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PERMAINAN TRADISIONAL BALI DALAM KARYA FOTOGRAFI KONSEPTUAL I Gede Ari Prasta; I Nyoman Rediasa; I Gusti Made Budiarta
Jurnal Pendidikan Seni Rupa Undiksha Vol. 12 No. 2 (2022)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v12i2.49216

Abstract

AbstrakTujuan dari penlitian ini adalah untuk mendeskripsikan(1) Apa saja jenis dan perkakas dalam permainan tradisional Bali, (2) Sejauh mana fotografi konseptual menggambarkan keberadaan permainan tradisional Bali, (3) makna fotografi konseptual dengan tema permainan tradisoanal Bali. Metode yang digunakan dalam penelitian ini adalah metode kualitatif deskriptif. Pengumpulan data ini menggunakan teknik observasi, wawancara, dokumentasi, dan kepustakaan.Dari pembahasan serta proses penelitian maka dapat disimpulkan sebagai berikut: (1) ada 8 perkakas yang mendukung dalam permainan tradisional yaitu, batok kelapa, guli, layangan, benang, pengulung, tajog bambu, karet gelang, sabut kelapa. (2) setelah dilakukan rekonstruksi visual dengan fotografi konseptual, masih ada anakanak yang tertarik bermain permainan tradisional, menunjukan bahwa permainan ini keberadaanya masih tidak terlupakan pada zaman permainan game handphone. (3) setelah mendapatkan hasil foto dari rekonstruksi, ada 3 makna yang didapatkan yaitu, makna budaya, sosial, dann spiritual.Kata kunci : Fotografi Konseptual, Permainan Tradisional ABSTRACTThe purpose of this study is to describe (1) what are the types and hardware in traditional Balinese games, (2) the extent to which conceptual photography describes the existence of traditional Balinese games, (3) the meaning of conceptual photography with the theme of traditional Balinese games. The method used in this study is a qualitative descriptive method. This data collection uses observation, interview, documentation, and library techniques. From the discussion and the research process, the keys are as follows: (1) there are 8 hardware supports in traditional games, coconut shells, guli, kites, threads, rollers, bamboo tajog, rubber bands, coconut fiber. (2) after visual reconstruction with conceptual photography, there are still children who are interested in playing traditional games, showing that this game is still not forgotten in mobile games. (3) after getting the photos from the reconstruction, there are 3 meanings obtained, namely, cultural, social, and spiritual meanings.Keywords: Conceptual Photography, Traditional Game
KAJIAN MAKNA NAMA-NAMA DAN ESTETIKA KAIN SESEK SUKU SASAK DESA KEMBANG KERANG KECAMATAN AIKMEL KABUPATEN LOMBOK TIMUR Hilman Cahyadin; Langen Bronto Sutrisno; I Nyoman Rediasa
Jurnal Pendidikan Seni Rupa Undiksha Vol. 15 No. 3: Desember 2025
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v15i3.104174

Abstract

Penelitian ini bertujuan mengkaji makna di balik nama-nama kain sesek Suku Sasak di Desa Kembang Kerang, Kecamatan Aikmel, Kabupaten Lombok Timur. Kain sesek merupakan warisan budaya bernilai estetis, historis, dan filosofis, di mana setiap penamaan motif tidak hanya menjadi identitas visual, tetapi juga memuat simbol-simbol kepercayaan, adat, dan pandangan hidup masyarakat Sasak. Penelitian ini menggunakan metode deskriptif kualitatif dengan pendekatan etnografi melalui observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukkan enam nama utama kain sesek, yaitu Subahnale, Sri Menanti, Sabuk Peraban, Londong Abang Ragi Genap, Pucuk Rebong, dan Bintangan. Masing-masing mengandung nilai religius, sosial, dan budaya, seperti doa dan pujian kepada Tuhan, simbol kesabaran, pengharapan, ikatan persaudaraan, kelengkapan hidup, pertumbuhan, serta kemuliaan. Simbol-simbol tersebut menegaskan bahwa penamaan kain sesek merupakan bentuk komunikasi budaya yang merefleksikan identitas dan kearifan lokal masyarakat Sasak. Penelitian ini diharapkan dapat berkontribusi pada pelestarian budaya, pengembangan pendidikan seni rupa, serta menjadi rujukan bagi kajian etnolinguistik dan antropologi budaya.
ANJING SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI LUKIS I Made Bayu Saka Palwaguna Saka; I Nyoman Rediasa; Langen Bronto Sutrisno
Jurnal Pendidikan Seni Rupa Undiksha Vol. 15 No. 3: Desember 2025
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v15i3.109570

