Galih Apriliyanto
Institut Seni Indonesia Surakarta

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INOVASI BATIK BANYUMAS (KAJIAN PERKEMBANGAN MOTIF) Galih Apriliyanto
Jurnal Dimensi Seni Rupa dan Desain Vol. 15 No. 2 (2019)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (972.978 KB) | DOI: 10.25105/dim.v15i2.5641

Abstract

AbstractBanyumas batik is batik to its uniqueness in terms of vision. Influence inland culture and coastal area made character batik Banyumas more varied.The batik in Banyumas and the making process are knowledge that communicates locally. Data analysis techniques using art-based research using Alan William's innovation theory. The analysis used to express conversions in Banyumas batik, with the background of the craftsmen who innovate in terms of visual (motives for change, color, arrangement orpattern, and stuffing).The result showed that the diversity motive in Banyumas influenced by (1) Banyumas geography regions, (2) nature and character of the concerned community, (3) the belief system, (4) customs, (5) natural and environment conditions, (6) the connection between regions batik. The motives in Banyumas batik observed in spesifications can be classified first classical motive combination (of floraand fauna) with another motive and create the colors. Both, simplify the another classic custom motive side form to add color to an improved. Third, adopt a other batik regions with custom Banyumas style.  AbstrakBatik Banyumas merupakan batik yang memiliki keunikan dalam segivisualisasi. Keterpengaruhan budaya pedalaman dan pesisiran menjadikan karakter batik Banyumas lebih bervariasi. Inovasi yang ada di dalam motif batik Banyumas dan bagaimana proses terjadinya inovasi pada batik Banyumas merupakan pengetahuan yang bersifat lokal. Teknik analisis data menggunakan pendekatan artbased research dengan menggunakan teori inovasi Alan William. Analisis yang digunakan untuk mengungkapkan evolusi di dalam batik Banyumas, dengan dilatarbelakangi pengrajin yang melakukan inovasi dari segi visual (perubahan motif, warna, susunan atau pola, dan isian). Hasil penelitian menunjukkan bahwa kemunculan keberagaman motif Banyumas dipengaruhi oleh (1) letak geografis daerah Banyumas, (2) sifat dan karakter masyarakat yang bersangkutan, (3) sistemkepercayaan, (4) adat istiadat, (5) kondisi alam dan lingkungan, (6) adanya hubungan antar daerah pembatikan. Perubahan motif dalam batik Banyumasapabila diamati secara spesifikasi dapat dikelompokkan pertamamengkombinasi motif klasik (flora dan fauna) dengan motif lain denganmengkreasikan warna. Kedua, menyederhanakan motif klasik dari sisigubahan bentuk dengan menambahkan warna yang lebih cerah. Ketiga,mengadopsi motif batik daerah lain dengan gubahan gaya Banyumas.
One Piece Symbols in Journalistic Photography of the 2025 Madagascar Protests: A Visual Culture Analysis through Participatory Culture Febrian Putra; Aninditya Ardhana Riswari; I Putu Adi Putra Wiwana; Galih Apriliyanto; Azmy Hanif
Sanggitarupa Vol. 6 No. 1 (2026): Sanggitarupa
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Journalistic photography in contemporary visual culture no longer functions merely as a medium for documenting events, but also as a site of meaning production that represents social identity, ideology, and the cultural practices of the digital generation. This article aims to analyze the photograph “Madagascar’s Gen Z Protests” by Luis Tato through the perspectives of visual culture and Henry Jenkins’ theory of participatory culture. This study employs a qualitative approach using visual analysis methods focusing on photographic elements such as composition, framing, body gestures, visual artifacts, and the relationship between subjects and protest space. The analysis interprets the use of popular culture symbols, particularly the Jolly Roger from the manga One Piece, within the context of the 2025 student protests in Madagascar. The findings reveal that the One Piece symbol in the photograph represents the appropriation of transnational popular culture as a visual language of Gen Z resistance. Through the concept of participatory culture, the photograph demonstrates practices of global community affiliation, creative expression, symbolic digital circulation, collaborative problem-solving, and connections between fictional narratives and political realities. Luis Tato’s photograph not only documents a student protest but also captures the transformation of visual culture among digital generation, in which popular culture symbols function as instruments of contemporary political articulation. This study argues that contemporary journalistic photography can be understood as a visual cultural practice actively shaping the production of social meaning within the global media ecosystem.