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All Journal Dimensi Interior Nirmana MAKNA: Jurnal Kajian Komunikasi, Bahasa dan Budaya Product Design ANDHARUPA JADECS (Journal of Art, Design, Art Education and Culture Studies) Panggung SOSIOHUMANIKA Visualita : Jurnal Online Desain Komunikasi Visual Jurnal Telematika Gelar : Jurnal Seni Budaya Keluwih: Jurnal Sains dan Teknologi Jurnal Islam Nusantara Makara Human Behavior Studies in Asia
Agus Sachari
Institut Teknologi Bandung
Religion Arts Humanities Biochemistry, Genetics & Molecular Biology Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Education Electrical & Electronics Engineering Energy Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Mechanical Engineering Social Sciences Other

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Pengaruh Nilai Islam pada Visual Pakaian Dewa dan Resi Boneka Wayang Jekdong Jawa Timur Ayuswantana, Alfian Candra; Sachari, Agus; Irfansyah, Irfansyah
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 6 No. 01 (2020): February 2020
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v6i1.2852

Abstract

Abstrak Wayang Jekdong hidup dan berkembang dalam konteks sosial-budaya Arek yang sangat khas. Budaya Arek sebagai sub-budaya Jawa Timur menyebar dari pantai utara Jawa Timur ke pedalaman sepanjang aliran sungai Brantas menyebabkan pengaruh nilai-nilai Islam kental terasa pada budaya Arek. Nilai-nilai Islam yang kuat salah satunya dapat dilihat dalam wayang boneka Jekdong sebagai artefak budaya masyarakat budaya Arek. Penelitian ini berfokus pada pengamatan visual pada boneka Jekdong yang mewakili nilai-nilai Islam melalui bentuk boneka. Pengamatan dilakukan dengan pendekatan etnografi melalui proses analisis komponen visual Spradley dalam wayang Jekdong yang didukung oleh teori semiotika dyadic Saussure-Barthes. Hasil analisis menunjukkan bahwa ada pengaruh nilai-nilai Islam yang diwakili dalam bentuk boneka wayang Jekdong terutama pada tokoh Dewa (dewa atau dewa tertinggi) dan Resi (pertapa). Bentuk budaya Arek sebagai komunitas Islam pesisir sangat jelas terlihat terutama pada atribut pakaian yang ditampilkan seperti keberadaan turban putih, khaftan, qamis, dan sepatu Persia. Diharapkan dengan penelitian ini dapat memberikan kontribusi ilmiah tentang wayang golek Jekdong dalam sudut pandang ilmiah seni di provinsi Jawa Timur khususnya. Kata Kunci: budaya Arek, busana, wayang Jekdong, Islam pesisir AbstractThe Jekdong puppets lives and develops in a very distinctive Arek socio-cultural context. The Arek culture as East Java sub-culture spreads from the north coast of East Java to the depths along with the Brantas river flow causing the influence of Islamic values upon the Arek Culture. Strong Islamic values, one of them can be seen within Jekdong puppets as a cultural artifact of the Arek society. This research focuses on visual observations on Jekdong puppets that represent Islamic values through the form of puppets. Observations performed with an ethnographic approach through a process of Spradley's visual components analyzing in Jekdong puppets and supported by the dyadic semiotics theory of Saussure-Barthes. The results of the analysis show that there are influences of Islamic values that represented in the form of Jekdong puppets, especially in Dewa (deity or supreme being) and Resi (hermits or saints) figures. The form of Arek culture as an Islamic coastal community is very clearly visible, especially in the fashion attributes that displayed such as the existence of white turban, Kaftan, Qamis, and Persian shoes. It expected that this research could provide scientific contributions about the Jekdong puppet show puppet in the scientific viewpoint of art, particularly in East Java province. Keywords: Arek culture, coastal Islam, fashion, Jekdong puppet
Perancangan Media Edukasi Mitigasi Bencana dengan Pendekatan Desain Partisipatif di Kecamatan Bojongsoang Lakoro, Rahmatsyam; Sachari, Agus; Budiwaspada, Agung Eko; Sabana, Setiawan
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 7 No. 02 (2021): August 2021
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v7i2.4156