Abstract

Penciptaan karya seni lukis ini bertujuan untuk merefleksikan hubungan paradoks antara manusia dan anjing dalam konteks sosial dan budaya Bali. Anjing diposisikan tidak hanya sebagai objek visual, tetapi juga sebagai simbol kesetiaan, pengorbanan, dan ironi relasi manusia-hewan di tengah modernitas. Metode penciptaan yang digunakan adalah Design and Development (D&D) yang dipadukan dengan pendekatan practice-based research. Proses penciptaan dilakukan melalui tahapan analisis, perancangan, pengembangan, evaluasi, dan penyempurnaan karya. Hasil penciptaan berupa lima karya seni lukis yang terbagi ke dalam dua narasi utama, yaitu anjing sebagai sahabat manusia dan anjing sebagai makhluk yang mengalami keterasingan. Karya-karya tersebut diharapkan mampu menjadi media refleksi sosial serta sarana edukasi visual dalam menumbuhkan empati dan kesadaran etis terhadap kesejahteraan hewan.
GALIAN C DI KECAMATAN KUBU KARANGASEM SEBAGAI SUMBER INSPIRASI SENI LUKIS I Nyoman Alek Kade Alek; I Nyoman Rediasa; Wayan Sudiarta
Jurnal Pendidikan Seni Rupa Undiksha Vol. 15 No. 3: Desember 2025
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v15i3.109573

Abstract

Penelitian ini bertujuan mengembangkan karya seni lukis dekoratif yang terinspirasi dari fenomena pertambangan galian C di Kecamatan Kubu, Karangasem dengan menggunakan model penelitian Design and Development (D&D). Aktivitas galian C yang menyebabkan perubahan lanskap, kerusakan lingkungan, serta dampak sosial bagi masyarakat dijadikan sebagai sumber ide visual dalam proses penciptaan karya. Tahapan penelitian meliputi identifikasi masalah, pengumpulan data melalui observasi lapangan, dokumentasi visual, dan studi literatur, dilanjutkan dengan perancangan konsep, pengembangan karya, serta evaluasi oleh ahli seni rupa. Teknik palet dan mixed media digunakan untuk mengekspresikan karakter visual pertambangan yang keras, dinamis, dan sarat kritik ekologis. Hasil penelitian menunjukkan bahwa fenomena galian C dapat diolah menjadi karya seni lukis yang tidak hanya memiliki nilai estetis, tetapi juga berfungsi sebagai media refleksi dan kritik sosial terhadap isu lingkungan. Karya yang dihasilkan dinilai layak secara artistik dan komunikatif, sehingga dapat menjadi alternatif pengembangan sumber inspirasi dalam penciptaan seni rupa kontemporer.
ESTETIKA MOTIF BATIK TULIS DI IDA BATIK BONDOWOSO Putri Ana Sabilillah; Luh Suartini; I Nyoman Rediasa
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 1: April 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i1.113237

Abstract

This research is a research on the aesthetic analysis of batik tulis motifs at Ida Batik Bondowoso with the aim of increasing public appreciation of batik tulis. Ida Batik Bondowoso is located in Kalianyar Village, Tamanan District, Bondowoso Regency, East Java. This research describes the tools, materials, batik making process, various batik motifs, and describes the aesthetics of each motif in batik tulis at Ida Batik Bondowoso. This research uses a descriptive qualitative approach with data collection techniques of observation, interviews, documentation, and literature. The results of the data obtained from various sources are analyzed using domain analysis and taxonomic analysis using the theory of the process of making batik tulis, batik tulis motifs, and aesthetics. The results of this research are (1) the tools and materials used are tablets, printers, pencils, canting, frying pans, electric stoves, sponge brushes, tracing paper, katuan primissima cloth, malam (wax), remasol dye, waterglass. The process of making hand-drawn batik begins with making a pattern design, printing the pattern, transferring the pattern to the cloth, using a canting, coloring, applying water glass to the cloth, rolling, boiling the cloth to remove the wax on the cloth and ends with drying the cloth. (2) The various hand-drawn batik motifs of Ida Batik Bondowoso are cassava leaves, coffee leaves, coffee, roof tiles, tofu, tobacco leaves, Ijen geopark, birds of paradise, and birds of paradise. (3) Aesthetic analysis of hand-drawn batik motifs at Ida Batik Bondowoso shows that each hand-drawn batik motif is combined into one design created from various aesthetic elements such as dots, lines, planes, and colors which are applied through the principles of fine art of unity, balance, rhythm, emphasis, proportion, and harmony so that a design with high aesthetic value can be created. Keywords: aesthetic, batik tulis, ida batik Bondowoso.
Kritik Ketimpangan Hukum Melalui Kisah Parasurama: Adaptasi Visual Prasi pada Meda Kaca dan Akrilik Kadek Rifkyandi Septyan; I Wayan Sudiarta; I Nyoman Rediasa
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 1: April 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i1.113628

