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<![CDATA[COMBINATION OF MACRAME AND ECO POUNDING WITH COCONUT FIBER DYEING FOR LAMP SHADE ]]>
<![CDATA[Ardina Putri, Tika Devita]]>;
<![CDATA[Affanti, Tiwi Bina]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.5400
<![CDATA[This design is motivated by the use of coconut fiber, which in general the community uses it as fuel and is considered a disturbing waste and causes buildup as coconut production increases. Technological developments and public awareness to return to natural materials will make coconut coir used as a natural dye for fibers (cloth or rope). The use of natural coconut fiber dyes is not widely known even though it has considerable potential to be developed and has a high selling value. The design method used in this design uses the theory of S.P Gustami which consists of 3 stages: namely exploration, design, and embodiment of the work. The exploration stage includes extracting sources of ideas about macrame, eco pounding, lamps and coconut coir. The design stage includes the selection of materials, techniques, and the visual form of the work. The final stage is the embodiment of the work. The final result of this design is in the form of six alternative designs, one of which was chosen to be realized. The realization of the work is in the form of a decorative lampshade on the table which has a function not only as lighting, but also as a decorative element and can beautify a room. This lampshade is presented by applying a combination of macrame and eco pounding techniques which are the novelty of this product. The use of natural coconut coir dyes is one way to preserve the environment.]]>
<![CDATA[SOJIWAN TEMPLE RELIEF AS AN INSPIRATION FOR CERAMIC ARTWORK ]]>
<![CDATA[Arisutta, Dona Prawita]]>;
<![CDATA[Adi, Sigit Purnomo]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.5643
<![CDATA[This study explores the reception of monkey and crocodile figures depicted on one of the relief panels of Sojiwan Temple in Klaten, Central Java, Indonesia. The Sojiwan Temple reliefs visualize fairy tales from the Jataka, a collection of fables that often convey contextual and didactic themes. Through the lens of reception theory, this study identifies life lessons such as intelligence, dexterity, impartiality, and wisdom from the narrative panels of Sojiwan Temple and transforms them into ceramic art. Three ceramic artworks inspired by the monkey and crocodile reliefs highlight the notion that even a simple fairy tale does not possess a single, fixed meaning. Instead, there is a progressive interpretation that evolves with each reading of the reliefs at Sojiwan Temple. This research concludes that ceramics can serve as a medium to convey diverse interpretations, thereby enriching the aesthetic appreciation of the monkey and crocodile reliefs at Sojiwan Temple. Keyword: Monkey and Crocodile Relief, Sojiwan Temple, Life Learning, Reception Theory, Ceramic Art]]>
<![CDATA[ANAGRAM-BASED EVALUATION OF GOLEK KUDUP SARI DANCE LEARNING NEEDS FOR JUNIOR HIGH SCHOOL STUDENTS ]]>
<![CDATA[Nur Rohmayani, Wulan Suci]]>;
<![CDATA[Lestari, Wahyu]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.5681
<![CDATA[This research aims to discover the results of the innovation of learning evaluation of Golek Kudup Sari Dance based on anagram games at SMPN 2 Bumijawa. In general, the dance learning model at SMPN 2 Bumijawa is still conventional including the evaluation process. Furthermore, an online media-based learning and evaluation process was developed. The research method used in this research is Research and Development. The data collected in this research is qualitative data in the form of empirical data. The results showed that anagram game-based evaluation is very efficient to be applied to dance learning at SMPN 2 Bumijawa. The conclusion obtained in the research is that anagram-based Golek Kudup Sari Dance learning is needed by teachers and students as an innovative curriculum implementation. In a sustainable manner, the process of learning dance through online games at SMPN 2 Bumijawa is expected to continue to be applied and developed further.]]>
<![CDATA[FLORA MOSAIC MOTIF ON CASUAL DRESS USING ITAJIME AND ECOPRINT TECHNIQUES ]]>
<![CDATA[Febriyanti, Afrida Cahya]]>;
<![CDATA[Asiatun, Kapti]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.5761
