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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

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Remythology and Ideology of Nyonya Muluk in Masmundari’s Damar Kurung Painting Aniendya Christianna; Acep Iwan Saidi; Riama Maslan Sihombing; Nuning Yanti Damayanti
MOZAIK HUMANIORA Vol. 22 No. 2 (2022): MOZAIK HUMANIORA VOL. 22 NO. 2
Publisher : Universitas Airlangga

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20473/mozaik.v22i2.35684

Abstract

This study aims to explore the visualization of damar kurung's painting with Nyonya Muluk theme and its meaning in the context of Javanese culture critically. It was stated that the figure of Nyonya Muluk was inspired by Masmundari's experience of meeting the Queen of the Netherlands who had visited Surabaya. Nyonya Muluk is described as a large woman who wears a dress and jewelery and has a pair of wings. Around her are other human figures painted in smaller sizes. To pursue the aim this study, the analysis was conducted using Gillian Rose's visual methodology which takes the position of the site of self. The analysis of this study found how Masmundari depicts objects by combining opposing cultural elements reflecting that the postcolonial subject is never completely the position of the colonized or the colonizing self. The ambivalence that arises in the practice of mutual views shows a form of negotiation or resistance from the colonized position. Masmundari's remitology also depicts the Indonesian nation as a colonized party trying to decolonize itself from colonial rule. By relocating the mythology of Nyonya Muluk in a contemporary context, this painting shows the efforts of the Indonesian people to regain 'independence' by using local traditions to fight against the culture imposed by the colonialists. In short, it can be concluded that the remitology of Nyonya Muluk in amar kurung's painting not only reflects Masmundari's resistance to Western colonial and post-colonial rule, but also represents Masmundari's resilience to the definition of her identity as Javanese.
AME'S REBRANDING STRATEGY TO BUILD BRAND IDENTITY AND ENHANCE STRONGER COMPETITIVENESS Sentosa, Michelle Adelia; Christianna, Aniendya
International Review of Humanities Studies Vol. 10, No. 1
Publisher : UI Scholars Hub

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Abstract

This research analyses AME's rebranding process to build a strong brand identity and increase competitiveness in the fashion industry. Using a descriptive qualitative method, data was collected through in-depth interviews, observations, and documentation studies. The results showed that AME's rebranding involved visual design changes as well as adjustments to the brand's vision and mission. The new illustration and packaging elements successfully attracted consumers' attention and created a positive experience, which resulted in increased sales and positive responses from consumers. The findings provide valuable insights into rebranding strategies in the fashion industry and their implications for brand identity and business performance, which are expected to serve as a reference for AME and other brands in designing effective rebranding strategies in a competitive market.
SOCIAL MEDIA OPTIMIZATION OF <i>RAMAMPA</i> RESTO & BAR AS A VISUAL STRATEGY Oei, Monique Pricilya; Christianna, Aniendya
International Review of Humanities Studies Vol. 10, No. 1
Publisher : UI Scholars Hub

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Abstract

In the digital era, social media has become an important marketing tool for businesses, including the culinary industry. This study examines the use of motion graphics to develop the social media presence of Rarampa Resto and Bar, a restaurant serving Manado cuisine and healthy MSG-free food, located in South Jakarta. Although the restaurant has a loyal customer base, particularly from the 40-60 age group, its social media content fails to attract younger audiences, especially millennials, who seek unique and authentic culinary experiences. This study suggests that Rarampa's social media content, which mainly focuses on event photography and the restaurant's ambiance, is ineffective in capturing the attention of younger audiences. Therefore, the use of illustrations and motion graphics is proposed to create more dynamic and appealing visual content. By incorporating semi-cartoon illustration styles and motion graphic elements, Rarampa can build a stronger visual identity, engage younger audiences, and increase interaction on social media. The research employs a qualitative descriptive approach, using data collection methods such as observation, interviews, and documentation. The results of this study are expected to provide insights on how to optimize the use of motion graphics to attract younger audiences and enhance the visual appeal of Rarampa Resto and Bar's social media.
FIGUR PEREMPUAN JAWA DALAM DAMAR KURUNG SEBAGAI INSPIRASI MOTIF BATIK KHAS GRESIK Christianna, Aniendya; Renaningtyas, Luri
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol. 38 No. 1 (2021): 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.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 
Makna Visual dan Negosiasi Kolonial pada ‘Batik Belanda’ bermotif Militer: Visual Meaning and Colonial Negotiation in Dutch Batik with Military Motifs Christianna, Aniendya; Priyowidodo, Gatut; Hadi, Ido Prijana
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol. 43 No. 1 (2026): 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.v43i1.8768

Abstract

Batik Belanda merupakan salah satu produk batik pesisir yang berkembang di pesisir utara Jawa, seperti Pekalongan, pada akhir abad ke-19 hingga awal abad ke-20, dan umumnya dikaitkan dengan estetika feminin serta selera kolonial kelas menengah. Namun, keberadaan Batik Belanda bermotif militer menunjukkan makna visual yang lebih kompleks dan belum banyak dibahas. Artikel ini bertujuan mengkaji makna visual figur prajurit, kapal perang, dan mesin transportasi militer dalam Batik Belanda, serta bagaimana simbol-simbol tersebut dinegosiasikan dalam konteks produksi dan konsumsi kolonial. Penelitian ini menggunakan pendekatan kualitatif deskriptif-interpretatif dengan metode observasi visual terhadap artefak batik di Museum Batik Pekalongan, Museum Batik Indonesia, Museum Danar Hadi Solo, dan Museum Tekstil Jakarta, serta didukung oleh studi pustaka dan analisis ragam hias. Pembahasan difokuskan pada pola repetisi, keteraturan visual, pembagian kepala dan badan batik, serta hubungan motif dengan fungsi kain sebagai objek pakai. Hasil kajian menunjukkan bahwa simbol militer tidak ditampilkan melalui narasi konflik atau heroisme, melainkan sebagai citra yang tertata, berulang, dan bersifat dekoratif. Repetisi dan ragam hias berperan dalam menormalkan kehadiran kekuasaan kolonial sebagai bagian dari pengalaman visual sehari-hari. Kekerasan dan daya rusak mesin perang disamarkan melalui stilisasi, siluet, dan integrasi dengan motif flora. Artikel ini menyimpulkan bahwa Batik Belanda bermotif militer berfungsi sebagai medium negosiasi visual antara produksi, pasar, dan selera kolonial, serta sebagai arsip visual yang merekam kehadiran kekuasaan secara halus dan tidak secara konfrontatif. Kajian ini diharapkan dapat memperkaya pembacaan Batik Belanda sebagai artefak estetis yang memuat praktik budaya.
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 Gatut Priyowidodo Gogor Bangsa Hendro Aryanto Heru Dwi Waluyanto Ido Prijana Hadi Indrayana, Marrisa Lans, Florensia Cornelia Layalia Kinanti, Layalia Liesan, Stefanus Andri Ilyas Luri Renaningtyas, Luri Melia Christie Moeljadi Pranata Nuning Yanti Damayanti Oei, Monique Pricilya Ongky Permana Ciputra, Ongky Permana Renaningtyas, Luri Riama Maslan Sihombing Sabrina Budianto, Sabrina Salmy, Jeffrey Quaa Sentosa, Michelle Adelia Yohana Zerlinda Pranoto, Yohana Zerlinda