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All Journal RUANG: JURNAL LINGKUNGAN BINAAN (SPACE: JOURNAL OF THE BUILT ENVIRONMENT) Craft Jurnal Sosioteknologi Journal of Visual Art and Design Mozaik Humaniora Local Wisdom : Jurnal Ilmiah Kajian Kearifan Lokal INVOTEC MUDRA Jurnal Seni Budaya Panggung Tawarikh : Journal of Historical Studies Prosiding Seminar Nasional Pakar Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Gelar : Jurnal Seni Budaya Jurnal Rupa PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Keluwih: Jurnal Sains dan Teknologi Atrat: Jurnal Seni Rupa Dinamika Kerajinan dan Batik : MAJALAH ILMIAH Wimba: Jurnal Komunikasi Visual Jurnal Islam Nusantara Jurnal Dimensi Seni Rupa dan Desain Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Divinitas Jurnal Filsafat dan Teologi Kontekstual Serat Rupa: Journal of Design
Achmad Haldani Destiarmand
Faculty of Art and Design, Institut Teknologi Bandung
Religion Arts Humanities Biochemistry, Genetics & Molecular Biology Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Economics, Econometrics & Finance Education Electrical & Electronics Engineering Energy Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Mechanical Engineering Social Sciences Other

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Studi Preferensi Masyarakat Jakarta Terhadap Genderless Fashion Nadiah Salsabila Hakim Pambudi; Achmad Haldani; Gregorius Prasetyo Adhitama
JURNAL RUPA Vol 4 No 1 (2019): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v4i1.2249

Abstract

The evolution of clothing style always repetitive, one of them is genderless fashion. In Indonesia, especially in Jakarta, genderless clothing is not exposed too much to the public. This research aims to find the meaning of genderless fashion which often indentify as androgyne fashion and people’s preference for genderless fashion. This research collects data through a literature review as well as using questionnaires to find out the preferences of the Jakarta people towards genderless fashion. According to data analysis, it can be interpreted that genderless fashion is a designing process for clothing without any specific gender orientation. The difference lies in one’s physical character, the concept of androgyne fashion is for individuals who has male and female characteristic. The results of questionnaires regarding the preferences are most people know the meaning of genderless fashion and this phenomenon can be accepted in society. However, there are limits that cannot be accepted yet, such as clothes with feminine silhouette and very bright colors. This research intended to be able to rectify public confusion over understanding genderless fashion and androgyne fashion as well as a source of knowledge for designer who wants to know the limitation and acceptence rate for genderless fashion in Jakarta.
REGENERASI BATIK DALAM INOVASI DESAIN BERBASIS KEARIFAN LOKAL KONTEMPLATIF DI GIRILAYU desy nurcahyanti; Agus Sachari; Achmad Haldani Destiarmand; Yan Yan Sunarya
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol 38, No 2 (2021): DINAMIKA KERAJINAN DAN BATIK : MAJALAH ILMIAH
Publisher : Balai Besar Kerajinan dan Batik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22322/dkb.v38i2.6037

