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All Journal Buletin Udayana Mengabdi Jurnal Pendidikan Seni Rupa Jurnal Ilmiah Desain & Konstruksi Gorga : Jurnal Seni Rupa Harmonia: Journal of Research and Education IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature Vitruvian : Jurnal Arsitektur, Bangunan, dan Lingkungan MUDRA Jurnal Seni Budaya PRABANGKARA Panggung Jurnal Patra Jurnal Syntax Transformation International Journal of Social Science Jurnal Vastukara: Jurnal Desain Interior, Budaya, dan Lingkungan Terrbangun Journal of Aesthetics, Creativity and Art Management Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara International Journal of Economic, Finance and Business Statistics (IJEFBS) Journal of Aesthetics, Design, and Art Management Panggung Global Art Creativity Conference Harmonia: Journal of Arts Research and Education
Remawa, Anak Agung Gede Rai
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Medicine & Pharmacology Public Health Social Sciences Transportation Other

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Transformasi Digital pada Budaya Tradisi Menenun Endek Nyoman Dewi Pebryani; Tjok Istri Ratna C.S; Anak Agung Rai Remawa; I Made Radiawan
Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v37i1.1886

Abstract

Endekis traditional textile produce in Bali using a single ikat weaving technique. In single ikat, the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern on one side of threads, either the warpor the weft. Specifically, for Endek, the weft is the threads to form the pattern. Producing patterns in Endekinvolves creativity and intricate calculation; therefore, not many people are able to master this expertise. Transforming the design process of Endekto a digital application provides easiness, as the user only needs to focus on creating the pattern design, while the digital application will calculate the number of threads and visualize the result. To understand the process of creating Endek, the researcher conducted research in the weaving place by interviewing and observing the weavers and pattern makers. The algorithm received from the fieldwork then is translated into programming language to create a digital application. This application is created with a simple user interface so that the user who is not familiar with technology still can practice the apps easily. This application contributes to the efficiency in production process where previously in the production process needs one to two days, while with this application, it can be shortened to one to two hours.
Swakaryaloka: Naturalist based street chic creation Anak Agung Sagung Istri Trisnadewi; Tjok Istri Ratna C.S; Anak Agung Gede Rai Remawa
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 2 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (480.788 KB) | DOI: 10.31091/jacam.v1i2.1833

Abstract

The creation of this naturalist-based street chic ready-to-wear fashion was made with the aim of minimizing liquid waste from chemicals and displaying environmentally friendly clothing. The method used is an experimental method with natural dye techniques, namely dyeing or coloring derived from plants and eco print techniques, which are unique in the form of leaf traces with contemporary art. The creative process used is the ten steps of creating a frangipani fashion design, including idea exploration, research, aesthetic element analysis, design development, sample making, promotion, branding affirmations, to the fashion business. The final collection is entitled Swakaryaloka which is a creative work of art in visualizing clothing using natural dyes that utilize the surrounding nature as an object to produce an environmentally friendly fashion product. The creation of this street chic fashion design is adapted to the trend of spirituality, a change in mindset that is more grounded in preserving nature and respect for the work process. There is a total of 9 looks which are divided into three groups, namely memorable, contemporary, and hopeful. The groups displayed environmentally friendly clothing that had a storyline from the condition of the color of the polluted water to the color of the water being clean or normal. Each look is analyzed using design elements and principles using aesthetic theory. Keywords: natural dye, eco print, spirituality, street chic.
Metafora Baru dalam Seni Lukis Kontemporer Berbasis Ikonografi Relief Yeh Pulu I Wayan Adnyana; Anak Agung Gede Rai Remawa; Ni Luh Desi In Diana Sari
Mudra Jurnal Seni Budaya Vol 34 No 2 (2019): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v34i2.704

