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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 297 Documents
 11   12   13   14   15 
ANALYSIS OF GO LABA MUSICAL ELEMENT OF NGADA TRADITIONAL MUSIC AS THE ACCOMPANIMENT OF JA’I DANCE IN MORA MASA STUDIO TUAK DAUN MERAH (TDM 02) SUB-SUB DISTRICT OEBOBO DISTRICT - KUPANG Flora Ceunfin; Melkior Kian; Maria Klara Amarilis Citra Sinta Dewi Tukan
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1461.347 KB) | DOI: 10.26887/ekspresi.v21i1.647

Abstract

Go Laba is the traditional musical instrument of Ngada found in the studio of Mora Masa, Kupang city Nusa Tenggara Timur. Its playing pattern emphasizes more on the repetitions of rhythm. In this article, it's discussed (1) the presentation form of Go Laba as the accompaniment pattern of Ja'l dance in Mora Masa studio, Tuak Daun Merah village, Oebobo sub-district; (2) the musical element of Go Laba as the accompaniment pattern of Ja'l dance in Mora Masa studio, Tuak Daun Merah village, Oebobo sub-district. The traditional music of Go Laba consists of five gongs namely Go Wela, Go Ute, Go Dhere, Go Doa, Laba Wai and Laba Dhera. The presentation of Go Laba is the intertwined playing of rhythm that emphasizes more on the repetition of sound in order to create an aesthetic impression with 2/4 birama. Go Laba in its playing uses allegro tempo found in the rhythm of Go Wela. Based on research results, it can be concluded that Go Laba found in Mora Masa studio functions as the accompaniment of Ja'l dance used for the necessity in entertainment event and participating in the dance festival.
ANALYSIS OF INTERPRETATION ON THE BANNER OF LAMONGAN PECEL LELE Heri Iswandi; Husni Mubarat
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (792.41 KB) | DOI: 10.26887/ekspresi.v21i1.687

Abstract

Life goes on with the obtained experience. Human’s life depends on nature and its surrounding environment, including artworks made by human. Art experience is an experience obtained by human like the daily experience so art experience is also an intact experience involving feeling, mind, sense, and various human intuitions. The banner of Lamongan pecel lele is an art instrument existing from human’s interpretation based on s/he experience when s/he understands and reprocesses an object. Starting from what’s observed, the writer tried to analyze and reveal the meaning of visual form drawn on that banner. Visual dissection drawn on that banner was conducted in detail. It aims at receiving result that’s more than the meaning obtained based on people’s perception and writer’s one. In other words, pecel lele banner is not only interpreted as what it’s used for (merit value) pecel lele seller but it’s also to see and perceive banner drawing based on the variant of food product sold. However, there is another meaning that has been hidden this long and hasn’t been known by people yet.       
POLA TABUHAN MUSIK TERBANGAN DI KABUPATEN OGAN ILIR SUMATERA SELATAN Rifki, Dian; Yelli, Nofroza
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (901.765 KB) | DOI: 10.26887/ekspresi.v21i1.688

Abstract

This research aims at elaborating the percussion pattern of Terbangan music in Tanjung Batu sub-district Ogan Ilir district. The observation was conducted by using observation technique, interview, and documentation on one of the performances of Terbangan music in Ogan Ilir district Sumatera Selatan. The research method used was a qualitative method so it's obtained research result in which Terbangan music is art that uses the musical instruments of Terbangan and gong. Terbangan comes from Arabian country played by hitting it using hand palm. This musical instrument of Terbangan is made of Leban wood that has a round form with 30 cm diameter and 10 cm height. The surface of Terbangan uses x-ray plastic. This musical instrument belongs to the kind of membranophone musical instrument, and it means that the sound produced comes from beating on the membrane. The other musical instrument as accompaniment is gong made of brass with a bulge in the middle of the gong. The pattern of percussion in the art consists of three parts namely the percussion pattern of initial rhythm, the percussion pattern of kincat rhythm, and the percussion pattern of yahum rhythm.
PERTUNJUKAN TEATER EKSPERIMENTAL HUHH HAHH HIHH: SEBUAH KOLABORASI TEATER TARI Saaduddin Saaduddin; Sherli Novalinda
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 19, No 1 (2017): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1738.501 KB) | DOI: 10.26887/ekse.v19i1.128