Abstract

Regenerasi tradisi memerlukan usaha, cara, dan langkah cerdas agar dapat diteruskan oleh generasi berikutnya serta memiliki nilai adaptif tinggi terhadap perkembangan zaman. Format tradisi khas perlu dieksplorasi untuk mengekstraksi potensi terbaik sehingga mampu menjadi penopang hidup masyarakat dengan memperhatikan prinsip-prinsip pelestarian lingkungan dan memberi kontribusi bagi pembangunan negara. Langkah nyata telah diwujudkan oleh para perempuan pembatik di Girilayu Karanganyar Jawa Tengah. Regenerasi batik di wilayah Girilayu menemui kendala dari putra-putri para pembatik yang mulai enggan melanjutkan usaha turun temurun dari orang tua atau pendahulu mereka. Penelitian ini bertujuan untuk mengabstraksi aktivitas dan kreativitas pembatik perempuan di Girilayu sehingga mampu melakukan regenerasi tradisi batik kepada generasi penerusnya melalui inovasi desain batik. Metode penelitian yang digunakan melalui pendekatan etnografi, yang mampu menghasilkan data objektif dan detail dari para pelaku secara langsung tanpa intervensi. Perempuan pembatik di Girilayu memiliki peran penting dalam regenerasi batik di Girilayu. Para perempuan pembatik melakukan pembagian tugas atau diversifikasi khusus pada generasi muda untuk reka kreasi motif baru dengan inspirasi atau basis kreasi dari potensi unggulan kearifan lokal Girilayu. Motif baru hasil inovasi desain generasi penerus pembatik Girilayu ditinjau dari aspek sejarah, estetika visual, dan sosial merupakan abstraksi nilai-nilai semangat dari para pembatik dan masyarakat Girilayu.Arts
KAJIAN IKONOGRAFI DESAIN GRAFIS BERGAYA SUREALISTIK PADA T-SHIRT MEREK WELLBORN KOLEKSI TAHUN 2017 DI BANDUNG Siti Hadiyanti; Naomi Haswanto; Achmad Haldani Destiarmand
Wimba : Jurnal Komunikasi Visual Vol. 10 No. 1 (2019)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (484.468 KB) | DOI: 10.5614/jkvw.2019.10.1.4

Abstract

Local brand  is a fashion creative industry which is favored by young people. There are many local brands in Bandung City. T-shirt is one of local brand products which is related to graphic design. Concept and meaning in graphic design on T-shirt can be researched using The Iconography Theory of Erwin Panofsky. Graphic design on local brands T-shirt in Bandung City leads to simple graphic design trends, display direct branding and variation of color in T-shirts. However, one of brand, Wellborn, features graphic design with its own characteristics on the T-shirt as a creativity, that is surrealistic style graphics design on T-shirt. It is a sub category of T-shirt that can be studied through the meaning of graphic design on T-shirt. It underlies the research on graphic design of Wellborn T-shirt. The research stages are observation, interview, literature study, documentation and analysis which includes pre-iconography, iconography and iconology. The purpose of this study is to know the meaning of Wellborn T-shirt design based on The Iconography Theory of Erwin Panofsky and its association with Wellborn branding. The research method is descriptive qualitative. Objects studied are the surrealistic style graphic designs of Wellborn T-shirts 2017 collection. The samples of data are selected using purposive sampling. The result of the analysis shows that in pre-iconography, there are various objects placed in one graphic design on T-shirt. In iconography, it has a secondary meaning that there are things which are limitless, and in iconology, it has the meaning of freedom of mind/thought because it is related to freedom in imagination, infinity and a difference. They show the characteristics of the Wellborn brand. Keywords: Iconography, Graphic Design, Surrealistic Wellborn T-shirt, Bandung.
Desy Nurcahyanti POTENSI WILAYAH SEBAGAI KARAKTER VISUAL DALAM DESAIN BATIK GIRILAYU Desy Nurcahyanti; Agus Sachari; Achmad Haldani Destiarmand
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.105

Abstract

The 4.0 industrial revolution currently offers traditions. Those offer options for chose to survive, join, or merge.Various forms of technology are offering unnecessity because the community has a system and local wisdomthat keeps the form of tradition in its place. One of tradition form that’s facing on offer is batik in Girilayu.Pattern character basic on regional potencies as a characteristic of Girilayu’s batik design. Meanwhile, thespecific purpose of this research is explaining the background of batik designers in Girilayu when makingdesign development, to expose and promote the regional character in the 4.0 industrial revolution era today.The focus of the research problem includes changes and design innovations carried out by Girilayu’s batikdesigners, within the last three years, from 2016 until the middle of 2019. The research method used qualitativewith a hermeneutic approach through findings that shows visual characters of Girilayu batik. That appearedas a representation of Girilayu’s community still maintains cultural nobility by exploring regional potenciesas batik’s characteristic.
Peran Kearifan Lokal Masyarakat Jawa Untuk Melestarikan Batik Tradisi di Girilayu, Karanganyar, Indonesia Desy Nurcahyanti; Agus Sachari; Achmad Haldani Destiarmand
Mudra Jurnal Seni Budaya Vol 35 No 2 (2020): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v35i2.816

