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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Jurnal Kajian Bali LOKABASA Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Jurnal Budaya Nusantara Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa JSM (Jurnal Seni Musik) International Journal for Educational and Vocational Studies JPP (Jurnal Pendidikan dan Pembelajaran) Jurnal Pengabdian kepada Masyarakat Nusantara Arthaniti Studies Jurnal Multidisiplin Sahombu
I Nyoman Lodra
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Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Social Sciences

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Musical Learning For Early Childhood Through Listening Approach, Singing, Playing Nusantoro, Jati Ulung; Supratno, Haris; Lodra, I Nyoman
International Journal for Educational and Vocational Studies Vol 1, No 8 (2019): December 2019
Publisher : Universitas Malikussaleh

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29103/ijevs.v1i8.2238

Abstract

Course institutions is one of non-formal education as a substitute, complementary, enhancement, and education outside of school. One of the best non-formal institutions to develop early childhood talent is the Yamaha Music School course institute. This is what makes researchers interested in learning which is done by Yamaha Music School course for early childhood. This type of research uses qualitative research, ranging from lesson planning, implementation of learning to evaluation of learning. Data collection techniques used non-contributory types of observation, documentation and structured interviews conducted face-to-face. The subjects of this study were early childhood at the age of 3 years and a lecturer in Wonderland Music Class Moshi-Moshi Yamaha Music School. The form of lesson planning for wonderland music classes ranging from materials, methods, models, media and time allocation has been designed by the Yamaha Music School Foundation of Japan but can be developed by each teacher according to the situations that occur in the classroom during the learning process. The classroom learning atmosphere created by the teacher is great for the child to feel good about music. The results of the evaluation conducted at the Wonderland studio class only provide a learning award in the classroom with that of fiesta music and concert classes.
Seni Prasi Dalam Kajian Antopologi Dan Sosiologi Lodra, I Nyoman
Jurnal Budaya Nusantara Vol 1 No 1 (2017): NUSANTARA & KONTEMPORER
Publisher : LPPM Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no1.a990

Abstract

Pracy Art is a kind of painting using leaf lontar media which is painted with the sharp iron, the formercharcoal mixed with coconut oil slightlyy on its surface. Themes are revealed; Mahabrata, Ramayana, Sotasoma,Tantri, and other folklore. The existence of the palm leaf is important in the life of the people of Geriya, Talibeng,Sidemen, Karangasem. Because the art is part of the civilization of Ancient Bali. To understand more deeply aboutthis art of pracy it is necessary to approach with anthropology and Sociology. Both fields of science are related to humanlife in the activity of art. This Study the focuses on the discussion in "literature", collectors, and community observers ofpracy art. The purpose of the research is to know the existence of art pracy in the life of Geriya, Taliban, Karangasemsociety. The benefit of research is to know existence of pracy art at Bali ancient, and in global era. The research methoduses qualitative discriminative, ethnographic approach, data retrieval with observation, interview, and documentation.To solve the problem in the art of pracy use some big theories; ethnographic theory, social exchange, diffusion theory andother small theories. The Findings show that Pracy Art in the life of Geriya Taliban, Karangasem is as arepresentation of beliefs, beliefs and teachings of Hinduism.
Posisi Liminal Batik Tulis Tenun Gedog Sanggar Sekar Ayu Wilujeng dalam Glokalisasi Agustin, Iffah Ainul Fajariyah; Abdillah, Autar; Lodra, I Nyoman
LOKABASA Vol 11, No 2 (2020): Vol. 11 No. 2, Oktober 2020
Publisher : UPI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/jlb.v11i2.28005

