridnya serta proses penurunan keterampilan seni lukis wayang Kamasan. Penelitian ini merupakan penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini menggunakan teknik (1) observasi, (2) wawancara, (3) dokumentasi, dan (4) kepustakaan. Hasil penelitian ini menunjukkan bahwa (1) Hal yang melatarbelakangi murid-murid Nyoman Mandra untuk belajar melukis di Sanggarnya bukan hanya karena faktor ekonomi dan sekedar hobi, namun juga karena kesadaran akan pentingnya melestarikan budaya yang sudah turun temurun. (2) Penurunan keterampilan melukis di sanggar Nyoman Mandra diawali dengan pemahaman tema untuk mengenal karakter dalam cerita pewayangan, dilanjutkan dengan pemahaman bentuk karakter wayang, seperti mata, hidung, mulut, kumis, wajah, hiasan gelung, telinga, sikap tangan, kaki, hiasan gelang tangan dan kaki, hiasan dada dan wastera sampai dengan hiasan-hiasan di luar tokoh wayang seperti hiasan bingkai, hiasan dalam ruang, hiasan batu-batuan dan hiasan pepohonan. Setelah itu diberikan pemahaman penempatan warna. (3) Hasil dari lukisan wayang Kamasan yang dibuat murid-murid dari sistem Aprentisip dan sistem Pewarisan memiliki tingkat kemiripan yang berbeda dengan hasil lukisan Nyoman Mandra, dimana hasil lukisan Wayang Kamasan dari anak-anak Nyoman Mandra lebih mendekati karya Nyoman Mandra sendiri dibandingkan dengan murid pada zaman dulu dan atau sekarang yang melalui sistem Aprentisip. Walaupun hasilnya berbeda, kedua sistem ini sama-sama memberi manfaat bagi para pebelajar antara lain mengembangkan sensitifitas, melatih kreativitas, membina sikap kecermatan, ketekunan, kerapian dan kerja sama. Selain itu, memupuk apresiasi terhadap hasil kerja keterampilan, memupuk bakat dan minat dalam keterampilan melukis Wayang Kamasan.Kata Kunci : wayang, kamasan THE INHERITANCE SYSTEM OF PAINTING SKILL OF KAMASAN PUPPET BY I NYOMAN MANDRA By Ida Bagus Shindu Prasetya, NIM 1412031025 Art Education Department ABSTRACT The objectives of this study were describing about (1) background of I Nyoman Mandra’s students in drawing on painting skill of Kamasan puppet, (2) the steps which were done by I Nyoman Mandra in teaching about painting Kamasan puppet to his students, and (3) the painting results by I Nyoman Mandra’s students in learning about painting Kamasan puppet. The subject and object of this study was the painting result by I Nyoman Mandra as a reference for his children to learn and the process of lowering painting skill of Kamasan puppet. This study was descriptive qualitative research. The methods of data collection in this study were used (1) observation, (2) interview, (3) documentation, and (4) literature. The result of this study showed that (1) it was the background for Mr. Mandra’s students to learn painting in his studio, not only because of economy factors and hobbies, but also the awareness of the importance of cultural preservation that has been declining for generations. (2) The lowering of painting skill in the Mr. Mandra’s studio was started with the understanding of themes to know the puppet’s characters, continued with the understanding of the shapes of the characters, such as eyes, nose, mouth, mustache, face, head ornament, ears, arms, legs, hands and legs ornaments, chest ornaments and another ornaments outside of the characters such as frame, decoration in room, rocks decoration, and trees decoration. Next was given the understanding of color placement. (3) The painting results from Kamasan puppet which were made by the students from Aprentisip system and inheritance system had similar level which was different with Mr. Mandra’s painting result where the painting of Kamasan puppet from his children were more closer to Mr. Mandra’s than Mr. Mandra’s students through Aprentisip system. Although the results were different, both systems gave benefits for learners such as developing sensitivity, training creativity, developing intelligence, perseverance, tolerance, and cooperation. On the other hand, it was fostering the appreciation of result of work skills and fostering talent and interest in painting Kamasan puppet.keyword : Puppet, Kamasan
KARYA SENI RUPA 2 DIMENSI DI MAN 2 SITUBONDO Lailatul Choiriyah .; Dra. Luh Suartini, M.Pd. .; Drs.Agus Sudarmawan, M.Si. .
Jurnal Pendidikan Seni Rupa Undiksha Vol. 9 No. 1 (2019)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v9i1.18945