Abstract

Artikel ini merupakan luaran penelitian terapan tahun ketiga, bertujuan untuk mengungkap penciptaan seni lukis kontemporer berbasis ikonografi relief Yeh Pulu. Penciptaan seni lukis dilakukan melalui dua tahap: analisis ikonografi untuk menemukan konsep, dan tahap penciptaan karya. Tahap analisis menggunakan teori ikonologi Panofsky melalui tiga tingkatan analisis: pra-ikonografi, analisis ikonografi, dan analisis ikonologi. Artikel ini mengedepankan pada analisis (interpretasi) ikonologis untuk menginvestigasi makna dari motif, simbol, dan alegori atas konteks budaya yang melekat pada objek analisis (D’Alleva, 2005). Interpretasi ini menemukan konsep metafora baru, yakni kepahlawanan orang-orang biasa. Pada praktik penciptaan seni lukis kontemporer, metafora dibentuk dengan tiga pendekatan estetik, yakni pembingkaian ulang, perombakan ulang, dan pemindahan ke ruang atau lokus global kontemporer. Artinya, figur ikonik relief Yeh Pulu dibingkai ulang dalam ruang lanskap baru, memindahkan yang kuno ke dalam konteks tata kehidupan masa kini, termasuk mobilitas pada ruang-ruang global.
CENGKEH SEBAGAI INSPIRASI PENGEMBANGAN MOTIF BATIK BERBASIS DIGITAL DI KABUPATEN BULELENG Ni Gusti Ayu Paramita; I Wayan Mudra; Anak Agung Gede Rai Remawa
Gorga : Jurnal Seni Rupa Vol 11, No 2 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i2.38894

Abstract

Batik is one of the textile products that began to develop in Buleleng Regency. The presence of batik in the Buleleng district is used as an alternative for souvenirs and souvenirs that have an attraction for tourists. However, the lack of innovation in the creation of batik motifs and limited human resources have urged the creation of innovations to maintain the existence of batik, especially in the Buleleng Regency. Along with the growth of technology in the current digital era, batik must be able to grow without eroding its philosophical meaning of batik. This study aims to maintain the existence of batik, especially in Buleleng Regency by applying digital design in the design of motifs so that it can accelerate the process of making batik. The method used in this study uses a qualitative method with a three-stage approach to the creation of works of art, namely exploration, design, and embodiment. In the design process, the motifs used took inspiration from the clove plant in the Buleleng district in collaboration with the typical Buleleng motif, Singaraja. This motif was designed using the Adobe Illustrator application with the final result in the form of a batik design mockup. This research is expected to develop the potential of batik in Buleleng Regency by developing variations of the typical motifs of Buleleng Regency. The application of digital technology in designing batik is carried out to accelerate the batik production process to meet market demand.Keywords: cloves, motif development, digital based. AbstrakBatik menjadi salah satu produk tekstil yang mulai berkembang di Kabupaten Buleleng. Hadirnya batik di Kabupaten Buleleng dijadikan alternatif cenderamata maupun oleh-oleh yang mempunyai daya tarik untuk turis. Namun inovasi yang kurang dalam penciptaan motif batik serta keterbatasan SDM mendesak penciptaan inovasi baru guna mempertahankan keberadaan batik khususnya di Kabupaten Buleleng. Seiring dengan pertumbuhan teknologi di era digital sekarang, batik wajib bisa bertumbuh tanpa mengikis makna filosofi dari batik. Penelitian ini bertujuan untuk mempertahankan eksistensi batik khususnya di Kabupaten Buleleng dengan menerapkan desain digital dalam perancangan motif sehingga dapat mempercepat proses pembuatan batik. Metode yang digunakan pada penelitian ini menggunakan metode kualitatif dengan pendekatan 3 tahapan penciptaan karya seni, yakni eksplorasi, perancangan dan perwujudan. Pada proses perancangan, motif yang digunakan mengambil inspirasi dari tanaman cengkeh di Kabupaten Buleleng yang dikolaborasikan dengan motif khas Buleleng yakni singaraja. Motif ini dirancang menggunakan aplikasi Adobe Illustrator dengan hasil akhir berupa mockup desain batik. Penelitian ini diharapkan dapat mengembangkan potensi batik di Kabupaten Buleleng dengan mengembangkan variasi motif khas Kabupaten Buleleng. Penerapan teknologi digital dalam mendesain batik ini dilakukan agar dapat mempercepat proses produksi batik guna memenuhi permintaan pasar.Kata Kunci: cengkeh, pengembangan motif, berbasis digital. Authors:Ni Gusti Ayu Paramita : Institut Seni Indonesia DenpasarI Wayan Mudra : Institut Seni Indonesia DenpasarAnak Agung Gede Rai Remawa : Institut Seni Indonesia Denpasar References:Data Statistik Kabupaten Buleleng. (2017). Statistik Jumlah Produksi Komuniti Cengkeh Kabupaten Buleleng. https://bulelengkab.bps.go.id/staticta (diakses tanggal 17 April 2022).Natalia, D. A. W. N., Budhyani, I. D. A. M., & Angendari, M. D. (2019). Batik Bali pada Industri Sari Amerta Batik Collection di Desa Batubulan Kecamatan Sukawati Kabupaten Gianyar. Jurnal BOSAPARIS: Pendidikan Kesejahteraan Keluarga, 9(2), 76-87.Gustami, S. P. (2004). Proses Penciptaan Seni Kriya: Untaian Metodelogis. Yogyakarta: Program Pascasarjana S2 Penciptaan Dan Pengkajian Seni ISI Yogyakarta.
PERANCANGAN GERAI KERAJINAN KHAS MANDALIKA SEBAGAI DESTINASI WISATA SUPER PRIORITAS DENGAN PENDEKATAN STORYNOMICS TOURISM I Made Pande Artadi; Anak Agung Gede Rai Remawa; I Putu Udiyana Wasista; I Made Jayadi Waisnawa; Gede Pasek Putra Adnyana Yasa
Jurnal PATRA Vol 5 No 1 (2023): Jurnal Patra Mei 2023
Publisher : LPPM Institut Desain dan Bisnis Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35886/patra.v5i1.508

