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All Journal Dimensi Interior Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Harmonia: Journal of Research and Education Heritage of Nusantara: International Journal of Religious Literature and Heritage Lekesan: Interdisciplinary Journal of Asia Pacific Arts Panggung Kamaya: Jurnal Ilmu Agama Humaniora Patrawidya: Seri Penerbitan Penelitian Sejarah dan Budaya International Journal of Visual and Performing Arts Jumantara: Jurnal Manuskrip Nusantara Heritage of Nusantara: International Journal of Religious Literature and Heritage Paradigma: Jurnal Kajian Budaya Berkala Arkeologi Dinamika Kerajinan dan Batik: Majalah Ilmiah
Timbul Haryono
Universitas Gajah Mada, Bulaksumur, Yogyakarta 55281
Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Education Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

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Tinjauan Perkembangan Keris Tangguh Ngentha-Entha Yogyakarta 1975-2015 Supriaswoto, Supriaswoto Supriaswoto; SP. Gustami, SP. Gustami SP. Gustami; Haryono, Timbul; R.M. Soedarsono, R.M. Soedarsono R.M. Soedarsono
PANGGUNG Vol 25, No 4 (2015): Representasi, Transformasi, Identitas dan Tanda Dalam Karya Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i4.48

Abstract

ABSTRACTEvery keris possesses its own chracteristic called tangguh. There is a keris with a characteristic called tangguhngéntha-éntha which was created within the Ngéntha-ÉnthaVillage community, lo- cated to the west of Godean District, in the Sleman Regency, Yogyakarta. The prominent figure behind the establishment of that forge (besalèn) was Empu (Ironsmith) Wayang, that one day moved from Mataram Kingdom at Kartasuro to that village. In 1963, Empu Supowinangun, the heir of Empu Wayang, passed away. As a result, since that time the process of making the keris with ngéntha-énthacharacteristic was no longer conducted. In 1975 there was an effort to revitalize it and succeded. This research was conducted to investigate this revitalization by using historical method. The result of this research demonstrates that this revitalization has been conducted succesfully by two master keris-makers (empu) named Yosopangarso and Jeno Harumbrojo, after received mental endorsement and financial support from two foreigners named Garrett Solyom and Dietrick Dreschler. The two master keris-makers already passed away and today the process of making the keris with tangguh ngéntha-éntha characteristic is taken over by Empu Sungkowo, Jeno Harumbrojo’s former adopted child. It is not clear who is supposed to be Sungkowo’s heir. It generates a lot of worry among people of the possibility that this style of keris will decline like what happened in 1963.Key words : keris with tangguhngéntha-énthacharacteristic, revitalization, Master Keris-makersYosopangarso, Jeno Harumbrojo, Sungkowo. ABSTRAKSetiap keris memiliki ciri tersendiri yang disebut tangguh, seperti tangguhngéntha- énthayang diciptakan di lingkungan masyarakat Desa Ngéntha-Éntha. Tokoh penting yang membuat keris dengan tangguh ini adalah Empu Wayang. Pada tahun 1963, Empu Supowinangun, pewaris Empu Wayang, meninggal dunia. Akibatnya, sejak saat itu pembuatan keris dengan gaya ngéntha-éntha tidak lagi dilakukan. Pada tahun 1975 ada upaya untuk merevitalisasinya dan berhasil. Penelitian ini bermaksud meneliti revitalisasi keberadaan keris Tangguh Ngenta-entha tersebut dengan menggunakan metode historis. Hasil penelitian ini menunjukkan bahwa revitalisasi ini telah diakukan oleh dua empu keris bernama Yosopangarso dan Jeno Harumbrojo. Dewasa ini, dua orang empu keris t e r s e b ut t e l a h m e n i n g g a l d un i a d a n pr o s e s pe m b ua t a n k e r i s d e n g a n c i r i - c i r i tangguhngéntha-énthadiambil alih oleh Empu Sungkowo, anak angkat Empu JenoHarumbrojo dengan metode rekonstruksi pola-pola pewarisan yang tetap dan tidak meninggalkan pakem-pakem tradisi yang ada.Kata kunci: revitalisasi, keris, gaya ngéntha-éntha
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.
Konsep “Nyari” dalam Ranah Estetika Pertunjukan Wayang Golek Cahya, Cahya; Haryono, Timbul; Soetarno, Soetarno
PANGGUNG Vol 22, No 4 (2012): Dimensi Sejarah, Transformasi, dan Diseminasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (213.569 KB) | DOI: 10.26742/panggung.v22i4.67

