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Sunardi
Institut Seni Indonesia Surakarta
Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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Karya Cipta Pertunjukan Wayang Perjuangan Sebagai Penguatan Pendidikan Bela Negara . Sunardi; . Kuwato; . Sudarsono
Mudra Jurnal Seni Budaya Vol 33 No 2 (2018): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i2.363

Abstract

Tulisan ini mengungkap tentang pertunjukan wayang perjuangan sebagai penguatan pendidikan bela negara bagi masyarakat Indonesia. Dua persoalan penting yang dibahas yakni: (1) bentuk karya cipta pertunjukan wayang perjuangan; dan (2) fungsi pertunjukan wayang perjuangan bagi masyarakat Indonesia. Bentuk karya cipta pertunjukan wayang perjuangan dikaji dengan konsep estetika wayang, adapun fungsi pertunjukan dikupas dengan teori fungsi kesenian. Hasil pembahasan menunjukkan bahwa karya cipta pertunjukan wayang perjuangan dibangun berdasarkan beberapa unsur, di antaranya seniman, garap lakon wayang, dan boneka wayang. Pada sisi lain, pertunjukan wayang perjuangan memiliki fungsi sebagai penguatan pendidikan bela negara bagi masyarakat Indonesia.This paper reveals the wayang perjuangan performances as the strengthening of state defense education for the people of Indonesia. Two important issues are discussed, namely: (1) the form of wayang perjuangan performance; and (2) the function of wayang perjuangan for the Indonesian people. The form of wayang perjuangan studied with the aesthetic concept of wayang, while the performance function is analyzed with the theory of art function. The results of the discussion show that the works of wayang perjuangan are built based on several elements, among them artists, working on wayang plays, and puppets. On the other hand, the wayang perjuangan performance has a function as the strengthening of state defense education for the people of Indonesia. 
The aesthetics of virtual wayang performances during the covid-19 pandemic Sunardi Sunardi; Jaka Rianto; Katarina Indah Sulastuti; Tatik Harpawati; Purbo Asmoro; Ranang Agung Sugihartono
Gelar : Jurnal Seni Budaya Vol 21, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i1.4571

Abstract

This paper discusses the aesthetics of virtual wayang performances by puppeteers. The problems studied are: (1) why puppeteers have a new tendency to perform virtual wayang; and (2) the aesthetic style of the virtual wayang performances. Data collection methods by interviews with puppeteers, literature studies about virtual wayang, and observations of wayang virtual performances by puppeteers were analyzed by aesthetic theory. The study results showed that puppeteers used digital platforms to maintain their profession's continuity and economic living conditions. The tendency of virtual wayang to give rise to an aesthetic style of digital puppets is known as aesthetics of taste, with the orientation of wayang performance to meet public tastes. The conclusion results state that the aesthetic style of the virtual wayang performance: (1) the camera as a representation of the audience's eyes; (2) puppeteers are required to be creative, innovative, and productive; (3) the audience has the freedom to determine their tastes; and (4) the importance of collaboration that must be carried out by the puppeteer.
Relevansi Ajaran Hastha Brata dalam Pertunjukan Wayang Terhadap Kepemimpinan Zaman Sekarang Suyanto; Sunardi
PANGGUNG Vol 34 No 3 (2024): Kreativitas, Seni Kontemporer, dan Pariwisata Berkelanjutan
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v34i3.3557

Abstract

ABSTRAK Tulisan ini bertujuan untuk mengkaji relevansi ajaran Hastha Brata dalam pertunjukan wayang terhadap kepemimpinan zaman sekarang. Ajaran Hastha Brata bersumber dari berbagai kitab yang dipresentasikan melalui pertunjukan wayang lakon Wahyu Makutharama. Metode pengumpulan data dilakukan dengan studi pustaka dan telusur internet. Hasil analisis menunjukkan bahwa: (a) kosmologi Jawa sebagai sumber pengetahuan tentang hakikat kehidupan manusia; (b) ajaran Hastha Brata dalam pertunjukan wayang lakon Wahyu Makutharama merupakan intisari ajaran kepemimpinan; dan (c) ajaran Hastha Brata memberikan landasan bagi kepemimpinan ideal di zaman sekarang. Temuan dari tulisan ini mengungkapkan bahwa ajaran Hastha Brata dalam pertunjukan wayang dapat dijadikan sebagai pondasi kepemimpinan yang kompleks untuk mewujudkan sosok pemimpin yang ideal di masa sekarang.Kata kunci: kosmologi Jawa, Hastha Brata, pertunjukan wayang, kepemimpinan
Figur Semar sebagai simbol budaya dalam pandangan masyarakat Jawa Yayah Rukiah; Ranang Agung Sugihartono; Sarwanto Sarwanto; Sunardi Sunardi
Jurnal Desain Vol 12, No 1 (2024): Jurnal Desain
Publisher : Universitas Indraprasta PGRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30998/jd.v12i1.23060

