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Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Published by Institut Seni Indonesia Padang Panjang
ISSN : 14121662     EISSN : 25802208     DOI : http://dx.doi.org/10.26887/ekspresi
Core Subject : Humanities, Art,
Arts Humanities
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni welcomes full research articles in the area of Visual Art and Performing Art. Scope areas are: related to Art and Culture, Creative Process and conceptual research in visual art and Performing Art.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 12 Documents
 1   2 
Search results for , issue "Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni" : 12 Documents clear
The Role of Mothers and Children in the Art of Salawat Dulang by the Sinar Barapi Group Arnailis, Arnailis; Yunaidi, Yunaidi
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v27i1.5212

Abstract

In Salawat Dulang performances, there are specific roles known as Induak (mother) and Anak (child). Each plays a distinct part in bringing the performance to life. This study aims to explore the roles and functions of Induak and anak in the Salawat Dulang art form as performed by the Sinar Barapi Group in Nagari Pariangan, Pariangan District, Tanah Datar Regency. The research employs qualitative methods, gathering data through interviews, literature reviews, and documentation to support the findings. In Salawat Dulang, the Induak serves multiple roles: preacher, lead singer, musician, creator, and composer. Meanwhile, the Anak acts as the Induak's counterpart, supporting as a co-preacher, backup singer, accompanying musician, co-creator, and co-composer. The dynamic between Induak and anak is inseparable; their interdependence is key to ensuring the performance flows smoothly from start to finish. This relationship is reflected in a traditional Minangkabau proverb: "Simuncak mati tarambau kaladang, mambao ladiang lukolah pao, kaduonyo adaik jo sarak diminang kabau, sarupo aua jo tabiang, sanda manyanda kaduonyo," which emphasizes the harmony and mutual support embedded in Minangkabau customs and culture.
Bentuk Pertunjukan dan Makna Teks Seni Tutur Bak'ba dalam Masyarakat Desa Simpang Parit Kabupaten Merangin Provinsi Jambi Viony, Lirna; Asril, Asril; Yurnalis, Yurnalis
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v27i1.4661

Abstract

Bak’ba merupakan salah satu seni bertutur kata yang tumbuh dan berkembang di Desa Simpang Parit. Bak’ba termasuk pada jenis sastra lisan berupa pantun yang dinyanyikan dengan irama. Bak’ba berfungsi sebagai media menyampaikan pesan dan media hiburan. Awalnya, pertunjukan Bak’ba hanya diiringi dengan gendang Melayu. Seiring berjalannya waktu, Bak’ba mengalami perkembangan dalam bentuk penambahan alat musik seperti viul, gong, dan ketuk. Teks pantun yang disampaikan dalam Bak’ba menggunakan bahasa daerah Desa Simpang Parit yang mengandung makna tentang percintaan, kesedihan, kegembiraan, sindiran, nasihat-nasihat kehidupan maupun informasi teraktual yang ada di lingkungan masyarakat Desa Simpang Parit. Penelitian ini mengkaji tentang Bentuk Pertunjukan dan Makna Teks Seni Tutur Bak’ba dalam Masyarakat Desa Simpang Parit, Kabupaten Merangin, Provinsi Jambi. Tujuan penelitian ini adalah untuk mendeskripsikan bentuk pertunjukan dan makna teks seni tutur Bak’ba. Penelitian ini menggunakan metode penelitian kualitatif dengan teknik pengumpulan data secara observasi, dokumentasi, dan wawancara di lapangan untuk mendapatkan hasil penelitian sesuai konteks yang bersifat deskriptif. Hasil penelitian ini menjelaskan tentang bentuk pertunjukan meliputi unsur dan struktur pertunjukan dan makna yang terkandung pada teks seni tutur Bak’ba memiliki makna denotatif dan makna konotatif. Kata kunci: Bak’ba, Bentuk Pertunjukan, Makna Teks
The Effect of Adding Electrolytes (NaCl) in Tunjung Mordan on Ecoprint Results Using Jatropha curcas Linn Leaves with Pounding Technique on Chiffon Material Ramadhani, Mitra; Adriani, Adriani
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v27i1.5087

Abstract

This research is motivated by the use of jatropha leaves to make motifs with the ecoprint technique. The purpose of this study is to describe the color name, color fastness and the effect of adding electrolyte to the tunjung mordan on the results of ecoprint by pounding technique on chiffon material. The type of research is experimental research with primary data types sourced from filling out a questionnaire of 18 panelists. Ecoprint of jatropha leaves without mordan produces the names of canary yellow on leaf sheets, pale golden on leaf bones, and reef green leaf bone branches. With mordan tunjung produces dark olive green on the leaf sheet, canary yellow on the leaf bone mother, and reef green on the leaf bone branch. The addition of electrolytes to the tunjung mordan produced the name of camouflage green on the leaf leaf, green smoke on the leaf bone, and reef green on the leaf bone branch. The color fading resistance to washing in chiffon material without mordan, in mordan tunjung, and the addition of electrolyte to mordan tunjung 1time and 2times Ho washing was declared accepted, meaning that there was no significant difference in the results of the K-Related Sample test on color fastness to washing. While 3times of washing Ho was rejected, it means that there is a significant difference in the results of the K-Related Sample test on color fastness to washing.
The Ecranisation of the Wayang Padang Play Script by Wisran Hadi into a Film Script Gugat, Topan Dewa; Lawranta, Gangga; Martiano, Vereki; Ardy, Vickrie
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v27i1.4320