Abstract

ABSTRACTThis paper is a part (portion) of one topic of dissertation research by the author as a preparation for the final exams of doctoral program. The focus of the study in this paper is directed to study aspects of the aesthetic values of the elements contained in the puppet show as a puppeteer working area in performing his style. The aesthetic analytical theory which is used in this study is the concept of "Nyari" that may indicate the value or aesthetic qualities of an art work. The aesthetic reality that can be found in the form of a working of a puppet show as the result of the puppeteer creative manner, indicates the wealth of traditional values as a priceless source of artistic inspiration for the artists-creators.Keywords: Wayang Golek, concept of “Nyari”, performance working ABSTRAKTulisan ini merupakan sempalan (bagian) dari salah satu topik bahasan hasil penelitian disertasi yang penulis lakukan sebagai bahan persiapan menempuh ujian akhir program doktor. Fokus pengkajian pada tulisan ini diarahkan kepada aspek penelaahan nilai-nilai estetik yang terdapat pada unsur-unsur pertunjukan wayang golek sebagai aspek wilayah garap dalang dalam menyajikan gaya pertunjukannya. Pisau bedah analisis estetik yang dijadikan pemberangkatan pada pengkajian ini adalah konsep “nyari” yang dapat menunjukkan nilai atau kualitas estetik dari sebuah karya seni. Realitas estetik yang dapat dijumpai pada bentuk garap pertunjukan wayang hasil dari olah kreatif seorang dalang tersebut, mengindikasikan kekayaan nilai-nilai tradisi sebagai sumber inspirasi berkesenian bagi para seniman-kreator yang tak ternilaikan keberadaannya.Kata kunci: wayang golek, konsep “nyari”, dan garap pertunjukan
Campursari Karya Manthous: Kreativitas Industri Musik Jawa dalam Ruang Budaya Massa Wadiyo, Wadiyo; Haryono, Timbul; R.M. Soedarsono, R.M. Soedarsono; Ganap, Victor
PANGGUNG Vol 22, No 4 (2012): Dimensi Sejarah, Transformasi, dan Diseminasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (310.633 KB) | DOI: 10.26742/panggung.v22i4.72

Abstract

ABSTRACTManthous’s Campursari is a blend of Javanese gamelan pentatonic music with popular music in Indonesia which is based on Western diatonic music. The tones of gamelan and the frequencies of the tune are all transformed into diatonic tone frequency. However, the harmonization which is used is pentatonic harmony of Javanese gamelan. Manthous’s Campursari has succesfully become one of the major music industries since it is supported by three components, namely the organizers of the music productions, the current distribution of music productions, and the needs of the community. The role of mass media is also very helpful toward the existence of this work. News about Manthous’s and his Campursari spread out widely to the public through the mass media. In a relatively short time of its emergence, Manthous’s Campursari has become a mass cultural Javanese music.Keywords: Campursari, mass culture, music industryABSTRAKCampursari karya Manthous adalah sebuah campuran dari musik pentatonik gamelan Jawa dengan musik populer di Indonesia yang mengacu padaMusik diatonis Barat. Nada gamelan dan frekuensi lagu semuanya ditransformasikan menjadi nada frekuensi diatonis. Namun, harmonisasi yang digunakan adalah harmoni pentatonis gamelan Jawa. Campursari karya Manthous telah berhasil menjadi salah satu industri musik besar karena didukung oleh tiga komponen, yaitu penyelenggara produksi musik, distribusi produksi musik, dan kebutuhan masyarakat. Peran media massa juga sangat membantu terhadap keberadaan karya ini. Berita tentang Manthous dan Campursarinya menyebar secara luas di masyarakat melalui media massa. Dalam waktu kemunculannya yang relatif singkat, Campursari karya Manthous telah menjadi musik Jawa dalam ruang budaya massa.Kata kunci: Campursari, budaya massa, industri musik
CAMPURSARI MANTHOUS : ANTARA MUSIK JENIS BARU DAN FENOMENA SOSIAL MASYARAKAT PENDUKUNG -, W a d i y o; Haryono, Timbul; Soedarsono, R.M.; Ganap, Victor
Harmonia: Journal of Arts Research and Education Vol 11, No 2 (2011)
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.v11i2.2204

