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GREBEG MAULUD DALAM REPRESENTASI BUSANA DAN MOTIF BATIK DI KERATON YOGYAKARTA Hasan, Renta Vulkanita
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
Publisher : CORAK

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Culture growing in Indonesia and overseas intrinsically dynamic. Nature of culture as a result of human creativity is always moving and displacement. When his journey to the vibrant place anyway, culture is likely to mix with the native culture which then grow and develop into a new culture. Culture is a strong factor that affects the mindset. Over time, society has a way of looking at the world deal, behave, and interact with each other. In other words, they have their own color and pattern of the deal while making rules in social life. Yogyakarta in Java, which is known as one of the cultural centers of Java development, especially ritual Grebeg Maulud. Ritual Grebeg Maulud over time reflecting the constantly changing movement of social change, culture, politics, economics and society in his day. Ritual is a means of connecting Grebeg Maulud transcendental between man and God (Manunggaling Kawula-Gusti) and guidance from the teachings of the holy book (Islam). But this time Grebeg Maulud also has another function, namely as a spectacle. This suggests a cultural shift from the sacred to the profane. Batik as a dress code in the Carnival celebrations Grebeg Maulud is one reflection of the existence of culture in Yogyakarta Palace. The use of batik in a ritual procession Grebeg Maulud is a tradition that continues to this day. Batik palace is considered one of the symbols of the existence of power relations by creating a specific motive for a particular class. Dynamism of culture led to the use of batik is not only a marker of power relations, but also as an exciting treat for the fashion show at the Carnival lasts Grebeg Maulud.Keyword: Grebeg, Maulud, representations, clothing, batik, palace, Yogyakarta

Memahami “Kebenaran” dalam The Act of Killing Melalui Gestur dan Fitur Hasan, Renta Vulkanita
Komunikator Vol 10, No 2 (2018)
Publisher : Universitas Muhammadiyah Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18196/jkm.101008

Salah satu cara yang dapat dilakukan oleh penonton untuk menangkap koherensi film sebagai yang terlihat dan yang tergambar adalah dengan membayangkan bahwa, pada saat tertentu, terdapat unsur-unsur yang dapat diidentifikasi dan berfungsi sebagai sarana untuk membaca peristiwa dalam sebuah dokumenter. Unsur-unsur tersebut adalah: (1) gestur; dan (2) fitur. Gestur menempati posisi sebagai salah satu teks petunjuk yang mengindikasikan runtutan peristiwa dalam sebuah film melalui hal-hal yang melekat pada tubuh aktor. Selain gestur, unsur lain yang turut memengaruhi bagaimana petunjuk filmis dapat dibaca oleh penonton adalah dengan adanya fitur. Fitur merupakan elemen artistik yang secara signifikan menunjukkan identitas pelaku (aktor), tempat, waktu, dan hubungannya dengan peristiwa yang terjadi. Dalam The Act of Killing, kebenaran peristiwa dinarasikan melalui adegan performatif Anwar Congo yang sarat akan unsur gestur dan fitur. Penelitian ini menghasilkan temuan bahwa unsur gestur dan fitur dalam The Act of Killingmemberikan petunjuk bagi penonton untuk memahami kebenaran melalui pembacaan terhadapnya.

GREBEG MAULUD DALAM REPRESENTASI BUSANA DAN MOTIF BATIK DI KERATON YOGYAKARTA Renta Vulkanita Hasan
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Culture growing in Indonesia and overseas intrinsically dynamic. Nature of culture as a result ofhuman creativity is always moving and displacement. When his journey to the vibrant place anyway,culture is likely to mix with the native culture which then grow and develop into a new culture.Culture is a strong factor that affects the mindset. Over time, society has a way of looking at theworld deal, behave, and interact with each other. In other words, they have their own color andpattern of the deal while making rules in social life. Yogyakarta in Java, which is known as one of thecultural centers of Java development, especially ritual Grebeg Maulud. Ritual Grebeg Maulud overtime reflecting the constantly changing movement of social change, culture, politics, economics andsociety in his day. Ritual is a means of connecting Grebeg Maulud transcendental between man andGod (Manunggaling Kawula-Gusti) and guidance from the teachings of the holy book (Islam). But thistime Grebeg Maulud also has another function, namely as a spectacle. This suggests a cultural shiftfrom the sacred to the profane. Batik as a dress code in the Carnival celebrations Grebeg Maulud isone reflection of the existence of culture in Yogyakarta Palace. The use of batik in a ritual processionGrebeg Maulud is a tradition that continues to this day. Batik palace is considered one of the symbolsof the existence of power relations by creating a specific motive for a particular class. Dynamism ofculture led to the use of batik is not only a marker of power relations, but also as an exciting treat forthe fashion show at the Carnival lasts Grebeg Maulud. Keyword: Grebeg, Maulud, representations, clothing, batik, palace, Yogyakarta

