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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
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The Application of Draping Techniques in Zero-Waste Fashion Design Using Pekalongan Batik Fabric Mursidah, Mursidah; Cahyo, Andri Nur
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 2 (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.v27i2.5998

Abstract

Abstract. Batik is the result of creating motifs which consists of the integrity of the arrangement of ornaments that decorate the surface of the fabric. Batik motifs are noble works of art because they are philosophical, the basic idea behind the birth of the patterns is the creator's philosophy of life and cosmology. In ancient times, batik fabric was not allowed to have cut motifs and was only wrapped around the human body. But now, batik has developed following fashion trends. For fashion production, batik fabric is processed through cutting with contemporary patterns or models. This will unknowingly reduce the essence of creating batik motifs and their use. In the development of fast fashion, the fashion industry has contributed a lot of waste that damages the environment. One way to reduce this is with zero waste fashion. This article contains a discussion about how to apply the zero waste fashion concept to Pekalongan batik cloth. The zero waste concept used is by applying draping techniques to construct fabric without cutting the material into one complete fashion model. Applying the draping technique to Pekalongan batik cloth makes batik fashion without cutting the material so it doesn't produce waste. Apart from that, batik motifs can appear in their entirety without being cut, just like the initial essence of batik cloth created. The zero waste fashion concept provides greater opportunities for the Pekalongan batik industry so that it does not have a negative impact on the environment and is more sustainable.
Art Nail Polish and Henna as Inclusive Art Learning Media for Students with Special Needs in Special Schools Surya, Wirma
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 2 (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.v27i2.5444

Abstract

Art education for students with special needs in Special Schools requires adaptive, contextual, and inclusive learning media that accommodate diverse abilities and learning characteristics. This study aims to examine the use of art nail polish and henna as inclusive art learning media that support the development of creativity, fine motor skills, and self-expression among students with special needs. The research employed a qualitative approach using a case study design, involving Special School students as research participants through applied art practice activities. Data were collected through participatory observation, documentation of learning processes and student artworks, and in-depth interviews with accompanying teachers. The findings indicate that the use of art nail polish and henna increases students’ active engagement in the learning process, enhances fine motor coordination, and encourages confidence in expressing visual ideas independently. In addition, these media effectively create a joyful and inclusive learning environment, thereby minimizing psychological and social barriers in art learning. This study offers an alternative body-based applied art medium that remains underexplored in formal special education contexts. The conclusion emphasizes that art nail polish and henna can serve as alternative inclusive art learning media in Special Schools, provided that intensive guidance, safe material selection, and methodological adjustments aligned with students’ individual needs are implemented
The Creation Strategy of Rene Hu Dance as the Institutional Dance of the Papua Language Center Peradantha, Ida Bagus Gede Surya; Felixe Muabuay, Godlief Patrice; Jarisetouw, Hana Naema; Kogoya, Riska; Boli, Yohanes Primus
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 2 (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.v27i2.6061

Abstract

This study explores the creation process of Rene Hu, the official ceremonial dance of the Papua Language Center, through an artistic autoethnography perspective. The research is motivated by the institutional need for a representative work that bridges organizational identity with Papuan cultural heritage. The objective is to reflect and analyze creation strategies in the creative process while positioning performance art as a medium for institutional identity formation. The method employed is artistic autoethnography, combining participatory observation, interviews with cultural leaders and local artists, documentation, and the choreographer’s reflective notes. The creative process followed four stages: preparation, exploration, creation, and evaluation, engaging local communities, artists, students, and the initiating institution. The findings reveal that Rene Hu functions not only as an artistic product but also as a cultural strategy that connects Papuan traditions with institutional values through negotiation between an external choreographer and cultural custodians. This study contributes to the development of artistic research in Indonesia by offering a model of institutional dance creation that is ethical, representative, and sustainable, and by highlighting the potential of artistic autoethnography as a reflective approach in choreographic practice.
Javanese and Islamic Syncretism in the Meaning of the Singo Mengkok Batik Motif by Sunan Drajat, Lamongan Shiam, Kartika Herlina Candraning
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 2 (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.v27i2.6050

Abstract

The Singo Mengkok batik motif from the time of Sunan Drajat's missionary work in Lamongan is a cultural artifact resulting from sophisticated syncretism, combining Javanese-Hindu symbolism (Padma Flower/Tunjung), Chinese (Qilin/Kirin), and Islamic values. Using Clifford Geertz's symbolic interpretation approach, this study reveals that this motif functions as a complex symbol system. At the cognitive/mythical level, the shape of the squatting lion transforms the concept of physical strength into a spiritual one, reflecting the subjugation of desires, in line with Surah Al-Qasas: 50. At the evaluative level, its isen-isen function as a visual catechism, teaching the Five Pillars of Faith, the Five Pillars of Islam, and the obligation of prayer. As a backdrop for Sunan Drajat's gamelan performances, this batik serves as an effective medium for cultural missionary work, demonstrating a wise acculturation strategy that respects local culture while harmoniously conveying Islamic teachings.
Legaran Demokrasi: Kolaborasi Nyanyian Mentawai dan Legaran Randai Minangkabau dalam Perspektif Seni Pertunjukan Anas, M. Arif
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 2 (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.v27i2.6014

