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All Journal Nirmana Texture : Art and Culture Journal Abdi Seni Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Intervensi Komunitas: Jurnal Pengabdian Masyarakat Jurnal Desain Komunikasi Visual Nirmana
Satriana Didiek Isnanta
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Religion Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences Other

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KAJIAN DESAIN TOYOTA KIJANG DAN PENGUATAN CITRA PADA MASYARAKAT SOLO Isnanta, Satriana Didiek
Nirmana Vol 9, No 1 (2007): JANUARY 2007
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (176.965 KB) | DOI: 10.9744/nirmana.9.1.pp. 10-19

Abstract

Indonesia's modern consumer societies develop in conjunction with the history of global economy and the transformation of consumer capitalism. This happens in many communities in cities of Indonesia, including Solo. With a population of 500 thousand at night and 1.5 million during the day, it is a potential market for global products. Therefore, it is obvious if the Solo people's tastes are no different than other communities, because of the consumer behaviour and global economy that are intertwined. The value of the meaning of products have also shifted, such as with cars. Cars that usually function as a vehicle no different than a wagon, have changed into a symbol of social class for the modern society, even for the people of Solo. The functions and facilities of the Various brands and types of cars, and elements that are related to automotive technology, are not too different. What makes the difference between these cars lays on the design of the form and image. This form design is able to create an image for certain social class for its user and its product brand. The most interesting phenomenon from automotive products in Indonesia is what happened with Toyota Kijang. Since its launch on 1977, Toyota Kijang, which is on its fifth generation this year, has succeeded in becoming the number one choice for cars for Indonesians. Abstract in Bahasa Indonesia: Masyarakat konsumen Indonesia mutakhir tumbuh beriringan dengan sejarah globalisasi ekonomi dan transformasi kapitalisme konsumsi Hal ini terjadi di banyak masyarakat perkotaan Indonesia termasuk masyarakat kota Solo. Dengan jumlah penduduk sebesar 500 ribu jiwa pada malam hari dan 1,5 juta jiwa pada siang hari merupakan pasar potensial bagi produk-produk global, maka tidak mengherankan bila selera masyarakat Solo sekarang tidak ubahnya dengan selera masyarakat lain karena perilaku konsumtif dan globalisasi ekonomi sangat terkait. Dalam menilai sebuah makna produkpun juga telah bergeser, tak terkecuali mobil. Mobil yang fungsi awalnya hanya merupakan alat angkut yang tidak ada bedanya dengan gerobak telah menjadi satu penanda pencitraan kelas sosial bagi masyarakat modern sekarang, tak terkecuali masyarakat Solo. Mobil berbagai merk dan jenisnya ini ternyata fungsi dan fasilitas serta unsur yang berhubungan dengan teknologi otomotifnya tidaklah jauh berbeda. Justru yang membuat mobil ini berbeda terletak pada desain bentuk dan citra. Desain bentuk inilah yang mampu membuat pencitraan bagi klasifikasi kelas sosial bagi pemakaianya, disamping tentu saja branded produknya. Fenomena yang paling menarik dari produk otomotif yang terjadi di Indonesia adalah Toyota Kijang. Sejak diluncurkan tahun 1977, Toyota Kijang yang tahun ini sudah memasuki generasi ke V telah berhasil menjadi mobil pilihan nomor satu bagi masyarakat Indonesia. Kata kunci: desain, pencitraan, Toyota Kijang, dan prilaku konsumen masyarakat Solo.
BOOMING SENI LUKIS INDONESIA, SIAPA YANG DIUNTUNGKAN? Satriana Didiek Isnanta
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (828.412 KB) | DOI: 10.33153/dewaruci.v5i2.787

