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All Journal Humaniora Ars: Jurnal Seni Rupa dan Desain Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Harmonia: Journal of Research and Education Journal of Urban Society´s Arts MUDRA Jurnal Seni Budaya Panggung PRODUCTUM : Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Humaniora Tonil, Jurnal Kajian Sastra, Teater dan Sinema Jurnal Dimensi Seni Rupa dan Desain Panggung Permaculture : Jurnal Ilmu Pertanian & Lingkungan
M Agus Burhan
Institut Seni Indonesia Yogyakarta
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Biochemistry, Genetics & Molecular Biology Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

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The Public Space of “Jogja Fashion Week Carnival” and Cosplay Clothing in Yogyakarta Setiawan, Deni; Haryono, Timbul; Burhan, Agus
Jurnal Komunitas: Research and Learning in Sociology and Anthropology Vol 6, No 2 (2014): Komunitas, September 2014
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v6i2.3303

Abstract

The concept of an ideal public space does not just focus on the interests of a particular group or community, but rather focus on the space of social activities that represent each audience or spectator in that society. Arts and cultural activities are part of it; although the concept of public space is still abstract to represent every social individual. However, the presence of public space has created a mediation space for all forms of communication. Mediation space is considered as a crucial feature, not only as a promotional sphere but also as a place to exchange and communicate all forms of ideology, art, and culture. Art activities such as Jogja Fashion Week Carnival and Cosplay clothing performance in public spaces provide opportunities for communities or individuals, to make this activity as a public performance and part of public art. Public art tends to be creative, free, and sometimes not accompanied by a theoretical perspective, as other arts are. Art activities in public spaces which are part of the social and cultural activities are essentially standing on the ideology that have been set up for a particular interest. The interest is disseminated using mass media and advertisment. Audience or public art connoisseur in public spaces should be more intelligent and critical to accept all kinds of art activities and performances. Therefore the performance will have a balanced communication.AbstrakKonsep ruang publik yang ideal tidak saja berbicara kepentingan golongan atau komunitas tertentu, tetapi lebih fokus pada wadah aktivitas sosial yang mewakili setiap pendatang atau penonton. Termasuk didalamnya adalah aktivitas seni dan budaya, walaupun konsep ruang publik masih dapat dikatakan abstrak untuk mewakili setiap individu sosial. Akan tetapi dengan adanya ruang publik telah menciptakan ruang mediasi bagi segala macam bentuk komunikasi. Ruang mediasi ini dipandang penting, tidak saja dijadikan ranah promosi, lebih mendalam adalah untuk bertukar dan tempat komunikasi segala macam bentuk ideologi, kesenian, dan kebudayaan. Aktivitas seni semacam Jogja Fashion Week Carnival dan pagelaran pakaian cosplay pada ruang publik memberikan kesempatan bagi komunitas atau individu, untuk menjadikan aktivitas ini sebagai tontonan dan bagian seni publik. Seni publik ini tentu saja lebih cenderung lebih kreatif, bebas, dan terkadang tidak diiringi dengan perspektif teoretis, seperti yang dilakukan seni lainnya. Aktivitas seni pada ruang publik, merupakan bagian dari aktivitas sosial dan budaya, hakikatnya berdiri pada ideologi yang telah diatur untuk satu kepentingan, yang disebarluaskan menggunakan media massa dan iklan. Penonton atau masyarakat penikmat seni pada ruang publik, harus lebih cerdas dan kritis untuk menerima segala macam bentuk sajian aktivitas seni, sehingga sajian tersebut memiliki komunikasi yang seimbang.
Ikonografi dan Ikonologi Lukisan Djoko Pekik: ‘Tuan Tanah Kawin Muda’ Burhan, M. Agus
PANGGUNG Vol 23, No 3 (2013): Sejarah, Konseptualisasi, dan Praksis Tradisi Kreatif Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v23i3.137