Abstract

This study aims to discuss the liminality of Gedog woven batik in its position as a product of Indonesian art and culture in glocalization. This research begins by discussing the historiography of batik and the problems of batik in global cultural treasures, the identification of the batik motifs of the Gedog woven at Sanggar Sekar Ayu Wilujeng, and conservation efforts undertaken in the global arena, in terms of glocalization. This study used a qualitative descriptive analytic study, which was conducted at Sanggar Sekar Ayu Wilujeng, Tuban Regency, East Java. Primary data of the study were obtained by direct observation at Sanggar Sekar Ayu Wilujeng and documentation study related to the woven batik Gedog. Furthermore, data analysis was carried out by looking at historiography, development of form, meaning, and philosophy, development of its use or functionalias, and the liminal position of gedog woven batik in glocalization. The results showed that the liminal position of Gedog woven batik at Sanggar Sekar Ayu Wilujeng placed it in a strategic position in the global arena as an effort to preserve and preserve Indonesia's cultural assets. Batik motifs, conceptualization, manufacture, and use of hand-woven batik gedog are still preserved by their sacredness and initial philosophy until now. This is because the hand-woven batik gedog embodies the people of Tuban Regency through its motives. Furthermore, the locality that is in the woven batik gedog is strengthened, and is reflected back to the global scene as glocalization. The reflection process is an institutional isomorphism mechanism for the handmade batik of Sanggar Sekar Ayu Wilujeng as a cultural product, and as an effort to preserve cultural products.AbstrakPenelitian ini bertujuan untuk membahas liminalitas batik tulis tenun gedog dalam posisioningnya sebagai produk seni budaya Indonesia dalam glokalisasi. Penelitian ini diawali dengan membahas historiografi batik dan permasalahan batik dalam khasanah kebudayaan global, identifikasi motif batik tulis tenun gedog Sanggar Sekar Ayu Wilujeng, dan upaya pelestarian yang dilakukan dalam kancah global, dalam istilah glokalisasi. Penelitian ini menggunakan kualitatif dengan penjabaran deskriptif analitik, yang dilakukan di Sanggar Sekar Ayu Wilujeng, Kabupaten Tuban, Jawa Timur. Penelitian dilakukan pada Januari 2019 hingga Januari 2020, terhitung mulai dari pengajuan rencana penelitian, hingga penulisan artikel terkait batik tulis tenun gedog. Data primer penelitian didapatkan dengan observasi secara langsung di Sanggar Sekar Ayu Wilujeng dan studi dokumentasi terkait batik tulis tenun gedog. Selanjutnya, analisis data dilakukan dengan menggunakan melihat historiografi, perkembangan bentuk, makna, dan filosofi, perkembangan penggunaannya atau fungsionaliasnya, dan posisi liminal batik tulis tenun gedog dalam glokalisasi. Hasil penelitian menunjukkan bahwa posisi liminal batik tulis tenun gedog Sanggar Sekar Ayu Wilujeng menempatkannya dalam posisi strategis dalam kancah global sebagai upaya pelestarian dan aset budaya Indonesia. Motif batik, konseptualisasi, pembuatan, dan pemanfaatan batik tulis tenun gedog masih terjaga kesakralan dan filosofi awalnya sampai saat ini. Hal ini dikarenakan batik tulis tenun gedog menubuh dengan masyarakat Kabupaten Tuban melalui motif-motifnya. Selanjutnya, lokalitas yang ada di dalam batik tulis tenun gedog diperkuat, dan dipantulkan kembali ke kancah global sebagai glokalisasi. Proses refleksi tersebut merupakan mekanisme isomorfisme institusional terhadap batik tulis tenun gedog Sanggar Sekar Ayu Wilujeng sebagai produk budaya, dan sebagai upaya pelestarian produk budaya.
Hadrah Ishari Art: Ethnomusicological Study At Sirojul Huda Islamic Boarding School In Purwosari Pasuruan Regency Larashati, Bunga Widiya; Yanuartuti, Setyo; Lodra, I Nyoman
Jurnal Seni Musik Vol 10 No 2 (2021): December, 2021
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v10i2.52333

Abstract

This research aims to analyze the ethnomusicological study of hadrah ishari musical art. The type of research used is descriptive qualitative with an ethnomusicological approach. The data collection techniques are through observation, interviews, and documentation. Interviews were done with an informant who is competent in the art of hadrah ishari is Ichwan Mu'jizat. The data analysis steps are data reduction, presentation, and conclusions. The data validity was obtained through triangulation techniques of data sources and techniques. The results of the study show history, the form of presentation of this hadrah music consists of the introduction, the core, and the final presentation. The elements that make hadrah ishari music consist of tempos, rhythm, expressions, dynamics, and tone scales, while the elements that make the vocals of hadrah music are articulation, respiration, intonation, and tones. The movement of the head and hands also has a deep meaning about the symbol writing of Allah SWT and Muhammad SAW. The function of hadrah ishati itself has developed from the beginning for da'wah media, now it has begun to develop into entertainment, communication, commercial and creative media. Based on the results of the research, it is hoped that there are further researches and they can improve the results of the research, especially in the ethnomusicology study of the hadrah musical art. Keywords : History, Presentation Form, Elements of Music, Functions of Music
KRIYA TRADISIONAL DALAM PERSPEKTIF HKI I Nyoman Lodra
Imaji Vol 12, No 2 (2014): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (289.411 KB) | DOI: 10.21831/imaji.v12i2.3158

