Garuda - Garba Rujukan Digital

Humanistik dan Citra Perempuan dalam Film Bertema Poligami Tanjung, Nurjannatin Aliya Albany; Putra, Wibisono Tegar Guna; Agung, Lingga
Jurnal Desain Vol 9, No 3 (2022): Jurnal Desain
Publisher : Universitas Indraprasta PGRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30998/jd.v9i3.12906

Poligami merupakan salah satu realita yang menimbulkan kontroversi di lingkungan masyarakat karena adanya anggapan bahwa dalam hal ini perempuan adalah pihak yang dirugikan, diposisikan sebagai korban, dan tidak berdaya. Film sebagai media komunikasi massa yang menjadi representasi tentang keadaan nyata di sosial masyarakat turut andil dalam memperkuat anggapan tersebut. Akan tetapi film “Berbagi Suami” dapat menceritakan kehidupan perempuan yang dipoligami dengan memberikan citra yang berbeda dengan memposisikan perempuan sebagai manusia seutuhnya yang dapat berkembang. Dengan menggunakan alat analisis tematik pada scene yang terpilih, dapat ditentukan tema dan pola dari film “Berbagi Suami”. Hasil penelitian menunjukan bahwa perempuan sebagai pihak yang sering diposisikan oleh media sebagai pihak yang tidak berdaya adalah seorang manusia dapat berkembang sesuai potensinya sehingga dapat mengaktualisasikan dirinya di mana hal tersebut merupakan tujuan ideal setiap manusia sesuai dengan teori humanistik Abraham Maslow.

Reading Amenk: The Grotesque Aesthetics of Reality Agung, Lingga; Bastari, Rendy Pandita; Gumilar, Ganjar; Lionardi, Angelia; Siswanto, Riky Azharyandi
Humanus Vol 23, No 1 (2024)
Publisher : Pusat Kajian Humaniora FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/humanus.v23i1.125448

In contemporary art, aesthetics serves as a medium for conveying complex societal and cultural messages. One artist who has masterfully harnessed this power is Mufti Priyanka (Amenk). His body of work is characterized by a unique and intriguing “grotesque aesthetics” that delves into various dimensions of everyday life. Through his art, Amenk provokes profound inquiries into the intricacies of our social realities. This research is dedicated to unraveling the aesthetics intricately woven into Amenk’s artworks, which seemingly offer genuine insights into the collective consciousness of a society grappling with the complexities of social norms and cultural identity. This study adopts a qualitative approach, examining Amenk diverse portfolio, encompassing paintings and graphics. Anchored in the framework of Derrida’s Deconstruction theory (1967), this approach involves a textual analysis, dissecting the conceptual distinctions that form the foundation of the text. By unveiling the inconsistencies and paradoxes inherent in the utilization of these concepts, the research sheds light on the intricate tapestry of Amenk’s artwork. Ultimately, Amenk’s body of work represents more than an exploration of cultural significance; it stands as a bold challenge to established norm, values, and even the truths.

Designing Video Storytelling Production for The Community of Kampung Gamis Karamat Mulya Village Lingga Agung; Muchmammad Zaenal Al Ansory
ABDIMAS: Jurnal Pengabdian Masyarakat Vol. 8 No. 1 (2025): ABDIMAS UMTAS: Jurnal Pengabdian Kepada Masyarakat
Publisher : LPPM Universitas Muhammadiyah Tasikmalaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35568/abdimas.v8i1.5910

Kampung Gamis, located in Karamat Mulya Village, Soreang Subdistrict, Bandung Regency, Kampung Gamis, located in Karamat Mulya Village, Soreang Subdistrict, Bandung Regency, possesses a rich cultural and traditional heritage but faces challenges in preserving and promoting its cultural values in the digital era. This community service program aims to empower the Kampung Gamis community through storytelling technique training and video storytelling production. The activities are designed to enhance visual narrative skills, strengthen local identity, and leverage digital technology as a tool for cultural promotion and creative economic empowerment. The training follows a systematic approach that includes an introduction to the basic concepts of storytelling, video production techniques, practical editing using the CapCut application, and the implementation of storytelling techniques in video creation. Participants are encouraged to produce videos featuring narratives about local traditions and daily life, which are then presented and evaluated for improvement and appreciation. The outcomes of this program reveal an increase in participants’ technical skills in video shooting and editing, awareness of the importance of meaningful narratives, and the community’s ability to promote local culture through digital media. The expected impacts of this training include the strengthening of local cultural identity, enhanced community capacity as digital change agents, and the development of effective visual communication. By integrating technology and storytelling, this program not only preserves the cultural heritage of Kampung Gamis but also opens up opportunities for sustainable creative economic growth. This participatory, community-based approach serves as a strategic step in community empowerment and the development of village potential in the digital era.