Abstract

Budaya yang berkembang di wilayah Mandalika merupakan aset mahal dalam mengembangkan pariwisata dengan pendekatan storynomics tourism. Adanya hal ini, menyebabkan Mandalika dicanangkan sebagai kawasan destinasi prioritas oleh Kemenparekraf/Baparenkraf RI. Ditambah lagi dengan adanya keberadaan Sirkuit Mandalika kini menyebabkan Mandalika memperoleh status Kawasan Ekonomi Khusus. Namun muncul masalah menjamurnya gerai-gerai kerajinan khas Lombok di sekitar Sirkuit Mandalika, yang menyebabkan kondisi kumuh (ghetto). Oleh karenanya, peneliti dan pihak ITDC melakukan kolaborasi dalam kegiatan matching fund, untuk merancang gerai-gerai kerajinan tersebut agar lebih tertata dan estetis menggunakan pendekatan storynomics tourism. Metode yang digunakan terdiri dari tiga tahapan yaitu tahap inspirasi, tahap gagasan, dan tahap implementasi. Hasilnya narasi dalam pendekatan storynomics tourism telah diimplementasikan ke dalam rancangan interior di kawasan gerai kerajinan dan souvenir. Penggunaan identitas lokal seperti bentuk lumbung, bentuk dan warna nyale, motif songket Subahnale, peresean, motif anyaman ketak dan rotan, bentuk cupu, hingga kisa Puteri Mandalika, berhasil dimplementasikan ke dalam elemen-elemen ruang dan massa bangunan.
ANALISA NUANSA WARNABALI PADA PINTU UKIR DI PT. SRAYA BALI STYLE KABUPATEN GIANYAR-BALI Komang Yudistia; Anak Agung Gede Rai Remawa; Tjok Istri Ratna Cora S
Jurnal Ilmiah Desain & Konstruksi Vol 22, No 1 (2023)
Publisher : Universitas Gunadarma

