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PEMETAAN JENIS DONGENG NUSANTARA DALAM INFOGRAFIS Rakhman, Rizki Taufik; Piliang, Yasraf Amir; Ahmad, Hafiz Aziz; Gunawan, Iwan
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 7 No. 01 (2021): February 2021
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v7i01.3938

AbstrakDongeng merupakan warisan budaya lisan yang bersifat mendidik sekaligus menghibur. Sebagai warisan budaya lisan, keberadaan dongeng wajib dilestarikan agar tidak punah. Pada kenyataannya, generasi Z (Gen Z) Indonesia memiliki jarak dengan dongeng. Hal ini diketahui melalui kuesioner yang dibagikan kepada 70 siswa sekolah dasar kelas 3, 4, dan 5. Menurut responden dongeng hanya diketahui melalui pelajaran Bahasa Indonesia. Selain itu, responden tidak mengetahui secara pasti jenis-jenis dongeng nusantara. Penelitian ini bertujuan untuk memantik perhatian (awareness) Gen Z Indonesia terhadap jenis-jenis dongeng nusantara. Pendekatan dilakukan melalui bentuk infografis yang diasumsikan dapat mempermudah Gen Z Indonesia dalam memperoleh informasi, memahami hingga menyadari adanya dongeng. Metode yang digunakan dalam penelitian adalah metode campuran. Hasil pendekatan kuantitatif melalui kuesioner kemudian dianalisa dan dikonfirmasi ulang melalui wawancara dengan para responden melalui pendekatan kualitatif. Hasil wawancara menjadi rujukan dalam mengolah data menjadi pemetaan jenis-jenis dongeng nusantara ke dalam bentuk infografis. Selanjutnya infografis peta jenis dongeng nusantara diujicobakan melalui diskusi dengan kelompok responden yang terdiri dari generasi Z yang dipilih secara acak. Meskipun hasil yang didapat belum optimal, namun simpulan awal dari penelitian ini adalah generasi Z Indonesia mulai memperhatikan (aware) berbagai jenis dongeng nusantara sebagai warisan budaya lisan bangsa Indonesia yang harus dilestarikan. Kata Kunci: generasi Z, infografis, dongeng nusantara, pemetaan AbstractFairy tales are a verbal cultural heritage that is educating and entertaining. As a verbal cultural heritage, fairy tales' existence must preserve so as not extinct. In reality, Indonesian generation Z (Gen Z) has a distance from fairy tales. It's known through a questionnaire distributed to 70 elementary school students in grades 3, 4, and 5. According to them, fairy tales are known only through Bahasa Indonesia subjects. Besides, they do not know for sure the types of Indonesian archipelago fairy tales. This research aims to arise Indonesian Gen Z awareness towards the types of Indonesian archipelago fairy tales. The approach taken through the form of infographics is assumed to facilitate the Indonesian Gen Z in obtaining information, understanding, and being aware of Indonesian fairy tales. The method used in this study is a mixed-method. The quantitative approach research through a questionnaire was then analyzed and reconfirmed through interviews with respondents with a qualitative approach. The interview results referred to processing the data into mapping the types of tales of the Indonesian archipelago into infographics. Furthermore, the Indonesian archipelagos fairy tale type of infographic map was tested through a group discussion consist of randomly selected Gen Z respondences. Although the result not optimal, the early conclusion indicates that Indonesian Gen Z starting to become aware of the Indonesian archipelago fairy tales as the verbal cultural heritage of Indonesia that must be preserved. Keywords: Z generation, infographic, nusantara folktales, mapping

Camera movement concept on social media in digitizing era Dewi, Agustina Kusuma; Piliang, Yasraf Amir; Irfansyah, Irfansyah; Saidi, Acep Iwan
International Journal for Educational and Vocational Studies Vol. 4 No. 4 (2022)
Publisher : Universitas Malikussaleh

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29103/ijevs.v4i4.7568

Digital advertisement with various visualization techniques affects human daily-life and lifestyle. Movement Concept in advertising is in line with kinetic on digitizing era. It visualized through videography. The lack of research that has been done regarding the characteristics of camera movement as visual stimuli exposure in advertisements has led to further research on consumer perceptions. The case study is Adidas Originals Nite Jogger version DAY&NIGHT GISEOK CHO that has been released on YouTube, April 2019. Using Documentation Analysis with Computer Web-Based Q's for collecting data, this mixed-method research using one-shot case study, aimed to identify Camera Movement Concept which applied into digitizing process. Several logical explanations of the audience's perceptions constructed by visual stimuli of Camera Movement Concept on social media in Digitizing era have been resulted; it relates to audience cognition and affection. The research concluded fast motion that is constructed through distortion as one of Camera Movement Concept to gain audience attraction; and if it applied with Camera 360° could have more possibilities to construct exaggerated visual stimuli exposure in advertising.

