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All Journal Journal of Urban Society´s Arts Jurnal Sosioteknologi MUDRA Jurnal Seni Budaya Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Jurnal Senirupa Warna (JSRW)
Setiawan Sabana
Institut Teknologi Bandung
Religion Arts Humanities Education Engineering Languange, Linguistic, Communication & Media Social Sciences Other

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Pengaruh Pariwisata pada Keberagaman Seni Rupa sebagai Modal Kultural Bali: Studi pada Komunitas dan Perhelatan Seni Rupa di Wilayah Denpasar, Klungkung, dan Singaraja Willy Himawan; Setiawan Sabana; A. Rikrik Kusmara
Journal of Urban Society's Arts Vol 3, No 2 (2016): October 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v3i2.1478

Abstract

Pulau Bali terkenal sebagai salah satu tujuan wisata terbesar di dunia yang berkaitan erat dengan budaya Bali. Perkembangan seni rupa modern tidak dapat dipisahkan dari sejarah kolonialisme pada tahun 1900-an melalui pengembangan awal pariwisata yang memengaruhi perkembangan praktik seni Bali dan wacananya. Studi kualitatif ini akan melihat Bali sebagai kawasan-kawasan yang berbeda dalam spektrum perkembangan seni rupa yang dipengaruhi oleh konteks perkembangan pariwisata di tiap wilayah. Metode yang digunakan adalah aksi partipatoris di lapangan dengan pendekatan hermeneutik untuk memahami konteks, makna, dan nilai estetik yang terbangun dalam kegiatan-kegiatan seni rupa di Klungkung dalam kegiatan komunitas Batu Belah dalam acara Global Change Art Climate 2015, di Denpasar dan sekitarnya dalam kegiatan komunitas Sprites Art 2015, dan di Buleleng dalam kegiatan komunitas Segara Lor pada Buleleng Festival 2013. Perbedaan dalam konteks pengembangan pariwisata di daerah-daerah tertentu di Bali telah memengaruhi perkembangan dan perbedaan makna dan nilai estetika karya seni di sana. The Tourism Influence on Art Diversity as a Cultural Capital of Bali: Study on the Community and Art Events in Denpasar, Klungkung dan Singaraja. The island of Bali is famous as one of the largest tourist destination in the world. The development of modern art cannot be separated from the history of colonialism in the 1900s through the early development of Balinese art activities and their studies. This qualitative study sees Bali as different regions in the spectrum of the development of art which influenced by the context of the development of tourism in each region. The method used in this study is the action partipatoris field (participatory action field research) with a hermeneutic approachto understand the context, meaning, and aesthetic value that are built in the activities of art in Klungkung by among others are Batu Belah community in “The Global Change Art Climate 2015”, in Denpasar “Sprites activities Art” in 2015, and in Buleleng in activities “Segara Lor in Buleleng Festival 2013”. Differences in the context of the development of tourism in certain areas in Bali have influenced the development and meaning differences, and the aesthetic value of the works of art there.
Representasi Identitas Bali Pada Koleksi Tetap Museum Neka Willy Himawan; Setiawan Sabana; A. Rikrik Kusmara
Journal of Urban Society's Arts Vol 3, No 1 (2016): April 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v3i1.1475

Abstract

Pulau Bali memiliki budaya yang unik dengan berbagai artefak. Representasi artefak budaya ditampilkan di museum. Salah satu museum yang memiliki kunjungan wisatawan tertinggi di Bali adalah Museum Neka. Museum sebagai lembaga permanen memiliki koleksi karya seni yang dipilih sesuai dengan kepentingan pemilik institusi, termasuk Museum Neka. Penelitian ini mengamati dan mengkaji representasi visual dari koleksi permanen Museum Neka dan hubungannya dengan identitas Bali. Karya-karya seni yang dikaji dibatasi untuk karya seni rupa khususnya lukisan karena Museum Neka memiliki koleksi terbesar dari lukisan, yaitu lebih dari 300 lukisan. Neka Museum juga memfokuskan pada lukisan dalam koleksi permanennya. Lukisan-lukisan tersebut dilihat melalui metode pengamatan visual, dan analisis konten visual yang menggambarkan konstruksi identitas Bali. Pendekatan hermeneutik digunakan untuk memahami makna keseluruhan presentasi. Hasil penelitian ini dapat digunakan untuk memetakan kecenderungan museum untuk membangun identitas budaya. The Representation of Balinese Identity in the Permanent Collection of Neka Museum. The island of Bali has a unique culture with various artifacts. The representation of cultural artifacts is showed in the museum. One of the museums that has the highest rate of tourist visit in Bali is the Neka Museum. The museum as a permanent institution has a collection of art works in accordance with the institution’s interest, as well as the Neka Museum. Through the works of a permanent collection, this study observes and reviews the visual representation of the permanent collection of Neka Museum and its relation with the balinese identity. The art works of that are examined are restricted to works of fine art and devoted to the paintings because of Neka Museum has the largest collection of paintings for more than 300 paintings. Neka Museum also exhibits a permanent collection focuses on paintings. In addition, the paintings can be seen through visual observation methods, the analysis of visual content that describes the construction of balinese identity. Hermeneutic approach is used to understand the overall meaning of the presentation. The results of this study can be used to map the tendency of museums to build a cultural identity.  
From real to virtual: adaptation model of performance arts during covid-19 period Harry Nuriman; Setiawan Sabana; Intan Rizky Mutiaz; Rikrik A. Kusmara
Jurnal Sosioteknologi Vol. 19 No. 2 (2020)
Publisher : Fakultas Seni Rupa dan Desain ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/sostek.itbj.2020.19.2.1