PARA HARIMAU YANG MENOLAK PUNAH: ESTETIKA DOKUMENTER TELEVISI DI ERA PASCAREFORMASI Romdhi Fatkhur Rozi; Renta Vulkanita Hasan
Journal of Urban Society's Arts Vol 5, No 1 (2018): April 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v5i1.2195

ABSTRAKPara Harimau Yang Menolak Punah(Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) merupakan judul dokumenter televisi produksi Eagle Institutedengan ciri filmis berupa paduan antara gambar dan tuturan (wawancara). Dokumenter ini merupakan objek material yang menarik untuk diteliti dalam konteks kontinuitas dan perubahan estetika, selama era pasca reformasi dengan zaman Orde Baru sebagai pembanding. Jika pada masa orde baru, kampanye pelestarian lingkungan melalui media dokumenter notabene diproduksi oleh pemerintah melalui estetika sinematik yang bersifat propagandis, maka saat ini dokumenter produksi Eagle Institutejustru menggunakan estetika sinematik yang kritis sebagai konter bagi pemerintah. Fakta dan fiksi (faksi) menjadi istilah yang digunakan dalam penelitian ini sebagai bentuk kontinuitas dan perubahan dokumenter televisi Indonesia. Alasan pemilihan istilah ini adalah dunia fenomenal dalam banyak kasus, seperti yang terlihat dalam dokumenter, seakan berbeda dari "dunia nyata", meskipun dalam kenyataannya rekaman itu berasal dari “dunia nyata/realitas”. Penelitian ini menggunakan pendekatan film kognitif untuk mengamati sejauh mana Faksi beroperasi sebagai media kritik yang secara estetis merangkai dokumenter tersebut. Struktur mental digunakan untuk menjelaskan Faksi melalui petunjuk filmis hingga diperoleh kesimpulan tentang kritik yang ingin disampaikan melalui dokumenter. ABSTRACTPara Harimau Yang Menolak Punah (Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) is the title of a television documentary produced by Eagle Institute. The documentary has characters that specifically contains of expository shots. This documentary is an interesting material object to be examined in the context of continuity and aesthetic change, during the post-reform era with the New Order era as a comparison. During the new order era, environmental conservation campaigns through documentary media were produced by the government through propagandist cinematic aesthetics. Whereas, the post-reform documentary produced by Eagle Institute actually uses a critical cinematic aesthetic as a counter for the government. Fact and fiction (faction) became the term used in this study as a form of continuity and change of Indonesia documentary. The reason for choosing this term is the phenomenal world in many cases, as seen in the documentary, as though it were different from the "real world", even though in reality it came from "the real world". This study uses a cognitive film approach to observe the extent to which the Faction operates as a criticism medium which aesthetically assembles the documentary. The mental structure is used to explain the Faction through filmic clues to the conclusion of the criticism that the documentary wishes to convey.

