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Sri Iswidayati
Penulis adalah seorang doktor dan dosen Jurusan Seni Rupa FBS UNNES
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Simbol Gendhèng Wayangan pada Atap Rumah Tradisional Kudus dalam Perspektif Kosmologi Jawa-Kudus Pratiwinindya, Ratih Ayu; Iswidayati, Sri; Triyanto, Triyanto
Catharsis Vol 6 No 1 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17028

Abstract

Masyarakat Kudus Kulon menyadari bahwa setiap gerak geriknya selalu berada dalam kuasa Allah SWT pandangan tersebut tervisualisasi dalam setiap bagian rumah tempat tinggalnya. Masalah dalam penelitian ini:(1)Bagaimana perwujudan bentuk dan fungsi hiasan gendhèng wayangan pada atap rumah tradisional Kudus; (2)Sebagai simbol, hiasan gendhèng wayangan rumah tradisional Kudus terkandung makna apa dalam perspektif kosmologi Jawa-Kudus. Metode penelitian ini menggunakan metode kualitatif dengan pendekatan interdisiplin. Data penelitian dikumpulkan dengan teknik observasi, wawancara, dan studi dokumen. Pemeriksaan keabsahan data menggunakan triangulasi sumber, kemudian dianalisis mengggunakan alur reduksi, penyajian, dan verifikasi data. Hiasan gendhèng wayangan terbuat dari bahan tanah liat yang dibakar, ditempeli beling (pecahan kecil keramik porselen) putih. Gendhèng wayangan menggunakan pola hias motif flora, terdiri dari gendhèng lanangan di tengah, gendhèng pengapit di kanan dan kiri, gendhèng bulusan pada bagian ujung sebagai penutup. Gendhèng wayangan memiliki fungsi individu, fungsi sosial, dan fungsi praktis. Makna simbolis dari hiasan gendhèng wayangan adalah mengenai keyakinan dalam hal penghambaan dan kecintaan manusia terhadap Allah. Hiasan gendhèng wayangan tersirat simbol tentang manunggaling kawula Gusti serta falsafah dalam kosmologi Jawa mengenai harmonisasi empat anasir dalam kehidupan manusia bertujuan untuk menjaga keselarasan antara mikrokosmos dan makrokosmos di alam semesta. Kudus Kulon society awared that every movement in their life always be in God's power and everything in their life is always aligned with the will of God and the universe that surrounded them. That cosmological outlook is visualized in every part of their house where they lived, one of their part is gendhèng wayangan which is located at the peak of the rooftop. Problems studied in this study: (1) How is the structure and function of gendhèng wayangan on the rooftop of a Kudus’s traditional house; (2) As a symbol, what kind of symbol that contained in the traditional decoration gendhèng wayangan in the Javanese-Kudus’s cosmology perspective. Methodologically, this study is qualitative research, and used an interdisipline approach. Data collected by observation, interview and document study. Examination of the data’s validity using sources triangulation, then analyzed using reduction, presentation, and verification of data. The results showed that, (1) Gendhèng wayangan made by clay ground and decorated with beling to bold the line of ornamental flora’s motifs, gendhèng wayangan consisting of gendhèng lanangan in the middle, gendhèng pengapit is in the right and left side, gendhèng bulusan at the end as a cover. Gendhèng wayangan has a function has a practical function, social function, and individual functions. (2) In general, the meaning of symbol gendhèng wayangan is about belief in human servitude to God. While specifically, the implicit concept of gendhèng wayangan is about manunggaling kawula Gusti and harmonization between four elements in the universe to create the harmony between microcosm and macrocosm that is the philosophy adopted in Javanese cosmology and Islam.
Seni Relief Desa Senenan: Kajian Estetik, Fungsi, dan Pewarisannya di Sanggar Jepara Carver Rahmawati, Anik; Triyanto, Triyanto; Iswidayati, Sri
Catharsis Vol 6 No 1 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17029