<![CDATA[Flora Mozaik displays the beauty of flowers with six symmetrical petals reinforced by fern leaves, the diversity of round paper mosaics in green color harmony that represents the growth and harmony of nature. The research aims to analyze the market response to fashion products developed through itajime and ecoprint techniques using natural dyes. The research method used in this study is the R&D method with the PPE (Planning, Production, and Evaluation) model to explore floral mosaic motifs on casual dresses using itajime and ecoprint techniques. This R&D research method details the steps in each stage of fashion product development from initial planning to evaluation. The results of the public test showed a positive response from the age group of 19-26 years, towards the fashion products produced through itajime and ecoprint techniques with natural dyes as indicated by the high level of preference (really like and like) of the respondents. This shows that continuous innovation in production technology makes it possible to produce products that are in demand in the market, and the results of the public testing confirmed strong acceptance among the subjects.]]>
<![CDATA[PENCAK JAIPONGAN BY CHOREOGRAPHER GUGUM GUMBIRA ]]>
<![CDATA[Mulyadi , Tubagus]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.6026
<![CDATA[Jaipongan has been recognized as a creation dance in West Java. The dance genre derived from Ketuk Tilu and Pencak Silat has made Jaipongan an icon of Sundanese Dance. The purpose of this research is to explore how the development of pencak silat movements in the Jaipongan Dance created by Gugum Gumbira the creator of Jaipongan. Qualitative research methods were applied to collect data through a literature review of references relevant to the topic of study and documentation on videos of several Jaipongan works. The motion characteristics of Jaipongan were analyzed through Keser Bojong, Rendeng Bojong, Kawung Anten, and Pencug Bojong. The creation of Jaipongan was an outgrowth of Gugum Gumbira's experience as a dancer of Ketuk Tilu, Bajidoran, and Pencak Silat. Gugum's understanding and mastery of these three West Javanese folk dance genres led him to choreograph Jaipongan as a phenomenal new creation dance genre in West Java. The footwork technique is the foundation of the dance, to avoid the danger of slipping while dancing with the agile and attractive character of Jaipongan Dance. Therefore, mastery of pencak movement is important to be able to dance Jaipongan aesthetically.]]>
<![CDATA[THE ELABORATION OF SACRED AND PROFANE IN FINE ART WORK ENTITLED "WHEN HANDS AND FEET ARE TALKING” ]]>
<![CDATA[Zarkasi, Much. Sofwan]]>;
<![CDATA[Suwasono, Bening Tri]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.6028
<![CDATA[The article "Sacred and Profane Elaboration in a Work of Art Titled When Hands and Feet Speak" by Much. Sofwan Zarkasi and Bening Tri Suwasono explores the intersection of sacred and profane elements in art, a convergence rarely seen in modern works that typically separate art and religion. This meeting of sacred and profane is grounded in Islamic prophetic values derived from Quranic knowledge. The authors argue that since the purpose of human life is to worship, and art is a part of human activity, art should also encompass the concept of worship. Thus, art becomes a blend of sacred and profane activities, presenting visual beauty and values that remind humans to protect the world from harm. The method used in creating "When Hands and Feet Speak" follows the stages of creation by L.H. Chapman: a) finding ideas, b) refining, developing, and solidifying initial ideas, and c) visualizing in the medium. This process is enhanced by adding d) the intention to work for worship at the beginning and including evaluation and gratitude at the end. The technique combines printmaking and collage to produce the final artwork. Keywords: Elaboration, Sacred, Profane, Fine Arts]]>
<![CDATA[EXOTICISM "KALA" IN TRADITIONAL MOTIF ON WOOD AND METAL MEDIA ]]>
<![CDATA[Prabowo, Rahayu Adi]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.6029
<![CDATA[Kala is one of the decorative motifs or ornaments carved on temples in Indonesia. Kala is in the shape of a giant head or face which is an imaginary ornament or imaginary motif which is a form of art from past cultures. The appearance of the kala motif usually does not refer to fragments of the storyline, but rather to a form of display that symbolizes protection and honor. The development of the form of the kala motif has been widely carried out as an act of cultural preservation which has the aim of expanding the meaning of the essence of the existence of the kala motif. Efforts to develop the kala motif in various forms and styles refer to deepening its aesthetic meaning, namely how its existence can be recognized and understood as a form of fine art wealth which is very important to maintain its continuity. This article about kala works is an attempt to develop the aesthetic appearance of kala forms in wood and metal media that have never been presented before. This research uses media and technique exploration methods, namely presenting works in wood and metal media using traditional carving techniques. This method provides a strong understanding of traditional artistic works with presentations that prioritize the main characters of the kala motif, namely firmness, valor, and authority.]]>