Abstract

Rangkaian proses rumit yang menghasilkan nilai filosofi tinggi pada batik mulai ditinggalkan oleh masyarakat pembuatnya yakni para perajin batik. Fenomena menurunnya minat generasi muda untuk melanjutkan pembuatan batik tradisi di sentra-sentra batik merupakan masalah yang harus dipecahkan dari berbagai latar belakang, di antaranya secara sosial dan budaya. Solusi dan alternatif pemecahan masalah dengan menggunakan konsep kearifan lokal perlahan diterapkan kembali oleh para perajin batik di Girilayu. Tujuan penelitian ini antara lain: 1) mengetahui penyebab menurunnya pembuatan dan penggunaan batik tradisi dari segi sosial serta budaya, 2) mengetahui peran kearifan lokal masyarakat Jawa dari aspek efektifitasnya untuk melestarikan batik tradisi, dan 3) menguraikan cara penerapan kearifan lokal dalam melestarikan batik tradisi di Girilayu. Metode penelitian yang dipergunakan yakni wawancara mendalam pada para perajin batik di Girilayu sebagai pelaku, tokoh, dan pakar batik; serta studi pustaka referensif. Pendekatan antropologis dipergunakan untuk mengumpulkan dan menganalisis data berdasarkan realitas di masyarakat. Penelitian ini menemukan bahwa peran kearifan lokal masyarakat Jawa dalam melestarikan batik tradisi di Girilayu dapat berjalan efektif melalui dukungan pendidikan keluarga dan sekolah secara intensif.
“Mbok Mase” dan “Mbok Semok”: Reinterpretasi Karakter Perempuan Jawa dalam Kultur Batik Desy Nurcahyanti; Agus Sachari; Achmad Haldani Destiarmand; Yan Yan Sunarya
PANGGUNG Vol 31, No 3 (2021): Budaya Ritual, Tradisi, dan Kreativitas
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (680.179 KB) | DOI: 10.26742/panggung.v31i3.1096

Abstract

Stigma masyarakat tentang karakter perempuan Jawa digambarkan sebagai sosok marginal yang tunduk pada kekuatan laki-laki, pengabdi, penurut, pelayan, bertutur kata lemah lembut, dan bergerak pelan dengan wajah menunduk. Deskripsi tersebut berubah secara dinamis dan mengalami reinterpretasi melalui peristiwa sejarah terkait peran perempuan Jawa dalam perjuangan penyetaraan hak dengan kaum laki-laki. Pemaknaan ulang karakter perempuan Jawa terjadi pada lingkup pengrajin batik di Girilayu, Karanganyar, Jawa Tengah. Mereka bersepakat membentuk pencitraan untuk ciri khas produk batik dengan istilah “Mbok Semok”. Analisis perspektif sosio-kultural memperlihatkan bahwa karakter, kekuatan, dan peran para perempuan pengrajin batik tersebut sebagai motor penggerak perekonomian di Girilayu. Uraian tersebut memiliki kesamaan dengan karakter, kekuatan, dan peran perempuan juragan di Laweyan, Surakarta (Solo) dengan sebutan “Mbok Mase”, sebagai kunci keberhasilan perjalanan sebuah usaha batik keluarga. Penelitian ini bersifat kualitatif dengan pendekatan antropologi budaya, analisis menggunakan metode komparatif berdasarkan konsep teori reinterpretasi dari Melville J. Herskovits. Hasil penelitian berupa deskripsi, latar belakang serta bentuk-bentuk reinterpretasi karakter perempuan Jawa dengan komparasi antara “Mbok Mase” di Laweyan, Surakarta dengan “Mbok Semok” di Girilayu, Karanganyar. Temuan penelitian adalah karakter, kekuatan, peran, sikap bahkan sistem di Girilayu dan Laweyan yang mereinterpretasi karakter perempuan Jawa merupakan etos kultur batik.
SONGKET MOTIF DEVELOPENT OF OGAN ILIR HESTI ROSITA DWI PUTRI; ACHMAD HALDANI DESTIARMAND
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 2 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1130.422 KB) | DOI: 10.26887/ekspresi.v22i2.1289

