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All Journal Laga-Laga: Jurnal Seni Pertunjukan Puitika Ranah Seni: Jurnal Seni dan Desain Panggung Proceeding of International Conference on Art, Media, and Culture (ICAMAC)
Andar Indra Sastra
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Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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DEKONSTRUKSI AKTING DALAM PERTUNJUKAN TEATER UNDER THE VOLCANO KARYA/SUTRADARA YUSRIL DALAM TINJAUAN ESTETIKA POSMODERN Ilham Rifandi; Andar Indra Sastra; Sahrul N
Puitika Vol 14, No 2 (2018)
Publisher : Universitas Andalas

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25077/puitika.14.2.99--107.2018

Abstract

This study aims to explore the deconstructive tendency of acting in the performances of Yusril's Under the Volcano works / director. The acting device of an actor also develops according to the situation of society and culture. Actors in postmodern culture no   longer analyze the soul, or present patterns of human behavior as Stanislavsky suggested. The actor explores his mental state through the postmodern aesthetic idioms that tend to be artificial, a culture that worships form. In the Under the Volcano theater performance, the concretization process of actor work was born through Minangkabau traditional arts. The research methods used in this study are: Observation, documents, interviews and data analysis. The results of this study indicate that, in the concrete process of work in postmodern culture there are aesthetic idioms built through silek, dendang, poetry and poetry texts which are then implemented in the form of acting that emphasizes the use of gestural acting, prescribes verbality and tends to be acrobatic.  Keywords: postmodern aesthetics, acting, Under the Volcano
BAKAYAIK DALAM UPACARA KEMATIAN MAATUIH HARI DI NAGARI ANDURING KEC. 2X11 KAYUTANAM KAB. PADANG PARIAMAN Irma Yeni Oktavia; andar indra sastra; Desmawardi Desmawardi
Laga-Laga : Jurnal Seni Pertunjukan Vol 5, No 1 (2019): Laga-Laga : Jurnal Seni Pertunjukan
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/lg.v5i1.775

Abstract

Bakayaik adalah suatu seni vocal bernafaskan Islam yang rutin dilakukan saat upacara memperingati seratus hari meninggalnya seseorang, dalam masyarakat Nagari Anduring Kecamatan 2X11 Kayutanam Kabupaten Padang Pariaman. Pada malam maatuih hari dipertunjukan kesenian badikie dan ratik tagak kemudian dilanjutkan dengan bakayaik dan diakhiri dengan do’a mauluik. Penelitian ini bertujuan untuk mendeskripsikan bakayaik dalam maatuih hari, dengan metode kualitatif memakai pendekatan sosial antropologis. Aspek-aspek yang dikaji meliputi konteks dan teks serta gaya bakayaik dalam kebudayaan Minangkabau, khususnya seni bernuansa Islam dalam masyarakat “kaum kuno” di Padang Pariaman. Hasil penelitian ini adalah terbentuknya suatu kelompok musik bakayaik disebabkan adanya waktu luang diantara lagu-lagu yang ada atau panjangnya jedah dalam pertunjukkan dikie mauluik pada upacara kematian maatuih hari. Ditinjau dari struktural pertunjukkannya bakayaik adalah menceritakan riwayat Nabi Muhammad Salallahu’Alaihi Wa Sallam mulai dari dalam kandungan ibunya sampai dengan perjuangan Nabi meneggakkan Islam. Adapun teks dari bakayaik tersebut terdiri dari bahasa Arab dan bahasa Minang.
REBRANDING LOGO FESTIVAL PESONA WISATA KERINCI Rino Yuda Rino Yuda Rino Yuda; Andar Indra Sastra; Syafwandi Syafwandi
Ranah Seni Vol 11 No 02 (2018): RANAH SENI
Publisher : Jurusan Seni Rupa, Fakultas Bahasa dan Seni, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ranahseni.v11i02.15

Abstract

ABSTRACT Kerinci Regency has many natural attractions, arts and cultural diversity and has become the center of natural tourist attractions, Arts and Culture, In line with the main objective of the Kerinci Regency Government, an event called Kerinci Festival was then organized. Therefore, it is necessary to redesign the brand to make it more attractive, consistent, and effective. The establishment of a Brand image can be done by designing the logo in advance and supported by the activity attributes (supporting media) of the festival which has a unified entirety to be easily remembered. Data collection method was used in this design through observation, interview, literature, documentation, and data analysis using SWOT and AISAS analyses. The next process was carried out by creating a new brand with the main media in the form of Kerinci festival logo of tourism enhancement, and supporting media such as festival attributes, print publications and audiovisual media that consistently have unity in Branding. The logo of the "Kerinci Tourism Charm Festival" consists of a visual form of the Asyiek dance and a combination of the Klouk Pakou motif supported by the tagline or slogan of Nature, Arts and Culture as the brand image of the Festival of Kerinci Tourism enhancement. 297
LUMBUNG PADI DALAM KARYA SENI GRAFIS GAYA SUREALIS PADA MASYARAKAT KERINCI Jeki Aprisela H; Andar Indra Sastra; Dharsono Dharsono
Ranah Seni Vol 11 No 02 (2018): RANAH SENI
Publisher : Jurusan Seni Rupa, Fakultas Bahasa dan Seni, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ranahseni.v11i02.18