Abstract

Penelitian ini bertujuan untuk: (1) Mendeskripsikan alat dan bahan yang digunakan oleh siswa MAN 2 Situbondo untuk membuat karya Seni Rupa 2 dimensi. (2) Mendeskripsikan jenis dan bentuk karya Seni Rupa 2 dimensi yang dihasilkan siswa MAN 2 Situbondo. (3) Mendeskripsikan nilai Estetik karya Seni Rupa 2 dimensi yang dibuat oleh siswa MAN 2 Situbondo. Metode yang digunakan adalah deskriptif kualitatif dengan tekhnik pengumpulan data sebagai berikut: (1) Tekhnik Observasi, (2) Tekhnik Wawancara, (3) Tekhnik Dokumentasi. Hasil penelitian yang diperoleh: (1) Alat dan bahan yang digunakan dalam proses pembuatan karya 2 dimensi di MAN 2 Situbondo ( pensil, penghapus, penggaris, kuas, mangkok plastik, gunting, gelas plastik, hair dryer, kanvas, triplek, benang, kulit telur, kompor, canting, wajan, rol karet, pisau cungkil, kertas karton, cat, air, serbuk kayu, glitter, isolasi kertas, plastik segitiga, pernis, lem fox, biji kacang hijau, kain, remasol, daun pandan, serabut kelapa, bokol posing, karet gelang, tinta bak, cat offset, kertas gambar, dan busa ati. (2) Jenis dan bentuk dari karya seni rupa 2 dimensi di MAN 2 Situbondo berupa: mural, kaligrafi, batik, grafis, mozaik dan poster. (3) Nilai estetik yang terlihat pada karya seni rupa 2 dimensi berupa: bentuk, tema, dan aspek keindahannya. Kata Kunci : Seni Rupa, 2 dimensi, MAN 2 Situbondo This study aimed to: (1) Describe the tools and materials used by students in MAN 2 Situbondo to create 2-dimensional works of fine art. (2) Describe the types and forms of 2-dimensional works of fine art produced by students of MAN 2 Situbondo (3) Describethe aesthetic value of 2-dimensional works of fine art that was made by students of MAN 2 Situbondo. The method used in this study was descriptive qualitative with data collection techniques as follows: (1) Observation, (2) Interviews, (3) Documentation. The results of this studywere: (1) The tools and materials used in the process of making 2-dimensional works of fine art in MAN 2 Situbondo, (pencils, erasers, rulers, brushes, plastic bowls, scissors, plastic cups, hair dryer, canvas, plywood, threads, eggshells, stoves, canting, frying pans, rubber rollers, prying knives, paperboard, paint, water, wood powder, glitter, papertape, triangular plastic, varnish, wood glue, green bean seeds, cloth, remasol, pandan leaves, coconut fibers, bokolbosing, rubber bands, ink tanks, offset paint, drawing paper, and Eva sponge sheet . (2) The types and forms of 2-dimensional works of fine art in MAN 2 Situbondowere murals, calligraphy, batik, graphics, mosaics and posters. (3) The aesthetic value that could be seen in the 2-dimensional art works were the forms, the themes and the aspects of its beauty. keyword : fine Art, 2 dimensions, MAN 2 Situbondo
Kerajinan Anyaman Ketak Rotan di Desa Beleka Lombok Tengah Ririn Gusmawarni .; Drs.Agus Sudarmawan, M.Si. .; Dra. Luh Suartini, M.Pd. .
Jurnal Pendidikan Seni Rupa Undiksha Vol. 9 No. 2 (2019)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v9i2.18973