Abstract

Abstrak Kawasan Sungai Citarum di Jawa Barat memiliki karakteristik bencana hidrometeorologi yang khas terkait kualitas air. Edukasi kesiapsiagaan dan pengetahuan tentang bencana menjadi hal yang mutlak, dikaitkan dengan siklus manajemen bencana, yaitu pada tahap pra-bencana. Kelompok budaya yang berbeda memiliki kepercayaan yang berbeda-beda pula tentang bagaimana menghadapi bencana, sehingga seringkali merespon sebuah fenomena bencana dengan cara yang tidak diduga oleh masyarakat modern. Pendekatan desain partisipatif digunakan untuk melakukan edukasi bencana dengan nilai-nilai setempat pada masyarakat Sunda khususnya Kecamatan Bojongsoang. Pelibatan partisipan dari kelompok protagonis memungkinkan pesan dikembangkan, diproduksi dan didistribusikan oleh masyarakat setempat. Pengembangan media poster, animasi, poster digital berbasis media sosial dan buku memiliki karakteristik yang berbeda sehingga penelitian ini juga dapat menemukan rekomendasi strategi media dan metode desain yang spesifik-tempat untuk kampanye edukasi bencana hidrometeorologi. Konsep yang lahir dari penelitian kemudian digunakan sebagai rekomendasi untuk melakukan proses desain berikutnya terkait metode dan pendekatan desain, desain visual, serta strategi media untuk menyampaikan pesan pada khalayak sasaran. Kelompok protagonis dilibatkan dalam distribusi pesan pada masyarakat di daerahnya. Pengetahuan dan pengalaman partisipan yang berada di lingkungan komunitasnya memperkaya desain, produk komunikasi, dan pendekatan dalam konten edukasi yang ditampilkan dalam kampanye sosial. Kata Kunci: desain partisipatif, media edukasi, mitigasi bencana AbstractThe Citarum River area in West Java has typical hydrometeorological disaster characteristics related to water quality. Education on disaster preparation and knowledge are essential, linked to the disaster management cycle, as part of the pre-disaster stage. Different cultural groups have different beliefs about the concepts of dealing with disaster, so they often respond to a catastrophic phenomenon in ways that modern society does not expect. The participatory design approach was used to implement disaster education with local values in the Sundanese community, especially in Bojongsoang Regency. The involvement of participants from the protagonist group allows messages to be developed, produced, and distributed by the community. The development of media posters, animations, digital posters based on social media and books have different characteristics that can also find strategic recommendations on media and design methods that are site-specific for hydrometeorological disaster education campaigns. The concept was born from the research is then used as a recommendation to carry out the next design process related to design methods and approaches, visual design, and media strategies to convey the message to the target audience. The protagonist group is also involved in the distribution of information to the community in the area. Participants’ knowledge and experience in their living space, enrich the design, communication products, and educational content in the social campaign. Keywords: disaster education, educational media, mitigation, participatory design
ANALISIS IKON GUNUNGKIDUL DI KAWASAN GUNUNG SEWU UNESCO GLOBAL GEOPARK Natarina, Diah; Sachari, Agus
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 8 No. 01 (2022): March 2022
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v8i01.4644