Abstract

Tujuan penelitian ini adalah untuk memberikan pengetahuan tentang bidang kreatifitas dalam pemanfaatan limbah akar pohon sebagai alternatif bahan pembuatan barang seni kerajinan. Metode yang digunakan dalam penelitian ini adalah metode observasi dan wawancara proses pengolahan dan penciptaan seni kerajinan limbah akar pohon sebagai alternatif pembuatan seni kerajinan menjadi bentuk-bentuk binatang dengan tahapan sebagai berikut: (1) pemilihan bahan, (2) perancangan, (3) perwujudan, (4) finishing. Hasil penelitian ini dilakukan dengan mengamati hasil secara seksama dari pembuatan kerajinan akar pohon jati menjadi kerajinan berbentuk binatang. Penelitian dimaksudkan untuk mengetahui kemungkinan lain pemanfaatan limbah akar pohon dapat menjadi alternatif bahan industri lain. Proses dikerjakan melalui tahapan pemilihan bahan, perancangan bentuk, dan pembentukan. Proses lain yang sangat mendukung hasil bentuk kerajinan limbah akar pohon adalah pembentukan bagian-bagian tertentu, misalnya kaki. Setiap kaki binatang harus dibentuk dengan utuh karakter kaki dan wajah binatang. Melalui identifikasi berbagai macam teknik pengerjaan, pemakaian limbah akar pohon beserta sifat dan karakternya dapat disimpulkan bahwa ada kemungkinan limbah-limbah akar pohon dapat digunakan sebagai alternatif pembuatan kerajinan, seperti sebagai bahan industri mebel dan perabot rumah tangga.
Komodifikasi Makna Tenun Gringsing sebagai “Soft Power” Menghadapi Budaya Global I Nyoman Lodra
Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 1 (2016): REFLEKSI SENI BAHASA BALI
Publisher : Pusat Kajian Bali Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (416.77 KB)

Abstract

Abstract Tenun Gringsing (Gringsing woven cloth) is a craft made of colored cotton yarn with weaving technique. The woven fabric is in the form of cloth sheet with various sizes, colors, and motifs. Tenun Gringsing is commonly called double ikat, which is the landmark of Tenganan Pegringsingan village. The woven cloth functions as a ritual medium in customary, religious, and marital activities inherited from their ancestors. Commodification with creative touch creating a product with new meanings emerges as the influence of modernization. It causes the shift of values from sacred to secular ones, which has soft power. It is marked by the change of the cloth’s function from ritual purposes to fashion, which still upholds local values possessing cultural force ensuring victory in the global competition. The research used commodification and the main theory. The location of the study is Tenganan Pegringsingan village, Karangasem, Bali. It is a qualitative descriptive study with ethnographic and historical approaches. The data were collected by observing the use of Tenun Gringsing, interviewing relevant informants including crafters, community leaders, merchants, and tourists. In conclusion, the commodification of the cloth’s meaning is the villagers’ openness to global culture.   Keyword: Tenun Gringsing, landmark, creative field, commodification, soft power, global culture
Aesthetics Of Aeng Tong-Tong Village Kris As An Effort To Preserve The Life Of The People Of Sumenep Madura Maharani, Oktaberia Sakti; Lodra, I Nyoman; Supratno, Haris
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 2 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i2.2597

Abstract

The value of the keris aesthetic in the tong-tong village as a form of cultural beauty for the life of the Sumenep people changes the community paradigm about the aesthetics of keris, keris as a form of symbolic ingenuity, or becomes a collection object that is seen aesthetically. Keris is also a tool for various activities. Finally, the function of the dagger is as an art object. This study used qualitative descriptive research with a purposive sampling approach followed by the collection of observational data, interviews, and documentation. The results showed that the basic materials of the keris are iron, steel, and nickel. At the same time, the aesthetic value that can be classified is determined by how many repetitions of the folding and forging process (saton). The more folding, the softer the prestige pattern will be produced. The forms of keris found in Aeng Tong-tong village are Keris Keraton Sumenep, Keris Dhamar Sumenep, Keris Gati Pamor Brahma Watu Sumenep, Carubuk Luk 7 Sumenep, Keris Senamper Ngulit Watermelon Sumenep, Keris Brojol Sepuh Dalem Sumenep, Keris Empu Koso Pamor Jung Madura Sepuh, each of these dagger forms has high aesthetic value and historical value so that the people of the Sumenep area always maintain artistic value,  sublime, and also cultural values that have been attached for generations to the people of aeng tong-tong village in general  Keywords: Keris, Aesthetics, Value, Art    
Visual Characteristics of Drawings from Students in Lower Grades of Elementary School Nurcahyo, Lintang; Martadi, Martadi; Lodra, I Nyoman
JPP (Jurnal Pendidikan dan Pembelajaran) Vol 29, No 1 (2022)
Publisher : Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um047v29i12022p014

