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Acintya
Published by Institut Seni Indonesia Surakarta
ISSN : 20852444     EISSN : 26555247     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Arjuna Subject : -
Articles 20 Documents
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Search results for , issue "Vol. 16 No. 2 (2024)" : 20 Documents clear
CULTURAL ADVANCEMENT STRATEGIES IN INDONESIA: A LITERATURE REVIEW Murtono, Taufik; Wahyudi, Didik Bambang
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i2.6177

Abstract

This study aims to explore writings throughout the last five years (2020-2024) to find out how cultural advancement strategies have been practised in Indonesia. The method used is literature research with stages 1) formulating questions and protocols for inclusion and exclusion of writing data, 2) searching for qualified writings from Google Scholar and Scopus databases, 3) selecting writing data by extracting data and identifying data duplication, 4) analysing data based on the quantity and quality of writing according to theme groups, 5) presenting data in an analysis matrix,  6) interpret the results of the analysis and draw conclusions. The study results concluded that the strategy of promoting culture in Indonesia is carried out through legal policy, social and cultural innovation, and the development of cultural products. The development of cultural products needs to be given more space considering that people now more easily consume the results of cultural innovation through various media platforms
KAWUNG AND PARANG BATIK PATTERN AS PLAYER UNKNOWN'S BATTLEGROUNDS MOBILE GAME PLAYER COSTUME DESIGN ELEMENTS Revan, Revan Arfian; Afrizal
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i2.6235

Abstract

A costume is a fashion design that has the aim to create a form of an imaginary character. The Kawung and Parang Batik is an original pattern from Central Java which could add to represent ideas for creating a cultural identity of a  beautiful and dignified. The creation method to make this costume design uses the method of Prof. Drs. SP Gustami, S.U. which includes three stages: the exploration stage, the design stage, and the creation stage. PUBG Mobile is a world well known battleground fighting game that not only focuses on gameplay but also emphasizes creativity in the costumes used by players. In fact, in 2020 PUBGM Creative was formed as a forum to accommodate costume designs packaged as a costume design competition which include three assessment stages: a curation stage, an assessment stage and a voting stage. A PUBG costume design combined with Kawung and Parang batik pattern could be an effort to preserve Indonesian culture to the young generation around whole world through the online game
CINEMATOGRAPHY ANALYSIS OF THE ROMANTIC SCENE OF THE KOREAN DRAMA SERIAL EXTRAORDINARY ATTORNEY WOO Nugraeni, Elara Karla; Sadewa, Ghalif Putra
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

Korean serial drama Extraordinary Attorney Woo achieved high popularity following its release on Netflix mid-year 2022. This drama does not only present relevant social issues but also offers captivating visual arrangements depicting emotions for the main character, who has asperger syndrome or autism. This study focuses on cinematographic patterns in romanticizing scenes to project thoughts and emotional expressions of the main character. From the total sixteen episodes, several scenes were selected through purposive sampling to demonstrate repetitive cinematic structures. Analysis was conducted using David Bordwell and Kristin Thompson’s developed theory of cinematography, encompassing three primary aspects: The Photographic Images, Framing and Duration of the Image. The aim of this study is to identify the visual patterns used in romanticizing those scenes, and how these visual arrangements build emotional engagement and deep understanding between viewers and Woo Young Woo as an individual with autism. This study is expected to enrich insights about visual construction within serials and films, particularly in potraying autistic characters through cinematography.
MATERIAL NARRATIVES IN THE CREATION OF WORKS OF ART: ANALYSIS OF THE ROLE OF MATERIALS IN THE FORMATION OF VISUAL AND CONCEPTUAL MEANING Yanuar Ikhsan Pamuji; Bagja, Bachrul Restu; Wahyudi, Luqman
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i2.6638