Abstract

Kehadiran seni dalam kehidupan manusia menjadi salah satu kebutuhan bagi manusia. Salah satu karya seni yang digunakan untuk memenuhi kebutuhan berkesenian adalah seni relief kayu di Desa Senenan. Masalah yang dikaji dalam penelitian ini: (1) Bagaimana bentuk produk seni ukir relief kayu yang diciptakan perajin di Desa Senenan Kabupaten Jepara?; (2) Bagaimana fungsi seni relief kayu dalam kehidupan komunitas perajin di Desa Senenan Kabupaten Jepara?; dan (3) Bagaimana pewarisan seni relief kayu di Desa Senenan Kabupaten Jepara?. Metode dan pendekatan penelitian yang digunakan adalah kualitatif dengan kajian interdisiplin sosial-budaya, dan seni (seni rupa). Analisis data seni dengan teori bentuk estetik, konsep pewarisan (internalisasi, enkulturasi, dan sosialisasi), dan fungsi. Hasil penelitian menunjukkan hal-hal sebagai berikut. Pertama, seni relief kayu memiliki bentuk yang variatif sesuai dengan kreativitas perajin dan nilai estetik. Kedua, seni relief kayu memiliki fungsi pemenuhan kebutuhan dasar sebagai sumber pemenuhan kebutuhan ekonomi, fungsi sosial dan fungsi budaya. Ketiga, struktur pewarisannya melalui keluarga dan pendidikan informal (sanggar Jepara Carver). The presence of art in human life becomes one of the human necessities. One of the artworks which used to meet the needs of art is the art of wood reliefs in Desa Senenan, Jepara. The problems of the study are (1) What are the forms of wood relief sculpture product created by craftsmen in Desa Senenan,Jepara? (2) How are the functions of wood art relief in the craftsmen daily life in Desa Senenan, Jepara? (3) How are the inheritance wood art relief in Desa Senenan Jepara? This study used qualitative method which combined with socio cultural and art interdisciplinary study. The Art data analysis included the theory of aesthetic form, the concept of inheritance (internalization, enculturation and socialization), and function. The results showed the following matters. First, the art of wood reliefs had a shape that varied in accordance with the creativity of artisans and aesthetic value. Second, art wooden relief had the function to fulfill the people basic needs as a daily economic, a social function, and as cultural function. Third, the art wood relief was used as the structure of inheritance through the family and informal education (Jepara studio Carver).
Javanese Women’s Reprenstation in Adaninggar – Kelaswara Dance Prihatini, Luciana Intan; Iswidayati, Sri; Hartono, Hartono
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.20044

Abstract

Adaninggarelaswara dance is a classical dance which got influence of Chinese ethnic. The dancers’ movements called gesture meaningful with normative value of Javanese woman as well as still relevant in Javanese woman lives today. The research aims to describe Adaninggar-Kelaswara dance performance, identify women’s representation in Adaninggar-Kelaswara dance movement and also to communicate the pragmatic message to women through Adaninggar-Kelaswara dance movement. The method of this study used qualitative method and interpretative semiotics approach. The source of data used primary and secunder data through the techniques of data were observation, interview, and documentary. The technique of authorized data was the use of source triangulation and the techniques of analyzing data using Barthes cultural semiotic. The conclusion of the dance movement in cultural semiotics indicate that Adaninggar-Kelaswara dance movement relating to the way of live and Javanese woman’s personality values. This finding is hoped to become the referential for the further research on Adaninggar-Kelaswara dance with other methods in order to explore the cultural values of Java, especially concerning to women representation.
The Spatial Lay Out of Joglo Pencu House in the Socio Cultural Change the Settlement of Kauman Community in Kudus Andriansyah, Rico; Triyanto, Triyanto; Iswidayati, Sri
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.23492

Abstract

Socio cultural life of Kauman community in Kudus Kulon (western Kudus) has changed and influenced the spatial lay out of Kudus traditional house of traditional house, Joglo Pencu. The purpose of this research was to analyze the following problems: (1) how is the socio cultural change in the settlement of Kauman Community in Kudus? and (2) how is the spatial lay out of Kudus traditional house that has been influenced by socio cultural in the settlement of Kauman community in Kudus? Methodologically, this research used qualitative method and observed interdisciplinary. The research data was collected by the technique of observation, interview, and document study. The data validity was used source triangulation. Data analysis was done by reduction, presentation, and verification of data. The research results were; first, the society in Kauman community Kudus Kulon developed influencing the population composition, economic life change, and belief system change. Second, the socio cultural change influences the spatial lay out of Joglo Pencu house. It is suggested to the heir of Kudus traditional house owner to manage the spatial lay out and to maintain it wisely the heritage house. This research is beneficial to the heir of the house and the development of science.
The Identity of Society in Typical Batik Motif “Seluang Mudik” from Sarolangun-Jambi Prasetyo, Harry; Iswidayati, Sri; Syakir, Syakir
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.27048

