Article Per Year (5 Year)
p-Index From 2021 - 2026
0.983
P-Index
This Author published in this journals
All Journal Nirmana Jurnal Sosioteknologi Mozaik Humaniora Lakon : Jurnal Kajian Sastra dan Budaya IJCAS (International Journal of Creative and Arts Studies) MUDRA Jurnal Seni Budaya PRODUCTUM : Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Share : Journal of Service Learning Dinamika Kerajinan dan Batik : MAJALAH ILMIAH Jurnal Desain Komunikasi Visual Nirmana International Review of Humanities Studies Dinamika Kerajinan dan Batik: Majalah Ilmiah
Aniendya Christianna
Universitas Kristen Petra
Religion Arts Humanities Chemical Engineering, Chemistry & Bioengineering Education Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Library & Information Science Materials Science & Nanotechnology Social Sciences

Published : 14 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 14 Documents
Search

 1   2 
Karakteristik Desain Poster Film Animasi Amerika Serikat Christianna, Aniendya; Pranata, Moeljadi
Nirmana Vol 12, No 1 (2010): JANUARY 2010
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (579.253 KB) | DOI: 10.9744/nirmana.12.1.26-35

Abstract

An animated film will end in vain no matter how well it is without the support of media to give buzz to the message of the film. One of the most important advertising media in promoting an animated film is the poster. Because the animation movie poster is the leading medium which deals directly with the target audience in delivering information about the film before the screening of the film takes place. So visualization of the poster that includes the composition of verbal and non verbal language deserves more attention in its design.
Javanese Women Hybridity: Postcolonial Study of Nyonya Muluk in Damar Kurung Paintings Aniendya Christianna
IJCAS (International Journal of Creative and Arts Studies) Vol 7, No 1 (2020): June 2020
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v7i1.4164

Abstract

ABSTRACTDamar Kurung is a typical lantern of Gresik, made in the 16th century. In 2017 Damar Kurung was declared an intangible cultural heritage by the Indonesian Ministry of Education and Culture. Masmundari (1904-2005) was a female artist who painted Damar Kurung based on skills learned from her ancestors. Among Masmundari's many paintings, Nyonya Muluk is the most frequently painted. Nyonya Muluk is described as a big woman wearing a dress and wings. Many people say that Nyonya Muluk is a picture of Queen Wilhemina that Masmundari has seen directly. To uncover Nyonya Muluk's identity, it is necessary to explain the image and meaning of this traditional art, the author uses Bahasa Rupa method (Tabrani, 2012), which analyzes the contents of the wimba, cara wimba, tata ungkapan and how to read wimba. Then, analyzed using postcolonial theory, specifically using the concepts of hybridity and mimicry to find out the identity of Nyonya Muluk. Finally, this research is to produce (1) A description of the relationship between the two cultures (East and West/invaders and colonized) which is manifested in the figure of Nyonya Muluk. (2) Nyonya Muluk is a representation of Javanese women's hybridity that illustrates the hopes and dreams of Masmundari (as an East representative) to be similar to the West.Hibriditas Perempuan Jawa: Studi Poskolonial Figur Nyonya Muluk Di Lukisan Damar KurungABSTRAKDamar Kurung adalah lentera khas Gresik, dibuat pada abad ke-16. Pada 2017 Damar Kurung dinyatakan sebagai warisan budaya tak bendawi oleh Kementerian Pendidikan dan Kebudayaan Indonesia. Masmundari (1904-2005) adalah seniman perempuan yang melukis Damar Kurung berdasarkan keterampilan yang diperolehnya secara turun temurun. Di antara banyak lukisan Masmundari, Nyonya Muluk adalah yang paling sering dilukis. Nyonya Muluk digambarkan sebagai perempuan berukuran besar yang mengenakan gaun dan memiliki sepasang sayap. Banyak orang mengatakan bahwa Nyonya Muluk adalah gambaran Ratu Wilhemina yang langsung dilihat Masmundari. Untuk mengungkap identitas Nyonya Muluk, perlu menjelaskan gambar dan makna seni lukis tradisi ini, penulis menggunakan metode Bahasa Rupa (Tabrani, 2012), yang menganalisis isi wimba, cara wimba, tata cara dan cara membaca wimba. Kemudian, dianalisis menggunakan teori postkolonial, khususnya menggunakan konsep hibriditas dan mimikri untuk mengetahui identitas Nyonya Muluk. Akhirnya, penelitian menghasilkan (1) Deskripsi hubungan antara dua budaya (Timur dan Barat/penjajah dan terjajah) yang dimanifestasikan dalam sosok Nyonya Muluk. (2) Nyonya Muluk adalah representasi dari hibriditas perempuan Jawa yang menggambarkan harapan dan impian Masmundari (sebagai perwakilan Timur) untuk menjadi serupa dengan Barat.
THE ROLE OF DAMAR KURUNG LANTERN AS A TIME SIGNAL OF GRESIK SOCIETY Aniendya Christianna
Jurnal Sosioteknologi Vol. 17 No. 1 (2018)
Publisher : Fakultas Seni Rupa dan Desain ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/sostek.itbj.2018.17.1.7

