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All Journal Gorga : Jurnal Seni Rupa Melayu Arts and Performance Journal Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM)
M Hamzah
Institut Seni Budaya Indonesia Aceh
Arts Humanities Education Languange, Linguistic, Communication & Media

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TRANSFORMASI ORNAMEN RUMOH ACEH TEUNGKU CHIK AWEE GEUTAH PADA RAPA’I ACEH M Hamzah
Melayu Arts and Performance Journal Vol 1, No 2 (2018): Melayu Art and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v1i2.645

Abstract

ABSTRACT  The ornament of Rumoh Aceh (Aceh’s house) Teungku Chik Awee Geutah is one of the cultural legacies in the form of carving that has been rare to be found on mediums. Based on that phenomenon, the interest of transforming the ornaments on rapa’i has become an idea in the creation of an artwork (craft artwork). The aim of this artwork creation is the personal’s or craftsmen’s and rapa’i art performer’s understanding/realization that the concept of transformation in the cultural treasury is very broad and it’s always available to be studied further for creative work. Besides that, it also develops a cultural heritage by offering the beautiful values of rapa’i and ornament so it can be owned and fancied more by Aceh people. The methods used in the concept of creation consisted of several stages namely the exploration stage, the designation stage, and the embodiment stage. The materials used consisted of tualang wood, bamboo, goatskin, and parchment cowskin. The techniques used in this artwork were bubut technique, low-carving technique, middle-carving technique, and finishing melamine system. The form of artwork created was three-dimensional artwork namely percussion instrument carved with the ornaments of Rumoh Aceh Teungku Chik Awee Geutah transformed on the baloh (frame wall) of rapa’i. Keywords: ornament, rumoh aceh teungku chik awee geutah, rapa’i aceh, transformation    ABSTRAK Ornamen rumoh  Aceh Teungku Chik Awee Geutah merupakan salah satu warisan budaya berupa ukiran yang telah langka ditemukan di media-media. Berdasarkan fenomena tersebut ketertarikan untuk metrasformasikan ornamen pada rapa’i telah menjadikan suatu ide dalam penciptaan sebuah karya seni (seni kriya). Tujuan penciptaan karya adalah untuk memahami/menyadari secara personal maupun para kriawan dan pelaku seni rapa’i bahwa konsep tranformasi pada khasanah budaya sangat luas dan selalu tersajikan untuk ditela’ah dalam berkarya. Selaras dengan itu juga mengembangkan suatu warisan budaya dengan menawarkan nilai keindahan rapa’i dan ornamen untuk dapat lebih dimiliki dan digemari oleh masyarakat Aceh. Metode yang digunakan dalam konsep penciptaan yaitu melalui beberapa tahap, tahap eksplorasi, tahap perancangan, dan tahap perwujudan. Bahan yang digunakan yaitu terdiri dari kayu tualang, bambu, kulit kambing, dan kulit sapi perkamen. Teknik yang digunakan pada karya ini yaitu teknik bubut, teknik ukir rendah, ukir sedang, dan finishing melamine system. Bentuk karya yang diciptakan merupakan karya tiga dimensi yaitu alat musik perkusi yang terukir ornamen Rumoh Teungku Chik Awee Geutah yang ditransformasi pada baloh (dinding frame) rapa’i.
MOTIF PINTO ACEH SEBAGAI SUMBER INSPIRASI PENCIPTAAN KRIYA KULIT Karya Mansyah; Saniman Andi Kafri; Muhammad Hamzah
Gorga : Jurnal Seni Rupa Vol. 12 No. 2 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i2.58451

