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Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni

Ekspresi
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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

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RECOMBINATION OF MINANGKABAU TRADITIONAL ARTS IN ALAM TAKAMBANG JADI BATU BY KOMUNITAS SENI NAN TUMPAH IKHSAN SATRIA IRIANTO; SAADUDDIN SAADUDDIN; SUSANDRO SUSANDRO; NOLLY MEDYA PUTRA
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 1 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

This study aims to find out how the exploration of Minangkabau traditional art carried out by the Nan Tumpah Art Community (KSNT) in the Alam Takambang Jadi Batu by Mahatma Muhammad. KSNT is an art group from Padangpariaman which has a tendency to utilize Minangkabau traditional art as its artistic material. In efforts to explore the Minangkabau traditional art in the work of Alam Takambang Jadi Batu, the research method used is a qualitative method with an interpretive descriptive approach. Based on the results of the study it can be concluded, KSNT utilizes and processes Minangkabau traditional arts, such as Randai, Indang and Tupai Janjang. The conclusion obtained from this research is that KSNT utilizes traditional art as an effort to revitalize traditional arts for modern aesthetic needs. KSNT calls this traditional art exploration process a "recombination of traditional art"

ASPEK-ASPEK KAJIAN PENDIDIKAN ISLAMI DALAM SENI PERTUNJUKAN SALAWAT DULANG FIRDAUS FIRDAUS; JONNI JONNI; DEBBY TRISMA
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 1 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

AbstractSalawat dulang was identic with da’wah of Islam. It has development and changes experience dramatically in performing form or it function, and deeper delivery messages. Performing form identify that player of Salawat Dulang can adapt newest gendre of music to the salawat dulang, inded they not only can adapt that but also they can put intheaterical instrument in Salawat Dulang. Salawat dulang his also crusial function for sending message of education, culture, politic, economic, social, ect by media of communication base on market needs. Salawat Dulang is the most perferable music in whole Minangkabau and the most choosen one in community of Minangkabau. Based on statement on the top, research one to observation education of Islam and element of Salawat Dulang as performance art.

TRADITIONAL FOOD AS A CREATION INNOVATION OF BORANAN BATIK SPECIAL IN LAMONGAN EAST JAVA RAMADHAN, ANGGA FAJAR
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 23, No 1 (2021): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

AbstractBoranan traditional food is typical of Lamongan City. Food that has been passed down from generation to generation is still busy with local people. Boranan rice is still unknown by people outside Lamongan City. In particular, this research was conducted to create a boranan batik motif as the identity of Lamongan City and to introduce the existence of this food through the art of written batik. This research is a descriptive qualitative research using Gustami's craft research method, namely the exploration stage, the design stage and the embodiment stage. The exploration stage is carried out by collecting data through literature study, observation, interviews, documentation and data recording. The design stage is carried out with sketches of batik motifs and patterns. The embodiment stage is carried out by making batik using written batik techniques and using naptol coloring. The creation of a motif with a unique character and still having the characteristic form of the original rice boran food will create a new identity from the city of Lamongan. In addition, it is also able to preserve regional culture and introduce it to the wider community.

PERANCANGAN BATIK KONTEMPORER MOTIF PAGI SORE UNTUK BUSANA READY TO WEAR DENGAN SUMBER IDE “BOHEMIAN” QEYSA MIFTAHUN NI'MAH; FELIX ARI DARTONO
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 23, No 2 (2021): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

ABSTRAKSumber ide bohemian” dari trend yang berkembang di tahun 1960-an memiliki ciri khas dengan motif bunga-bunga, romaniac etnik maupun motif geometris. sumber ide “bohemian” sangat menarik ketika Batik Kontemporer di aplikasikan ke dalam motif pagi sore untuk busana busana Ready to Wear. Batik kontemporer pada motif Pagi Sore dapat membuat masyarakat beradaptasi dalam pemakaian busana motif batik dengan motif-motif yang bervariasi dan inovasi mengikuti trend sehingga mendongkrak batik supaya tidak kehilang unsur budaya nya. Tahap perancangan melalui tahap Observasi, Wawancara dan Pengisian Kuesioner, studi visual yang mengacu pada metode dari teori Colin Clipson (1989:43) yaitu kegiatan mendesain mulai dari konsep, proses dan visualisasi karya yang mengacu kepada pasar dan pembeli. Hasil visualisasi yang terpilih dilanjutkan pada proses perancangan karya menggunakan teknik batik tulis kemudian direalisasikan pada 1 buah produk fungsional yaitu busana ready to wear dan 1 lembar kain batik kontemporer motif pagi sore dengan sumber ide bohemianABSTRACTThe bohemian ideas from the trends that developed in the 1960s are characterized by floral motifs, ethnic Romanian, and geometric motifs. The source of the "bohemian" concept is exciting when Contemporary Batik is applied to the Pagi Sore motifs for Ready to Wear clothing. Contemporary batik in the Pagi Sore motifs can make people adapt to batik motif clothing with varied motifs and innovation following trends to boost batik so as not to lose its cultural elements. The design stage is through the Observation, Interview, and Questionnaire Filling stands. This visual study refers to the method of Colin Clipson's theory (1989:43), namely designing activities starting from the concept, process, and visualization of works that refer to the market and buyers. The selected visualization results are continued in developing the job using the written batik technique and then realized on one functional product, namely ready-to-wear clothing and one sheet of contemporary batik cloth with Pagi Sore motifs with a source of bohemian ideas.