Abstract

The patterns of batik are strongly influenced by geographical location of the area of manufacture, the state of environment surrounding, and the flora and fauna. Sarolangun area which travesed by Batang Tembesi river makes people familiar with their natural environment. Seluang fish is small fish that Sarolangun endemic which are often waited its existence by the fishermen because of their habit swimming on the river surface in groups. The purpose of the research is to analyze batik patterns Seluang Mudik in Sarolangun regency, Jambi province. The method used in this research was qualitative with observation, interview, and document study as the technique of data collecting. The data validity used the technique of information triangulation from various sources, methods, and theories. The data analysis was done by data reduction, data presentation, and conclusion or verification. The results show that batik motif Seluang Mudik that has various decoration Seluang fish that together swim to a destination to ease the burden against the flow when they immigrate to upstream. It closely relates to the identity of Sarolangun-Jambi society means the knitted togetherness. This togetherness can be found at the events held in society that always be together. One of them is in Lumbo Biduk event, hand in hand in Baralek event, and so on. Implications given by this research is that it can be beneficial for development of batik, for the society surrounding toward environment, for young generations to recognize culture in Sarolangun and for government to support regional potential.
The Art Expression of the Prisoners 'Paintings in Class IIA Narcotic Correctional Institution, Yogyakarta Pitaloka, Mayang; Iswidayati, Sri; Triyanto, Triyanto
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.27084

Abstract

Expressing art is one of people's aesthetic needs, no exception the prisoners of class II A narcotics penal institution, Yogyakartawho fulfill their aesthetic need by doing painting activity. This is quite interesting because in the life full of freedom limitation, the citizens of the institution are still able to enliven the activity to express their aesthetic needs through painting in the prison environment. Therefore, the aim of this research is to analyse the influence of the penal institution environment toward the art expressions of the institution assisted citizens' paintings, their painting process, and the characteristics of their paintings seen in the perspectives of visual elements and principles, and in the perspective of psychoanalysis towards the painting themes. The research conducted applies qualitative and anthropology interdisciplinary approaches, aesthetics, and art psychology. The research design used is case studies. The data of the research are collected by conducting observation technique, interview, and documentation study. Then triangulation technique is used to check the validity of the data collected. Data analysis technique is conducted through reduction, presentation and verification. The results of the analysis show that, first, the environment of the penal institution has influence on the psychological stress of the prisoners which gives impact on their painting ideas, themes, and visuals; second, their creation process in various limitations do not stop their productivity in painting; and third, the visual characteristics of the prisoners’ paintings have their own uniqueness which can be seen through the perspectives of visual elements and principles related to the Id, Ego, and Superego drives in psychology which produce two categories of painting themes, i.e. political and personal themes. Both themes indicate the influences of environment, stressor, and the prisoners’ life background factors. Painting activity can be a fulfillment to the need of expressing aesthetics of every prisoner in Class IIA Narcotic Correctional Institution, Yogyakarta.
Proses Berpikir Kreatif Penciptaan Mice Cartoon dalam Harian Rakyat Merdeka Periode Pemilihan Presiden 2019 Pangesti Aprilia, Dwi; Iswidayati, Sri; Triyanto, Triyanto
Catharsis Vol 8 No 3 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i3.32825

Abstract

Muhammad Misrad atau Bang Mice adalah kartunis Harian Rakyat Merdeka yang memiliki kemampuan unik dalam mengekspresikan gagasannya dalam bentuk kartun. Proses kreatifnya menciptakan karya Mice Cartoon sangat menarik untuk dikaji. Tujuan penelitian ini adalah menganalisis proses kreatif Bang Mice dalam penciptaan Mice Cartoon yang dimuat Harian Rakyat Merdeka periode pemilihan presiden 2019. Metode penelitian ini adalah kualitatif. Pengumpulan data dilakukan melalui observasi, wawancara, dan studi dokumen. Teknik pemeriksaan keabsahan data meliputi triangulasi data dan sumber. Teknik analisis data kualitatif meliputi (1) reduksi data, (2) penyajian data, dan (3) verifikasi (Miles & Huberman, 1992:17), sedang teknik analisis data penelitian menggunakan teori Graham Wallas. Hasil dari penelitian menunjukkan bahwa proses berpikir kreatif Bang Mice dalam berkarya Mice cartoon yang diterbitkan Harian Rakyat Merdeka periode pemilihan presiden 2019 diawali dengan tahap persiapan yang dipengaruhi aspek internal dan eksternal kartunis, tahap inkubasi yang menjadi tahap pengeraman ide, tahap iluminasi yang ditandai dengan munculnya insight, dan tahap verifikasi meliputi pengujian yang berasal dari internal dan eksternal. Temuan penting penelitian adalah dengan pola hasil karya yang hampir sama, Bang Mice mampu mengambil sudut pandang yang kreatif sehingga menghasilkan karya menarik bagi pembaca. Penelitian diharapkan bermanfaat bagi masyarakat khususnya yang bergerak di bidang seni rupa/kartun agar mampu menghasilkan produk berkualitas melalui proses berpikir kreatif yang dilakukan Bang Mice.
Batik Batik in the Joint Business Group of Sidomulyo, Tegal: A Case Study of the Ornamentation, Function, and Inheritance Affan, Faiz; Triyanto, Triyanto; Iswidayati, Sri
Catharsis Vol 8 No 4 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i4.36426