Abstract

ABSTRAK Penelitian ini bertujuan untuk (1) mengetahui sejarah Kerajinan Anyaman Ketak Rotan di desa Beleka Lombok Tengah, (2) untuk mengetahui alat dan bahan yang digunakan dalam proses pembuatan Kerajinan Anyaman Ketak Rotan di desa Beleka Lombok Tengah, (3) untuk mengetahui proses pembuatan kerajinan anyaman ketak rotan di desa Beleka Lombok Tengah, (4) untuk mengetahui bentuk kerajinan anyaman ketak rotan di desa Beleka Lombok Tengah. Jenis penelitian yang digunakan adalah penelitian deskriftif kualitatif. Objek penelitian ini adalah Kerajinan Anyaman Ketak Rotan di desa Beleka Lombok Tengah. Metode pengumpulan data yang di lakukan menggunakan metode observasi, wawancara, dokumentasi dan kepustakaan. Hasil penelitian menunjukan bahwa, (1) sejarah anyaman ketak rotan di desa Beleka Lombok Tengah ini sudah mulai sejak tahun 1989, kerajinan ini sudah turun temurun dari nenek moyang kita terdahulu, (2) alat dan bahan, alat utama yaitu pusut, maje, penembek, jepitan,meteran alat pendukung yaitu ada bambu, kuas, panci, baskom, sedangkan bahan utamanya yaitu : ketak, rotan, dan bahan untuk finishing yaitu pewarna politur, mowilex,(3) proses pembuatannya terbilang cukup rumit, mulai dari tahap pengumpulan bahan, menganyam dan terakhir finishing, (4) bentuk hasil dari anyaman ketak rotan ini ada yang berbentuk oval, lingkaran dan segi empat. Kata Kunci : Kerajinan, Anyaman, Ketak, Rotan ABSTRACT This research has some purposes: (1) to know the history of “The King Of Ketak Ratan Handicraft in Beleka Village Central Lombok. (2) To know th tools and materials in prosecc of making Ketak Ratan Handicraft in Beleka Village Central Lombok. (3) to know the processing of making Ketak Ratan Handicraft in Beleka Village Central Lombok. (4) to know the shapes of Ketak Ratan Handicraft in Beleka Village Central Lombok. The kind of research is descriptive qualitative research. The objects of the research are Ketak Ratan Handicraft in Beleka Village Central Lombok. The methods tocollect the data are observation method, interview method, documentation method and literature method. The results of the research show that: (1) the history Ketak Ratan Handicraft in Beleka Village Central Lombok has started since 1989. This handicraft has gone down from their oldest generations to the young generations. (2) the main tools and the materials are knives, small knives (maje), shooting pincers, measuring tool and some others like bamboos sweet lemonade, pan wash basin and the main materials are ketak, rattan and some others for finishing process: furnishing color and mowilex. (3) the making process is rather complicated: collecting the materials, plaiting and finishing. (4) the shapesof the ketak rattan handicraft are ovals,rounds and four sides shepes. keyword : Handicraft, plaiting, ketak rattan.
KERAJINAN AKAR KELAPA KARYA MADE SUKADANA DI PENUKTUKAN, TEJAKULA, BULELENG, BALI Kadek Edy Satriawan .; Dr. I Ketut Sudita, M.Si .; Drs.Agus Sudarmawan, M.Si. .
Jurnal Pendidikan Seni Rupa Undiksha Vol. 9 No. 2 (2019)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v9i2.21616