Abstract

Pertunjukan teater berjudul   Huhh..Hahh..Hihh. berangkat dari dua rumusan penting, yakni: (1) Bagaimana mewujudkan pertunjukan Huhh..Hahh..Hihh. melalui kerja kolaborasi teater dan tari?; dan (2) Bagaimana pengkarya mampu memberikan penekanan bentuk eksperimental dengan mengangkat issu zat aditif dalam keseharian kita sebagai sumber penciptaan pertunjukan? Karya ini digarap dengan menghadirkan unsur  teaterikal, tari dan performance art sebagai spektakel di atas panggung. Aspek visual pertunjukan dibangun dengan bentuk pemanggungan yang simbolis
THE CONTINUITY OF AMRUS NATALSYA’S POPULIST PARADIGM, ICONOGRAPHY-ICONOLOGY REVIEW OF “TANAH AIRKU” (2013) PAINTING Miftahul Khairi
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (930.081 KB) | DOI: 10.26887/ekspresi.v21i1.686

Abstract

This study analyzes the Amrus Natalsya’s painting entitled "Tanah Airku" (2013). As a senior Indonesian painter with the ideology of "kiri" that’s popular in the history of Indonesia modern art certainly has strongly experiences about social phenomena that occur in Indonesia. By analyzing this painting, the author wants to see the continuity in expressing social phenomena including style, theme, concept, and meaning of his work. Research problem was revealed through the approach of art history and a grand theory of iconography and iconology from Panofsky. The research result is a style of painting categorized in expressionism style with metaphorical symbols. This style is developed in the era of art pluralism. The theme of this painting is the power of people in defending their rights with the basic concepts of resistance and struggle. These themes are variants of the theme and concept of the aesthetic paradigm from social realism convention during LEKRA. Symbolic value expressed by Amrus Natalsya in the painting "My Fatherland" (2013) is the crystallization of human’s struggle as the living symbol of defending their rights. Based on such analysis, it’s shown the continuity of expression of revolutionary populist paradigm in his paintings with new forms and expressions along with the spirit of the era. 
THE CHARACTERISTICS OF SELF SIN IN CERAMIC FINE ARTS Admiral Akhir Abdillah; Novita Wahyuningsih
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (866.709 KB) | DOI: 10.26887/ekspresi.v21i1.681

Abstract

Sin is an activity that violates God’s law provision. Unfortunately, sin cannot be separated from human. The categorization of sin characteristics by Catholic church in the glory era of Christianity called “Seven Deadly Sins” gives information to recognize sin characteristics that are often experience by oneself. Seven Deadly Sins and other library sources trying to explain about sin from several religious views in Indonesia bring out new comprehension about sin. Based on the new comprehension about sin, the ceramics were created. The main material used was clay from Bentangan, Klaten, Jawa Tengah that had been processed so it had better endurance level of temperature. The process of creation used the techniques of hand-building, pinch, and solid mold. Decoration used intaglio, camelo, and kerrawang ornaments while ceramic colorization used the technique of under-glaze firing. The ceramic artworks of “the characteristics of self sin” series have the hope that these artworks contain creative and educative values, and they also function as the warning that there are sin characteristics threatening us in our daily life
GETTRUNG, NONCONVENTIONAL MUSICAL INSTRUMENT FROM WOOD Asep Saepul Haris
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (729.176 KB) | DOI: 10.26887/ekspresi.v21i1.682