Designing Video Storytelling Production for The Community of Kampung Gamis Karamat Mulya Village Agung, Lingga; Al Ansory, Muchmammad Zaenal
ABDIMAS: Jurnal Pengabdian Masyarakat Vol. 8 No. 1 (2025): ABDIMAS UMTAS: Jurnal Pengabdian Kepada Masyarakat
Publisher : LPPM Universitas Muhammadiyah Tasikmalaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35568/abdimas.v8i1.5910

Kampung Gamis, located in Karamat Mulya Village, Soreang Subdistrict, Bandung Regency, Kampung Gamis, located in Karamat Mulya Village, Soreang Subdistrict, Bandung Regency, possesses a rich cultural and traditional heritage but faces challenges in preserving and promoting its cultural values in the digital era. This community service program aims to empower the Kampung Gamis community through storytelling technique training and video storytelling production. The activities are designed to enhance visual narrative skills, strengthen local identity, and leverage digital technology as a tool for cultural promotion and creative economic empowerment. The training follows a systematic approach that includes an introduction to the basic concepts of storytelling, video production techniques, practical editing using the CapCut application, and the implementation of storytelling techniques in video creation. Participants are encouraged to produce videos featuring narratives about local traditions and daily life, which are then presented and evaluated for improvement and appreciation. The outcomes of this program reveal an increase in participants’ technical skills in video shooting and editing, awareness of the importance of meaningful narratives, and the community’s ability to promote local culture through digital media. The expected impacts of this training include the strengthening of local cultural identity, enhanced community capacity as digital change agents, and the development of effective visual communication. By integrating technology and storytelling, this program not only preserves the cultural heritage of Kampung Gamis but also opens up opportunities for sustainable creative economic growth. This participatory, community-based approach serves as a strategic step in community empowerment and the development of village potential in the digital era.

Homelander and The Ambiguity of Morality in the Television Series the Boys Agung, Lingga; Syahdanendra, Fahrezi Kalif
Rekam Vol 21, No 2 (2025): Oktober 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v21i2.14555

Morality, as a dynamic component of culture, constantly shifts in response to social and ideological transformations. In the landscape of popular culture, the superhero figure has long served as a manifestation of moral values and an ethical compass for society. However, the series The Boys (2019) presents a deconstruction of this traditional representation through the character of Homelander, who symbolises moral ambiguity and corruption resulting from absolute power—standing in stark contrast to the idealised image of Superman. This study employed a qualitative method grounded in critical theory and Jacques Derrida’s deconstruction framework to examine how morality is represented and destabilised within the narrative of the series. Primary data were collected from selected episodes across three seasons of The Boys, focusing on three key scenes: the airplane incident in Season 1, Episode 4; the confrontation with Blindspot; and Homelander’s public speech in Season 3. Analysis was conducted on dialogue, character interactions, and visual aesthetic elements such as costume symbolism, lighting, and camera composition. Secondary data consisted of scholarly articles, books, and theoretical texts discussing superhero morality, Derrida’s deconstruction, and media representation politics. The analytical process involved three interrelated approaches: (1) narrative analysis to explore story structure and character development; (2) visual analysis to interpret symbolic and aesthetic elements that construct Homelander’s moral image; and (3) deconstructive analysis to apply the concepts of différance, trace, and critique of grand narratives and binary oppositions within discourses of heroism. The findings indicate that Homelander is not merely a symbol of moral decadence, but also a critique of capitalist institutions that exploit the superhero image for power and economic gain. From a deconstructive perspective, Homelander is not a fixed signifier, but a trace whose meaning is continually deferred and shaped by the forces of capitalism, media, and corporate spectacle. Thus, The Boys functions not only as entertainment but also as a reflective space for reexamining discourses on morality, heroism, and power in contemporary popular culture.

PENYUTRADARAAN FILM DOKUMENTER TENTANG FENOMENA BANJIR DI DAERAH DAYEUHKOLOT BANDUNG Mlathi Cikaleres, Aliifa; Agung, Lingga; Guna Putra, Wibisono Tegar
eProceedings of Art & Design Vol. 10 No. 6 (2023): Desember 2023
Publisher : Telkom University