Abstract

Large-scale Social Restrictions (PSBB) due to the Covid-19 outbreak affected all aspects of life including the performing arts. The prohibition of the crowd which is characteristic of a conventional show forces the creators and performers to adapt. One of the ways taken is to adapt the show in the real world (real) to the virtual world (virtual) and sacrifice a number of aspects of the performing arts. This research develops a performance model of the Dipanegara Storybook which is transformed from the real world performance to the virtual world. This qualitative descriptive study uses an experimental method. Modeling is performed on the performance space, the viewer, as well as interactivity and audience involvement using digital technology, including 3D modeling, motion capture, augmented reality and real time game engine. Based on the developed model, this research has succeeded in identifying a number of aspects that can be adapted, as well as the advantages and disadvantages arising from these adaptations.Seni 
Perempuan Papa dalam Realisme Foto (Perempuan Papa menjadi ide untuk dituangkan sebagai karya seni berbentuk lukisan realisme foto) Anna Susilowati; Dharsono Dharsono; Setiawan Sabana; Mudji Sutrisno
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 2 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i2.3229

Abstract

Penulis melakukan studi tentang orang-orang miskin di Kecamatan Tebet untuk dijadikan objek lukisan. Kecamatan Tebet adalah distrik golongan menengah ke atas yang asri dan teratur. Dalam pengamatan penulis, di sela-sela distrik tersebut ditemukan orang-orang miskin yang bekerja di sektor informal, seperti pemulung, pengamen, juru parkir tidak resmi, pembantu, penjual koran dan pengemis. Penulis tertarik pada pelukisan subyek perempuan., karena mengambil foto dan mewawancarainya merupakan sesuatu yang sulit. Dibandingkan dengan pekerja informal laki-laki, perempuan mempunyai level insecure yang lebih tinggi terhadap orang asing. Dalam pembuatan lukisan mengenai perempuan miskin ini, penulis menggunakan gaya realisme foto. Tidak banyak pelukis yang membuat lukisan bertema kemiskinan karena tidak menarik dan tidak diminati kolektor.
Proses Kreatif Konsep Penciptaan Bentuk : (Studi kasus: Kemben, Pakaian Adat Perempuan Jawa, Penari Jawa) Lucky Wijayanti; Setiawan Sabana
JSRW (Jurnal Senirupa Warna) Vol. 5 No. 1 (2017): Eksplorasi Keragaman Media Seni
Publisher : Fakultas Seni Rupa - Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36806/.v5i1.32

Abstract

Abstrak: Proses penciptaan seni terbentuk dari hubungan antara gagasan penciptaan dengan konsep berkarya yang dilakukan oleh setiap seniman dengan cara pandang yang berbeda. Dari penelitian yang dilakukan melalui metode observasi terhadap kegiatan para perempuan yang bekerja sebagai pembuat batik, penari, penganyam, dan penenun di wilayah pulau Jawa, seperti: Cirebon, Pekalongan, Solo, dan Yogyakarta, dapat dirumuskan konsep penciptaan bentuk (karya) yang mencakup tiga aspek pokok, yaitu: 1) Tematik, konsep subject matter, dalam bidang seni visual, baik itu tema yang bersifat religius, sosial, urban dan lain sebagainya materi subyeknya selalu berubah sesuai dengan maksud dari seniman untuk mengkomunikasikan sesuatu pengalaman yang spesifik melalui karya baru atau representasi yang abstrak; 2) Visual, konsep proses kreatif dalam perwujudan karya yang divisualkan melalui figur-figur sebagai representasi seni rupa, misalnya melalui media film dokumenter dan foto; 3) Media, konsep eksplorasi media dan teknik untuk mewujudan karya, dengan menggabungkan material temuan (found object) yang berasal dari lokasi penelitian dengan media lainnya yang dapat memperkaya suatu karya dan dapat mewakili visual setempat. Abstract: The art creation process is constructed by the relation between ideas and the concept of creation of artists based on different point of view. From the research that uses observation method and focuses on the activities of the working women as batik makers, dancers, and weavers in areas in Java such as Cirebon, Pekalongan, Solo and Yogyakarta, it can be formulated one concept of creation that involves three aspects which are: 1) thematic, the concept of subject matter, in visual art, for themes like religious, social, urban matter, the materials of the subjects always change according to the purpose of the artists in communicating a specific experience through a new piece of work or an abstract representation; 2) Visual, the concept of creative process in the manifestation of work which is visualized using figures as representation of fine art, for example by means of documentary film and photos; 3) Media, the concept of exploration of media and the technique to materialize art works, by combining the materials of the objects found in the research locations with other media that can enrich an art work and can represent local visual.
Ernest Irwandi EVALUASI PENDEKATAN PARTISIPATORI DALAM SENI, STUDI MURAL KOMUNITAS DI KAMPUNG KOTA Ernest Irwandi; Setiawan Sabana; Andryanto Rikrik Kusmara
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.v2i0.117

Abstract

Mural art does not only function as decoration but it is an art activity that impact social life. Decorating villageswith murals has become an art movement across Java. Creation of mural in these villages involves manystakeholders (government, universities, students, artists), which can be considered as participatory art, thatemphasize on collaboration and shared experiences. In participatory art, artists’ and facilitator role is to encouragecommunity creativity. This research focuses on art community murals using participatory action researchapproach. This research aim to analyze collaborative art creation models, and examine how art canempower a community.
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.
Co-Authors A. Rikrik Kusmara Achmad Haldani Destiarmand Andryanto Rikrik Kusmara Anna Susilowati Arya Pageh Wibawa Dharsono Dharsono Ernest Irwandi Harry Nuriman Imam Santosa Intan Rizky Mutiaz Lucky Wijayanti Mudji Sutrisno Rikrik A. Kusmara Willy Himawan