Abstract

Gettrung is a non conventional musical instrument which was produced from exploration. This  instrument was made of Surian dan Mahogany woods. The shape of Gettrung is quite simple, it looks like square. The sound elements of Gettrung were the result of the parts which follow the direction based on its shapes; circle and square. Cutting the line was done until the particular part, that line was not cut to the end of the line. It means there were still some part left and it caused the vibration which produce the sound at the end (trung). This instrument was finally named as Gettrung, it comes from Get which means vibrating sound and trung which means the result of the final sound. Gettrung was categorized into percussion type. The existence of Gettrung contributes to the capability to collaborate with other instruments which have had convention (basic/standard).
TEATER SEBAGAI PEMBERDAYAAN ANTI TRAFFICKING Agus Mulia
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 19, No 1 (2017): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1809.191 KB) | DOI: 10.26887/ekse.v19i1.130

Abstract

Salah satu  cabang terpenting dan terbesar  dari Sosiologi Teater adalah studi tentang fungsi sosial teater. Fungsi sosial teater ini dalam jenis masyarakat satu dengan lainnya pun berbeda-beda. Pada masa dulu, fungsi teater selalu dihubungkan dengan upacara ritual  dan  magis.  Kemudian  pada  masa  kini  fungsinnya  cenderung  menekankanpada fungsi  pendidikan,  seperti  penyampaian  informasi  tentang  persoalan-persoalan  yang terjadi di masyarakat, corong „kritik sosial‟, dan alternatif hiburan. Pertunjukan teater Detektif Danga-Danga, Episode Anak Perawan di Sarang Mucikari adalah mengamati sebuah paparan peristiwa trafficking. Pertunjukan teater tersebut melibatkan anak-anak yang sebagiannya adalah korban-korban trafficking. Masuknya anak-anak dalam „kancah‟ pelacuran bukan merupakan pilihan anak, tetapi lebih karena adanya tekanan sosial, ekonomi, ataupun adanya tekanan mental dari orang-orang dewasa
THE ANALYSIS OF ORNAMENT FORM OF ARAB TOWN AL-MUNAWWAR TRADITIONAL HOUSE Mukhsin Patriansah; Yayan Hariansyah
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 2 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1370.231 KB) | DOI: 10.26887/ekspresi.v21i2.907

Abstract

  The people of Arab town Al-Munawwar in Palembang city use ornament to add aesthetic value of their residential buildings. The use of this ornament can be seen from several sides such as door, window, ventilation, wall, partition, pole, and so on. It's also possible that there are messages and meanings that are interesting to be studied from the ornament of Arab town Al-Munawwar traditional house. The study in this research emphasized more on aesthetic value, with the purpose of searching the structure that built and revealing the symbolic value implied in the traditional house ornament of Arab town Al-Munawwar Palembang. Research method used was qualitative method, with analytic descriptive analysis. Those data were then identified, classified, selected, analyzed, and interpreted according to their text and context.
MAKNA DAN NILAI FILOSOFIS MASYARAKAT PALEMBANG YANG TERKANDUNG DALAM BENTUK DAN ARSITEKTUR RUMAH LIMAS Rizki Rahma Dina
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 17, No 2 (2015): Ekspresi Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (735.737 KB) | DOI: 10.26887/ekse.v17i2.108

Abstract

Artikel ini membahas mengenai nilai filosofis masyarakat Palembang yang terkandung dalam makna rumah adat Limas. Palembang memiliki bangunan arsitektur  tradisional  yang  unik  dan  khas.  Rumah  Limas  tidak  hanya  sekedar rumah yang dipakai sebagai tempat tinggal keluarga dalam membina kehidupan sehari-hari tetapi juga dalam pelaksanaan upacara dalam keluarga. Setiap simbol memiliki  makna  khusus  yang  tidak  hanya  melambangkan    fungsi  rumah  itu sendiri,  tetapi  juga  nilai-nilai  kehidupan  sosial  dalam  masyarakat  Palembang. Simbol tersebut mencerminkan falsafah serta gambaran kondisi sosial budaya masyarakat Palembang yang menjunjung tinggi sifat kebersamaan dalam bentuk gotong royong.

Page 13 of 30 | Total Record : 297

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