INDONESIAN DOCUMENTARY: A THEORETICAL REVIEW OF TRUTH CLAIMS PERSPECTIVE Renta Vulkanita Hasan
Journal of Urban Society's Arts Vol 7, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v7i1.3903

Documentary is a type of film that tends to be defined as a recording of reality that embedded in moving images. Documentary cannot be separated from the role of the filmmaker because they constructed reality and issues by assembling footage into narratives. Narratives are that accompanied by the social realm as fact and the role of filmmakers in the documentary brings a notion toward truth claim. Truth claims on the documentary need to be investigated because it involves two aspects: fact and filmmakers. Investigations are conducted to look for possibilities, whether another side of documentary is about trustworthiness. The first step of the investigation is to conduct a theoretical review. Theoretical review is needed in order to find previous research that have notions about truth claim of documentary from another perspective. The method of this investigation is that comparing some previous approaches with cognitive film approach where are from being initially put on the elements of reality and filmmakers, shifted to the perspective placed on the filmic element by engaging the audience. This research has an outcome that is possible to shift perspective from truth claim into trustworthiness through the filmic element that evokes the audience's experience through film clues.

“JOKI KECIL”: FAKTA DAN FIKSI DALAM SUDUT PANDANG KOGNITIF Renta Vulkanita Hasan; A. Lilik Slamet Raharsono
Imaji Vol 14, No 2 (2016): IMAJI OKTOBER
Publisher : FBS UNY

“Joki Kecil” (Yuli Andari, 2005) peneliti anggap sebagai film dokumenter yang menarik untuk dikaji dalam konteks disposisi kebenaran dokumenter.Kebenaran menjadi istilah yang peneliti pilih karena menurut peneliti, sampai saat ini masih terdapat problem yang mempermasalahkan sisi “kebenaran” pada dokumenter.Dalam tinjauan awal ini, peneliti memposisikan diri sebagai penonton, baik secara aktual (bertindak sebagai konsumen film pada umumnya, duduk dan menikmati setiap jalan cerita yang disajikan) dan secara kontekstual (bertindak sebagai seseorang yang sedang mencari kebenaran dalam sebuah dokumenter dengan bekal pertanyaan teoretis pada wilayah kajian dokumenter), melalui pengalaman faktual dan imajinasi saat menonton dokumenter itu.Persamaan dan perbedaan menjadi dua kelompok penting dalam mengungkap kebenaran dalam dokumenter yang ditonton. Melalui persamaan dan perbedaan, penonton akan menggunakan struktur mental untuk menjelaskan mengapa proses mental dan pemahaman seseorangtentang duniamemiliki stabilitas dan keteraturan seperti yang orang lain lakukan dan mengapa dunia fenomenaldalam banyak kasus nampak terlihat berbeda dari "dunia nyata."

Memahami “Kebenaran” dalam The Act of Killing Melalui Gestur dan Fitur Renta Vulkanita Hasan
Komunikator Vol 10, No 2 (2018)
Publisher : Universitas Muhammadiyah Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18196/jkm.101008

Salah satu cara yang dapat dilakukan oleh penonton untuk menangkap koherensi film sebagai yang terlihat dan yang tergambar adalah dengan membayangkan bahwa, pada saat tertentu, terdapat unsur-unsur yang dapat diidentifikasi dan berfungsi sebagai sarana untuk membaca peristiwa dalam sebuah dokumenter. Unsur-unsur tersebut adalah: (1) gestur; dan (2) fitur. Gestur menempati posisi sebagai salah satu teks petunjuk yang mengindikasikan runtutan peristiwa dalam sebuah film melalui hal-hal yang melekat pada tubuh aktor. Selain gestur, unsur lain yang turut memengaruhi bagaimana petunjuk filmis dapat dibaca oleh penonton adalah dengan adanya fitur. Fitur merupakan elemen artistik yang secara signifikan menunjukkan identitas pelaku (aktor), tempat, waktu, dan hubungannya dengan peristiwa yang terjadi. Dalam The Act of Killing, kebenaran peristiwa dinarasikan melalui adegan performatif Anwar Congo yang sarat akan unsur gestur dan fitur. Penelitian ini menghasilkan temuan bahwa unsur gestur dan fitur dalam The Act of Killingmemberikan petunjuk bagi penonton untuk memahami kebenaran melalui pembacaan terhadapnya.