Abstract

In the development of fine art in Indonesia there was once an interesting phenom- enon, namely, “painting boom.”  It first happened in 1987, then in 1991-1992, in1999-2000, and the last in 2007.  Painting was booming for the first time in coinci- dence  with the economic crisis in 1997 and this phenomenon grew stronger.   The economic crisis which was indicated by the collapse of private banks, the deprecia- tion of rupiah against dollar, and the stoppage of wheel of real sectors which led to unemployment in  cities, caused capital flight and transfer of investment to other sectors, especially to artistic objects.  Painting was suddenly believed as an object of investment which could  give a big advantage in short time.   Then a business community of painting emerged  and most of the businesspersons were Chinese. And the paradigm changed from painting as a work of art which had philosophical- aesthetic value to a commodity which was  subject to commerce law.   In other words, painting had become a commodity and entered the global capitalist indus- try.  And then the question is why painting could change into a special object which people were willing to collect and invest in.   This writing is  trying to answer the above question using an economic-politic approach and discuss who  took part in making painting enjoy a boom and who was the most powerful and took an advan- tage.
TV Lokal Pembentuk Identitas Kultural Antara Harapan Dan Kenyataan (Studi Kasus Terang Abadi Televisi Surakarta) Satriana Didiek Isnanta
Ornamen Vol 5, No 2 (2008)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (947.863 KB) | DOI: 10.33153/ornamen.v5i2.915

Abstract

The endorsement of Undang Undang /UU 2002 number 32 (Indonesian Law System) about broadcase is to emerge an important standing point of the existence of local television. It is because of the fulfillness of the formal legal and democratic in Indonesia. Local television implementating spirit of autonomous is felt by the viewer as the spectrum of our broadcast. Covering by dense local programs local television has always served the best programs for Indonesian viewers realizing the local genious.Besides, the ideal of this UU broadcast is to build the foundation for the system of broadcast decentralisation. In short, the local government has also right to take a better benefits from its broadcast both the range of the diversity of the content and diversity of ownershipIt looks very ideal when the UU 2002 about broadcast want to make a good and fair share of economical benefits. But we have a big question : How far our local investor can compete with nasional even gobal investors? How can local program compete with others from national or even global program?. Moreover, can local program format as a local culture identity can compete againts national or even global program format?Those are three big questions that really want to be analysed in this paper. Using the focus in case study of Terang Abadi Television (TATV Surakarta) as local televisionIt is expected to find out an ideal television format program to make a ultural identity as well as profit for economical sides. Key words : Local television, cultural identity.
Ekspresi Seni Dan Intervensi Publik (Studi Kasus Balai Soedjatmoko Tahun 2003-Sekarang) Satriana Didiek Isnanta
Ornamen Vol 5, No 1 (2008)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (917.526 KB) | DOI: 10.33153/ornamen.v5i1.897

Abstract

Talking about “The Expression of Art and Public Intervention” always relates to the artist’s communication process as the creator of art and the enjoyer (public). Or in other words, the artwork in this case is the painting as the social medium or communication vehicle of artist idea to another people. In daily social reality, the dialogic process between the artist and public frequently encounters misconception.This results from several problems: firstly, the artwork is multi-interpretative in nature, thereby leading to varied perception; secondly, the different “values” adopted by the artist and the public; and finally, the difference between the artist and several communities in the society in defining “the public space”.The three problems above will be discussed and explored in this paper. Focusing on the case study in Balai Soedjatmoko from 2003 onward, it is expected that this paper will find an agreement that can mitigate the “public intervention” into the emergence of artwork in the public spaces in the future.Keywords: Artistic Expression, Social Body, and Public Space.
Pendampingan Proyek Seni Rupa Secara Daring Pada Saat Wabah Covid-19 di Komunitas Ruang Atas Surakarta Satriana Didiek Isnanta; Much Sofwan Zarkasi
Intervensi Komunitas Vol 3 No 1 (2021)
Publisher : ITB Ahmad Dahlan Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32546/ik.v3i1.1123

Abstract

Komunitas Ruang Atas pertama kali didirikan pada tahun 2015, berlokasi di Ngemplak Sutan, RT 1/RW 37 Mojosongo, Surakarta. Awalnya, sebuah rumah kontrakan ditempati oleh beberapa mahasiswa Seni Rupa ISI Surakarta yang tergabung dalam kelompok kecil bernama Pemuda Teyeng (Pe Te). Karena akumulasi bersama beberapa kelompok seperti Pe Te dan SAYAP (Proyek Artis Muda Surakarta). Seiring berjalannya waktu, Ruang Atas menjadi salah satu komunitas seniman muda yang paling aktif di Surakarta dalam menyelenggarakan kegiatan. Masalahnya, pandemi Covid-19 telah membuat program kegiatan seni harus didesain ulang secara online. Dengan adanya hal tersebut maka pelaksana PKM mendampingi Proyek Seni Rupa Online Selama Wabah Covid-19 di Komunitas Ruang Atas Surakarta,” dengan menggunakan metode Participatory Rural Appraisal (PRA) yang menekankan pada keterlibatan masyarakat dalam segala kegiatan mulai dari perencanaan,pelaksanaan, dan evaluasi program kegiatan dan model bina lingkungan, yaitu pendekatan yang melibatkan masyarakat secara langsung sebagai subjek dan objek pelaksanaan kegiatan pengabdian kepada masyarakat. Keluaran dari PKM ini adalah terselenggaranya kegiatan ilmiah dan artikel.
Perjuangan Masa Sekolah Sebagai Inspirasi Penciptaan Karya Seni Lukis Angling Yoga Bayu; Satriana Didiek Isnanta
Texture:Art and Culture Journal Vol 4, No 2 (2021)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (629.389 KB) | DOI: 10.33153/texture.v4i2.4191