Abstract

Songketis a cultural heritage from the era of the Kingdom of Sriwijaya, songket has aesthetic and philosophical values on each of its motifs or designs. Weaving expertise is passed on from generation to generation using traditional tools, the complicated process of making songket has quite expensive prices. The high demand for songket makes production spread in Ogan Ilir Regency which is a border area with the city of Palembang. Although songket production centers are spread in various regions of Ogan Ilir, these area do not yet have a unique motif, the weavers only follow Palembang’s songket motifs. Making of songket motifs (nyukit) cannot be done by all weavers due to the difficult process, so that the songket motifs are developed very slowly. This research method uses qualitative methods and approaches of people center development toward the songket’s craftsmen of Tanjung Pinang village of Ogan Ilir. This is conducted to find an easier method of making motif structures (menyukit) so that the tradition of making songket motifs can continue to be preserved and developed. The results showed that the most appropriate motifs of Ogan Ilir songket to be simulated was the seluang fish motif.
TRANSFORMASI BATIK DAN GLOBALISASI Suyin Pramono; Setiawan Sabana; Achmad Haldani
Jurnal Dimensi Seni Rupa dan Desain Vol. 15 No. 1 (2018)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (470.844 KB) | DOI: 10.25105/dim.v15i1.4199

Abstract

Abstract Lately, we have noticed there are many changes in all fields. Therefore, it is suitable for “globalization” to be the main topic in this study, which is interpreted as a process where humans are vastly interconnected through various ways. From a cultural point of view, "globalization" is often interpreted as a homogeneous global culture. We are unconsciously directed to have a homogeneous passion and taste of the market simultaneously and even develop a uniformed trend of consumer goods with worldclass branding and marketing. This is indirectly the result of global interconnection and ultimately erodes cultural diversity. Batik is one of the cultural works that has always undergone transformation in alignment with changes in economic, social and political conditions in its era. The context for the discussion of batik transformation and globalization is that cultural work takes part with significant role in social and economic life. Therefore, strategic thinking about batik transformation is formulated as problem identification, which then is confronted with how diversity and variety of cultural works adapt or survive the massive and rapid industrial development. In this study, the review concerns on the analysis in which is more focused to the form of interdisciplinary interaction. The qualitative data analysis model is conducted using an approach that emphasizes cultural work as an industrial commodity. Batik, which always present in every event of the life of the Indonesian people and is always has deep philosophical values, is also able to manifest as an aesthetic reflection that has competitiveness in the global world so that it become an important and interesting subject to study. Abstrak Kita semua menyadari bahwa dalam kurun waktu belakangan ini telah banyak perubahan di segala bidang. Bersamaan dengan kondisi yang demikian lebih tepat bila 'globalisasi' yang akan menjadi topik utama dalam penelitian ini diartikan sebagai suatu proses dimana manusia secara pesat saling terhubung melalui berbagai cara. Dari sudut pandang budaya, 'globalisasi' sering diartikan sebagai budaya global yang bersifat homogen. Secara tidak sadar kita diarahkan untuk mempunyai kegemaran dan selera pasar yang homogen secara serentak bahkan menjadi selera dunia yang konsumtif atas produk dengan branding dan marketing tingkat dunia. Hal ini secara tidak langsung merupakan akibat dari saling keterkaitan secara global dan akhirnya menggerus ragam budaya. Batik merupakan salah satu karya budaya yang selalu mengalami transformasi sesuai dengan perubahan kondisi ekonomi, sosial dan politik pada masanya. Konteks pembahasan tentang transformasi batik dan globalisasi ini adalah bahwa karya budaya memainkan peranan dalam kehidupan sosial dan ekonomi. Dengan latar belakang tersebut selanjutnya strategi pemikiran tentang perubahan batik diformulasikan sebagai identifikasi permasalahan yang dipertentangkan dengan karya budaya dalam variasi perubahan industri. Ulasan yang menyangkut analisis dalam penelitian ini, lebih diarahkan kepada bentuk interaksi interdisiplin. Model analisis data kualitatif yang dilakukan menggunakan pendekatan yang menekankan pada karya budaya sebagai komoditas industri. Batik yang selalu ada dalam setiap peristiwa kehidupan masyarakat Indonesia dan selalu sarat dengan nilai filososfis yang dalam, ternyata juga mampu mewujud sebagai refleksi estetis yang mempunyai daya saing dalam dunia global sehingga hal ini menjadi penting dan menarik untuk dikaji.
Review of Shape and Color on Poleng Motifs in Bali Arya Pageh Wibawa; Imam Santosa; Setiawan Sabana; Achmad Haldani Destiarmand
Mudra Jurnal Seni Budaya Vol 38 No 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i1.1983