Abstract

ABSTRACT This research talked about ‘Tuan Tanah Kawin Muda’, painted by Djoko Pekik, with art history as the basic approach and therefore using Erwin Panofsky’s iconography and iconology theory. Hi- story research method followed with field data investigation, literature data, selection and critic, ana- lysis and source interpretation purposing to get the synthesis, continue with historiography framing. The result of this research contains; Preiconography descriptions explained the early textual aspect idea, reveals communication and conflict between the two figures. Iconography analysis explained about theme and concept, it tells about the oppression through economy asset, social, and cultural. The creator thought about how to defend among the conflict. Iconology interpretation, explained the art work symbolic value. Through the psychology experience and his social also cultural background, conclude that this painting is a crystallization symbol of deprivation and defense from the suffering poor people’s right. Keywords: Social realism, social conflict, oppression symbol  ABSTRAK Penelitian ini tentang lukisan Djoko Pekik yang berjudul ‘Tuan Tanah Kawin Muda’ yang dianalisis dengan pendekatan sejarah seni dan memakai teori ikonografi dan ikonolo- gi Erwin Panofsky. Metode yang dipakai adalah metode sejarah dengan langkah pencarian sumber di lapangan dan pustaka (heuristik), seleksi dan kritik, analisis dan interpretasi sumber untuk menghasilkan sintesis, dan penyusunan historiografi. Hasil penelitian ini berupa: Deskripsi pra ikonografi berisi tanggapan awal aspek tekstual, mengungkap ko- munikasi dan konflik antara dua figur. Analisis ikonografis yaitu tentang tema dan konsep penindasan kaum laki-laki pada perempuan lewat kekuasaan modal ekonomi, sosial dan kultural. Konsep dasar penciptaannya tentang konflik antara kekuasaan yang menindas dan hak yang harus dipertahankan. Interpretasi ikonologis yaitu tentang nilai simbolik yang diungkap dalam lukisan. Lewat pengalaman psikologis pelukis dengan berbagai ke- kerasan dan penderitaan, serta pandangan hidup dari latar belakang sosial dan kultural- nya, maka lukisan ini merupakan kristalisasi simbol dari perampasan dan pertahanan hak rakyat bawah yang menderita.. Kata kunci: realisme sosial, konflik sosial, simbol ketertindasan
Lukisan Ivan Sagita “Makasih Kollwitz” (2005) dalam Sejarah Seni Lukis Modern Indonesia: Tinjauan Ikonografi dan Ikonologi Burhan, M. Agus
PANGGUNG Vol 25, No 1 (2015): Kontribusi Seni Bagi Masyarakat
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i1.10

Abstract

 Penelitian ini menganalisis karya seni lukis berjudul “Makasih Kollwitz” (2005), yang dilu- kis oleh Ivan Sagita. Dengan menggunakan sejarah seni sebagai dasar pendekatan, selanjutnya pilihan teori utama yang dipakai adalah teori ikonografi dan ikonologi Erwin Panofsky. Metode penelitian sejarah meliputi, pencarian data di lapangan dan sumber-sumber pustaka, seleksi dan kritik data, analisis dan interpretasi data untuk menghasilkan sintesis, selanjutnya penyu- sunan historiografi atau laporan penelitian sejarah. Hasil penelitian ini berisi, deskripsi pra iko- nografi yang menerangkan tahap awal aspek ide tekstual, yaitu menggambarkan sosok wanita tua renta mengambang di langit, terbaring dengan beralaskan rambutnya yang memanjang melampaui tubuhnya. Nenek itu sedang dalam proses kematian. Analisis ikonografi menjelas- kan tentang tema dan konsep. Hal itu mengungkapkan tema fenomena kematian, dengan ru- jukan konsep dasar tentang kefanaan hidup dan nilai survival eksistensi kehidupan manusia. Interpretasi ikonologi menjelaskan nilai simbolis pada karya. Melalui pengalaman kejiwaan dan latar belakang sosial dan kebudayaan seniman, terungkap bahwa lukisan ini merupakan kristalisasi simbol tentang kontradiksi dalam eksistensi kehidupan manusia.   Kata kunci: Surrealisme, kematian,  kontradiksi, eksistensi
Prinsip Estetika Pakaian Cosplay Yogyakarta: Fantasi dan Ekspresi Desain Masa Kini Setiawan, Deni; Haryono, Timbul; Burhan, M. Agus
PANGGUNG Vol 24, No 1 (2014): Fenomena dan Estetika Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v24i1.103