Abstract

Students in a lower grade of elementary school have started to use pictures from theirobservation oftheir environment and constructed ideas until they arrive atthe early realism stage. Using qualitative approach and samples from pictures of students in lower grades of elementary schools, this study concluded that the visual characteristics of theirpictures are constructive thinking as affected by their environment and personality. Their learning tendency uses concrete, integrative, and hierarchical with the drawing typesof visual, haptic, and amixture of them. Most drawingsare characterized as stacked, laying down, covering each other, bird perspective, and object reduction, with four dominating visual elementsof line, area, shape, and color
Study of Modern Balinese Style Design Forms on Greeting Cards by Putu Pageh Swandi, I Made Dwiarya; Narayana, I Gede; Darmada, I Made; Paramartha, Adhi; Lodra, I Nyoman
Jurnal Multidisiplin Sahombu Vol. 5 No. 02 (2025): Jurnal Multidisiplin Sahombu, (2025)
Publisher : Sean Institute

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

Abstract

Putu Pageh, a Balinese designer, brings local nuances with a modern touch in the greeting card design 'Selamat Hari Raya Galungan dan Kuningan'. This design features unique visual exploration that distinguishes it from others, making it an interesting subject for research. This study aims to identify the characteristics of Modern Balinese design in the context of graphic design. A qualitative method was used through observation, documentation, literature study, and questionnaires, with thematic analysis based on several visual categories. The study results indicate that the characteristics of Modern Balinese Design in this greeting card lie in the representation of Barong Ket - Rangda combined with jejaitan/tamiang as a symbol of Galungan and Kuningan. The use of pastel colors conveys a celebratory expression with three main colors and their variations through tint/shade techniques. The character illustration is decorative and simplified, incorporating Form Generator's scientific thinking, particularly in the letterform derived from jejaitan/tamiang. This Modern Balinese Design style inspires designers to innovate while maintaining local values. Further research can explore other communication media and audience responses to Modern Balinese style design.
PERANCANGAN AUDIO VISUAL SEBAGAI MEDIA PROPAGANDA DALAM PELESTARIAN BUDAYA PANJI DI KEDIRI Prayoga, Dwiki Setya; Lodra, I Nyoman; Abdillah, Autar
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 11 No. 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (672.74 KB) | DOI: 10.33153/brikolase.v11i2.2829

Abstract

Desain audio visual sebagai media propaganda dalam pelestarian budaya budaya di Kediri dilakukan oleh Pemerintah dan Kementerian Kebudayaan dan Pariwisata yang bekerja sama dengan Dinas Pariwisata Kediri. Audio visual adalah bagian terpenting dari propaganda karena konten yang telah dikemas dan disajikan dalam hitungan menit harus dapat menarik perhatian publik. Selain itu, penyebaran informasi juga melalui situs web media. Dengan harapan budaya / cerita spanduk dapat lebih dikenal dan masih dilestarikan dari dalam dan luar negeri terutama masyarakat lokal di Kediri.Indonesia juga mengajukan dokumentasi Konferensi Asia-Afrika untuk diserahkan kepada MOW. Memory of the World adalah salah satu program dua tahunan UNESCO di bawah unit kerja komunikasi dan informasi yang berfokus pada pencegahan kepunahan warisan dokumenter dari manuskrip, peta, foto atau audiovisual. Warisan dokumenter dunia yang diselamatkan oleh berbagai negara dianggap memiliki nilai historis yang sangat penting dan perlu dilestarikan dan untuk masa depan akan didigitalkan. UNESCO memberikan pengakuan terhadap dokumen-dokumen bersejarah ini dengan tujuan memelihara dan menyebarluaskan arsip dan koleksi berharga di perpustakaan dari seluruh dunia. Setiap negara dapat mengajukan naskah atau dokumen sebelumnya untuk masuk ke daftar warisan dunia. Ada tiga kondisi yang dapat dimasukkan oleh dokumen ke MOW asli, memiliki dampak domestik, dan dampak internasional.Penelitian ini termasuk penelitian kualitatif deskriptif, dengan objek penelitian video propaganda Panji. Dalam perancangan ini menggunakan pendekatan meliputi wawancara, observasi, dokumentasi dan studi literatur.
Co-Authors Agustin, Iffah Ainul Fajariyah Angge, Indah Chrysanti AUTAR ABDILLAH Dwiki Setya Prayoga Elya Ahmad, Asy Syams Hendro Aryanto I Made Darmada Larashati, Bunga Widiya Maharani, Oktaberia Sakti Martadi, Martadi Moch Fathoni Setiawan Mochammad Imron Awalludin Narayana, I Gede Ngakan Agung Bagus Purwantara Nurcahyo, Lintang Nusantoro, Jati Ulung Paramartha, Adhi Setyo Yanuartuti Subagio, Agung Ari Supratno, Haris Swandi, I Made Dwiarya Windutama, I Wayan Windutama