Abstract

Masalah yang diangkat dalam penelitian ini adalah hubungan fenomena Campursari Manthous sebagai ‘jenis musik Jawa baru/kreasi’ dengan fenomena kondisi sosial budaya masyarakat pendukung. Pendekatan penelitian ini adalah sosiologis dengan menggunakan metode kualitatif deskriptif. Lokasi penelitian, Gunung Kidul, Klaten, Boyolali, dan Semarang. Hasil penelitian menunjukkan, Campursari Manthous merupakan paduan antara musik diatonik gamelan dengan musik non diatonik utamanya langgam dan pop. Basik  garapan Campursari Manthous ada tiga, yakni berbasis gending,  langgam, dan  pop. Melalui fenomena Campursari Manthous yang dijadikan sebagai sarana berkesenian sehari-hari oleh masyarakat pendukung dapat diketahui aspek kehidupan sosial budaya masyarakat pendukungnya. Aspek kondisi sosial budaya masyarakat tersebut dikaitkan dengan aspek mentalitas. Dalam konteks ini masyarakat pendukung Campursari Manthous adalah masyarakat yang bukan kategori masyarakat  tradisional murni tetapi juga bukan masyarakat yang murni modern. The problem in this research is focused on the relationship between Campursari Manthous as a new Javanese music and social phenomena of its supporting community. This research uses sociological approach by means of descriptive-qualitative method. It was located in Gunung Kidul, Klaten, Boyolali and Semarang. The result shows that Campursari Manthous harmonizes the diatonic traditional Javanese musical instrument and non-diatonic music such as langgam and pop. The basic instruments of Campursari Manthous are three, namely gending, langgam, and pop. The phenomena of Campursari Manthous used as daily musical media by its supporting community could reveal the socio-cultural aspects of its community. These are related to mentality aspect. In consideration of this latter aspect, the community does not either characterize a purely traditional community or a purely modern one.
DIMENSI RAME: GEJALA, BENTUK, DAN CIRI Mulyana, Aton Rustandi; Haryono, Timbul; Simatupang, G.R. Lono Lastoro
Harmonia: Journal of Arts Research and Education Vol 12, No 1 (2012)
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.v12i1.2218

Abstract

Umumnya rame dianggap sebagai hal wajar, biasa, dan lumrah. Namun di balik itu, rame adalah sebuah kebutuhan hidup. Rame justru sengaja dibentuk untuk mengisi ruang-ruang hidup yang kosong, sepi, atau nirmakna.  Kehadiran rame sendiri di(ter-) kondisikan, tidak pernah hadir tanpa sebab atau aksi. Sebaliknya, kehadirannya selalu ada di dalam hubungan peristiwa antara apa yang menjadi sebab dan apa akibatnya, atau apa aksinya dan apa reaksinya. Tulisan ini membahas  dimensi rame berdasarkan atas gejala, bentuk, dan ciri-cirinya. Secara gejala, rame berbeda dengan noise, di dalam upacara justru ini disengaja untuk mempertebal lapis simbolis, ritus, agama sekaligus sosialnya. Bentuknya selalu dapat dialami dengan indera, dapat dilihat, didengar, dihirup, dicecap, disentuh/diraba, atau dirasakan. In general rame is considered a commonplace thing. Yet, beyond all this, rame is a life necessity. Rame is indeed created to fill up vacant, lonely, or meaningless living spaces. Rame is always present by some causes or actions. In other words, it is present because of cause and effect relationship, or action and reaction process. This article discusses the dimension of rame based on phenomena, form, and its characteristics. Phenomenologically, rame is different from noise, because in ceremonies rame functions to solidify symbolic, ritual, religious, and social layers. The form could always be experienced by senses it is perceivable, smellable, tasteable, and touchable.
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. 
GAYA SENI HINDU–JAWA PADA TATA RUANG KERATON YOGYAKARTA Wardani, Laksmi Kusuma; Soedarsono, R.M.; Haryono, Timbul; Suryo, Djoko
Dimensi Interior Vol 9, No 2 (2011): DESEMBER 2011
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (893.59 KB) | DOI: 10.9744/interior.9.2.108-118