Abstract

ABSTRACTCostume, dress code, animation, comics, legends, and manga, are inseparable parts of the cosplay costume. Those parts give fantasy and digital world discourse through costume style. Its spiritual domain stands on Japanese culture by being cultured through clothing. One of them, cosplay ideo- logy, reflects the self-imaging through social communities, as an e?ort for group and self-existence. Cosplay entity bridges fantasy and real world, presents designers’ expressions through the costume designs to show. This writing will be analyzed by using the main theories based on Dewitt H. Parker point of view, in The Principles of Aesthetics, which divides principles of aesthetics into three, they are: Principle of Organic Unity, Principle of Dominant Element, and Principle of Balance. Principle of organic unity indicates that cosplay clothing is an accumulation of design elements, to refer and mark a figure. Principle of dominant element, is accentuation, or the center of interest of a cosplay clothing design. Principle of balance, see placement and setting ornamentation applied to cosplay clothing.Keywords: cosplay clothing, principles of aesthetics, costume style, YogyakartaABSTRAKPakaian, dress code, animasi, dan manga, merupakan unsur yang tidak terpisahkan dalam pakaian cosplay. Unsur-unsur tersebut merupakan wacana dunia digital dan fantasi pada dunia pakaian. Ranah spiritualnya berp?ak pada kebudayaan Jepang yang dibudayakan melalui pakaian. Ideologi cosplay salah satunya menggambarkan pencitraan diri komuni- tas sosial, sebagai usaha untuk aktualisasi diri. Entitas cosplay mampu menjembatani du- nia fantasi dan realita, yang membelenggu keinginan manusia untuk bergaya. Tulisan ini akan dianalisis dengan teori pokok berdasarkan pandangan Dewitt H. Parker, dalam The Principles of Aesthetics, yang membagi prinsip estetika menjadi tiga, yaitu: prinsip kesatu- an organik, prinsip unsur dominan, dan prinsip keseimbangan. Prinsip kesatuan organik menunjukkan, bahwa pakaian cosplay merupakan akumulasi dari unsur-unsur desain, un- tuk merujuk dan menandai tokoh. Prinsip unsur dominan, merupakan aksentuasi, atau pusat perhatian dari sebuah desain pakaian cosplay. Prinsip keseimbangan, melihat penem- patan dan pengaturan ornamentasi yang diaplikasikan pada pakaian cosplay.Kata kunci: pakaian cosplay, prinsip estetika, gaya pakaian, Yogyakarta
The Public Space of “Jogja Fashion Week Carnival” and Cosplay Clothing in Yogyakarta Setiawan, Deni; Haryono, Timbul; Burhan, Agus
KOMUNITAS: International Journal of Indonesian Society and Culture Vol 6, No 2 (2014): Komunitas, September 2014
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v6i2.3303