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35760/dk.2023.v22i1.6816

Abstract

Warna tradisional Bali merupakan warna yang didasarkan pada filosofi ajaran agama Hindu Bali. Warna dalam seni rupa di Bali memiliki fungsi yang istimewa, karena selain memiliki nilai pragmatis untuk memperindah tampilan produk juga memiliki nilai filosofis keagamaan dan budaya di Bali. Warna dalam seni rupa di Bali memiliki fungsi yang istimewa, karena selain memiliki nilai pragmatis untuk memperindah tampilan produk juga memiliki nilai filosofis keagamaan dan budaya di Bali. Penelitian ini akan melakukan analisis komparasi warnabali dengan nuansa warnabali yang digunakan sebagai bahan finishing pintu ukir di Kabupaten Gianyar. Warna berdasarkan penelitian yang dilakukan oleh A.A Gede Rai Remawa terdiri dari konsep tri datu (tri kono) sampai konsep Nawa Sanggha yang menjadi pertimbangan penempatan warna di Bali yang bersumber pada lontar Kereb Bhuana, Dewa Tatwa ataupun lontar lainnya. Warnabali merupakan warna berbahan dasar mangsi, taum, kencu, deluge, pere, atal dan tulang yang menghasilkan warna yang disebut “Cet Bali” dan terdiri dari 7 (tujuh) warna dasar. Penggunaan Warnabali oleh perajin di PT. Sraya Bali Style saat ini merupakan hasil dari warisan turun temurun oleh tetua, pengalaman estetis dari melihat benda pusaka, dan arca keagamaan. Warna yang mucul dari pemahaman tersebut di istilahkan dengan Nuansa warnabali. Penelitian ini dilakukan untuk mengetahui seperti apa kandungan dari nuansa warnabali pada pintu ukir di PT. Sraya Bali Style berdasarkan pembacaan dengan spectrophotometer sinar tampak nix pro 2. Hasil dari penelitian ini diharapkan dapat menjadi inspirasi pengembangan ragam pewarnaan dengan cirikhas Bali untuk Pintu ukir.
TIRTA-RAKTA-SASTRA DALAM ENTITAS RELIGIUS DAN REPRESENTASI AIR PADA KARYA SENI Anak Agung Gede Rai Remawa
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 2 (2022): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Bali adalah Pulau kecil dengan keunikan istimewa dalam gubahan ide, tindakan dan karya seni budaya istimewa. Daya tarik ini bukanlah hal tanpa sebab, namun estetiknya terselinap dibalik karya cipta seni masyarakat Bali yang telah diturunkan dari kedahuluannya. Keseluruhan karya cipta seni Bali tradisional, dicerap dari esensi filosofis dengan tindakan nyata estetiko-religio-pragmatiko. Tema Tirta-Rakta-Sastra (daya hidup air-api cipta seni) sejatinya adalah tentang api dan air. Dua kekuatan dasyat dari tiga kekuatan terdasyat api-air-udara hadir dalam setiap karya cipta seni Bali sebagai daya nafas hidup dan kehidupan (urip-hirup-kahuripan). Ketiga kekuatan ini menjadi dasar yang esensial dalam berbagai pengembangan seni dan budaya Bali. Representasi air muncul dalam berbagai karya seni unggul seperti pecira, bebaturan, umbul-umbul, tedung pagut, meru, gunung rata, kayonan, naga basukian dan konsep utama lainnya menyiratkan betapa pentingnya air dalam dunia seni dan kehidupan.
WARNABALI: BALINESE COLOR INTENSITY DIVERSIFICATION FOR DEVELOPMENT OF BALI MODERN INTERIOR AND ARCHITECTURE COATING IN ADDITIVE COLOR ONLINE BASED EXPERIMENT Anak Agung Gede Rai Remawa; I Kadek Dwi Noorwatha; I Made Pande Artadi; Toddy Hendrawan Yupardhi; Putu Ari Darmastuti
Journal of Aesthetics, Design, and Art Management Vol. 2 No. 1 (2022): Journal of Aesthetics, Design, and Art Management
Publisher : Yayasan Sinergi Widya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58982/jadam.v2i1.186

Abstract

Purpose: This study aims to conduct experiments on enriching the intensity of traditional Balinese colors that are relevant to the application of color in modern interiors and architecture. Research methods:The research method uses online-based experiments by mixing Balinese colors with light and dark characters in a ratio of 66.7%: 33.3%. Mixing is done by crossing process and the results of the cross process are arranged into a Balinese color palette based on Additive Colors. Findings:The color cross method with a ratio of 66.7% light to 33.3% dark produces bali color variants with various tint intensities. The scan results on the Balinese print-based color composition arranged in the nawa sangha cosmology, which is processed online through the dopely.top website, produces relevant colors developed in modern interiors and architecture. The process of diversifying the color intensity will provide recommendations for its application to residential and non-residential interiors. Implications: Provide insight into the use of traditional Balinese colors to designers and architects, in an effort to preserve and strengthen tradition-based knowledge for the development of modern design science.
Analysis of The Value of Panji Village Shaking Tradition for Performing Arts Costume Design in Singaraja City Putu Ariella Peggy Sabella; I Gede Mugi Raharja; Anak Agung Gede Rai Remawa
Jurnal Syntax Transformation Vol 5 No 1 (2024): Jurnal Syntax Transformation
Publisher : CV. Syntax Corporation Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.46799/jst.v5i1.908