Transposition of Drupadi in Garin Nugroho's Setan Jawa: Woman as a Javanese Symbolic Act Kusuma Dewi, Agustina; Piliang, Yasraf Amir; Irfansyah, Irfansyah; Saidi, Acep Iwan
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 36 No. 2 (2020)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v36i2.5375

Art film is a film full of symbols. The film Setan Jawa by Garin Nugroho (2016) brings the concept of a silent film and the cinematic-orchestral collaboration with various standards across arts, while also adapts some cultural narratives in the Javanese context. This film presents Drupadi narrative, one of the Javanese Wayang cultural narratives. Drupadi is often referred to as a symbol of women’s loyalty and obedience to the universal law, through her obedience to her husband and mother, although this obedience is contrary to the self (I) concept. With the help of textual analysis, this article aims to identify the adaptation of Drupadi’s cultural narrative that is creatively transposed in the film Setan Jawa. The results show that there is a director’s personal code (idiolect) in the film, that offers women’ representation different from the conventions in the Javanese culture. While the conclusion might be arguable, one can reflect on the symbolic act of women’s representation being creatively transposed not as subordinate but as having the power to fulfill their own destiny.

Shaping Visual Personality: the Role of Character Make-up and Body Shape in Visualizing Warrior Characters in Indonesia Silat Film Puspitasari, Feny; Piliang, Yasraf Amir; Kahdar, Kahfiati; Waskita, Dana
East Asian Journal of Multidisciplinary Research Vol. 3 No. 6 (2024): June 2024
Publisher : PT FORMOSA CENDEKIA GLOBAL

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55927/eajmr.v3i6.9265

The warrior character is an important element in the storyline and a narrative developer in silat films. The warrior is the main character with distinctive characteristics in Silat's stories, especially the visual character. Talent is supported by make-up with a body shape that tends to be static to differentiate the role. This research explores the relationship between character make-up, body shape, and character, including stereotypes of warrior characters in silat films. This research used content analysis with a physiognomy theory approach to read the characters in the characters' make-up. In addition, somatotype theory is used to analyze characters based on body shape. A case study was conducted on the Indonesian Silat film Wiro Sableng (2018), focusing on the main hero, heroine, and villain characters and representing three body types.

A NEGOTIATING GENDER AND CULTURE: A SEMIOTIC ANALYSIS OF ANGGINI'S COSTUME IN WIRO SABLENG 1995 AND 2018 Puspitasari, Feny; Piliang, Yasraf Amir; Kahdar, Kahfiati; Waskita, Dana
Home Economics Journal Vol. 9 No. 2 (2025): October
Publisher : Universitas Negeri Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/hej.v9i2.80463

Different cinematic contexts reflect filmmakers' varied perspectives and intentions, shaping the visual ideologies presented on screen. One principal means by which filmmakers articulate such ideologies is through costume design. Costumes function not merely as clothing but as symbolic artefacts that convey social, cultural, and ideological meanings. They play a vital role in shaping audience perceptions of characters and their roles while revealing more profound insights into identity, values, and worldviews. Previous research has highlighted how costumes contribute to character identity, particularly in terms of status, role, and psychological attributes. This study employs Roland Barthes’ semiotic theory and content analysis to explore the denotative and connotative meanings of costumes. The aim is to deepen the understanding of costume as a visual medium and to examine its ideological function, particularly in character representation. The analysis focuses on the character Anggini in the Wiro Sableng series (1995) and the movie (2018). Findings indicate that Anggini’s costume in the 1995 series reflects traditional cultural values, emphasising modesty, elegance, and femininity. In contrast, the 2018 film's costumes portray female strength more explicitly, influenced by Western aesthetics and the film’s multinational context. A structural costume pattern for female warrior characters typically consists of traditional female attire on the upper body, accompanied by male or unisex garments below for enhanced agility, and functional footwear for combat. These findings offer practical insights for emerging costume or fashion designers working with female warrior archetypes in Indonesian cinema.

Bentangan Imaginer: Reinvokasi Memori pada Gangguan yang Ditimbulkan oleh Kecerdasan Buatan Durahman, Deden Hendan; Piliang, Yasraf Amir; Damajanti, Irma; Langi, Armein Z.R.
Journal of Visual Art and Design Vol. 17 No. 1 (2025): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, DRPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2025.17.1.3

The rise of generative AI has significantly transformed the creative process, altering artistic workflows and redefining the human role in artmaking. While some artists resist this shift, engaging with machine intelligence has become increasingly inevitable in today’s digital landscape. This paper explores the disruptive impact of artificial intelligence on artistic practices and how such disruption may benefit rather than hinder creativity. Grounded in Jean Baudrillard’s concept of the hyperreal—particularly his theory of third-order simulation—it examines how AI generates realities that never existed but are perceived as real. These pseudo-realities challenge traditional notions of authenticity and memory in art. Through a performative research method and interdisciplinary approach, the author proposes the concept of ‘re-invocation’—a process of reclaiming the authority of human memory in collaboration with AI. This process is structured in iterative stages involving both human intention and algorithmic intervention. The study demonstrates that incorporating non-human memory has become an unavoidable aspect of art production in the generative AI era. Ultimately, it argues that re-invoking human memory through AI collaboration may offer a critical and innovative foundation for contemporary artistic expression.