Abstract

Artikel ini membahas figur Semar sebagai simbol budaya yang memiliki makna mendalam dalam pandangan masyarakat Jawa. Semar, yang dikenal sebagai tokoh bijaksana dalam dunia pewayangan, tidak hanya berperan sebagai penasihat tetapi juga menjadi lambang spiritualitas, kesederhanaan, dan kedamaian. Dalam kehidupan masyarakat Jawa, Semar dipandang sebagai representasi nilai-nilai luhur yang mengajarkan kearifan lokal, penghormatan terhadap tradisi, serta panduan moral dalam menjalani kehidupan. Kajian ini mengungkap bagaimana simbol Semar terus relevan sebagai inspirasi dan panduan, meskipun mengalami transformasi makna seiring dengan perkembangan zaman. Tujuan dari penelitian ini untuk menjelaskan figur Semar dalam rupa wayang kulit purwa gaya Surakarta, dan juga untuk menjelaskan figur Semar sebagai ajaran budaya masyarakat Jawa. Metodologi yang digunakan untuk mengkaji tokoh Semar menggunakan metode kualitatif dengan interaksi analitis. Data primer dalam hal ini bentuk dari wayang kulit Semar dari koleksi Kerayon Kasunanan dan Ki Bambang Suwarno, dengan dielaborasi dengan hasil wawancara juga studi literatur yang relevan. Hasil dari penelitian ini menegaskan pentingnya peran Semar dalam membentuk identitas dan jatidiri masyarakat Jawa.
Commodification Of Cultural Identity: A Qualitative Visual Analysis Of The Semar Figure In Trademark Logos Yayah Rukiah; Ranang Agung Sugihartono; Sarwanto; Sunardi
INJECT (Interdisciplinary Journal of Communication) Vol. 11 No. 1 (2026)
Publisher : FAKULTAS DAKWAH UIN SALATIGA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18326/inject.v11i1.6523

Abstract

Logos are important identity markers in a trademark. This becomes interesting when many local trademarks originating from Central Java use the figure of Semar in their logos. Through observation on trademark registration sites, there are 208 trademarks that use the figure of Semar in their logos, with 108 of them officially registered. This study examines how the mythological figure of Semar is transformed and interpreted as a modern visual identity through the approach of Stuart Hall's theory of representation and identity, as well as Gillian Rose's visual methodology in the realm of the site of audiencing. The research analyzed several logos taken based on purposive sampling, then discussed in detail the visuals of the logos that contain deep historical and social significance. The results of the analysis show that the shift in medium from shadow puppets to logos changes the mechanism of audience meaning, from a narrative-pedagogical approach to instant and associative visual recognition. The use of the figure of Semar in trademark logos is not merely an aesthetic strategy, but a representational practice that negotiates Javanese cultural identity in the contemporary public space. This article concludes that the cultural identity represented by Semar is not static, but is continuously reconstructed by the audience to build emotional bonds and cultural legitimacy amid the dynamics of modernization, one of which is through cultural commodification in the form of trademark logos.
Uncovering Visual Expression Driver on the Back of the Truck Anthony Yudhie Mahendra Tumimomor; Ranang Agung Sugihartono; Pande Made Sukerta; Sunardi Sunardi
Blantika: Multidisciplinary Journal Vol. 4 No. 6 (2026): Special Issue
Publisher : PT. Publikasiku Academic Solution

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.57096/blantika.v4i6.517

Abstract

The present study seeks to elucidate the visual expressions of drivers manifested on the back of trucks. Visual expressions represent a unique phenomenon from budaya populer Indonesia's popular culture. The data in this study consists of images and sentences found on the rear of 100 trucks operating in Central Java, Indonesia. It is a common misconception that all visualizations on trucks are aesthetically pleasing; some individuals still harbor negative stereotypes toward them. The objective of this study is to ascertain the meaning and message that drivers seek to convey to the public. The present study employed an interpretive ethnographic methodology to understand the drivers' ways of thinking, their perspectives, and how they interact in their daily lives. The application of qualitative research with descriptive methods has been found to reveal visual elements, forms of expression, linguistic expressions, and the underlying meaning behind the creation of such visualizations. The results of this study illuminate the true message of these visual expressions, one of which is to showcase the conditions and outpourings of sentiment as experienced by truck drivers in reality.
Co-Authors . Kuwato . Sudarsono Anthony Yudhie Mahendra Tumimomor Bambang Suwarno Basnendar Herry Prilosadoso Dendi Pratama I Nyoman Murtana Jaka Rianto Katarina Indah Sulastuti Kuwato Maryono - - Pande Made Sukerta Pujiono, Bagong Purbo Asmoro Ranang Agung Sugihartono Ranang Agung Sugihartono Sarwanto Sarwanto Sarwanto Sudarsono sugeng Nugroho Sutarno Sutarno Suyanto Tatik Harpawati Taufiq Akbar Veronika Kristanti Putri Laksmi Yayah Rukiah Yayah Rukiah Yayah Rukiah