SONGKET MOTIF DEVELOPENT OF OGAN ILIR HESTI ROSITA DWI PUTRI; ACHMAD HALDANI DESTIARMAND
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 2 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Songketis a cultural heritage from the era of the Kingdom of Sriwijaya, songket has aesthetic and philosophical values on each of its motifs or designs. Weaving expertise is passed on from generation to generation using traditional tools, the complicated process of making songket has quite expensive prices. The high demand for songket makes production spread in Ogan Ilir Regency which is a border area with the city of Palembang. Although songket production centers are spread in various regions of Ogan Ilir, these area do not yet have a unique motif, the weavers only follow Palembang’s songket motifs. Making of songket motifs (nyukit) cannot be done by all weavers due to the difficult process, so that the songket motifs are developed very slowly. This research method uses qualitative methods and approaches of people center development toward the songket’s craftsmen of Tanjung Pinang village of Ogan Ilir. This is conducted to find an easier method of making motif structures (menyukit) so that the tradition of making songket motifs can continue to be preserved and developed. The results showed that the most appropriate motifs of Ogan Ilir songket to be simulated was the seluang fish motif.

MEMBACA ULANG KONTESTASI DANGDUT DAN ROCK ERA 1970-AN RADITYA, MICHAEL H.B.
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 23, No 1 (2021): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

AbstrakArtikel ini berangkat dari kegelisahan saya atas analisis sebelumnya mengenai kontestasi antara genre musik dangdut dan rock pada era 1970-an. Analisis yang muncul dari fenomena itu adalah kontestasi usai dengan jalan damai antara dua genre. Alih-alih sepakat, saya justru melihat hal yang berbeda, di mana damai tidak benar-benar terjadi, melainkan saling bersiasat melanggengkan dominasi ataupun mengikis kekuasaan. Dari kontestasi dua genre ini, saya kembali mengartikulasikan konflik antara dangdut—yang diwakili oleh Rhoma Irama—dengan rock—mulai dari Benny Soebardja hingga Ahmad Albar. Untuk membongkar hal tersebut saya menggunakan data literatur, analisis tekstual, dan elaborasi kontekstual. Dari temuan yang saya dapatkan, konflik antara dangdut dan rock tidak pernah usai. Mereka terus berkontestasi dengan caranya masing-masing. Bagi saya, trayektori kontestasi ini mengejawantahkan jika konflik tersebut hanya soal berebut kuasa dan dominasi.AbstractThis article departs from my anxiety over the previous analysis of the contestation between dangdut and rock music genres in the 1970s. The analysis that emerges from this phenomenon is that the contestation ended peacefully between the two genres. Instead of agreeing, I actually see a different thing: peace does not happen, but rather mutually tactics to perpetuate domination or erode power. I re-articulated the conflict between dangdut—represented by Rhoma Irama—and rock—from the contestation of these two genres- from Benny Soebardja to Ahmad Albar. To uncover this, I use literature data, textual analysis, and contextual elaboration. From what I found, the conflict between dangdut and rock never ends. They continue to compete in their way. For me, this contestation trajectory shows that the match is only a matter of fighting for power and domination.