Abstract

This research discusses the process of translating the drama script Wayang Padang by Wisran Hadi into a film scenario. Ecranization is the process of adapting from a text medium to a visual medium, which involves the transformation of narrative, characters and aesthetic elements. In this context, the research aims to identify the changes that occurred during the ecranization process, including story simplification, character adjustments, and visual processing to meet cinematic needs. The research results show that there are a number of significant modifications in the transfer from drama script to film scenario. Narrative transformation is carried out by simplifying the dialogue and storyline to create a more dynamic rhythm according to cinema needs. Visual development is a key element in the ecranization process, where the depiction of settings, costumes and character gestures are optimized to strengthen visual appeal. However, this research also found challenges in maintaining the cultural essence and moral messages contained in original works, especially in an effort to adapt them to modern audiences. The conclusion of this research emphasizes that the process of recreating the drama script "Wayang Padang" is not just a transfer of medium, but is also a creative effort to harmonize local cultural traditions with the film format. With the right approach, ecranization can be an effective means of introducing traditional literary works to the younger generation and a wider audience, without losing the underlying cultural values
Difference Between Mordan Soda Ash and Tohor Lime on the Results of the Ivory Cacak Leaf (Sanchezia speciosa) on Wolfis Fabric Using the Pounding Technique Zahra, Mutia Mesa; Adriani, Adriani
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v27i1.4962

Abstract

This research is based on the use of ivory cacak leaves (Sanchezia speciosa) to provide motifs and colors using the ecoprint technique. The purpose of this study is to describe the color name and color fastness to washing, the result of ecoprint with a punch/pounding technique using ivory cacak leaves on wolfis material. The type of data in this study is primary data with data collection techniques using research instruments in the form of questionnaires. The color name using mordan soda ash produces the color name of mudy waters brown #AC915C on the tip of the leaf, the name of the color light brown #D7C370 on the leaf bone branch, the name of the color of wheat light brown #E2D4B3 on the mother of the leaf bone, the name of the color camougflage green #777850 on the flesh of the leaf, the name of the color of golden sundance #C1AF68 on the edge of the leaf, and the name of the color of clam shell pink #BDB693 at the base of the leaves. While the color name using the lime mordan produces the name of the golden sundance color #B69F5E on the tip of the leaf, the name of the pale golden color #F2E4AF on the leaf bone branch, the name of the color of wheat light Brown #D8D3B5 on the mother of the leaf bone, the name of the color camougflage green #72794D on the flesh of the leaf, the name of the color golden sundance #BCA76F on the edge of the leaf, and the name of the pale yellow color #E4DDBD at the base of the leaves. The color fading resistance to washing in wolfis materials using mordan soda ash and lime there was a significant difference in the 3rd wash.
Te’o Renda: Its History, Meaning, and Function for the Rotenese Community in the Past and the Present Tafuakan, Philby; Lestari, Dewi Tika; Van Harling, Jermias Hartes
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v27i1.4890

Abstract

This research aims to examine traditional te'o renda music from an ethnomusicological perspective. Using Ethnomusicology theories by Sri Hastanto that are relevant to those of Mantle Hood, the study explores changes and continuities in the presentation of te'o renda in Rote society. Conducted using qualitative methods, focusing on the discipline of ethnomusicology to understand the meaning and function of traditional music within cultural contexts, the research found that te'o renda and sasandu gong have undergone significant changes. In the past, sasandu and te'o renda played crucial roles in wedding ceremonies, particularly in traditional engagement rituals. However, their current usage has diminished, indicating a decline in their essence and sacredness. Other findings include the history, meanings, and functions of te'o renda for Rote communities past and present, as well as the construction of emic notations applied in te'o renda performances. This approach enables accurate and authentic documentation of traditional music, which is expected to contribute to the preservation and revitalization of Rote music culture. Thus, this research not only enhances theoretical understanding but also provides a foundation for efforts to conserve traditional music through emic notation methods.
Representation of Minangkabau in the film Onde Mande! Hidayat, Herry N; Firmansyah, Okta
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v27i1.4975