Abstract

Damar Kurung Craft is one of the typical Gresik cultural products that have been widely recorded the civilization and life of Gresik people through its handiwork. The existence of Damar Kurung has been around since the Hindu-Buddhist era. It is a lantern that made of bamboo paper with painting embedded that become Javanese's symbol of life. This research is qualitative research with descriptive approach. The object of this research is on the use of visual metaphor that described by Masmundari about Damar Kurung. The purpose of this research is to understand the meaning of symbols that embedded on Damar Kurung by Masmundari. At the same time, this writing is  made to understand the environmental context where decoration of Damar Kurung is made, in order to establish the identity and identification of Javanese people.
MENEBAR BENIH KEBENCIAN MELALUI VISUALISASI ‘BANCI’ KARTUN BENNY DAN MICE Aniendya Christianna
Lakon : Jurnal Kajian Sastra dan Budaya Vol. 5 No. 1 (2016): Jurnal Lakon
Publisher : Universitas Airlangga

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (997.859 KB) | DOI: 10.20473/lakon.v5i1.2757

Abstract

Cartoon with its concise, simple and attractive characteristic allows the reader to digest the ideas of the cartoonist. As one of the products of mass media, a cartoon is never neutral and value-free, it oftenly carries an ideology. Culture and the domination of an ideology contribute to the production process of the symbols that are articulated in a cartoon. This qualitative research used a methodology of critical study based on image-based research, which reveals the visual image as a research foundation. In the process of interpretation, the researchers are conducting a dialect with the text as an object. Then analyze it so that it becomes cohesive. After that, it could obtaine a relative reality. Benny and Mice cartoon implicitly states that heterosexuals are the 'normal' sex relationships. Beyond that, is a deviation. Deserves to be blamed, humiliated even ridiculed. Benny and Mice cartoon show that transsexual / transvestite / transgender as a source of fear. The package of it pictorial and verbal language wrapped in hyperbole and joke, and becomes the 'seeds' of homophobia amid the hegemony of heterosexual community.
FIGUR PEREMPUAN JAWA DALAM DAMAR KURUNG SEBAGAI INSPIRASI MOTIF BATIK KHAS GRESIK Aniendya Christianna; Luri Renaningtyas
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol 38, No 1 (2021): DINAMIKA KERAJINAN DAN BATIK : MAJALAH ILMIAH
Publisher : Balai Besar Kerajinan dan Batik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22322/dkb.v38i1.6137

Abstract

Javanese women have a position as a pillar of Javanese culture, not only physically but also psychologically which includes perceptions, imaginations, and interpretations of Javanese cultural values. Damar Kurung is a lantern from the 16th century that serves as a marker of the coming of the Month of Ramadan. This culture of light has been gradually eroded by its irrelevant function, especially since electric lights dominate human life. The decoration that decorated the Damar Kurung has been preserved for generations by a female artist: Masmundari. Masmundari died at the age of more than 100 years ago in 2005, after the death of Damar Kurung also faded. This research is qualitative research using a descriptive method that is used to describe the performance of Javanese women in the Damar Kurung decoration. This research was carried out for approximately 8 months which included the research phase, the design phase and the implementation phase of the design results. The data analysis method used is descriptive, which is useful for describing the factual findings of the characteristics of the Damar Kurung ornamental variety along with its historical chronology. The data findings are classified according to the findings of the female performance themes and then developed as an innovation in the typical Gresik batik motif. The purpose of this research is the development of Damar Kurung decoration into batik motifs is one of the conservation efforts to preserve Damar Kurung as a national intangible heritage. And to find out the identity and role of women's gender in Javanese culture. The output of this research is also expected to contribute to the designers and practitioners of the art and/or crafts in order to be able to utilize the local cultural heritage to improve the economy of the creative industries 
PELATIHAN PERANCANGAN ALAT PERMAINAN EDUKATIF (APE) BERBASIS BAHAN BEKAS UNTUK PENDIDIKAN ANAK USIA DINI (PAUD) SE-SIWALANKERTO SURABAYA Aniendya Christianna
SHARE: Journal of Service Learning Vol. 1 No. 1 (2013): DECEMBER 2013
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (222.583 KB) | DOI: 10.9744/share.1.1.7-13

