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THE MOTION COMIC JAKA BEREK Sutikno - -; Eko Supriyanto
ARTISTIC : International Journal of Creation and Innovation Vol 1, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

In the past, people watched a theater called Ludruk on the mobile stage and on television. However, currently Ludruk's art is almost out of date. From this phenomenon, the researchers formulated the problem, namely how the local story artworks of Sawonggaling content can be transformed into a motion comic animated film using a three-act structure. The method of making comic motion animation for the legend of Jaka Berek uses two approaches, namely the method of making animation and the method of making comics. Both of them are done in 3 stages, namely pre-production, production and post-production. The results of the making of this motion comic animation show that the effort to bring back the legendary story that has long been drowned requires some appropriate medias that is easily understood by the current generation. The making of motion comics originating from legendary stories must be based on research and literature studies in order to give the spirit to the artwork that will be produced.

Tubuh Tari Indonesia Sasikirana Dance Camp 2015-2016 Eko Supriyanto
PANGGUNG Vol 28, No 2 (2018): Dinamika Keilmuan Seni Budaya dalam Inovasi Bentuk dan Fungsi
Publisher : LP2M ISBI Bandung

ABSTRACTSardono W. Kusumo, an Indonesian dance master and choreographer once stated that the way to understand dance should start with the study of embodiment before moving to the study of dance in its performative art form. A dancer should be able to process his/her dance by recognizing the complexity of the body and the nerves system and muscles through a creative process, resulting a confident work of performing arts. Through a historical perspective and based on the theory of embodiment, this article tries to convince that dance needs to stand as a repository of cultural memories and therefore is able to represent the habitus of Indonesian dancers. A comprehensive evaluation of the development of Indonesian Dance Festival (IDF) and Sasikirana Dance Camp (SDC) is used as real evidences of how this form of the arts must put forward physical approaches first before creating a reasonable discourse to the acts.Keywords: Dance Camp, choreography lab, embodiment ABSTRAK Sardono W. Kusumo, maestro dan penata tari Indonesia mengungkapkan bahwa untuk memahami tari harus dimulai dengan mempelajari ketubuhannya sebelum bergerak pada studi tentang tari dalam aspek performatif pertunjukannya. Seorang penari harus mampu memahami dan mendalami kompleksitas tubuh bersamaan dengan system syaraf dan otot tubuhnya sebagai proses kreatif untuk kepercayaan tubuhnya dalam pertunjukan. Melalui perspektif sejarah dan bersumber pada teori ketubuhan, tulisan ini bertujuan menyakinkan para penari, bahwa tubuh tidak hanya sebagai tempat agensi kultur masa lalu, sehingga lebih meyakinkan bahwa tubuh tari Indonesia berakar dari habitatnya. Evaluasi komprehensif atas kegiatan Indonesian Dance Festival (IDF) berserta Sasi Kirana Dance Camp (SDC),dijadikan sebagai pembuktian tentang pentingnya pendekatan fisikal untuk ketubuhan penari sebelum merujuk pada pendekatan bidang seni lainnya.Kata kunci: Dance Camp, lab koreografi, tubuh tari

Disaster mitigation in an art creation approach: a case study of the dance film "Spectrumotion Coastal Flood" Mentari Isnaini; Eko Supriyanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 1 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i1.3802

The dance work for the film “Spectrumotion Coastal Flood” is an interpretation of the expressions of sentiment, habits, and ways of survival in Sayung District, Demak Regency, which are inspired by coastal flooding. This study aimed to find experimental methods and studies of dance film media. The basis for making this work are habits that have formed a new culture, such as washing feet, the way humans defecate during floods and surviving with limited activities and routines. The research method uses an empiricism approach. The production process of art creation is carried out with the stages of making an estimate of the form of the work of art as outlined in the design of the creation. The analysis was carried out by exploring knowledge about the body associated with experiments and media studies. The outcomes of this cinema dance piece are capable of evoking feelings and experiences that are appropriate for their intended purpose. Thus, the process of creating the dance film Spectrumotion Coastal Flood, which lasts 14 minutes 51 seconds, successfully presents the empirical experience of the film's dance artist