PROMOSI SENI BUDAYA DAN KEARIFAN LOKAL WILAYAH KABUPATEN JEMBER MELALUI TELEVISI LOKAL Hary Kresno Setiawan; Renta Vulkanita Hasan; A. Lilik Slamet Raharsono
LITERASI: Indonesian Journal of Humanities Vol 3 No 1 (2013)
Publisher : Faculty of Humanities, Jember University

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The invention and application of the media forms using satellite communications, such as telephone and television, as well as the technological transportation advances result in the fading of physical, spatial boundaries because information on all events occuring in any part of the world becomes easily accessible to many people in different places almost in no time. Mass media such as television, can be interpreted simply as one of the instruments which reinforces human efforts in realizing the above obsession. The optimization and promotion of indigenous arts and culture of the Jember regency in the form of documentation and the making of the album as one of the shows on television programmes can serve as representation and image creation of the area and its complicated culture. Through this study, it is expected to create a better communication between communities and cultures in the regency of Jember that can be utilized to help the local government in formulating policies to explore and to develop its potential resources.Keywords: promotion , arts, local wisdoms, Jember regency, local television

TELEVISI LOKAL: MEDIA KEBANGKITAN SENI PERTUNJUKAN TRADISIONAL DI ERA GLOBALISASI MEDIA Renta Vulkanita Hasan
LITERASI: Indonesian Journal of Humanities Vol 4 No 2 (2014)
Publisher : Faculty of Humanities, Jember University

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Mass media such as television, it can simply be defined as one of the instruments which reinforce efforts in the realization of human-related obsessions certain aspects, such as art. The art form of indigenous territories, such as performing arts and cultural image representation of complex societies, especially the creative process in the art community. The results are reflected in the creative community is a form of performing art that is inseparable from the process dependence, experiences shared, and collaboration among members of the various communities. The process that takes place at the level of larger, complex, and increasingly not much hampered by physical barriers to be the reason that the traditional performing arts worthy of competing and widely publicized. Local television is a means of publicity and promotion of traditional performing arts, the most effective given the role on television today have massive strength in delivering a variety of impressions to the community. This study is a follow-up, which has the form of the model output shows the traditional performing arts in a television documentary format. Documentary television is a format appropriate to revive the “breath” of traditional performing arts in the area of media globalization. Keywords: globalization, media, performing arts, local television

Rekonseptualisasi Dokumenter: Kebenaran Filmis dalam Perspektif Kognitif Renta Vulkanita Hasan; Gabriel Roosmargo Lono Lastoro Simatupang; Kurniawan Adi Saputro
Jurnal Kajian Seni Vol 4, No 1 (2017): Jurnal Kajian Seni Vol 4 No 1 November 2017
Publisher : Universitas Gadjah Mada

Rekonseptualisasi dokumenter memiliki urgensi dalam kajian dokumenter untuk memberikan sudut pandang lain bagi klaim kebenaran filmis. Rekonseptualisasi ini berangkat dari persepektif film kognitif dengan melibatkan kegiatan menonton, di mana proses pemahaman dan pengalaman penonton menjadi dasar bagi rekonseptualisasi ini. Kajian literatur menjadi langkah awal dalam rekonsetualisasi dengan tujuan (1) mengkaji berbagai isu dan pemahaman dokumenter mutakhir: (2) memetakan dan mengulas teori-teori yang menjelaskan bagaimana dokumenter didefinisikan selama ini: dan (3) menentukan sudut pandang alternatif bagi kebenaran filmis bagi dokumenter. Rekonseptualisasi dilakukan bertahap melalui tiga jalur konseptual, yaitu: (a) penyelidikan terhadap penelitian terdahulu, (b) pemetaan problem dari penelitian terdahulu, dan (c) tawaran sudut pandang sebagai alternatif bagi penyelesaian problem terdahulu. Tiga jalur konseptualisasi tersebut dipilih dengan alasan bahwa sejak dokumenter didefinisikan dan diteorikan, maka saat itu juga muncul isu-isu sentral yang memusatkan pembicaraan terhadap klaim kebenaran. Problem terkait klaim kebenaran yang dimaksud, notabene diletakkan pada hubungan antara fakta (realitas) dan kebenaran filmis dalam film dokumenter, di mana hubungan itu memiliki keterkaitan yang sesungguhnya keduanya tidak dapat diidentikan.

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