Abstract

Penelitian ini bertujuan untuk mengetahui: (1) Munculnya ide pembuatan kerajinan; (2) Bahan dan alat yang digunakan membuat kerajinan; (3) Proses pembuatan kerajinan akar kelapa karya Made Sukadana di Penuktukan, Tejakula, Buleleng, Bali. Penelitian ini merupakan penelitian deskriptif dengan pendekatan kualitatif. Subjek penelitian ini adalah Made Sukadana dan objek penelitian ini adalah kerajinan akar kelapa karya Made Sukadana. Metode yang digunakan untuk pengumpulan data dalam penelitian ini adalah metode observasi, dokumentasi, wawancara, dan kepustakaan. Analisis data yang digunakan adalah analisi domain dan analisi taksonomi. Hasil penelitian menunjukkan bahwa: (1) Ide awal pembuatan kerajinan muncul karena melihat peluang dari banyaknya populasi pohon kelapa dan kurangnya pemanfaatan akar kelapa yang hanya menjadi limbah setelah pohon kelapa ditebang. (2) Bahan dan alat untuk membuat kerajinan: akar kelapa, lem cyanoacrylate etil, politur, obat anti serangga dan oli bekas. Sedangkan alat yang digunaka antara lain: kapak kayu, pahat ukir, spidol, gergaji listrik, linggis, sikat dan kuas. (3) Proses pembuatan kerajinan akar kelapa karya Made Sukadana terdiri dari tiga proses inti yaitu ; Proses awal, proses pengerjaan, dan proses finishing. Tiap proses inti tersebut terdiri dari beberapa bagian proses, seperti Proses awal terdiri dari ; Mencari bahan, menyiapkan tempat, membersihkan bahan kerajinan, membuat sketsa desain untuk kerajinan akar kelapa, dan terakhir menyiapkan alat dan bahan. Proses pengerjaan juga terdiri dari beberapa proses seperti; Mengupas kulit akar kelapa, membuat sketsa pada bahan kerajinan, dan memahat atau mengukir bahan kerajinan. Terakhir proses finishing terdiri dari dua bagian proses yaitu; Proses penghalusan dan proses pewarnaan serta pengobatan. Kata Kunci : Kerajinan, akar kelapa, Penuktukan, Made Sukadana. This study aims to find out: (1) the emergence of crafting ideas; (2) Materials and tools used to make crafts; (3) The process of making coconut root crafts by Made Sukadana in Penuktukan, Tejakula, Buleleng, Bali. This research is a descriptive study with a qualitative approach. The subject of this research is Made Sukadana and the object of this research is coconut root craft by Made Sukadana. The method that the researcher used for data collection in this study were observation, documentation, interviews, and literature. The Analysis of the data that the researcher used were domain analysis and taxonomic analysis. The results of the study show that: (1) The initial idea of making crafts emerged because it saw that the opportunities for the large population of coconut trees and the lack of utilization of coconut roots which only became waste after the coconut trees were cut down. (2) Materials and tools for making crafts: coconut roots, ethyl cyanoacrylate glue, politur, insect repellent and used oil. While the tools used include: wood axes, carving chisels, markers, electric saws, crowbars, brushes and brushes. (3) The process of making coconut root crafts by Made Sukadana consists of three core processes, namely; Initial process, work process, and finishing process. Each core process consists of several parts of the process, such as the initial process consists of; Search for materials, prepare places, clean craft materials, made a design sketches for crafting coconut roots, and finally prepare tools and materials. The process of make it also consists of several processes such as; Peel coconut root skin, sketch on craft materials, and sculpt or carve craft materials. Finally, the finishing process consists of two parts, namely; Smoothing process and coloring process and treatment. keyword : Crafts, coconut roots, Penuktukan, Made Sukadana.
ALIH KETERAMPILAN SENI LUKIS GAYA BATUAN OLEH KOMUNITAS BATURULANGUN BATUAN Ni Wayan Erica Dewi; Agus Sudarmawan; I Gusti Ngurah Sura Ardana
Jurnal Pendidikan Seni Rupa Undiksha Vol. 10 No. 1 (2020)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v10i1.28113