Pemanfaatan Limbah Bambu untuk Mainan Musik Prasekolah dengan Pendekatan Surface Mimicry Joyodiharjo, Bismo Jelantik; Sidarta, Nabilla Puteri; Piliang, Yasraf Amir; Larasati, Dwinita; Syamsudin, Tati Suryati
Serat Rupa: Journal of Design Vol 8 No 1 (2024): SRJD - JANUARI
Publisher : Faculty of Humanities and Creative Industries, Maranatha Christian University (formerly Faculty of Fine Arts and Design)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.28932/srjd.v8i1.6478

During design process, Surface Mimicry can be used as an alternative approach by utilizing the role and similarity of objects based on their familiarity with shapes. Unlike behavior and functional mimicry, the point of view on surface mimicry expresses the visual similarity of objects rather than their actions and functions. Bamboo is a traditional Indonesian material that is easy to find and use as a basic material for various musical instruments, but the waste is still rarely processed. For example, at the location of Saung Angklung Udjo's partner as a supplier of angklung in large quantities in West Java, waste from production with a subtractive process of bamboo sticks of various sizes ends up being material that is only burned. This article tells the design process of prototype works of preschool music toys that utilize the potential of bamboo waste and the subtractive production process through a surface mimicry approach that is relevant to the character of the original material form. This design exploration activity is part of mimicry research (surface, behavior, function), process (formative, subtractive, additive) and system (integral, modular) which can be an alternative method in developing innovative products in the context of environmentally friendly and sustainable design.

Transposition of Drupadi in Garin Nugroho's Setan Jawa: Woman as a Javanese Symbolic Act Kusuma Dewi, Agustina; Piliang, Yasraf Amir; Irfansyah, Irfansyah; Saidi, Acep Iwan
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 36 No. 2 (2020)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v36i2.5375

Art film is a film full of symbols. The film Setan Jawa by Garin Nugroho (2016) brings the concept of a silent film and the cinematic-orchestral collaboration with various standards across arts, while also adapts some cultural narratives in the Javanese context. This film presents Drupadi narrative, one of the Javanese Wayang cultural narratives. Drupadi is often referred to as a symbol of women’s loyalty and obedience to the universal law, through her obedience to her husband and mother, although this obedience is contrary to the self (I) concept. With the help of textual analysis, this article aims to identify the adaptation of Drupadi’s cultural narrative that is creatively transposed in the film Setan Jawa. The results show that there is a director’s personal code (idiolect) in the film, that offers women’ representation different from the conventions in the Javanese culture. While the conclusion might be arguable, one can reflect on the symbolic act of women’s representation being creatively transposed not as subordinate but as having the power to fulfill their own destiny.

Visual Culture; Expanded Cinema and the Concept Of “Trisikon” as a Manifestation of Indonesia Cultural Diversity Biosa, Sito Fossy; Piliang, Yasraf Amir; Ahmad, Hafiz Aziz; Sanjaya, Tisna
Advances In Social Humanities Research Vol. 4 No. 2 (2026): Advances In Social Humanities Research
Publisher : Sahabat Publikasi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.46799/adv.v4i2.540

Visual culture understands cinematic practice not merely as aesthetic expression, but as a site of social meaning production shaped by the relationships between medium, space, and audience participation. Within this framework, expanded cinema opens new possibilities for experimental film practices that transcend conventional representational boundaries through multisensory and reflective experiences situated between reality, archive, and imagination. This research examines the concept of TRISIKON (three situations and conditions: live action, documentation–footage, and animation) as a cinematic creation model that manifests Indonesian cultural diversity through the dialectic of Chaos–Harmony, defined as the convergence of creative uncertainty and compositional order. Through a case study of the work Anemoia Utopia, Chaos–Harmony (cultural diversity) is interpreted not as a binary opposition but as a dynamic space reflecting relationships between humans, nature, and non-human entities within Indonesia’s plural cultural context. This study employs an art-based research methodology combined with a hermeneutic approach to interpret visual symbols, rhythms, and nonlinear narrative structures as intersections between aesthetic experience and social reality. The findings indicate that TRISIKON blurs the boundaries between documentation, performativity, and animation, transforming cinema into a participatory space that invites collective interpretation. Consequently, TRISIKON functions not only as an artistic method but also as an epistemological framework within visual culture studies, offering an understanding of cinema as a fluid and continually transforming cultural practice.

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