Abstract

The Megoak-goakan tradition is a tradition in the form of a traditional game originating from Panji Village, Buleleng Regency, Bali. This tradition has now developed into a performance art in the form of dance, and drama. The tradition of megoak-goakan was developed into a performing art for preservation efforts and introduced the tradition of Megoak-goakan to the younger generation. The tradition of gowing has values implicit in it and is conveyed through the performing arts to the audience. The value in the tradition of goak-goakan can also be conveyed through the costumes used. The selection of the right costume design can be an intermediary message to the audience. This study aims to analyze the values that exist in the tradition of rocking Panji Village to become the basis for designing costumes for the performing arts tradition of rocking in Singaraja City. This research is a qualitative research with the data in this study being primary and secondary data. The method of collecting this research data is in the form of observation, interviews and literature. The purpose of this study is to find value in the Megoak-goakan Tradition that can help in making costume designs for Megoak-goakan performing arts in Singaraja City.
Tension-Pleasure and Education Values of the Meta-Figurative of Indonesian Contemporary Paintings Adnyana, I Wayan Kun; Totton, Mary Louise; Remawa, Anak Agung Gede Rai; Muka, I Ketut; Ruta, I Made; Wirakesuma, I Nengah; Kondra, I Wayan; Suardana, I Wayan; Sugita, I Ketut Adi
Harmonia: Journal of Arts Research and Education Vol 23, No 1 (2023): June 2023
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v23i1.41296

Abstract

Meta-figurative is a physical aesthetic discourse that reaches beyond the physical beauty of ideal bodies (skeletal construction, muscles, and skins). The interpretation approaches used new criticism, according to Culler (2001), that goal to identify what the works repress or illuminate by concealing and portraying society and social attitudes. Meta-figurative encompasses exploration pertaining to the interchangeable position and condition between tensions and pleasures of bodies in the social space. Fifteen Indonesian contemporary artists are: Mangu Putra, Entang Wiharso, Chusin Setiadikara, Agus Suwage, FX Harsono, Ivan Sagito, Heri Dono, Ronald Manulang, Nyoman Masriadi, Nyoman Erawan, Putu Sutawijaya, Laksmi Sitaresmi, Made Djirna, Ugo Untoro, and Bob Sick Yuditha have been conducting creative efforts and questioning about matters of the bodies’ position in the public space, conducting current interpretation through personal artistic and aesthetical language. There are five representation tendencies of meta-figurative paintings thematically, artistic images, and visual meanings: marginalized bodies, fictionalized bodies, bodies of expression, autobiographical bodies, and beyond famous portraits. Indonesian contemporary artists have made figurative subjects in their paintings to make statements, self-reflections, and moral voices of their country’s socio-political conditions, which are educational values of Indonesian Contemporary Paintings in social meaning. Poverty, corruption, and anti-democracy practices still part of Indonesian daily realities are area protests for contemporary artists.
Co-Authors Adhitama, Gregorius Prasetyo Alit Kumala Dewi Anak Agung Sagung Istri Trisnadewi Artadi, I Made Pande Farhan Farhan Gede Pasek Putra Adnyana Yasa I Gede Mugi Raharja I Gusti Ngurah Ardana I Ketut Adi Sugita I Ketut Muka I Ketut Sariada, I Ketut I Komang Indra Wira Pranata I Komang Sudirga I Made Jayadi Waisnawa I Made Radiawan I Made Suparta I Nengah Wirakesuma, I Nengah I Nyoman Artayasa I Nyoman Artayasa I Nyoman Sedana I Nyoman Yoga Sumadewa I Wayan Adnyana I Wayan Adnyana I Wayan Mudra, I Wayan I Wayan Suardana I Wayan Swandi I.M. Radiawan I.N. Puja Imam Santosa Kadek Anggia Sandra Dewi Ketut Indira Suasti Prayojani Komang Yudistia Kondra, I Wayan Made Arini Hanindharputri Made Ida Mulyati, Made Ida Made Tiartini Mudarahayu N.L.R. Purnawan N.M.I. Muliyati Ni Gusti Ayu Paramita Ni Ketut Seminari Ni Luh Desi In Diana Sari, Ni Luh Desi In Noorwatha, I Kadek Dwi Nyoman Dewi Pebryani Padmanaba, Cok Gd Rai Pasek, I Gede Putu Ari Darmastuti Putu Ariella Peggy Sabella Ratna Cora Sudharsana, Tjok Istri Ruta, I Made Sida Arsa, I Ketut Suranjaya I .Gd Toddy Hendrawan Yupardhi, Toddy Hendrawan Totton, Mary Louise Wasista, I Putu Udiyana Yayat Yayat