Abstract

The creation of this final project entitled The Struggle for the School Period as an Inspiration for the Creation of Painting Art is a response to the author's experience of being part of rural children who have dreams of studying in a big city. The limit of the discussion is on the struggle of a child in an underprivileged family, determined to study at the SMK level in Solo, which tends to require a lot of money than school in the village. The struggle for the school period is a form of effort to complete the study period smoothly even though there are constraints. The purpose of the creation of this final project is to create a work of art that painting inspiration from the struggles of the school period by explaining the concept of its creation, the process of its creation and the meaning of the artwork created. The creation of works refers to the three stages of creation proposed by Herman Von Helmholtz, including the stages of collecting facts, data and sansation, the deposition stage and the stage of expressing the form of an artwork. This final project produces six works of decorative-surrealistic painting that emphasize visual forms by cultivating stylization, deformation and transformation using acrylic paint on canvas media and using plaque and sungging techniques as ideas for color processing.Keywords: school period struggle, painting, decorative-surrealistic, sungging
PERANCANGAN FESTIVAL SENI KAMPUNG “KARANGASEM KLECO KUNCARA” Satriana Didiek Isnanta; Taufik Murtono; Joko Budiwiyanto
Abdi Seni Vol 11, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v11i2.3463

Abstract

Pemkot Suakarta membuat even budaya berbasis kampung (festival kampung) yang diselenggarakan di tiap-tiap Kalurahan. Ada 54 Kalurahan yang setiap bergiliran membuat festival budaya selama setahun. Tujuan even tersebut adalah pengembangan potensi seni budaya lokal yang ada di tiap kalurahan sebagai penunjang pariwisata kota Surakarta.  Diharapkan festival kampung yang diselenggarakan oleh kalurahan-kalurahan di kota Surakarta selain sebagai penunjang pariwisata, meneguhkan kota Solo sebagai kota budaya. Maka perlu kiranya untuk membuat Festival yang mampu merepresentasikan atau memunculkan kembali budaya lokal yang diharapkan dapat membangkitkan jati diri Kota Solo dalam  bentuk kemasan festival, termasuk Kalurahan Karanagsem.Mengingat hal tersebut, maka pelaksana PKM melakukan pendampingan terhadap festival kampung di Kalurahan Karangasem dengan tajuk’” Karangasem Kleco Kuncara”. Metode yang digunakan adalah Participatory Rural Appraisal (PRA) yang menekankan keterlibatan masyarakat dalam keseluruhan kegiatan mulai dari perencanaan, pelaksanaan dan evaluasi program kegiatan dan Model Community development yaitu pendekatan yang melibatkan masyarakat secara langsung sebagai subyek dan obyek pelaksanaan kegiatan pengabdian kepada masyarakat. Luaran PKM ini adalah branding festival dan KI.
Satriana Didiek Isnanta MAKNA LORO BLONYO DAN DEFORESTASI DALAM PENCIPTAAN KARYA SENI INTERMEDIA Satriana Didiek Isnanta; Much. Sofwan Zarkasi; Asmoro Nurhadi Panindias
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.114