Abstract

The creation of works of art by artists always involves forming a narrative that they want to convey to the audience. The narrative depends on the artist's interest in the chosen theme and how the theme is articulated through visual elements. Usually, narratives in works of art are realized through metaphorical forms that describe the idea or message to be conveyed. On the other hand, materials in the creation of works of art are often considered as supporting elements that complete the metaphor. This research aims to explore how materials in works of art can form their own narrative, not just as complementary objects. Materials are also entities that contribute to the overall meaning of the work. By analyzing the relationship between material and narrative, this research provides insight into how material can be interpreted as a visual language. Materials have narrative potential, revealing more than their function in the formal structure of the work of art.
MUSICAL TRANSLITERATION OF TEPAK KENDANG ON FIGHTER GESTURES IN KENDANG PENCA Dani Yanuar; Purwanto, Sigit
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i2.6756

Abstract

Kendang Penca is an art form that presents a complexity of interactions between the movements of fighters and the patterns of tepak kendang. The interaction between the two shows the connection between the language of movement and the language of music in building the concept of harmonious performance. From this interaction, the phenomenon of transliteration emerges, namely the process of translating the language of motion into the language of music, which in this case is the tepak kendang pattern. This research aims to reveal the process of transliterating the sound of tepak kendang music to martial arts movements in the Kendang Penca performance art. The problem posed is how the tepak kendang pattern and how the transliteration of the tepak kendang sound to the movements of the fighter is carried out. The theoretical concept of transliteration as part of the discipline of philology is used as a theoretical basis for examining research problems, while qualitative research methods with an ethnographic approach are used to guide researchers in extracting data, interpreting, and finding research conclusions. The results of this study reveal that the transliteration process carried out by the rider is framed by the concept of luyu aesthetics, so that the expression of the tepak kendang pattern presented is at the level of the perspective of appropriateness of the community supporting the art of kendang penca.
SYMBOLIC INTERACTION OF BAMBANGAN CAKIL DANCERS AT WEDDINGS IN REMBANG REGENCY Anom Sutejo; Pebrianti, Sestri Indah
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i2.6757

Abstract

Bambangan Cakil dance performance at a wedding event in Rembang Regency has its own characteristics. In every performance there is interaction between the dancers and the audience. This article aims to describe and explain the performance form of Bambangan Cakil Dance at weddings in Rembang Regency as well as understand and analyse the process of symbolic interaction in the performance. The research method used is qualitative and uses an etic and emic approach, so that researchers can see the differences between the views of researchers and the views of people who see the same performance. The results showed that the form of Bambangan Cakil dance performance has a structure consisting of the beginning, core, and end of the performance. Bambangan Cakil dance performances also contain elements including themes, storylines, dancers, expressions, movements, music, makeup, clothing, props, and stages. The symbolic interaction of Bambangan Cakil dancers is divided into three parts, namely before the performance there are interactions: 1) dancers with dancers, 2) dancers with guests, and 3) dancers with sound system operators. During the performance there are interactions: 1) dancers with dancers, 2) dancers with bridal couples, and 3) dancers with guests. At the end of the performance there are interactions: 1) dancers with dancers, 2) dancers with bridal couples, 3) dancers with guests, and 4) dancers with sound system operators.
INTEGRATING OUTCOME-BASED EDUCATION IN TRADITIONAL DANCE CURRICULUM: A CASE STUDY OF SUNDA DANCE IN HIGHER EDUCATION Utami Arsih; Putri, Rimasari Pramesti; Aesijah, Siti; Pebrianti, Sestri lndah
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

This research aims to integrate the Outcome-Based Education (OBE) approach in the curriculum in higher education, especially Sundanese dance courses. This approach is designed to increase the relevance of learning outcomes to the needs of society and the world of work. This study uses a descriptive qualitative method with a case study approach in the Dance Education Study Program, Faculty of Languages ​​and Arts, Semarang State University. The research results show that the application of OBE in Sundanese dance learning can strengthen student competence, both in terms of technical skills and ability to adapt to global challenges.
NA SAJI, NEW BALINESE KARAWITAN CREATION METHOD I Wayan Diana Putra
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