RATOH GAKI: AESTHETIC-ARTISTIC DEFORMATION OF CONTEMPORARY DANCE MOVEMENT Murtala Murtala; Eko Supriyanto
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 24, No 2 (2022): Edisi Juli- Desember 2022
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v24i2.2246

Aceh merupakan provinsi yang berada di ujung pulau Sumatera. Provinsi ini memiliki banyak tari tradisional (lagu-tari) yang dimainkan dalam posisi duduk, diantaranya: Ratoh Duek, Saman Gayo, Likok Pulo, Ratoh Taloe, Ratoh Bantai, Rateb Meusekat, Rapai Geleng dan lain-lain (O’Sullivan 2011). Secara kasat mata, kesenian ini terlihat sama antara satu dengan lainnya, tetapi apabila dilihat lebih dalam, maka setiap tari ini memiliki perbedaan dan karakteristik tersendiri. Teknik perkusi tubuh (peh badan) dalam Ratoh Duek menjadi ide artistik dalam penciptaan karya ini. Ratoh dalam bahasa Aceh berarti mengoceh atau bercerita secara terus menerus, sedangkan Duek berarti duduk. Pengkarya mempelajari tari ini saat masih berusia 11 tahun. Ratoh Duek awalnya ditarikan oleh penari pria, tetapi dalam perkembanganya tari ini boleh ditarikan oleh penari wanita. Pada bentuk penyajiannya, gerak ketangkasan yang memukau dan presisi (ketepatan) serta mengisyaratkan kedisiplinan yang luar biasa, menghasilkan pertunjukan yang unik, atraktif, tentu saja memantik daya pukau secara estetik dan artistik. Di deskripsikan berdasarkan data-data yang didokumentasikan selama proses penciptaan, artikel ini mencoba memperlihatkan dari proses, analisis dan bentuk penyajian sebuah karya tari berjudul Ratoh Gaki dengan spirit lokal budaya Aceh

SUNDEL: REINTERPRETASI BUNGA SEDAP MALAM DALAM MOTIF BORDIR DAN SULAM Nurul Hidayati; Pande Made Sukerta; Eko Supriyanto; Silvester Pamardi
Narada : Jurnal Desain dan Seni Vol 10, No 1 (2023)
Publisher : Universitas Mercu Buana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22441/narada.2023.v10.i1.006

The making of embroidery and needlework motifs on art-wear that inspired from Sedap Malam (Sedap Malam) is the attempt to create an exclusive embroidery and needlework motifs as the identity of Pasuruan Regency, East Java. The creation of this motifs is the response from the need to develop, enrich, and design an embroidery and needlework motifs belongs to Pasuruan that would boost the sustainability of embroidery and needlework industry that is lately decreasing. Therefore, an experiment method in the form of innovative re-production is required to create an art-work with re-interpretation concept. The method in art creation used in this study is artistic research where the artist undergo several practices or creating process in the field study with emic approach, In this case, the process are developing the local potential in Pasuruan Regency (Sedap Malam) and identify what and how meaning inside it. The creation sages consist of data collection from various resources like field data and direct observation on Sedap Malam, literary study, and extensive interview with Tourism and Culture Department of Pasuruan Regency. The next stage is experimenting tuberose motif using reinterpretation concept. The motifs created during the experiment are stillation of Sedap Malam as the main motif, as well as complementary motifs generated from flora in the surrounding such as pandan leaves and rose balsam flower as the flower commodity in Pasuruan Regency. The inspiration in using Sedap Malam in creating embroidery and needlework motif on ready to wear results to ready to wear design with Sedap Malam motif that is made using embroidery and needlework technique, where Sedap Malam is presented as the main motif in the ready to wear.