Abstract

It takes a breakthrough to empower and synergize all the potential that already exists in society in order to achieve the service to child development as a whole, comprehensive and integrated. One of the very media that support the growth and development of children is EGT. Educative Game Tools now widely sold in the market with varying prices. In general, much of the education providers are still buying game tools to support children's learning. This of course will foster consumptive culture and weaken the educator's ability to be creative and innovative in providing a quality learning for children. Thus, the authors attempt to develop a training activity in order to encourage the creativity of Instructor/Mother of preschool children to design various kind of EGT from cheap and easily obtainable materials.
ECOPRINT TRAINING FOR WOMEN EMPOWERMENT IN NGEMBAT SUB-VILLAGE, MOJOKERTO Aniendya Christianna; Heru Dwi Waluyanto; Ani Wijayanti Suhartono
SHARE: Journal of Service Learning Vol. 5 No. 2 (2019): AUGUST 2019
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (777.277 KB) | DOI: 10.9744/share.5.2.49-56

Abstract

The number of women in Ngembat sub-village is quite large, both from adolescence to the elderly, but most of them are only housewives who are not economically productive. Everything depends on the husband who works as a farm laborer and builder. Women in Ngembat sub-village have a lot of free time that can be used for productive activities. The ecoprint training held during the Community Outreach Program (COP) is the development of DKV 4 courses that implement creative-sociopreneurship learning. This subject emphasizes the aspects of entrepreneurship in the field of creative industries by utilizing local strengths. Natural resources that exist around Ngembat sub-village can be utilized as products of economic value. Abundant teak leaves due to the vast size of teak forests can be a source of income for women on the sidelines of carrying out their domestic duties in the household. Free time while waiting for children to come home from school and their husbands from work can be used to empower themselves by producing creative products and economic value. Thus, not only does women's knowledge and skills improve, but the family economy can also improve
Preservation of Damar Kurung through jewelry design Aniendya Christianna
PRODUCTUM Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Vol 3, No 7 (2020)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (410.605 KB) | DOI: 10.24821/productum.v3i7.3343

Abstract

Revolusi industri 4.0 diperkirakan akan mengancam keberadaan manusia dalam dunia kerja. Ketika ancamannya semakin besar, manusia sebagai makhluk kreatif seharusnya menyadari bahwa mereka harus beradaptasi. Tantangan-tantangan ini dapat dijawab jika manusia sebagai sumber daya utama dapat memanfaatkan informasi yang ada untuk meningkatkan kapasitas, kreativitas, dan keterampilan diri. Kreativitas membuat manusia mampu menghasilkan karya seni yang belum tentu teknologi dan mesin mampu lakukan. Meskipun beberapa mesin dikatakan mampu melakukannya, manusia tetap adalah entitas yang memiliki rasa dan emosi, yang hingga kini belum dimiliki oleh teknologi. Menjelang kepunahan Damar Kurung sebagai tradisi cahaya khas derah pesisir Pulau Jawa, pada 4 Oktober 2017, Departemen Pendidikan dan Kebudayaan Republik Indonesia menetapkan Damar Kurung sebagai Warisan Budaya Takbenda Nasional. Ini adalah berita baik bagi individu/komunitas yang telah secara aktif melestarikan Damar Kurung, sehingga keberadaannya sebagai warisan kearifan lokal dapat ditemurunkan kepada generasi muda. Namun pertanyaannya adalah: apakah di era Revolusi Industri 4.0 pelestarian warisan budaya masih relevan? Berdasarkan uraian latar belakang, tim penulis mengimplementasikan alternatif pengembangan kreativitas yang terinspirasi oleh ragam hias Damar Kurung menjadi perhiasan yang bernilai jual dan terbuka untuk pangsa pasar yang lebih luas. Sejauh ini, ada banyak produk kreatif yang terinspirasi oleh Damar Kurung, tetapi hanya terbatas pada segmen ekonomi menengah (dan bawah). Berbagai lapisan masyarakat perlu mengapresiasi Damar Kurung sebagai warisan budaya tak bendawi. Dengan demikian, warisan masa lalu dapat dikenali dan dihargai oleh orang-orang dengan menyesuaikan kebutuhan masa kini. Pada akhirnya, upaya ini mendukung pengembangan industri kreatif berbasis kearifan lokal.Kata kunci: Damar Kurung, Perhiasan, Kreatif Industri, Revolusi Industri 4.0, dan Kreativitas
Perancangan Fotografi Ragam Hias Damar Kurung Khas Gresik dalam Fashion Melia Christie; Petrus Gogor Bangsa; Aniendya Christianna
Jurnal Desain Komunikasi Visual Nirmana Vol. 20 No. 1 (2020): JANUARY 2020
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (751.57 KB) | DOI: 10.9744/nirmana.20.1.38-45

