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All Journal Gorga : Jurnal Seni Rupa Gondang: Jurnal Seni dan Budaya STRETTO
Rivaldi Ihsan
Universitas Teknologi Sumbawa
Arts Humanities Education

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MOTIF BATIK TUMBUHAN DAN BAHARI SEBAGAI IDENTITAS ETNIS MELAYU BATAM KEPULAUAN RIAU Rivaldi Ihsan; Wiwik Surya Utami
Gorga : Jurnal Seni Rupa Vol 11, No 2 (2022): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v11i2.38650

Abstract

This research starts from the story of Sugeng's experience, a Batam craft craftsman who often gets questions from his friends, national and international tourists. He told how the process of batik motifs derived from the natural plants and the sea which became the source of Batam batik motif ideas. This research aims to find out; 1. What is the shape of the plant and marine batik motifs that are the identity of the Batam Malay ethnicity. This research is a qualitative description using participant observation methods, interviews, and literature studies. Batik Batam motifs have three functions, namely: physical function, personal function, and social function. The three functions are interrelated with nature, the personal individual, and the social life of the local community. The results of the study said that the identity of the Batam batik motif was born through the idea of cultural artists in creating batik craft art based on local wisdom.Keywords: batik, identity, Batam malay ethnic. AbstrakPenelitian ini berawal dari kisah pengalaman Sugeng seorang pengrajin seni kriya Batam sering mendapat pertanyaan dari teman-teman wisatawan nasional dan internasional. Ia bercerita bagaimana proses motif-motif batik berasal dari alam tumbuhan dan bahari yang menjadi sumber ide motif batik Batam. Penelitian ini, bertujuan mengetahui; 1. Bagaimana bentuk motif batik tumbuhan dan bahari yang menjadi identitas etnis Melayu Batam. Penelitian ini deskripsi kualitatif menggunakan metode partisipan observan, wawancara, dan studi kepustakaan. Motif-motif Batik Batam mempunyai tiga fungsi, yaitu: fungsi fisik, fungsi personal, dan fungsi sosial. Ketiga fungsi itu saling berkaitan dengan alam, individu personal, dan kehidupan sosial masyarakat setempat. Hasil penelitian mengatakan identitas motif batik Batam lahir melalui ide para seniman budayawan dalam mencipta karya seni kriya batik berbasis kearifan lokal.Kata Kunci: batik, identitas, etnis melayu Batam. Authors:Rivaldi Ihsan : Universitas Teknologi SumbawaWiwik Surya Utami : Universitas Teknologi Sumbawa References:Cassirer, E. (1987). Manusia dan Kebudayaan, Sebuah Isei Tentang Manusia. (Alih Bahasa Alois A. Nugroho). Jakarta: PT. Gramedia.Djelantik, A. A. M. (2004). Estetika Sebuah Pengantar. Bali: MSPI.Dekranas Batam. (2008). “Motof Batik”, Hasil Dokumentasi Pribadi: 10 September 2022, Dekranasda Batam.Feldman, B. E. (1967). Art as Image and Idea. Sp. Gustami (terj.). Yogyakarta: Institut Seni Indonesia Yogyakarta.Kartika, D. (2018). Batik sebagai Identitas, Komoditas, dan Gaya Hidup. Jakarta: Universitas Nasional Jakarta.Kuwala, R. N., & Sri, Z. N. (2022). Ragam Hias Motif Bati Tanah Liek Dharmasraya: Studi Kasus di Kerajinan Batik Tanah Liek Citra. Gorga: Jurnal Seni Rupa, 11(1), 8-15. https://doi.org/10.24114/gr.v11i1.32358.Moleong, L. J. (2002). Metode Penelitian Kualitatif. Bandung: Rosda Karya.Nurcahyanti, D. (2020). Peran Kearifan Lokal Masyarakat Jawa Untuk Melestarikan Batik Tradisi di Girilayu, Karanganyar, Indonesia. Mudra: Jurnal Seni Budaya, 35 (2), 145-153. https://doi.org/10.31091/mudra.v35i2.816.Nurul, N. (2020), “Proses Pembuatan Motif Batik Batam”, Hasil Wawancara Pribadi: 10 September 2020, Dinas Pariwisata dan Kebudayaan Kota Batam.Parmono, K. (2013). Nilai Kearifan Lokal Dalam Batik Tradisional Kawung. Jurnal Filsafat, 23(2), 134-136.Soedarso, S. P. (1990). Tinjauan Seni: Sebuah Pengantar untuk Apresiasi Seni. Yogyakarta: Saku Dayar Sana Yogyakarta.Sugeng, S. (2020), “Proses Pembuatan Motif Batik Batam”. Hasil Wawancara Pribadi: 12 September 2020, Dekranasda Batam.Valenta, S. V., &  Adriani, A. (2022). Studi Tentang Batik Batam: Studi Kasus di Indra Batik di Kota Batam. Gorga: Jurnal Seni Rupa, 11(1), 89-106.  https://doi.org/10.24114/gr.v11i1.29696.Takari, M. (2015). Teori dan Metode Untuk Kajian Tradisi Lisan. Medan: CV Mitra Medan.Trixie, A. A. (2020). Filosofis Motif Batik Sebagai Identitas Bangsa Indonesia. Folio, 1(1), 1-9.Wilma, W. (2020), “Proses Pembuatan Motif Batik Batam”. Hasil Wawancara Pribadi: 12 September 2020, Perumahan Griya Batam.Zen, Z. (2020), “Proses Pembuatan Motif Batik Batam”, Hasil Wawancara Pribadi: 10 September 2020. Dinas Pariwisata dan Kebudayaan Kota Batam.
Study Of Music Performance The Orches Group Pancaran Senja Melayu Village Batu Besar Nongsa Batam Rivaldi Ihsan
Gondang: Jurnal Seni dan Budaya Vol 6, No 2 (2022): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2022
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v6i2.39435