Abstract

The Sultan Palace is one of the art cultural heritages that has now become a historical artifact, containing important information regarding art styles as a result of acculturation. This study is a qualitative study with a descriptive analysis method. The approach used is the historical approach and interpretation to find traces of the historical development of the Hindu-Javanese art style and the meaning behind the spatial form of Keraton Yogyakarta. The results of the research explain that prehistoric art is purely determined by custom, and at the same time take its role in the formation of cultural arts during the Hindu period. Art activities were carried out to ensure that the survival of religion is based on an agricultural system of the people's lives who regard the king as having the supreme authority who is equal to the gods. The expression of the art in layout plan of Yogyakarta palace basically follows the theological concept of Vastusatra and the mythic beliefs of the pre-Hindu society which still continues today. Based on the results of the study, it was found that the expression of the form and content of the layout plan was inspired by religious considerations, and does not perform as mere aesthetic expression. The alignment of the micro universe with a macro universe is a reflection of the pre-Hindu and Hindu periods. Changes occurred as a form of acculturation, especially in the aspects of building orientation and spatial arrangement of Keraton Yogyakarta.
The Public Space of “Jogja Fashion Week Carnival” and Cosplay Clothing in Yogyakarta Setiawan, Deni; Haryono, Timbul; Burhan, Agus
Komunitas Vol 6, No 2 (2014): 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.
Habitus, Ngêng, dan Estetika Bunyi Mlèsèt dan Nggandhul pada Karawitan Prasetya, Hanggar Budi; Haryono, Timbul; L. Simatupang, Lono L.
Paradigma: Jurnal Kajian Budaya Vol. 1, No. 2
Publisher : UI Scholars Hub

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

Abstract

The paper explains about mlèsèt and nggandhul phenomena in the Javanese Karawitan in the perspective of Piere Bourdieu’s sociology of arts. The datas were collected through interviews with pengrawit,or gamelan players, and observation of gamelan played during the performance of Yogyakarta wayang. The research shows that mlèsèt and nggandhul aresound aesthetics for the listeners and habitus of the gamelan players. Therefore, a gamelan player should possess his ngêng in order to precisely play the correct rhythm of mlèsèt and nggandhul.
Co-Authors A.M. Hermien Kusmayati, A.M. Hermien Adhi Susanto Agung Zainal Muttakin Raden Aton Rustandi Mulyana Budi Irawanto Cahya Cahya Christianto R, Wismanugraha Dendi Pratama DENI SETIAWAN Dinda Satya Upaja Budi Djarot Heru Santosa Djoko Suryo Eko Supriyanto G.R. Lono L. Simatupang G.R. Lono Lastoro Simatupang Hariana, Hariana Hidayatulloh, Nofriyan I Nyoman Cau Arsana Ismet Ruchimat, Ismet Kosasih, Rosa Ivana Kuncoro, Sri Kuncup Putih Kusumadhata, Kuncup Putih L. Simatupang, Lono L. Laksmi Kusuma Wardani Lono Lastoro Simatupang M Agus Burhan Mikke Susanto Nugraha, Wisma R. M. Soedarsono R.M. Soedarsono R.M. Soedarsono -, R.M. Soedarsono R.M. Soedarsono, R.M. Soedarsono R.M. Soedarsono, R.M. Soedarsono R.M. Soedarsono R.M. Sudarsono -, R.M. Sudarsono Raharja Raharja Raharja, R Bima Slamet Raharja, R. Bima Slamet Rasita Satriana Richardus, Wisma Nugraha Christianto RM Soedarsono, RM Rustopo Rustopo Sal Murgiyanto, Sal Silvester Pamardi, Silvester Simatupang, GR. Lono L. Soetarno Soetarno SP. Gustami SP. Gustami, SP. Gustami SP. Gustami Sri Hastanto St. Hanggar Budi Prasetya Supriaswoto, Supriaswoto Supriaswoto Suwarno Wisetrotomo Tati Narawati Trisna Pradita Putra Victor Ganap W a d i y o - Wadiyo Wadiyo Wilma Sriwulan Zulkarnain Mistortoify