Abstract

The composition “Legaran Demokrasi” is an artistic representation of the cultural dynamics of Minangkabau and Mentawai within the framework of interpreting the contemporary democratic system. Through a collaborative approach, this work explores the fusion of traditional Mentawai songs and the legaran randai of Minangkabau, arranged in a multi-part dramatic structure and accompanied by the use of non-conventional instruments such as sewing machines, vacuum cleaners, and sarongs. This work not only emphasizes innovation in the musical aspect but also affirms that art forms can serve as reflective media for social issues such as the marginalization of local cultures, the transformation of collective values, and the shifting of identities in the current of globalization. The creative process was carried out through stages of exploration, improvisation, and formation, culminating in a theatrical presentation with an interactive format and collective narrative. The symbolism of movement, sound, and bodily formations is interpreted as a visualization of the spirit of musyawarah (deliberation) and mufakat (consensus) that underlies democracy in the Minangkabau context. The results demonstrate that cross-cultural and cross-media approaches can open new spaces in the creation of contemporary performing arts while remaining rooted in tradition. This finding reinforces the idea that cultural preservation does not necessarily require the perpetuation of old forms but can be achieved through innovations that are sensitive to local values and open to the interpretations of the times.
Terbang Buhun: The Trance Phenomenon among Generation Z in Majalaya Paja, Anngi Lestari
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 2 (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.v27i2.6131

Abstract

The Trance phenomenon in the Terbang Buhun Majalaya performance is an event or incident that is often performed among the people of the Majalaya region, precisely in West Java. Trance is always presented in two presentations, namely natural or real trance and trance with a scenario. Terbang Buhun Majalaya has a fairly long artistic historical value and has evolved over time, this art has changed in function and the ebb and flow of this art varies in each region but is still preserved by continuing to use the Terbang musical instrument. The scene of possession or trance with the phenomenon or form of presentation of the scenario or real or natural trance. The problem studied in the research is How is the Terbang Buhun Majalaya Performance Formed at the Walahir Kiansantang Heritage Studio and How is the Trance Phenomenon in Terbang Buhun Majalaya. The research uses a qualitative method with a descriptive and phenomenological approach with the aim of understanding and describing the Form of Performance and knowing the Trance Phenomenon descriptively. Data was obtained through observation, interviews, and validated by experimental trance, then analyzed using the stages of data collection, data reduction, data presentation and drawing conclusions about the Trance Phenomenon that occurred from the original narratives of trance practitioners among Gen Z. 
BEGENDANG BESERUNAI: INTEGRATION OF TRADITIONAL VALUES IN THE CREATION OF BENGKULU KARAWITAN MUSIC COMPOSITION Arnailis, Arnailis; Yunaidi, Yunaidi; Firman, Firman; Zulfahmi, Muhammad
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 27, No 2 (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.v27i2.6020

Abstract

The work “Begendang Beserunai” is a contemporary karawitan music composition inspired by the musical phenomenon of the gendang serunai, one of Bengkulu’s traditional arts that plays an important role in ceremonial processions and community entertainment. The gendang serunai, consisting of two long drums (melalu and ningkah) and a serunai as the melody carrier, is distinctive for its interlocking rhythmic patterns and melodic motifs in a scale close to a-b-c-d-e-f#-g-a’. This creation aims to preserve the essence of tradition while introducing innovation through techniques such as unison, canon, polyrhythmic, responsorial, polymetric, and accentuation, supported by additional instruments such as dol, kompang, kolintang, accordion, bass guitar, and cymbals. The method used is a mixed methods approach combining qualitative methods—through participatory observation, in-depth interviews, and recording analysis—and quantitative methods—through measuring tempo, dynamics, rhythmic pattern duration, and audience questionnaires. The results show that this work successfully integrates traditional musical idioms into a modern composition format while maintaining its identity. Questionnaire analysis (n = 50) shows that 84% of respondents perceived the traditional nuance as strong, while 78% rated the aesthetic appeal as high. This work contributes to cultural preservation through documentation, education, and artistic innovation relevant to the contemporary context. “Begendang Beserunai” serves as a model for developing tradition-based works applicable to other regional music forms, as well as an academic and artistic reference for artists, researchers, and art education institutions.

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