Abstract

This article describes the results of the film study on Onde Mande! (2023, Paul Fauzan Agusta). In general, this film tells the story of the conflicts and intrigues that occurred among residents on the shores of Lake Maninjau who intended to build their village. However, there is a discourse in the story's structure. This film's narrative structure does not only show Minangkabau's life and culture. In this research, the film Onde Mande! is seen as the language behavior of a social group. The analysis technique is based on the storytelling structure, which includes characterization, setting, and focalization (point of view). The characters' actions are analyzed through screenshots and divided into categories of sequential scenes. The results of both analyses are then analyzed further by viewing it as a representation of a society, in this case, the Minangkabau, through the symbols in the film. As a result, the narrative of this film builds the character of the Minangkabau people, who are proud of their Minangkabau heritage. They are willing to sacrifice for the progress and prosperity of their hometown. On the other hand, the meaning of the emerging symbols builds up a discourse on power relations. This film creates the impression of social protest against the reigns. The ruler's inability to improve the welfare of his people must be paid for by the fraudulent actions of members of his society.
Pelestarian Kesenian Bangreng Di Jawa Barat Melalui Film Dokumenter Paja, Anggi Lestari
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v27i1.5463

Abstract

Penulisan membahas proses pembuatan film dokumenter budaya berdurasi 25 menit yang melibatkan tahapan praproduksi, produksi, dan pasca produksi. Dalam perancangan film dokumenter penulis berperan sebagai dokumentaris yang bertanggung jawab dalam periset, membuat naskah, praproduksi, produksi, dan tahap pasca produksi. Mengkaji pentingnya pelestarian kesenian tradisional “Bangreng” di Jawa Barat sebagai bagian dari warisan budaya dengan nilai historis dan sosial tinggi. Kesenian Bangreng, berasal dari Terbang Buhun, mencerminkan kehidupan sosial dan spiritual masyarakat serta menjadi simbol identitas budaya di tengah arus modernisasi. Metodologi penelitian menggunakan pendekatan deskriptif kualitatif, dengan pengumpulan data melalui wawancara, observasi, dan analisis dokumen. Hasil penelitian menunjukkan bahwa generasi tua berperan penting dalam mentransfer pengetahuan kesenian Bangreng kepada generasi muda, meskipun menghadapi tantangan seperti kurangnya minat dan pengaruh budaya luar. Penelitian ini mengusulkan judul dokumenter “Bangreng,” taebang dan ronggeng di kabupaten Sumedang. Judul ini menggambarkan filosofi ngarumat, yaitu merawat dunia, dengan fokus khusus pada kesenian Bangreng. Dokumenter ini diharapkan meningkatkan pemahaman dan apresiasi masyarakat terhadap kesenian tradisional yang kaya akan nilai budaya dan lingkungan. Dukungan pemerintah, lembaga budaya, dan media massa sangat penting dalam upaya pelestarian ini. Pembuatan film dokumenter diidentifikasi sebagai solusi efektif untuk mendokumentasikan dan mempromosikan kesenian Bangreng serta meningkatkan kesadaran masyarakat. Kolaborasi antara komunitas lokal, pemerintah, akademisi, dan media diperlukan untuk mengembangkan program pelestarian yang berkelanjutan, sehingga kesenian Bangreng dapat terus hidup dan diwariskan kepada generasi mendatang sebagai bagian integral dari identitas budaya Jawa Barat.
Exploring Gugon Tuhon Meaning in 'Playing in the Brantas River' as Life Wisdom in Tulungagung Kurniawan, Ari; Suherlan, Yayan; Kholis, Achmad Nur
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v27i1.4961

Abstract

Traditional culture is often considered outdated in the face of modernization, yet the presence of gugon tuhon in the oral traditions of the Javanese people indicates that local values still hold strong relevance in social life. As a form of local wisdom, gugon tuhon contains various prohibitions and moral messages that have been passed down through generations in the Tulungagung community, serving to protect safety and honor nature and supernatural entities. The prohibition of playing in the river at certain times is one example of gugon tuhon functioning as informal education about safety and harmony with the environment. This study examines the role of visual art as a means of cultural preservation, particularly through the work titled "Playing in the Brantas River." Using a qualitative method with a descriptive-analytical approach, the study collects data through interviews, observations, and documentation. The analysis results show that the visualization of gugon tuhon through painting not only functions as a medium of expression but also as an educational tool for younger generations. This painting presents cultural symbols that remind us of the importance of preserving local wisdom amidst rapid social change.
The Narration of Symbolic Animalistic Metaphors in Indonesian Contemporary Painting Meilinda, Vina
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 1 (2025): Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v27i1.5447

Abstract

This research aims to describe the symbolic narrative of animalistic metaphors in Indonesian contemporary painting as a medium of criticism of the socio-political dynamics in Indonesia. The method used in this research is qualitative with Paul Recouer's Hermeneutic approach that interprets animalistic symbols through layers of literal meaning. The data in the research shows the meaning of the animalistic metaphor in painting that presents visual symbols resulting from the creative expression of artists, including Djoko Pekik, Gatot Indrajati, and Suraji. The animalistic metaphor in Indonesian contemporary painting is one of the symbolic aspects of the similarity of human nature or political rulers with the nature of animals that are considered to have savage, wild, greedy and have no conscience. Each artist has his own way of delivering criticism through painting by using historical dramatization, humor, and satire. The animalistic metaphors in these works are coupled with the selection of titles that lead to a parody. The animalistic metaphor is told visually narrative, expressing the artist's expression of anxiety and criticism that is able to bridge the aesthetic experience and critical reflection on the reality of Indonesia's current socio-political condition.

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