Abstract

Producing art is a human need. This research focuses on the art production in the form of batik made by Sidomulyo Joint Business Group in Pasangan. This research aims to analyse the ornamentation of batik, explain the function of batik, and the inheritance to the next generation organized by the business group. This research employs qualitative method with socio-cultural interdiscipline and art. The researchers collected the data through observation, interview, and documentation. The analysis of the data focuses on the aesthetics, function, and the concept of inheritance (internalization, enculturation, and socialization). First, the business group produces batik with variative and aesthetics value. Second, the batik provides human value for the source of living, socialization, and cultural preservation. Third, the inheritance works through family’s intergenerational transfer and informal education. Batik Tegal has varied motives. The producer may preserve it by motivating the younger generation to keep on producing the batik in Tegal. As a suggestion, this research can become a reference for future generation about batik in Tegal and how to do it.
The Symbolic Meaning of Charaters in Wayang Lupit and Slentheng By Ki Entus Susmono Kuntoro, Adi; Iswidayati, Sri; Triyanto, Triyanto
Catharsis Vol 8 No 4 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i4.37111

Abstract

Wayang Lupit and Slentheng are the characters played in Carangan performance by Ki Entus Susmono. The characters are based on Punawakan. This research analyses the visual elements of Wayang Lupit and Slentheng by Ki Entus Susmono. This research uses qualitative method with semiotic approach. The researchers collected the data from observation, interviews, and documentation. The data were validated by triangulation. The analyses of the data were through data reduction, presentation, and verification. The visual analysis of the characters implemented the theories of Ferdinand De Saussure and Roland Barthes. The findings show that: 1) The characters of Wayang Lupit wear Tegalese costumes, which are clothes, black trousers (in some cases wear Sarong), and iket wulung (a head band); 2) The character of Slentheng wears moslem apparel with sarong and kupluk/peci (moslem cap). Besides, the researchers found that the symbolic meaning of Wayang Lupit and Slentheng are reflected through its use of traditional costume. pakaian adat. In the end, this research can become a reference for similar study in the future, specifically for art education study in the future.
Visual Forms and Famininity Values of Wayang Golek Purwo Typical of Kuningan West Java Hadijah, Ijah; Rohidi, Tjetjep Rohendi; Iswidayati, Sri
The Journal of Educational Development Vol 6 No 2 (2018): June 2018
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v6i2.22139

Abstract

Visual signs as a symbol and philosophical value of femininity in wayang golek purwa at this time is less understood by some Pasundan people in Kuningan regency of West Java due to the strong influence of modernization. The problems in this research is how the visual form and femininity values ​​in wayang golek purwa typical of West Java Kuningan.This study aimed at explaining the visual form and the femininity values of wayang golek Purwa typical of West Java. This research utilized a descriptive method with socio-cultural approach based on post-positivism philosophy in the semiotics theory of Roland Barthes and Ferdinand De Saussure. The findings of this research is that the visual form of female characters in wayang golek purwa typical of West Java Kuningan is a denotative sign embodiment that retains the existing visual patterns of the puppet way puppet purwa. Meanwhile, the connotative values signifies that the existing wayang golek purwa typical of Kuningan West Java gives an illustration of the noble values ​​contained in the female characters of the puppet, that is the value of wisdom, holiness, manners, and feminism.
Co-Authors Affan, Faiz Andriansyah, Rico Andrianus Andrianus, Andrianus Anik Rahmawati, Anik Dodo Dodo, Dodo Fivin Bagus Septiya Pambudi, Fivin Bagus Septiya Harry Prasetyo, Harry Hartono Hartono Ijah Hadijah Ijah Hadijah, Ijah Kuntoro, Adi Mayang Pitaloka Pangesti Aprilia, Dwi Prihatini, Luciana Intan Rimasari Pramesthi Putri, Rimasari Sukamto, Ika Sumiyarsi syakir syakir Tahrir, Romas Tahrir, Romas Teguh Supriyanto Tjetjep Rohendi Rohidi, Tjetjep Rohendi Wahyu Lestari