Abstract

This research was designed as an experimental study of intermedia art creation based research by reinterpretingthe loro blonyo statue as a source of ideas for creating works. Loro Blonyo is a pair of wooden sculpturesconsisting of a female statue and accompanied by a man wearing a Javanese traditional wedding dress in asitting position. Broadly, the meaning of the Loro Blonyo statue for the Javanese people is the unity of thecouple as a reflection of the harmony of the Javanese mind and harmony. The meaning of the loro blonyostatue is then analyzed, elaborated and reinterpreted. This research is an artistic study with a focus on thestudy of the creation of intermedia art creation using various media based on conceptual thinking with aninterdisciplinary approach. The purpose of this creation is to create a multi-media installation art that usesvisual, motion and sound elements. This artistic research method uses Dharsono’s Creative Creation (2016):research with are ethic and emic approach, exploration, experimentation and formation approach. The resultsof the research were concluded and became the basis for the concept of space-based intermedia artwork,namely multi-media installation art with a visual form of local culture as a strengthening of national identity.
Perancangan Komik “Bayu Samudera” sebagai Media Promosi Potensi Usaha Mikro Kecil dan Menengah (UMKM) di Karimunjawa Satriana Didiek Isnanta; Afri Wita; Apip Apip
Jurnal Desain Komunikasi Visual Nirmana Vol. 22 No. 2 (2022): JULY 2022
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (691.889 KB) | DOI: 10.9744/nirmana.22.2.89-95

Abstract

Kepulauan Karimunjawa terdiri dari 27 pulau yang secara administratif terletak di Kabupaten Jepara, Jawa Tengah. Karimunjawa mempunyai potensi alam yang luar biasa, pantai pasir putih dengan ombak lautnya yang landai serta keindahan karang laut beserta habitat yang ada di dalamnya membuatnya memjadi surga bagi pecinta snorkeling dan diving. Selain alam bawah lautnya yang indah, Karimunjawa juga memiliki potensi lainnya seperti makam Sunan Nyamplungan, hutan bakau, dan kayu khas Karimunjawa, yaitu Dewandaru. Selain itu, ada juga produk UMKM yang berkembang, tetapi sayang semuanya kalah oleh potensi alam bawah lautnya. Oleh karena itu, penting kiranya membuat media promosi kreatif yang menginformasikan potensi tersebut, yaitu melalui komik bahari berjudul “Bayu Samudera”. Metode perancangan yang dilakukan menggunakan metode kualitatif yang bersifat dekriptif dalam menganalisis sebuah peristiwa, aktivitas dan objek. Analisis yang digunakan adalah sintesis analisis, yang hasilnya sebagai dasar perancangan komik “Bayu Samudera”. Hasil dari perancangan komik ini adalah komik cetak maupun digital yang bertujuan untuk mempromosikan potensi produk UMKM di Karimunjawa.
STUDI PENCIPTAAN KARYA PERFORMANCE ART DENGAN FOKUS EKSPLORASI RUANG DAN CAHAYA Isnanta, Satriana Didiek
Acintya Vol. 2 No. 2 (2010)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2309.057 KB) | DOI: 10.33153/acy.v2i2.167

Abstract

Study the creation of works of performance art “The Light of Clear Soul” is a study of the creation of works that explore the performance art, space and light. The form of mywork is explores space, practical and elastic that can be presented anywhere, either in the conventional stage, in the parks, in the forest, in a public toilet, or on the street. The form and the essence of its performance over the motion and the selected symbol. In this work performance, the light becomes important as one of the aesthetic elements. This work not only in the spot light like a standard show, but also flexible in accordance with the conditions and needs, such as spot lights, flashlights, lanterns, candles, or even a slide projector or video projector though. This work is actually very open, kind of ideas and forms. Even open to get in on the area of collaborative work. With my idea of an artist as a performer and installator (because of my art background) then no wonder I create works that will be open to the other performer-based dance, music and theater. The study uses the method of creation is the creation of works that have several stages of phase observation, experimentation phase and creating phase works. In the observation phase in addition to the observations of some performance art in person and also the documentation of a location that will be used. It is given such importance in the performance art space. Furthermore, the findings were used by the author as the basis for the creation of premises experimentation space and light which then continued into a work of performance art intact. Forms of performance art whose works are just that moment will be tricked by audiovisual documentation that could later be accounted for in a long time. Keywords: Performance art, space, light, experimentation
Co-Authors Afri Wita Angling Yoga Bayu Apip Apip Ariyanto, Ahmad Fajar Asmoro Nurhadi Panindias Deni Rahman Joko Budiwiyanto Much Sofwan Zarkasi Panindias, Asmro Nurhadi Prasetyo, Ernasthan Budi Sugiharto, Farid Dwi Bagus Supendi, Eko Syamsiar, S., Taufik Murtono Zarkasi, Much. Sofwan