<![CDATA[DESIGN OF THE ANIMATED FILM SRI TANJUNG THROUGH THE PANATARAN TEMPLE RELIEF TRANSFER ]]>
<![CDATA[Rahmad, Cito Yasuki]]>;
<![CDATA[Adisukma, Wisnu]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.6030
<![CDATA[Research was conducted to create animation as a vehicle for the relief of Sri Tanjung in Panataran Temple as an education of cultural insight of the archipelago. The development of technology has brought changes in various aspects, one of which is education and entertainment (edutainment) media. Temple reliefs, which are one of the cultures of Indonesian literature, are starting to be less attractive to the younger generation now, especially the onslaught of foreign cultures that enter Indonesia. Preservation efforts need to be made because the temple reliefs contain local wisdom of Nusantara culture, which contains moral values that are beneficial to today's generation. By transforming the reliefs of Sri Tanjung stories in Panataran Temple into animated form, it is hoped that literacy through technological adaptation and education of Nusantara cultural insights is expected to be disseminated to the younger generation. The method of creation and presentation is carried out through stages: (1) exploration of ideas and ideas for the creation of Sri Tanjung animation creations; (2) model design to find animation designs through the outsourcing approach; and (3) the presentation of animated films to facilitate the delivery of educational messages of Nusantara cultural insights for today's generation. The results of the research are expected to be through the transfer of vehicles and technology adaptation, namely animation, the younger generation will have a reference to the extraordinarily rich cultural insights of the archipelago. So that a sense of national nationalism grows and is aware of the cultural richness of one's own nation.]]>
<![CDATA[NGABEO: THE STUDY OF TRANSMISSION METHOD OF DONGKARI AS A SINGING TECHNIQUE IN TEMBANG SUNDA CIANJURAN ]]>
<![CDATA[Setiaji, Denis]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.6031
<![CDATA[The following research focused on explaining about the Ngabeo as a learning method in Tembang Sunda Cianjuran. This research used phenomenology as an approach as well as field activity and in-depth interviews with Penembang as a practitioner in Bandung City and collected data by virtual fieldwork. The research analyzed the ngabeo as the transmission process of knowledge, technique, and ornamentation as the operation of dongkari in the Tembang Sunda Cianjuran repertoire. Ngabeo as the traditional learning method in Tembang Sunda Cianjuran is the oral-aural transmission process used for inheritance the concept of sing in Tembang Sunda Cianjuran.]]>
<![CDATA[COLLECTIVE ETHNOGRAPHY OF PRINT MAKING IN YOGYAKARTA: A THEORETICAL STUDY OF ART AND SOCIETY ]]>
<![CDATA[Wirajati, Yohanes De Britto]]>;
<![CDATA[Waryanti, Dessy Rachma]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.6181
<![CDATA[The research entitled ‘Ethnography of Graphic Printmaking Collective in Yogyakarta: A Theoretical Study of Art and Society’ aims to analyse the institutionalisation process of two graphic print art collectives in Yogayakarta, namely: Grafis Minggiran and Krack! Printmaking Studio, and its influence on the art scene. The method that will be used in this research is ethnographic method with data collection techniques in the form of interviews and literature studies. This method was chosen in order to obtain a detailed depth of data from the experiences of the two graphic printmaking collectives. The results of this research are: (1) Both printmaking collectives endeavour to respond to art conventions (especially about techniques) in their art practices; (2) The formation of the collective is an on-campus tradition that spreads out; (3) Krack! Printmaking consistently makes the screen printing technique as a medium of expression in the realm of graphic printing art; (4) Krack! Printmaking then made the phrase ‘Ojo Wedi Mbleset’ (‘Don't be afraid to miss’) as their credo in carrying out the practice of silk screen/screen printing; (5) Grafis Minggiran makes the introduction of a wealth of techniques as its vision in art; (6) Grafis Minggiran is known as one of the (non-campus) graphic collectives that emerged the earliest and at the same time the initiator of the Yogyakarta Graphic Arts Week event.]]>