Abstract

The concept of an ideal public space does not just focus on the interests of a particular group or community, but rather focus on the space of social activities that represent each audience or spectator in that society. Arts and cultural activities are part of it; although the concept of public space is still abstract to represent every social individual. However, the presence of public space has created a mediation space for all forms of communication. Mediation space is considered as a crucial feature, not only as a promotional sphere but also as a place to exchange and communicate all forms of ideology, art, and culture. Art activities such as Jogja Fashion Week Carnival and Cosplay clothing performance in public spaces provide opportunities for communities or individuals, to make this activity as a public performance and part of public art. Public art tends to be creative, free, and sometimes not accompanied by a theoretical perspective, as other arts are. Art activities in public spaces which are part of the social and cultural activities are essentially standing on the ideology that have been set up for a particular interest. The interest is disseminated using mass media and advertisment. Audience or public art connoisseur in public spaces should be more intelligent and critical to accept all kinds of art activities and performances. Therefore the performance will have a balanced communication.AbstrakKonsep ruang publik yang ideal tidak saja berbicara kepentingan golongan atau komunitas tertentu, tetapi lebih fokus pada wadah aktivitas sosial yang mewakili setiap pendatang atau penonton. Termasuk didalamnya adalah aktivitas seni dan budaya, walaupun konsep ruang publik masih dapat dikatakan abstrak untuk mewakili setiap individu sosial. Akan tetapi dengan adanya ruang publik telah menciptakan ruang mediasi bagi segala macam bentuk komunikasi. Ruang mediasi ini dipandang penting, tidak saja dijadikan ranah promosi, lebih mendalam adalah untuk bertukar dan tempat komunikasi segala macam bentuk ideologi, kesenian, dan kebudayaan. Aktivitas seni semacam Jogja Fashion Week Carnival dan pagelaran pakaian cosplay pada ruang publik memberikan kesempatan bagi komunitas atau individu, untuk menjadikan aktivitas ini sebagai tontonan dan bagian seni publik. Seni publik ini tentu saja lebih cenderung lebih kreatif, bebas, dan terkadang tidak diiringi dengan perspektif teoretis, seperti yang dilakukan seni lainnya. Aktivitas seni pada ruang publik, merupakan bagian dari aktivitas sosial dan budaya, hakikatnya berdiri pada ideologi yang telah diatur untuk satu kepentingan, yang disebarluaskan menggunakan media massa dan iklan. Penonton atau masyarakat penikmat seni pada ruang publik, harus lebih cerdas dan kritis untuk menerima segala macam bentuk sajian aktivitas seni, sehingga sajian tersebut memiliki komunikasi yang seimbang.
Analisis Fungsi Pakaian Karnaval di Yogyakarta Menurut Roland Barthes dan Fungsi Seni Edmund Burke Felmand Setiawan, Deni; Haryono, Timbul; Burhan, M. Agus
Humaniora Vol 6, No 3 (2015): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v6i3.3368

Abstract

Carnival clothing is one form of artists? creativities in fine art, created in various functions. Those functions are viewed based on utility value and the purpose that consistently are embedded in an art work. In addition, several functions of carnival clothing were constructed on the basis of social and cultural conditions that are effective in a certain place. Each and every type of clothing raises perception to everyone else who sees it. Promotion of fashion style and industry through carnival clothing results in diverse perceptions acceptable to the viewers. Audience?s perceptions are also not apart from the key functions, social ones, and the physical ones of those carnival clothings themselves. Those three functions are the common ones of each art work created as communication tool with everyone else. The carnival clothings are communication tools of the fashion designer to the customers, communication between one customer and another one. On the carnival clothing there are also sources of knowledge science, history, technology, and many other explainable meanings. Through carnival clothings, the detectable issues in physical and non-physical structures are identifiable as well as they play role as the space to make more exploration on the dynamics of a community culture. This article aims to answer the functions of carnival clothing, using aesthetic approach, through the theory of clothing functions Roland Barthes and Edmund Burke Feldman?s art functions. 
KEHADIRAN PELUKIS SALIM DALAM SEJARAH SENI LUKIS MODERN INDONESIA M Agus Burhan
Ars: Jurnal Seni Rupa dan Desain No. 9/ September - Desember 2008
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (7545.06 KB) | DOI: 10.24821/ars.v3i9.1