Abstract

The Pinto Aceh motif is the creativity of local Acehnese motifs that are different from other motifs in Indonesia. The Pinto Aceh motif has its own uniqueness and aesthetic value. This can be seen from its symmetrical like a butterfly shape. Interest in raising the theme of Pinto Aceh motifs is because researchers want to give a new touch, especially in leather crafts combined with Pinto Aceh motifs. So far the Pinto Aceh motif works that have been created are still the same as the first time this motif was created, always in form of a symmetrical butterfly. Because of that the creation of leather craft works is realized in the form of two-dimensional and three- dimensional works by presenting the new forms. The materials used are parchment leather, vegetable tanned leather, mosquito netting wire, wood, glass, mirrors, synthetic leather and iron. The method used in the creation of this work goes through three stages, that is the exploration stage, the design stage and the embodiment stage. The works created do not only contain aesthetic value but also contain the meaning of freedom of creation, which is manifested in the creation of the Pinto Aceh motif. The expression of the Pinto Aceh motif as a source of inspiration for the creation of leather craft can be a medium for art connoisseurs, especially craft art and in hope to give another new forms of craft art, so that in the future it can become a reference for the development of craft art, especially leather craft.Keywords: PintoAceh,motifs,leather,craf. AbstrakMotif Pinto Aceh merupakan kreativitas lokal masyarakat Aceh yang jauh berbeda dengan daerah lain di Indonesia. Motif Pinto Aceh mempunyai keunikan dan nilai estetika tersendiri. Hal ini dapat dilihat dari bentuknya yang simetris seperti kupu-kupu. Ketertarikan mengangkat tema motif Pinto Aceh karena peneliti ingin memberikan sentuhan baru khususnya kriya kulit yang dipadukan dengan motif Pinto Aceh khususnya kriya kulit. Sejauh ini karya-karya motif Pinto Aceh yang diciptakan masih sama seperti motif pertama kali diciptakan, yaitu seperti kupu-kupu yang simetris. Oleh karena itu penciptaan karya kriya kulit ini direalisasikan ke dalam bentuk karya dua dimensi dan tiga dimensi dengan menghadirkan bentuk-bentuk yang baru. Bahan yang digunakan adalah kulit perkamen, kulit tersamak nabati, kawat jaring nyamuk, kayu, kaca, cermin, kulit sintetis dan besi. Metode yang digunakan pada penciptaan karya ini melalui tiga tahap, yaitu: tahap eksplorasi, tahap perancangan dan tahap perwujudan. Karya-karya yang diciptakan tidak hanya mengandung nilai estetik tetapi juga mengandung makna kebebasan dalam berkarya yang diwujudkan dalam bentuk kreasi motif Pinto Aceh. Ekspresi motif Pinto Aceh sebagai sumber inspirasi penciptaan kriya kulit ini dapat menjadi media terhadap penikmat seni, khususnya seni kriya dan diharapkan dapat melahirkan bentuk kriya seni baru, sehingga dapat menjadi acuan untuk pengembangan kriya seni khususnya kriya kulit selanjutnya.Kata Kunci: Pinto Aceh, motif, kulit, kriya. Authors: Karya Mansyah : Institut Seni Budaya Indonesia AcehSaniman Andi Kafri : Institut Seni Budaya Indonesia AcehMuhammad Hamzah : Institut Seni Budaya Indonesia Aceh References:Dharsono, D. (2016). Kreasi Artistik œPerjumpaan Tradisi Modern Dalam Paradigma Kekaryaan Seni. Surakarta: Citra Sain.Ferawati, F., & Dewi, L. (2020). Suluah Dalam Nagari; Penciptaan Kriya Ekspresi Dengan Inspirasi Bundo Kanduang. Artchive: Jurnal Seni Rupa dan Desain Indonesia , 1(2), 122-133. http://dx.doi.org/10.53666/artchive.v1i2.1630.Ginting, J., & Triyanto, R. (2020). Tinjauan Ketepatan Bentuk, Gelap Terang, dan Warna padaGambar Bentuk Media Akrilik. Gorga: Jurnal Seni Rupa, 9(2), 300-308. https://doi.org/10.24114/gr.v9i2.20118.Gustami, SP. 2007. Butit-Butir Mutiara Estetika Timur œIde Dasar Penciptaan Seni Kriya Indonesia. Yogyakarta: Prasista.Izzara, W. A., & Nelmira, W. (2021). Desain Motif Tenun Songket Minangkabau Di Usaha Rino Risal Kecamatan Koto Tangah Kota Padang. Gorga: Jurnal Seni Rupa, 10(2), 423-431. https://doi.org/10.24114/gr.v10i2.25928.Mansyah, K. (2019), œKaligrafi Arab Dalam Ekspresi Pinto Aceh Melalui Hiasan Interior. Hasil Wawancara Pribadi: 30 Agustus 2019, Institut Seni Indonesia Padangpanjang.Mansyah, K., Sulaiman, S., & Nursyirwan, N. (2020). Seni Kaligrafi Arab Dalam Ekspresi Pinto Aceh. Melayu Arts and Performance Journal, 3(1), 27-36. http://dx.doi.org/10.26887/mapj.v3i1.1341.Sunarto, S. (2008). Seni Tatah Sungging Kulit. Yogyakarta: Prasista.Susanto, M. (2011). Diksi Rupa; Kumpulan Istilah Seni Rupa. Yogyakarta: DictiArt Lab & Djagad Art House.Zam, R., Dharsono, D., & Raharjo, T. TransformasiEstetik Seni Kriya; Kelahiran Dan Kriya Masa Kini. Gorga: Jurnal Seni Rupa, 11(2), 302-310. https://doi.org/10.24114/gr.v11i2.36026.
Integrasi Ornamen Aceh dalam Desain Furnitur Minimalis M. Hamzah; Ichsan Ichsan; Afifuddin Afifuddin; Ahmad Vaza At Thariq; Ikhsan Saputra
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 2 (2025): Oktober: Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i2.7333