Balinese karawitan composing basically uses intuition and accumulated artistic experience to create new karawitan music. The way the composer works is by transferring the musical abstraction stored in the brain memory to the musicians in an imitative way. In addition to having artistic experience, Balinese composers must also have the intellect to create Balinese musical works. The composer's intellect can then give rise to a new Balinese musical creation methodology as a refinement of the previous Balinese musical creation methodology. The refinement of Balinese musical creation methodology also aims to create a direction or projection of Balinese musical creation that is more educational than a performance. Refinement by developing the methodology of previous karawitan composers such as I Wayan Beratha, I Nyoman Windha and Pande Made Sukerta as objects of study and comparison. After reviewing and comparing the three stages of composers, it was deemed necessary to refine the stages of reading, discussion and writing. This resulted in the creation of a new musical methodology called Na Saji. Na Saji is a newly initiated methodology for creating Balinese karawitan music. The methodology of creating Balinese karawitan music is called Na Saji. The name of the Na Saji method is taken from the first letter of each stage, the letter ‘N’, which in Balinese script reads ‘Na’. While saji refers to the meaning of serving or presentation. So Na Saji is a method for presenting the stages of creating Balinese gamelan works. The five stages of the Na Saji method are: nyelehin (observing), nureksin ( analyzing), nyurat (writing), ngendingin (singing) and nabuhang (playing). The abstract should be in one paragraph.The font is Cambria, 10 pt, italic, and justify. Abstract is in 200-250 words, which is followed by 3-5 keywords.The abstract should succinctly describes your entire paper. It comprises of the purposes of the research, method, and the findings of the research, Novelty.
COMPACT DARKROOM IN THE EXPLORATION OF PHOTOGRAPHY AS AN EFFORT TO IMPROVE THE CREATIVE INDUSTRY Anin Astiti; Tohari Caturiyanto, Setyo; Wahyudi, Johan Ies; Waskito, Setyo Bagus
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i2.6766

Abstract

Using a darkroom to create photogram works often gives rise to findings related to the effectiveness and efficiency of using light in the enlarger in the darkroom as well as findings to deal with problems that exist when in the darkroom. This then inspired the desire to carry out an experiment that would be useful when researchers carried out the photogram technique, but could be done outside the dark room. Through this research, it is hoped that the aim will be to obtain a solution to the problems that the researcher stated in the previous paragraph. In this applied research efforts are made to apply the research results which can be used to develop creative photography experiments, especially the photogram technique. The darkroom is an important space that must exist in the analog era. A dark room is a room that is literally dark with several devices such as enlargers and chemicals that are used for the image development process. The darkroom or darkroom is a manifestation of the development of the camera obscura in the 18th century. Portable darkrooms became very popular among artists/photographers because of their practicality in being able to travel with them, or dark-room wagons which were usually attached to a horse-drawn carriage or stroller. It is hoped that this research can provide a useful solution in terms of ease and practicality in carrying out photogram techniques so that the illumination process can be carried out outdoors (not in a dark room) so that it has more value as when using a conventional camera.
TREES AS A FORM OF HOPE IN THE CREATION OF MIXED MEDIA ARTWORKS Tegar Jaka Purnama; Bahari, Nooryan
Acintya Vol. 16 No. 2 (2024)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

Trees as a Form of Hope in The Creation of Mixed Media Artworks. The creation of the artwork started with an idea with trees as the source of inspiration. The great interest in trees occurs because trees are extraordinary creatures with various types and benefits for humans, trees are so close, so the interest continues to grow. Departing from a great interest and the experience of exploring mountainous areas as direct observation by seeing and observing trees, which are diverse and have never been seen before. Trees with a lot of uniqueness not only provide oxygen and shade, in many cultures, trees are considered symbols of life, peace, or immortality, they are even a place to reflect. This creation emphasizes the creation of works with the theme of paintings that show representations of the meaning and beauty of trees. The creation of the work also focuses on paintings that contain the hope that awareness of trees will continue to grow so that the existence of trees can always be maintained. The form of this work is in the form of a two-dimensional work, which uses the grisaille brush technique and graphic art high print technique, however, it is poured into one medium, namely canvas. The realization of the painting is based on an idea and concept found, then designed, then visualized into the process of work, finally realized into one work measuring 80 x 100 cm with the title “The Only One”. In the finishing stage, the work is coated with liquid varnish, this layer protects the surface of the work from dust, dirt, moisture, scratches, and other damage.

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