Abstract

The discrepancy in law enforcement in Indonesia sometimes leads to phenomena of injustice that contradict the principle of equality before the law. This phenomenon of abuse of authority and corruption practices incites public anger, demanding the employment of art as a means of critical expression.  This study aims to explore the visual adaptation techniques of Prasi art on contemporary media such as glass and acrylic, as well as to visualize socio-political critique through the legendary figure Parasurama Avatara. The method used is the Design and Development approach, which included stages for planning, technical experiment, and work evaluation stages. The creation process is carried out using engraving techniques with a fine drill on transparent media while maintaining the visual character of Balinese wayang. The results and discussion show that this adaptation produced four main works: “Disparitas,” which represents the disparity of legal transparency, “Parasurama vs Kartawirya Arjuna” and “Parasurama vs Everybody” as symbols of firmness against arbitrariness, and “Expectation,” which conveys as message of harmony through the Tri Hita Karana philosophy. The conclusion of this research suggest that the use of glass and acrylic media symbolically strengthens the message of legal transparency and firmness. This adaptation validates that the traditional art of Prasi is capable of contextualizing contemporary social issues while maintaining its visual identity. Keywords: Prasi, Parasurama, Glass and Acrylic, Discrepancy in Law, Engraving.
Eksploitasi Pesisir Pantai Bali Utara Sebagai Sumber Inspirasi Seni Instalasi Made Bayu Ariada; I Nyoman Rediasa; Langen Bronto Sutrisno
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 1: April 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i1.113630

Abstract

The creation of this installation artwork aims to convey damage observed in environmental issues, with coastal areas that are beginning to be exploited now represented in the installation artwork to invite people to reflect on the damage to coastal areas. Exploitation is one of the activities carried out arbitrarily to utilize natural resources. Coastal exploitation is used as a source of visual ideas for the creation of artwork using a practice-based research (PBR) method. The research stages include site observation, documentation, concept design, and development of the work by visual arts experts. Techniques in creating installation art works using environmentally friendly materials to be able to imitate or mimic forms and places according to the exploited environmental conditions, art works that do not emphasize aesthetics but rather the reality of coastal environmental damage that has been encountered, so that they can be used as references or sources of inspiration in the development of contemporary visual art. Keywords: Bali Beach, Exploitation, Visual Inspiration, Practice-Based Research, Installation Art
HEGEMONI BUDAYA POP: BUDAYA BALI TERKOMODIFIKASI I Putu Yogantara; I Nyoman Rediasa; I Wayan Sudiarta
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 1: April 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i1.114217

Abstract

This research explores the phenomenon of popular culture hegemony that triggers a systematic commodification process of Balinese culture in the postmodern era. Bali, renowned for the nobility of its local wisdom, currently faces major challenges in the form of cultural clashes due to the dominance of global influences that prioritize visual-commercial aspects over fundamental values. This hegemony causes Balinese culture to be frequently repackaged into commodities that are marketable and "Instagrammable" to meet global market demands. Through the Design and Development (D&D) method, the author created interactive intermedia artworks titled "Lost Paradise" and "Antara Mengikuti dan Diikuti". These works utilize the assemblage technique by integrating found objects and sensor technology as a medium for sociocultural reflection. The results of the creation demonstrate that interactive art can act as a critical instrument involving the active participation of the audience to reflect on their position amidst the currents of modernity. This work concludes that the effort to preserve the essence of local culture amidst the pressure of global hegemony is the collective responsibility of every individual. Keywords: Pop Culture Hegemony, Commodification of Balinese Culture, Intermedia Art, Assemblage Art, Interactive Art.
Co-Authors Hilman Cahyadin I Gede Ari Prasta I Gusti Made Budiarta I Gusti Nengah Sura Ardana I Made Bayu Saka Palwaguna Saka I Nyoman Alek Kade Alek I Putu Yogantara I Wayan Sudiarta Kadek Rifkyandi Septyan Langen Bronto Sutrisno Langen Bronto Sutrisno Luh Suartini . Made Bayu Ariada Ngakan Nyoman Adi Parwata Putri Ana Sabilillah Wayan Sudiarta