Abstract

Investigating the socio-cultural background, specifically the contradiction among the ideological influences in Indonesia in the late 1950s, cannot be done without discussing Salim. This painter promoted the aesthetic paradigm of ‘universalism’ that emphasized on the freedom of personal expression. Many facts show that Salim was a painter with a firm personality. He built an intensive social relation with Indonesian national movement figures. His paintings contributed significantly to the development of the art of painting in Indonesia. However, he was stick to his decision to stay in Europe. His major rationale was that Europe was his only chance to develop both as human being and a professional painter. In Europe, he intuitively expressed Indonesian values through visual idioms. Europe acknowledged him as a painter with Eastern spirit, whereas in Indonesia he was considered too western. As the matter of fact, he was a universalist. In the bargaining of the aesthetic paradigm the history of modern visual art in Indonesia, Salim existence has been an inspiration and psychological support for painters who fight for universal humanism in his works. His presence was a true manifestation of the national identity issue in art. It was a reflection of political live tradition that is always a color in the journey of Indonesia modern art and culture.   Keywords: modern paintings, nationalism, universalism, identity  
Semiotic Analysis of the Changes of Ondel-ondel Costume Elements as a Betawi Cultural Negotiation Mita Purbasari Wahidiyat; M. Dwi Marianto; M. Agus Burhan
Humaniora Vol 34, No 1 (2022)
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jh.64495

Abstract

Recognized as one of Jakarta’s icons, the large pair of puppets known as ondel-ondel has undergone significant transformation since its origin centuries ago. Classically built in a fairly simple form, ondel-ondel presents itself in various ways at every performance. Now, ondel-ondel is increasingly found throughout Jakarta, having gone through numerous changes in its costume elements. Whereas it is usually meant to be shown as a couple, nowadays a single ondel-ondel can be found cruising alleys with a mere digital sound system as musical accompaniment. Once respected and feared for its looks, today it is belittled by its own people. Due to this phenomenon, this research aimed to answer the questions of who influenced this ideological change, which ruling elite encouraged their ideology, and what the ideology is. Interviews and direct observations produced stories and photographs, while literature and media studies provided a historical background. Roland Barthes’ semiotic connotations with a historical perspective were used to read the hidden concepts behind these signs, which connect the changes of the costume elements through the important events in Betawi society during the period of 1970–2020. The different interests of each party brought more conflict in their relations, which created a dynamic cultural negotiation. Based on the results, the terms for the ondel-ondel models were identified, specifically a personification model, Islamic model, and commercial model, each named after the historical events and ideology brought about by Jakarta’s ruling elites.
Lukisan Ivan Sagita “Makasih Kollwitz” (2005) dalam Sejarah Seni Lukis Modern Indonesia: Tinjauan Ikonografi dan Ikonologi M. Agus Burhan
PANGGUNG Vol 25, No 1 (2015): Kontribusi Seni Bagi Masyarakat
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (240.16 KB) | DOI: 10.26742/panggung.v25i1.10

Abstract

 Penelitian ini menganalisis karya seni lukis berjudul “Makasih Kollwitz” (2005), yang dilu- kis oleh Ivan Sagita. Dengan menggunakan sejarah seni sebagai dasar pendekatan, selanjutnya pilihan teori utama yang dipakai adalah teori ikonografi dan ikonologi Erwin Panofsky. Metode penelitian sejarah meliputi, pencarian data di lapangan dan sumber-sumber pustaka, seleksi dan kritik data, analisis dan interpretasi data untuk menghasilkan sintesis, selanjutnya penyu- sunan historiografi atau laporan penelitian sejarah. Hasil penelitian ini berisi, deskripsi pra iko- nografi yang menerangkan tahap awal aspek ide tekstual, yaitu menggambarkan sosok wanita tua renta mengambang di langit, terbaring dengan beralaskan rambutnya yang memanjang melampaui tubuhnya. Nenek itu sedang dalam proses kematian. Analisis ikonografi menjelas- kan tentang tema dan konsep. Hal itu mengungkapkan tema fenomena kematian, dengan ru- jukan konsep dasar tentang kefanaan hidup dan nilai survival eksistensi kehidupan manusia. Interpretasi ikonologi menjelaskan nilai simbolis pada karya. Melalui pengalaman kejiwaan dan latar belakang sosial dan kebudayaan seniman, terungkap bahwa lukisan ini merupakan kristalisasi simbol tentang kontradiksi dalam eksistensi kehidupan manusia.   Kata kunci: Surrealisme, kematian,  kontradiksi, eksistensi
Ikonografi dan Ikonologi Lukisan Djoko Pekik: ‘Tuan Tanah Kawin Muda’ M. Agus Burhan
PANGGUNG Vol 23, No 3 (2013): Sejarah, Konseptualisasi, dan Praksis Tradisi Kreatif Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (267.086 KB) | DOI: 10.26742/panggung.v23i3.137