Peran Ratu Kalinyamat dalam Ornamen Masjid Mantingan dan Makam Mantingan Jepara Wahyono Wahyono; S Pamardi; Suyanto Suyanto; Eko Supriyanto
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol 40, No 2 (2023): DINAMIKA KERAJINAN DAN BATIK : MAJALAH ILMIAH
Publisher : Balai Besar Standardisasi dan Pelayanan Jasa Industri Kerajinan dan Batik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22322/dkb.v40i2.8110

Penelitian ini bertujuan untuk mengungkap peran Ratu Kalinyamat dalam terwujudnya ornamen yang ada di Masjid dan Makam Mantingan Jepara. Metode yang digunakan adalah deskriptif kualitatif. Teknik pengumpulan data menggunakan pendekatan studi kepustakaan dan studi lapangan. Tahap penelitian berupa: (1) pengumpulan data, (2) reduksi data; (3) analisis data; dan (4) penarikan kesimpulan. Hasil penelitian ini adalah Ratu Kalinyamat sebagai penguasa Jepara, dengan dibantu suaminya Sultan Hadlirin, dan Patih Sungging Badar Duwung berperan penting dalam mewujudkan ornamen yang ada di Masiid dan Makam Mantingan tersebut. Ornamen yang ada dipengaruhi oleh budaya Hindu, Islam dan China. Karakteristik ornamennya merupakan hasil stilasi dari bentuk-bentuk alam yaitu teratai, pohon hayat, kelapa, gunung, kera, burung phoenix, merak, kelelawar, kuda, dan bentuk-bentuk bidang lingkaran, segi enam, kubus, ortogonal, dengan hiasan flora. Pada masa setelahnya, ornamen tersebut telah menjadi inspirasi pengembangan seni dan desain oleh generasi-generasi berikutnya, termasuk industri ukir kayu Jepara.

Tubuh Tari Indonesia Sasikirana Dance Camp 2015-2016 Eko Supriyanto
PANGGUNG Vol 28 No 2 (2018): Dinamika Keilmuan Seni Budaya dalam Inovasi Bentuk dan Fungsi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v28i2.550

ABSTRACTSardono W. Kusumo, an Indonesian dance master and choreographer once stated that the way to understand dance should start with the study of embodiment before moving to the study of dance in its performative art form. A dancer should be able to process his/her dance by recognizing the complexity of the body and the nerves system and muscles through a creative process, resulting a confident work of performing arts. Through a historical perspective and based on the theory of embodiment, this article tries to convince that dance needs to stand as a repository of cultural memories and therefore is able to represent the habitus of Indonesian dancers. A comprehensive evaluation of the development of Indonesian Dance Festival (IDF) and Sasikirana Dance Camp (SDC) is used as real evidences of how this form of the arts must put forward physical approaches first before creating a reasonable discourse to the acts.Keywords: Dance Camp, choreography lab, embodiment ABSTRAK Sardono W. Kusumo, maestro dan penata tari Indonesia mengungkapkan bahwa untuk memahami tari harus dimulai dengan mempelajari ketubuhannya sebelum bergerak pada studi tentang tari dalam aspek performatif pertunjukannya. Seorang penari harus mampu memahami dan mendalami kompleksitas tubuh bersamaan dengan system syaraf dan otot tubuhnya sebagai proses kreatif untuk kepercayaan tubuhnya dalam pertunjukan. Melalui perspektif sejarah dan bersumber pada teori ketubuhan, tulisan ini bertujuan menyakinkan para penari, bahwa tubuh tidak hanya sebagai tempat agensi kultur masa lalu, sehingga lebih meyakinkan bahwa tubuh tari Indonesia berakar dari habitatnya. Evaluasi komprehensif atas kegiatan Indonesian Dance Festival (IDF) berserta Sasi Kirana Dance Camp (SDC),dijadikan sebagai pembuktian tentang pentingnya pendekatan fisikal untuk ketubuhan penari sebelum merujuk pada pendekatan bidang seni lainnya.Kata kunci: Dance Camp, lab koreografi, tubuh tari

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