Abstract

AbstrakPeningkatan status Geopark Nasional ke UNESCO Global Geoparks (UGGp) menjadi agenda utama pemangku jabatan. Negara-negara anggota UGGp dan Global Geopark Network (GGN) termasuk Gunung Sewu UGGp (GSUGGp) telah mendapatkan manfaat yaitu signifikansi peningkatan pendapatan regional. Salah satu syarat menjadi anggota UGGp/GGN adalah visibilitas. Identification sign memasuki kawasan geopark merupakan salah satu komponen di antara syarat visibilitas. Pada sisi barat batas wilayah karst GSUGGp yaitu di Bukit Bintang daerah Pathuk, terdapat ikon yang dalam rujukan sistem penanda disebut identification sign bertuliskan Gunungkidul dengan ukuran besar berwarna kuning. Pada situasi lain organisasi ini mengimbau agar penempatan panel informasi yang berlebihan harus dihindari di daerah dengan pemandangan alam yang unik dan menakjubkan. Penulisan ini bertujuan untuk mengetahui kesesuaian pembuatan dari ikon Gunungkidul tersebut. Data diperoleh dengan melakukan observasi lokasi, wawancara mendalam, studi literatur, dan pemberitaan media masa. Metode yang digunakan adalah dengan pendekatan deskriptif kualitatif dan menggunakan signage pyramid method dalam menganalisisnya. Hasilnya adalah struktur ikon Gunungkidul sebagai identification sign belum sesuai. Dilihat dari sudut keilmuan sistem penanda perlu dilakukan relokasi karena tingkat keterbacaan yang tidak sesuai hierarki serta alasan keselamatan berkendara. Warna dan ukuran struktur bertuliskan Gunungkidul tidak sesuai jika merujuk pada imbauan dari UGGp/GGN. Kata Kunci: geopark, Gunungkidul, Gunung Sewu, identification sign, sistem penanda AbstractNational Geoparks to UNESCO Global Geoparks (UGGp) upgrading status in some region has become a priority of government authority in nationwide. Referring to the declaration of the 17 Sustainable Development Goals by the United Nations (UN) in 2015, specificaly in the 8th program, namely sustainable economic growth. It has been proven that there is a significant increasement in regional revenue for countries after becoming members of the UGGp and the Global Geopark Network (GGN) including Gunung Sewu UGGp (GSUGGp). One of the several conditions to be accepted as a member of UGGp / GGN is visibility. Identification sign entering the geopark area is included in visibility. On the west side of the boundary of the GSUGGp karst area, there is an icon which in the sign system is called an identification sign that reads Gunungkidul with a large yellow color. This writing aims to determine how far the identification sign reaches suitability for an UGGp. Data obtained by conducting site observations, in-depth interviews, literature studies and mass media coverage. By analyzing qualitative descriptive approach using signage pyramid method for GSUGGp visibility, the result is Gunungkidul identification sign is not yet fully suitable. The Gunungkidul icon needs to be relocated because the legibility level does not match the hierarchy and driving safety reasons. The color and size also do not match the advice from UGGp/GGN. Keywords: geopark, Gunungkidul, Gunung Sewu, identification sign, sign system
Perbandingan Busana Arca Harihara Era Klasik Akhir (Koleksi State Hermitage Museum, Museum Nasional Jakarta, dan Balai Lelang Christie’s) Muthi'ah, Waridah; Sachari, Agus
Gelar: Jurnal Seni Budaya Vol. 19 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3533

Abstract

Harihara is the amalgamation of two great gods in Hinduism, Siva and Vishnu. During the Late Classical Era (Majapahit period, 13th-15th centuries AD) three deification statues which portrayed the kings as Harihara have been found. Out of these three, two of them are not located in Indonesia anymore, one is part of the collection of Hermitage Museum, St. Petersburg, and one is in Christie’s Auction Gallery. Since these two statues are not widely known, they are barely mentioned or studied in the field of classical archaeology and art. This research focuses on the physical attributes of those two statues, particularly the clothing elements and divine attributes, in comparation to the deification statue of Raden Wijaya as Harihara, which is originated from Candi Simping and now is located in National Museum, Jakarta. The research was conducted using a qualitative-comparative method with iconographic and historical approach. It is found that while these statues show the amalgamation of Siva and Vishnu’s attributes, the depiction of Harihara in those statues are not exactly following Harihara iconography as regulated in the canons of Silpasastra and Manasara. While the canon physical attributes of Shiva and Vishnu side by side equally, in the depiction of Harihara in Java, those attributes are mixed and not always follows a rigid pattern. It is suggested that the depiction of  kings as Harihara show an attempt to project them as the unifier of different factions and religious sects. The inequal depiction of Vishnu and Siva’s attributes in king’s deification statues indicates not only the dynamics of the religion in the era, but also as mean to build king’s image in the image of the God.
Co-Authors A. Erwan Suryanegara A.A. Ketut Agung Cahyawan W Achmad Haldani Destiarmand Agung Eko Budi Waspada Agustianto, Merdy Aldy Rizqi Kasatia Rama Alfian Candra Ayuswantana Andar Bagus Sriwarno Andry -, Andry Annisa Lutfia Ardhyaska Amy Arianti Ayu Puspita Astrid Kusumowidagdo Cama Juli Rianingrum Cicilia Larasati Rembulan D, Achmad Haldani Daffi Ranandi Dhika Yuan Yurisma EBW, Agung Fajar Ciptandi Fakhruddin, Dimas Fakhruddin, Dimas I Nyoman Larry Julianto Irfansyah Irfansyah Kahfiati Kahdar Kemala Montesa Faizul Komarudin Kudiya, Komarudin Mansoor, Alvanov Z. Mohamad Zaini Alif Mustikasari, Hany Muthi'ah, Waridah Muthi?ah, Waridah Naomi Haswanto Natarina, Diah Prizilla, Aquamila Bulan Rahmatsyam Lakoro Sadah, Khozinatus Sadah, Khozinatus Santoso, Sandi Setiawan Sabana Triana Hapsari Wantoro, A M Yan Yan Sunarya Yannes Martinus Pasaribu