Abstract

ABSTRACT This research talked about ‘Tuan Tanah Kawin Muda’, painted by Djoko Pekik, with art history as the basic approach and therefore using Erwin Panofsky’s iconography and iconology theory. Hi- story research method followed with field data investigation, literature data, selection and critic, ana- lysis and source interpretation purposing to get the synthesis, continue with historiography framing. The result of this research contains; Preiconography descriptions explained the early textual aspect idea, reveals communication and conflict between the two figures. Iconography analysis explained about theme and concept, it tells about the oppression through economy asset, social, and cultural. The creator thought about how to defend among the conflict. Iconology interpretation, explained the art work symbolic value. Through the psychology experience and his social also cultural background, conclude that this painting is a crystallization symbol of deprivation and defense from the suffering poor people’s right. Keywords: Social realism, social conflict, oppression symbol  ABSTRAK Penelitian ini tentang lukisan Djoko Pekik yang berjudul ‘Tuan Tanah Kawin Muda’ yang dianalisis dengan pendekatan sejarah seni dan memakai teori ikonografi dan ikonolo- gi Erwin Panofsky. Metode yang dipakai adalah metode sejarah dengan langkah pencarian sumber di lapangan dan pustaka (heuristik), seleksi dan kritik, analisis dan interpretasi sumber untuk menghasilkan sintesis, dan penyusunan historiografi. Hasil penelitian ini berupa: Deskripsi pra ikonografi berisi tanggapan awal aspek tekstual, mengungkap ko- munikasi dan konflik antara dua figur. Analisis ikonografis yaitu tentang tema dan konsep penindasan kaum laki-laki pada perempuan lewat kekuasaan modal ekonomi, sosial dan kultural. Konsep dasar penciptaannya tentang konflik antara kekuasaan yang menindas dan hak yang harus dipertahankan. Interpretasi ikonologis yaitu tentang nilai simbolik yang diungkap dalam lukisan. Lewat pengalaman psikologis pelukis dengan berbagai ke- kerasan dan penderitaan, serta pandangan hidup dari latar belakang sosial dan kultural- nya, maka lukisan ini merupakan kristalisasi simbol dari perampasan dan pertahanan hak rakyat bawah yang menderita.. Kata kunci: realisme sosial, konflik sosial, simbol ketertindasan
Co-Authors Adi, Moh Agatha Christi Anusapati Anusapati Artbanu Wishnu Aji Aziz, Baso Indra Wijaya Deni Setiawan Deni Setiawan DENI SETIAWAN Deni Setiawan Endah Budiarti Fandi Ahmad Indah, Ade Irwandi Irwandi Iwan Pranoto Lutse Lambert Daniel Morin M. Dwi Marianto Miftakhul Munir Mita Purbasari Mita Purbasari Mita Purbasari Wahidiyat Muhamad Romadoni Philipus Nugroho Hari Wibowo Skinner, Anthea St. Hanggar Budi Prasetya Suastiwi Suastiwi Timbul Haryono Timbul Haryono Timbul Haryono Timbul Haryono Tsai, Ted Tsung-te