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

Abstrak: Banjir merupakan bencana alam yang dapat terjadi kapan saja dan di mana saja serta sering menimbulkan kerugian harta benda hingga nyawa manusia. Kecamatan Dayeuhkolot adalah daerah di Kabupaten Bandung yan paling rawan terkena banjir. Berbagai upaya telah dilakukan oleh Balai Besar Wilayah Sungai Citarum, Provinsi Jawa Barat, Kabupaten Bandung misalnya seperti normalisasi sungai, pengerukan sungai Citarum, pembangunan tanggul penahan banjir, rencana pembangunan kolam penahan banjir, pembangunan sistem polder dan sumur resapan, pembangunan waduk dan embung, pengembangan sistem air minum dan air kotor, rehabilitasi jaringan air bersih, dan pembangunan shelter pada saat evakuasi bencana banjir. Dibutuhkan media untuk menyiarkan lebih lanjut mengenai progress penanggulangan banjir milik pemerintah dan mengapa daerah Dayeuhkolot masih terendam banjir walaupun banyak program pemerintah yang telah terlaksana. Film dokumenter secara harfiah berarti film yang membawa muatan yang berbobot dan serius, di mana orang, tempat, dan peristiwa yang terkandung di dalamnya merupakan kejadian nyata dan terpercaya. Film dokumenter dianggap cukup efektif dijadikan sebagai media untuk menyiarkan keluhan tentang banjir, mengingat film dokumenter akan memperlihatkan lebih jelas keadaan tentang fenomena banjir tersebut serta memperlihatkan reaksi masyarakat sekitar. Metode yang dilakukan dalam perancangan ini adalah pengumpulan data dengan observasi, wawancara, studi pustaka, dan kajian visual melalui film sejenis. Pada perancangan ini diharapkan hasil sebuah film dokumenter berdurasi 15 menit yang menggunakan penggayaan ekspositori dan bentuk ratorika yang diambil dengan tipe direct-cinema.Kata kunci: Banjir di Dayeuhkolot, Ekspositori, Film Dokumenter, dan Penyutradaraan.

Perancangan Logo UMKM di Sentra Roti Gang Babakan Rahayu Kopo, Bandung Agung, Lingga; Rahman, Yanuar; Putri, Nabila Alifah; Ihsani, Hilwa Tsabita; Ilmi, Ahmad Yusuf Kautsar; Rafiurrizki, Rafiurrizki; Putra, Athar Athallah
E-Dimas: Jurnal Pengabdian kepada Masyarakat Vol 15, No 3 (2024): E-DIMAS
Publisher : Universitas PGRI Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26877/e-dimas.v15i3.18113

Produksi roti rumahan di Gang Babakan Rahayu, Kelurahan Kopo, Kecamatan Bojongloa Kaler, Kota Bandung, telah menjadi sentra produksi roti yang unik dan mencerminkan kolaborasi masyarakat dalam mengembangkan bisnis lokal. Meskipun kegiatan ini memiliki strategi ekonomi yang signifikan, sentra roti ini menghadapi tantangan tahunan seperti kenaikan bahan baku, tarif dasar listrik, dan persaingan produk ternama, yang berdampak pada penurunan popularitas yang pernah viral pada tahun 2018. Sebagai respons, Pengabdian Masyarakat dilaksanakan pada awal tahun 2023 setelah mengidentifikasi masalah utama, yaitu kurangnya identitas visual baik secara keseluruhan maupun pada produsen individu. Identitas visual, terutama logo, memegang peranan penting dalam branding dan promosi. Pengembangan logo yang kuat dan konsisten akan dilakukan melalui metode penelitian kualitatif, seperti observasi, wawancara, dan studi pustaka. Kolaborasi juga terjalin dengan Karang Taruna Kelurahan Kopo, yang dipimpin oleh Budhi Wibawa. Teori dasar perancangan logo adalah FIVE-I, melibatkan identifikasi, ideasi, imajinasi, improvisasi, dan implementasi. Melalui pengabdian masyarakat dan penerapan teori ini, diharapkan terbentuk kolaborasi efektif dalam merancang logo. Tim penelitian memilih 3 UMKM yang membutuhkan logo, dan ketiga logo yang dirancang menampilkan visualisasi umum, seperti gambar roti atau karakter seorang baker.

DARI HIP HOP KE POP: MENELISIK ESTETIKA DALAM VIDEO KLIP BANGTAN BOYS (BTS) Agung, Lingga; Rosandini, Morinta; Prasetya, Shyavira
Narada : Jurnal Desain dan Seni Vol 9, No 1 (2022)
Publisher : Universitas Mercu Buana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22441/narada.2022.v9.i1.004

This research aims to see how the aesthetic changes in the two music video of Bangtan Boys (BTS), “No More Dream” (2013) and “Permission to Dance” (2021). Aesthetic changes are always releted to the cultural changes, and therefore it is interesting to investigate more deeply. This research collects qualitative data from books, journals, and especially from the two music video above. To see the aesthetic changes, we use the post-colonial theory of Homi K. Bhabha which is relevant dor this research. From the research that has been done, the two BTS music video take the aesthetic idioms of Western (United States) pop culture. Changes in aesthetics actually only follow global trends (United States). We don't find a solid South Korean cultural 'visual cue' in the two music video. However, 'Korean Style', 'K-Pop Aesthetics', 'BTS looks', and so on were born because the two music video are mimicry and hybrids that have succeeded in integrating and hegemonizing Western (United States) pop culture idioms into K-Pop culture idiom.

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