Abstract

Minimalist style, as one of the major streams of modern design, has developed rapidly and influenced various aspects of life, including furniture design in Aceh. Along with the increasing dominance of minimalism, the existence of traditional Acehnese ornamentation has declined in application and tends to stagnate through repetitive use of similar motifs. This study aims to integrate the aesthetic and symbolic values of Acehnese ornamentation into minimalist furniture design through a contextual design approach based on local wisdom. The research applies the Design Thinking method, encompassing stages of contextual exploration, formulation of aesthetic concepts, visual experimentation, and critical reflection. Visual experiments were carried out through manual sketches and digital reproduction using SketchUp, CorelDRAW X7, and Gopain. The study produced two furniture designs a document cabinet and an office desk which combine Acehnese ornaments derived from the tomb complex of Raja Jalil in Lam Lagang and the traditional house of Teungku Chik Awee Geutah in Bireuen. The findings reveal that integrating Acehnese ornamentation into minimalist design can create harmony between tradition and modernity without losing philosophical depth or local identity. The study highlights the significance of a contextual design approach as an innovative strategy for cultural preservation through contemporary furniture creation.
Transformasi Pembinaan Seni Pantomim di Sekolah Dasar : Peran SDN 1 Beureunuen sebagai Penggerak FLS3N di Kecamatan Mutiara Timur Rasyidin Rasyidin; Muhammad Hamzah; Afifuddin Afifuddin
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 2 (2025): Oktober: Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i2.7339

Abstract

Pantomime arts development in elementary schools plays a crucial role in fostering students' creativity, self-confidence, and expressive abilities. This study examines the transformation of pantomime development at SDN 1 Beureunuen, a school that hosts the National Student Arts Festival and Competition (FLS3N) in Mutiara Timur District, Pidie Regency. Using an active qualitative approach through participant observation, informal interviews, and documentation of participant development from 2019 to 2025, this study examines how creative pedagogy practices, constructivist approaches, and strengthening cultural identity are applied in the development process. The results show a significant increase in school participation in pantomime competitions, from only three groups in 2019 to twelve groups in 2025. SDN 1 Beureunuen's success in winning the gold medal at the national level in the FLS3N has been a driving factor in the paradigm shift of teachers, which in turn has encouraged the creation of a competitive arts ecosystem at the sub-district level. These findings confirm that the implementation of creative pedagogy and tiered development can improve the quality of arts learning and strengthen the capacity of teachers and students in areas with minimal resources.
Co-Authors Afifuddin Afifuddin Ahmad Vaza At Thariq Ichsan Ichsan Ikhsan Saputra Karya Mansyah Rasyidin Rasyidin Saniman Andi Kafri