SISTEM BERKELANJUTAN PADA FURNITURE BERBAHAN SERAT PANDAN FEBRY MAHARLIKA; HUSEN HENDRIYANA
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 23, No 2 (2021): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

ABSTRAKKonsep desain berkelanjutan menjadi salah satu isu yang dipertimbangkan dalam bidang desain interior. Pemilihan material pada produk interior dapat memberikan dampak pada keberlangsungan ekosistem alam, sistem sosial masyarakat maupun ekonomi. Penelitian ini bertujuan memaparkan penerapan sistem berkelanjutan pada produk kursi yang menggunakan material bahan alam (serat pandanus tectorius). Tanaman Pandan duri atau disebut pandanus tectorius banyak tumbuh menyebar di kepulauan Indonesia, sehingga dapat berpotensi menjadi material berkelanjutan pada produk interior. Penelitian ini menggunakan metode deskriptif dengan memaparkan spesifikasi desain kursi material serat pandan yang dikaji menggunakan 3 area primer prinsip desain berkelanjutan yaitu: operasional, filosofi dan praktek. Hasil dari penelitian ini menunjukan bahwa produk kursi berbahan serat pandan memenuhi 3 area primer prinsip desain berkelanjutan. ABSTRACTThe concept of sustainable design is one of the issues considered in the field of interior design. The choice of materials in interior products can have an impact on the sustainability of natural ecosystems, social and economic systems. This study aims to describe the application of a sustainable system on chair products that use pandan fiber material. The pandan duri plant or known as pandanus tectorius grows widely in the Indonesian archipelago, so it has the potential to become a sustainable material in interior products. This study uses a qualitative method by describing the design specifications of the pandanus fiber chair and then studying it using 3 primary areas of sustainable design principles, namely: operations, philosophy, and practice. The results of this study indicate that the chair made from pandan fiber fulfills 3 primary areas of sustainable design principles.

BECOMING UNGGAN WOMEN: SUBJECTIVITY AND INDIVIDUALITY Fahmi Marh; Yang Junchu; Selvi Kasman; Hafif HR
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 24, No 1 (2022): Edisi Januari-Juni 2022
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

The women who play music in Nagari Unggan are Minangkabau women. Nagari Unggan women's freedom to play music without men is an anomaly for the Minangkabau indigenous people. Women's liberation becomes something discordant or taboo. His present free existence can be in the form of subordination, and vice versa can be in respect and emancipation. This paper will reveal the free event of the Unggan Woman as becoming or becoming a woman to being Parewa. This research on the narrative of female music players from Calempong Unggan was analyzed using the Deleuze concept; becoming, subjectivity, and individuation occur, but first, the discussion starts from subjectivity and individuation. Meanwhile, Becoming a form of being an Unggan woman is a novelty for Unggan women for their freedom to play calempong. The Woman's narrative was built using qualitative analysis methods through life history ethnography, in the form of reports of women's lives in the Calempong performance room, especially musical players who are experienced in telling their experiences—starting from the narrative of past livesBECOMING PEREMPUAN UNGGAN: SUBJEKTIVITAS DAN INDIVIDUASI AbstrakPerempuan yang bermain musik di Nagari Unggan adalah perempuan Minangkabau. Kebebasan perempuan Nagari Unggan bermain musik tanpa didampingi laki-laki menjadi sesuatu yang anomali bagi masyarakat adat Minangkabau. Kebebasan perempuan itu menjadi sesuatu yang sumbang atau tabu. Keberadaanya sekarang yang bebas itu bisa berupa subordinasi dan sebaliknya bisa berupa penghormatan dan emansipatif. Tulisan ini akan mengungkapkan peristiwa bebas perempuan Unggan itu sebagai becoming atau kemenjadian perempaun menjadi Parewa. Hasil dari penelitian narasi perempuan pemain musik Calempong Unggan ini di analisis menggunakan konsep Deleuze; becoming, subjektivitas dan individuasi, yang terjadi di dalamnya, namun terlebih dahulu diskusi dimulai dari subjektivitas dan individuasi. Sedangkan becoming sebagai bentuk kemenjadian perempuan Unggan menjadi kebaruan perempuan Unggan atas kebebasannya bermain calempong. Narasi Perempuan Ungggan tersebut dibangun dengan metode analisis kualitatif melalui etnografi life history, berupa narasi kehidupan perempuan dalam ruang pertunjukan calempong, terutama pemain musik yang benar-benar berpengalaman menceritakan pengalamannya. Mulai dari narasi kehidupan masa lalu, masa sekarang untuk membangun masa depan perempuan Unggan sebagai pemain musik perempuan yang bebas di Minangkabau.