Abstract

The study of musical performances in this study focuses on the musical performance itself. Where music performance events are present through two important roles, namely musicians and audiences who are the center when the music performance takes place. The success of a musical performance is through a procession of intense rehearsals, ongoing performances, and evaluations after musical performances. This study is a qualitative analytic description of the Pancaran Senja Malay Orchestra music group at Kampung Melayu Batu Besar Nongsa Batam. The research methods are field observations, interviews, literature studies, and participant observers. The results of the research are; that the success of the Pancaran Senja Malay Orchestra music performance until now has gone through the stages of the rehearsal process, show flight hours, and performance evaluation for the progress of the Pancaran Senja Malay Orchestra. This procession was born through discussion and agreement among fellow musicians, so that the continuity and survival of the Pancaran Senja Malay Orchestra music group was established.
KREATIVITAS ABDUL GAFAR DALAM MENCIPTAKAN LAGU POP DAERAH SUMBAWA NUSA TENGGARA BARAT Risky Asriana Jaelani; Rivaldi Ihsan
STRETTO: Jurnal Penyajian, Pengkajian dan Penciptaan Musik Vol. 1 No. 1 (2023): EDISI 1
Publisher : Universitas Teknologi Sumbawa

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

Abstract

This article discusses the creativity of Abdul Gafar, known as Apang, a person who created regional pop songs from Sumbawa, West Nusa Tenggara. Apang, a musician from Sumbawa Besar, is not only a songwriter but also a solo organ player who still exists in the Sumbawa area and its surroundings. His works have succeeded in penetrating the market and competing with other songs in Sumbawa Regency, as well as making a positive contribution to the local music industry. This research applies Rhodes' four "P" concept, as explained by Utami Munandar, to analyze Apang's creative values in creating regional pop songs. Aspects such as person, process, driving factors and results are analyzed in depth. The research results show that Apang is a creative individual with a structured creative process. The focus of the research involves understanding the creative process in song creation and identifying the distinctive characteristics of Apang's songs. These findings indicate that the songs resulting from Apang's creativity have distinctive characteristics and characteristics in the application of song lyrics originating from the Samawa ethnic language, as well as harmonies that adapt to their musical characteristics which differentiate them from other musical works in the music industry.
Co-Authors Risky Asriana Jaelani Wiwik Surya Utami