Abstract

ABSTRACT The aim of the study was to realize the transformation of the granary aspect in the form of surrealist-style graphic art in the background of Kerinci community culture. Rice granaries for the Kerinci community not only as a place to store rice in the past, then also have a social dimension that gives kerinci community identity and relations. The qualitative method is used in this study by relying on observation, in-depth interviews to conduct analysis that can sharpen the imagination of the graphic arts media. The results of this study concluded that the rice barn is still a cultural icon of the Kerinci community. Rice barns also have a deep meaning, can be used as a foundation to look for values ​​as a living guide for the Kerinci community so that it can be used as an example, because the philosophy of the rice granary is to teach about togetherness and cohesiveness in society. In the past the community worked together to harvest rice and collect their crops to be collected, because they already knew that saving money or collecting results meant they formed cooperation in the community so that they could help other disadvantaged citizens.
Rekam Jejak Estetika Sufi Dalam Struktur Seni Pertunjukan Salawaik Dulang Di Minangkabau Indonesia M. Arif Anas; Andar Indra Sastra; Mirnawati Mirnawati; Marzam Marzam
PANGGUNG Vol 31 No 2 (2021): Estetika Dalam Keberagaman Fungsi, Makna, dan Nilai Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v31i2.1587

Abstract

Tujuan artikel ini adalah untuk mengungkap Rekam Jejak Estetika Sufi Dalam Konsep Seni Pertunjukan Salawaik Dulang Di Minangkabau. Rekam jejak (track record) adalah semua hal yang dilakukan seseorang pada di masa lalu dan dapat di jadikan teladan sampai sekarang. Semua hal dalam konteks ini bersentuhan dengan estetika sufi dan hubungannya dengan seni pertunjukan Salawaik Dulang. Dalam tradisi sufi, estetika lebih jauh dikaitkan dengan metafisika dan jalan kerohanian – spirutulitas – yang ditempuh melalui metode tasauf. Spiritualitas adalah hidup dengan kesadaran bahwa Tuhan senantiasa di dekat kita. Kesadaran itu menumbuhkan dorongan bagi seluruh tindakan manusia; termasuk dalam dunia seni pertunjukan – salawaik dulang. Secara musikal, dulang sebagai media pengantur tempo, ritme dan sekaligus berfungsi sebagai musiknya. Pendendangan syair yang diiringi oleh tabuhan dulang tersebut dilakukan dua kelompok (grup) salawat dulang; keduanya bertarung secara estetik dalam pertunjukan salawaik dulang. Metode kualitatif yang didasari pengamatan terlibat digunakan dalam pengumpulan data penelitian melalui: penyelidikan (observasi), wawancara, dokumentasi, dan analisis data. Hasil; Rangkaian syair dinarasikan tukang salawaik dulang; mulai dari kotbah sampai lagu cancan merepresentasikan ajaran tarekat, karena bersifat filosofis; Pertunjukan salawat dulang telah menjadi salah satu bentuk ekspresi yang merepresentasikan ajaran tasauf bagi penganut ajaran tarekat Syatariyah di Minangkabau.Kata Kunci: Kerajinan Eceng Gondok, Karakteristik, Konsep Pengembangan, Diversifikasi, Inovasi.
CHARACTERISTICS OF DECORATIVE MOTIFS AND FUNCTIONS OF TRADITIONAL SILUNGKANG WOVEN FABRIC IN SAWAHLUNTO CITY IN THE CONTEXT OF MINANGKABAU CULTURE Prihatin, Purwo; Sunarmi; Andar Indra Sastra
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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

Abstract

              Traditional Silungkang woven fabric is a rich and valuable cultural heritage of the Minangkabau people in West Sumatra, Indonesia. Silungkang woven fabric is passed down through generations, taught from one generation to the next, ensuring its preservation to this day. The purpose of this paper is to describe and analyze the decorative motifs on traditional Silungkang woven fabric, as well as to reveal the cultural, aesthetic, and local wisdom values of the Minangkabau people contained within it.            Through an aesthetic approach, including data collection from literature studies, observations, documentation, and interviews, as well as data analysis, it is concluded that the weaving is not just a piece of cloth but also a reflection of the beauty, skill, and local wisdom of its people. The decorative motifs found in Silungkang woven fabric reflect the harmony between nature, daily life, and the cultural values of the Minangkabau community. Characterized by geometric patterns and rich colors, each piece of woven fabric becomes a unique and distinctive work of art. The decorative motifs used in Silungkang woven fabric depict symbols of life, nature, religion, and Minangkabau cultural customs, thus representing traditional cultural values in line with the Minangkabau philosophy "alam takambang jadi guru" (nature as the teacher). The traditional Silungkang woven fabric motifs are categorized into three groups: motifs named after flora, fauna, and natural objects, which form the cultural identity of the Minangkabau. Flora motifs include patterns like bamboo shoots and mangosteen buds, fauna motifs such as "itiak pulang patang" (ducks going home in the evening) and "bada mudiak" (fish swimming upstream), and natural object motifs such as the traditional house (rumah gadang), rice barns (rangkiang), stars, and so on. Each decorative motif on Silungkang woven fabric possesses characteristics, beauty, finesse, and meaning within the Minangkabau cultural context. Silungkang woven fabric, as a cultural heritage of the Minangkabau people, serves both traditional and commercial.
Co-Authors Desmawardi Desmawardi Dharsono Dharsono Ilham Rifandi Irma Yeni Oktavia Jeki Aprisela H M. Arif Anas Marzam Marzam Mirnawati Mirnawati Purwo Prihatin Rino Yuda Rino Yuda Rino Yuda Sahrul N Sunarmi Syafwandi Syafwandi