Abstract

Generasi muda masih mengenal ragam hias Damar Kurung sebagai bentuk lampionnya. Padahal, Damar Kurung merupakan sebutan untuk ragam hias yang menghiasi setiap sisi lampion dan sudah diresmikan sebagai warisan budaya tak bendawi nasional. Analisis data pada perancangan ini menggunakan metode deskriptif kualitatif untuk mengetahui fenomena yang berkembang di kalangan subjek penelitian dengan lebih dalam, serta pemahaman mengenai ragam hias Damar Kurung. Tujuan perancangan ini untuk memperkenalkan Damar Kurung sebagai ragam hias pada generasi muda melalui fotografi fashion. Ragam hias Damar Kurung diaplikasikan dalam busana bergaya kasual. Pendekatan fotografi bertujuan agar dapat menunjukkan visual ragam hias Damar Kurung dengan baik. Perancangan ini menghasilkan fashion item, merchandise, dan promotion tools berupa postcard, buku katalog, dan kalender.
The Representation Of Javanese Women In Damar Kurung Painting – Gresik Aniendya Christianna
Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i3.376

Abstract

Damar Kurung is one of the typical cultural products of Gresik that has recorded Gresik’s civilization. Damar Kurung is a bamboo-framed paper lantern that has existed since Hindu-Buddhist times. This research is a qualitative research with a descriptive approach. The purpose of this research is to understand the meaning of the symbol in Damar Kurung’s decorative that are painted by Masmundari. At the same time to identify the gender roles of Javanese women. The results of this study are (1) Javanese women do not reject face makeup, because using makeup is a manifestation of women’s respect and acceptance in dealing with social norms; (2) Javanese women formulate their identity through a procession of traditional ceremonial preparations that are mostly carried out ‘behind’ (in the kitchen).Damar Kurung merupakan salah satu produk budaya khas Gresik yang telah merekam peradaban masyarakat Gresik. Damar Kurung adalah lampion kertas berangka bambu ini sudah ada sejak zaman Hindu-Budha. Penelitian ini adalah penelitian kualitatif dengan pendekatan deskriptif. Tujuan dari penelitian ini untuk memahami makna simbol di damar kurung yang dilukis oleh Masmundari. Sekaligus untuk mengidentifikasi peran gender perempuan Jawa. Hasil dari penelitian ini adalah (1) perempuan Jawa tidak menolak riasan wajah, karena menggunakan riasan adalah perwujudan penghormatan dan penerimaan perempuan dalam menghadapi norma sosial;(2) perempuan Jawa merumuskan identitasnya melalui prosesi persiapan upacara adat yang banyak dilakukan ‘dibelakang’ (di dapur).
Co-Authors -, Sienny Acep Iwan Saidi Adriano So, Adriano Andrian Dektisa Hagijanto Angeline angeline Ani Wijayanti Suhartono Christie, Melia Damayanthy, Dhamaris Desi Amalia Limanto, Desi Amalia Devina Ganda Wijaya, Devina Ganda Felicia Widjaja, Felicia Florencia Natali Poerniawan, Florencia Natali Gogor Bangsa Hendro Aryanto Heru Dwi Waluyanto Indrayana, Marrisa Lans, Florensia Cornelia Layalia Kinanti, Layalia Liesan, Stefanus Andri Ilyas Luri Renaningtyas Luri Renaningtyas, Luri Melia Christie Moeljadi Pranata Nuning Yanti Damayanti Oei, Monique Pricilya Ongky Permana Ciputra, Ongky Permana Riama Maslan Sihombing Sabrina Budianto, Sabrina Salmy, Jeffrey Quaa Sentosa, Michelle Adelia Yohana Zerlinda Pranoto, Yohana Zerlinda