WOMEN'S STUDY ON RANDAI SI RABUANG AMEH, AS AN EXISTENCE OF RANDAI DEVELOPMENT IN MINANGKABAU Monita Precillia; Dedi Darmadi
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 24, No 2 (2022): Edisi Juli- Desember 2022
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

This article entitled "Development of the traditional art of randai into the creation of randai Si Rabuang Ameh by Zulkifli is a qualitative research in the form of descriptive analysis". The Si Rabuang Ameh performance is the result of the artist's observations and concerns about the women's desire to be directly involved in the randai performance. This paper aims to describe the background of the presence of the Si Rabuang Ameh performance, analysis of the work; innovation on randai and women's studies on randai si rabuang ameh, as a form of developing randai in Minangkabau. Minangkabau which adheres to a matrilineal system, of course, the participation of women in traditional randai performances is considered taboo. The Randai Si Rabuang Ameh show has been adapted so that it deserves to be a female randai. Randai Si Rabuang Ameh is a place for women who want to participate in randai performances. The randai creations in the Si Rabuang Ameh show do not eliminate the norms or customs and their traditional habitats so as not to damage the existence of randai as a traditional Minangkabau art. The performance of Randai Si Rabuang Ameh also does not conflict with the ethics of Contributing Duo Baleh in Minangkabau, so it does not become a debate or conflict with the participation of women in the show. The show that was innovated into women's randai, the wave motion was inspired by the motion of suduang daun, tanduak buang, jinjiang bantai, lapiah jarami, galatiak, gelek and others. Keywords: Si Rabuang Ameh; Randai; Women KAJIAN PEREMPUAN TERHADAP RANDAI SI RABUANG AMEH, SEBAGAI WUJUD PENGEMBANGAN RANDAI DI MINANGKABAU AbstrakTulisan berjudul pengembangan seni tradisi randai menjadi kreasi randai Si Rabuang Ameh karya Zulkifli ini merupakan penelitian yang bersifat kualitatif berbentuk diskriptif analisis. Pertunjukan Si Rabuang Ameh merupakan hasil observasi dan keresahan pengkarya terhadap keinginan kaum perempuan untuk terlibat langsung dalam pertunjukan randai. Tulisan ini bertujuan mendiskripsi latar belakang hadirnya pertunjukan Si Rabuang Ameh, analisis karya; inovasi terhadap randai dan kajian perempuan terhadap randai si rabuang ameh, sebagai wujud pengembangan randai di Minangkabau. Minangkabau yang menganut sistem matrilineal, tentunya keikutsertaan perempuan dalam pertunjukan randai tradisi di anggap tabu. pertunjukan randai Si Rabuang Ameh telah diadaptasi sehingga pantas menjadi randai perempuan. Randai Si Rabuang Ameh menjadi wadah bagi kaum perempuan yang ingin berpartisipasi dalam pertunjukan randai. Kreasi randai dalam pertunjukan Si Rabuang Ameh tidak mengilangkan norma atau pakam dan habitat ketradisiannya sehingga tidak merusak keberadaan randai sebagai kesenian tradisioal Minangkabau. Pertunjukan randai Si Rabuang Ameh juga tidak bertentangan dengan etika Sumbang Duo Baleh di Minangkabau, sehingga tidak menjadi perdebatan ataupun pertentangan terhadap keikutsertaan perempuan dalam pertunjukan. Pertunjukan yang di inovasi menjadi randai perempuan, gerak gelombang terinspirasi dari gerak suduang daun, tanduak buang, jinjiang bantai, lapiah jarami, galatiak, gelek dan lainnya.Kata kunci : Si Rabuang Ameh; Randai; Perempuan

PANCARAGAM AS AN ALTERNATIVE OF CULTURAL MUSIC CULTURE IN PAUAH AND KURANJI PADANG REGIONS HAFIF HR
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 1 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Celebratory music has become a tradition in society. Almost all regions in Nusantara have a form and kind of music that used as a procession, whether in a wedding or other cultural ceremony. In Minangkabau, celebratory music as a tradition is taking a kind of music named Talempong Pacik, using talempong, sarunai, pupuik batang padi, gendang sarunani, and gendang tambua. In Pauah and Kuranji, celebratory music is also has a function as entertainment music that develops in the society called Pancaragam. The presence of this music is background by military ceremony music and then developed into entertainment music as well as being used as a procession music using conventional brass instruments such as trumpets, saxophone, and trombone also percussion instruments such as cymbal, snare drum, and bass drum. The presence of Pancaragam music in Pauah and Kuranji has give manifest function or real function, objective consequences that gave contribution in adjustment or adaptation of the system that desired and realized by the participants of the system. The existence of Pancaragam as an alternative for society is used in ceremony and serves as entertainment in wedding ceremony. Until now, Pancaragam is still used by the society in Pauah and Kuranji as an alternative ceremony music culture and also as an entertainment in wedding ceremony.

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