Abstract

In the beginning, the poleng motif was a sacred motif by the Balinese people. The poleng motif has a meaning as a form of petition and protection to God Almighty in His form and manifestation as creator, preserver, and harmonizing to achieve a happy and prosperous life. Another meaning is as a form to neutralize and restore balance from dark forces to help achieve the perfection of life. In its application as a motif wrapped around sacred objects, the poleng motif has the meaning of a repellent to strengthen and as a place of worship of God in His manifestation as a guardian. In subsequent developments due to tourism with increasing local and foreign tourist visits, the poleng motif has functioned as a decoration. This shift certainly leads to a reinterpretation of the meaning of the poleng motif in Bali. This study aims to get a new meaning for the poleng motif in Bali. To get this new meaning, a qualitative methodology is used based on the theoretical basis of Panofsky's iconology which emphasizes the study of visual analysis. The study carried out resulted in new findings in the form of a new meaning for the poleng motif. Based on the analysis, it was found that there was a shift in meaning from sacred to profane with the new meaning of the poleng motif being cultural communication. The form of communication created is a self-image product that reflects Balinese cultural identity. Local cultural identity is used to introduce Balinese culture.
Representation of Karo Culture in the Early 20th Century in P. A. J Moojen’s Paintings Ariani Ariani; Imam Santosa; Achmad Haldani Destiarmand; Agus Sachari
MOZAIK HUMANIORA Vol. 22 No. 2 (2022): MOZAIK HUMANIORA VOL. 22 NO. 2
Publisher : Universitas Airlangga

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20473/mozaik.v22i2.33974

Abstract

cultural and artistic point of view with a cultural studies approach. The results of the study show that Moojen's paintings represented the belief systems, social stratification systems, and art systems of Karo culture in the early 20th century. In conclusion, Moojen's paintings are able to provide an overview of the reality of the life of the Karo people who lived in the early 20th century that cannot be separated from elements of traditional Karo buildings. 
Co-Authors Acep Iwan Saidi Achmad Syarief Adolfus Djayes Madewa Djatinugroho Agus Sachari Agus Sachari Agus Sachari Agus Sachari Agus Sachari Agus Sachari Andar Bagus Sriwarno Andriana, Yunita Fitra Ariani . Arya Pageh Wibawa Bismo Jelantik Chandra Tresnadi Deni Yana Desy Nurcahyanti desy nurcahyanti Desy Nurcahyanti Devi Astarina Eliya Pebriyeni, S.Pd., M.Sn, HESTI ROSITA DWI PUTRI, Dra. Ernis, M.Pd, Fajar Ciptandi Ghaida Nasya Putri Gina Glad Tanaro Gregorius Prasetyo Adhitama Iftika Suliastuti Imam Santosa Imam Santosa Imam Santosa Imam Santosa Jesslyn Nadia Darmansa Mira Marlianti, Mira Muhamad Lukman Mustikasari, Hany Nadiah Salsabila Hakim Pambudi Naomi Haswanto Nisa Fardani Novrizal Primayudha Nuning Yanti Damayanti Nurcahyanti, Desy Rachman, Ariani Rachminingsih, Irma Raissa Salsabila Rully Darmawan Sadah, Khozinatus Setiawan Sabana Setiawan Sabana Siti Hadiyanti Suliastuti, Iftika Suyin Pramono Syarifah Dwi Rahma Ulfa Septiana Wiyono, Erina Yan Yan Sunarya Yan Yan Sunarya Yan Yan Sunarya Yan Yan Surnarya Yun Hariadi Yuningsih, Sari Zahra Afdianahl