Abstract

Penelitian ini bertujuan untuk mendeskripsikan (1) Latar belakang peserta didik dari komunitas Baturulangun dalam kegiatan alih keterampilan melukis gaya Batuan, (2) Proses alih keterampilan oleh komunitas Baturulangun di dalam mengajarkan melukis gaya Batuan pada peserta didiknya, dan (3) Hasil karya para peserta didik dari komunitas Baturulangun dalam kegiatan alih keterampilan melukis gaya Batuan. Subjek dan Objek penelitian ini adalah karya lukis dan katalog dari komunitas Baturulangun sebagai refrensi belajar peserta didiknya, serta  proses alih keterampilan seni lukis gaya Batuan. Penelitian merupakan penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini menggunakan teknik (1) observasi, (2) wawancara, (3) dokumentasi, dan (4) kepustakaan. Hasil penelitian ini menunjukan bahwa (1) hal yang melatarbelakangi peserta didik yang mengikuti kegiatan alih keterampilan untuk belajar melukis bukan hanya sekedar hobi, namun juga karena kesadaran akan pentingnya melestarikan budaya yang sudah turun temurun. (2) Proses alih keterampilan melukis gaya Batuan diawali dengan pemahaman tentang lukis Gaya Batuan, dilanjut dengan pemahaman bentuk ornament bali dan ukiran bali, setelah itu diberikan pemahaman tahapan-tahapan dalam melukis gaya Batuan. (3) Hasil dari lukisan gaya Batuan yang dibuat murid-murid dari kelompok akademik, cantrik, dan pewarisan memiliki tingkat kemiripan yang berbeda, hasil lukisan anak-anak kelompok cantrik dan pewarisan lebih mendekati ciri-ciri dari seni lukis gaya Batuan. Walaupun hasilnya berbeda tetapi dapat memberi manfaat bagi para pembelajar antara lain melatih kreatifitas, membina sikap kecermatan dan ketekunan, kerapian dan mengembangkan sensitifitas. Selain itu, memupuk bakat dan minat dalam keterampilan melukis gaya Batuan.
JACO VAN SCHALKWYK’S PAINTING SKILL TRANSFER IN “PAINTING WORKSHOP AND CONCEPTUAL THINKING” AT GALLERY OF FBS, UNDIKSHA 2020 Agus Sudarmawan
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 2 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i2.49224

Abstract

Abstract It was necessary to thoroughly review Jaco Van Schalkwyk’s painting skill transfer, an African painter, through an instructional development in a non-formal educational system. Skill transfer needed to be developed for transfer of knowledge/concepts, skills and appreciation of painting in the educational world, especially Fine Arts in as society of academicians’ form of development. Morespecifically, this research aimed to analyse skill transfer development process, tools and materials used and tangible skill transfer results of painting works developed by Jaco Van Schalkwyk. The research method used was descriptive qualitative method, and the data were collected through observation, interview, literature and documentation techniques. The Jaco Van Schalkwyk’s Skills Transfer Process included the following stages: 1. Introduction; was about self- introduction and cosmology of cultural climate on which art practices were based on. 2. Observation; trained learners’ artistic sensitivity, broadening their stimuli in finding new ideas of work. 3. Discussion; sharpened analytical reasoning and interpretation. 4. Idea Execution; recorded information of arising ideas. 5. Monitoring and Evaluation; solution to confusion. 6. Demonstration; trained the sensitivity to shape and motor sensitivity through Live Model Painting. 7. Presentation; trained responsibility for self-creativity. Based on the seven stages, we may conclude that skill transfer started with the biography related to how exploration of painting theme continued with responding to surrounding objects tobe taken as the source of painting idea.Keywords: painting, skill transfer, conceptual
KAJIAN PROSES DAN NILAI ESTETIK BATIK TULIS DI RUMAH “BATIK RATO WMS (WIRAUSAHAWAN MUDA SUMENEP)” KABUPATEN SUMENEP Yulia Nurul Fatih; Agus Sudarmawan; I Gusti Ngurah Sura Ardana
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 3 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i3.52688

Abstract

The research that carried out in “Batik Rato WMS” house at sub-regency Sumenep is aimed to Describing aesthetic value in _Batik Tulis_ from “Batik Rato WMS” house. Batik Rato WMS is the batik from Sumenep, Madura-East Java. The subjects of this research are people who are resource persons and Batik Rato WMS craftsmen Jl. Dr. Soetomo, Lingkungan Delama, Pajagalan, Kota Sumenep, Kabupaten Sumenep, Jawa Timur 69416. This research was conducting by using a qualitative type with a descriptive approach. The research focused on the motifs and colors of Sumenep batik. The data in this study were obtained by observation, interviews, and documentation. The following research finding are, as follows: The process of batik making are preparation and process of making. The motifs and colors of Batik Rato WMS through Monroe Beardsley’s aesthetic approach have the value of three aesthetic elements, such as integrity, complexity and sincerity. (1) Unity is found in visual elements that are distilled based on the main motif, combined with guri’, as well as elements of local culture in Sumenep such as the winged horse, Keris Keraton, Kerapan Sape, Blarak and flowers with contrasting and bright colors. (2) The complexity shown in the number of ornaments in each sheet of cloth, which is arranged very finely and repeatedly in expressive way. The variations of the supporting ornaments are quite complicated, this is due to the effort to display the keris element on each sheet of batik cloth which is located on the sleeve as a characteristic of this batik. Batik Rato WMS coloring required time and accuracy in the coloring process with varied motifs and ornaments. (3) The element of earnestness in the motifs and colors found in the shape character of the distinctive motif so that it describes locality of the area and the large motif by considering the quality of the various properties that exist in the value/philosophy, which defined as tenacity, patience and perseverance. Keywords: Aesthetic value, motif, color, Batik Rato WMS
Co-Authors ., Amalia Ika Safitri ., Babat Nufus T s ., Dewa Agung Mandala Utama ., Fitri Ayu Nurjannatin ., I B SHINDU PRASETYA ., I Gede Dwitra N. Artista ., I Gede Yogi Saputra ., I Kadek Budiana ., I Kadek Susila Priangga ., I Ketut Dedi Susiawan ., I Made Edy Suastawa ., I Putu Agus Santika Putra ., I Wayan Sudiarta, S.Pd., M.Si. ., Indrianti Amilda Pratami ., Kadek Edy Satriawan ., Ketut Widiastra ., Lailatul Choiriyah ., Made Wijana ., Nurur Rahman ., Ririn Gusmawarni ., Salma Putri Nur r Alimudin . Alimudin ., Alimudin Amalia Ika Safitri . Arry Komang Gede Bhaskara . Babat Nufus T s . Dewa Agung Mandala Utama . Dewi, Ni Wayan Erica Drs. I Gusti Ngurah Sura Ardana,M.Sn. . Drs.Jajang S,M.Sn . Drs.Mursal . Fira Sartika Putri Fitri Ayu Nurjannatin . Galih Efendi . Galih Efendi ., Galih Efendi Gede Eka Harsana Koriawan Gede Nuarsana . I B SHINDU PRASETYA . I Gede Antara . I Gede Astra Wesnawa I Gede Dwitra N. Artista . I Gede Suardika I Gede Yogi Saputra . I Gusti Made Budiarta I Gusti Made Budiarta I Kadek Budiana . I Kadek Susila Priangga . I Ketut Dedi Susiawan . I Ketut Sudita I Ketut Supir I Komang Suardana Karang . I Made Edy Suastawa . I Made Rosis Ariwangsa . I Made Rosis Ariwangsa ., I Made Rosis Ariwangsa I Nyoman Rediasa, S.Sn., M.Si . I Nyoman Sudiarka . I Putu Agus Santika Putra . I Wayan Sudiarta Ida Bagus Made Pandit Parastu . Indrianti Amilda Pratami . Janu Budi Utama, Putu Tri Kadek Edy Satriawan . Ketut Widiastra . Lailatul Choiriyah . Langen Bronto Sutrisno Luh Suartini . M.Si ., I Nyoman Rediasa, S.Sn., M.Si Made Sudiksa . Made Sudiksa ., Made Sudiksa Made Wijana Muhammad Farhan Nugraha Nabilatul Warda Ni Luh Gede Erni Sulindawati Ni Nyoman Sri Witari Ni Putu Indri Kusumasari . Ni Wayan Erica Dewi Norman Efendi . Nurur Rahman . Pande Made Ari Sugitha . Perianto, Perianto Putri, Yuliana Khairi Putu Eka Juniarta . Putu Indra Christiawan Rai Sujanem Rediasa, I Nyoman Ririn Gusmawarni . Rochman Kifrizyah . Salma Putri Nur r . Sari, Desi Nurul Komala Sudiarsana, I Gusti Ngurah Alit UNDIKSHA . Yeni Yuanda Putri . yudiantara, kadek mega Yulia Nurul Fatih