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INDONESIA
Acintya
Published by Institut Seni Indonesia Surakarta
ISSN : 20852444     EISSN : 26555247     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Arjuna Subject : -
Articles 7 Documents
 1 
Search results for , issue "Vol. 17 No. 2 (2025)" : 7 Documents clear
Batik as a Source of Inspiration for Aesthetic Elements in Efforts to Preserve Traditional Arts and National Identity Achmad Nur Kholis
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

Culture is a component of life that can be used as a source of inspiration in creating aesthetic elements. Batik as one of the cultural products that has deep details both in terms of meaning and visuals, where it can influence other products. The closeness of the history of batik with the city of Surakarta has a strong correlation and creates new phenomena to other elements. The purpose of this study is to determine the variety of aesthetic elements in the city of Surakarta, and to find out how it can be an effort in preserving traditional arts and national identity. The qualitative descriptive research method was chosen as the basis for the research and supported by observation techniques, interviews, documentation and the addition of literary sources. The results obtained that batik can be a source of inspiration for creating aesthetic elements in various corners and become a representation in the community's approach to preserving culture in the form of traditional arts and strengthening national identity. The smallest level that is attempted can have a wider impact on the environment around the area to the highest level, namely national.
Musical Creativity of the Reyog Gajah Manggolo Group at the 2022 Reyog Ponorogo National Festival Wulan Dwi Karlina Sari Wulan; Kiswanto Kiswanto
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

This study aims to describe the musical presentation and analyze the creativity of the Reyog Gajah Manggolo (RGM) group from SMA Negeri 1 Ponorogo in the 2022 National Reyog Ponorogo Festival. The research employs a qualitative approach with a descriptive-analytical method. Data were collected through field observations, in-depth interviews, visual documentation, as well as document and music notation analysis. The findings reveal that the musical arrangement performed by RGM was systematically designed to support the dramatic flow of the performance. Music functioned not only as an accompaniment to dance but also played a crucial role in shaping the atmosphere and dynamics of the stage presentation. The creative process was carried out collaboratively among the coach, composer, and musicians through several stages, including planning, musical experimentation, intensive rehearsals, and a final preparation period before the festival. The creativity generated from this process brought positive impacts, both on the quality of the performance and the personal development of its members. Internally, it strengthened character, boosted self-confidence, and fostered solidarity. Externally, the group’s presence helped reinforce the role of Reyog art as a living cultural heritage within the school and the wider community. These findings indicate that musical creativity within the RGM group represents a form of traditional adaptation that aligns with contemporary developments, while also serving as an effective strategy for the regeneration and preservation of Reyog among younger generations.
Traditional Food-Making In Story Photography: Emping Melinjo By Bu Sum, Kartasura Priaji Iman; Azizah Uswatun Khasanah
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

The creative research entitled “Traditional Food Production in Story Photography: Emping Melinjo by Bu Sum, Kartasura” aims to visualize the traditional production process of emping melinjo so that it can be better understood and appreciated by society, especially the younger generation. Through a narrative photography approach, this work serves as both an educational medium and an effort to preserve cultural values and local wisdom. The object of this work covers the entire process of emping melinjo production, which is still carried out manually using human labor. The creation method includes data collection, exploration, experimentation, production, editing, and presentation. The final work consists of 18 main photographs in 24R size (60 × 90 cm) and 9 supporting photographs in 10RL size (20 × 30 cm). This work is expected to broaden appreciation of the traditional emping melinjo-making process and foster a deeper understanding among younger generations of the cultural values contained within.
The Creation of the Manik Pangaras Dance A Form of Acculturation of Two Balinese and Chinese Cultures I Nyoman Agus Hari Sudama Giri; I Nyoman Resa Angga Nurbawa
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

Manik Pangaras is a dance work inspired by the acculturation of two cultures, namely Balinese and Tionghoa (Chinese). This story is found in the babad wich tells of the union of love the Balinese king named Sri Jaya Pangus and Kang Cing Wie (now in Balinese still worshipped as the figure of Ayu Mas Subandar). Conceptually, this work is more focused on the unification of the breath of two cultures, through research, exploration of the techniques of various movements in the dance of two cultures, as well as empirical experience and body aesthetics. The Nolin instrument as one form of cultural acculturation, is used as an accompaniment in this work. Collaborating with the Neo Nolin Community, this first dance work with Nolin accompaniment requires a unification of thought and a fairly long process. The Manik Pangaras dance work refers to the meaning of the massage to be conveyed, referring to the harmonization of the unification of the breath of two cultures, protected by the umbrella of unity, namly tolerance and matual support. The procces of creating this work uses the “Padu Rasa” method, proposed by I Nyoman Agus Hari Sudama Giri in his book, “Tapak Samar”. This method refers to the system of combining or marryng artistic elements. It consists of seven step, know as “Pitung Tindak”, namely: Nureksain (description), Nglaca-laca (concept), Tategar (experimentation), Pilah-pilih (sorting and selecting), Mupulang (collecting), Ngawangun (Composing and realizing), and Nelesin (evaluation, deepening the sense of movement and expression). The Manik Pangaras dance, performed by five female dancers, has a duration of approximately 8 minutes and 30 seconds. The performance consists of three parts: part 1 depicts the beginning of the unifications, part 2 contains the choreography of the fan game, and part 3 depicts the umbrella game scene.
Djelantik’s Aesthetic Study in the Visual Poster “Every Flower Tells a Story” Haniyah Ashillah Putri; Mukhsin Patriansah; Tria Puspa Selomita; Muhammad Ridwan
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

A poster is a visual communication medium that effectively conveys messages through a combination of design elements such as images, colors, and text. The purpose of this study is to examine the effectiveness of the poster titled "Every Flower Tells a Story," created by Shalyna, a student at Indo Global Mandiri University (UIGM) in 2025. The poster conveys meanings of growth and self-uniqueness through floral symbolism, utilizing the distinctive aesthetics of the Y2K era. A retro-futuristic style is presented through a neon color palette, varied typography with digital effects, and decorative elements such as stars and dynamic lines. The urgency of this study lies in the need to evaluate how visual constructions adopting the digital nostalgia of the 2000s can influence the perception and emotional engagement of contemporary audiences. This research employs a descriptive qualitative method with visual and formal analysis approaches. Data collection techniques include in-depth interviews with the creator, observation of the creative process, and a literature review on design theory and aesthetics. The collected data were analyzed using an aesthetic theoretical approach based on the theories A.A.M. Djelantik, which examine the relationship between visual elements and the meanings embedded in the poster. The findings indicate that the poster successfully integrates Y2K digital nostalgia aesthetics with a cohesive combination of bright colors, experimental typography, floral illustrations, and futuristic ornaments. The fusion of visual and verbal signs in the poster reinforces the message of self-acceptance and appreciation for individual growth processes. Based on these results, it is hoped that this research can contribute academically to the development of visual communication design and inspire the public to better understand and appreciate strategic and relevant aesthetic messages within the context of meaningful communication.
Ambivalence of Hospitality Symbols: Representation and Gender Stereotypes in Tari Sekapur Sirih Jambi Rahmatika Luthfiana Sholikhah; Maharani Hares Kaeksi; Kiki Maulana Affandi
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

This article examines women’s representation in Tari Sekapur Sirih Jambi as a symbolic practice that contains an ambivalence between gender glorification and restriction. As a welcoming dance, Tari Sekapur Sirih positions women as bearers of betel leaves and as the central figures of the performance, representing values of hospitality, politeness, and honor within the Malay culture of Jambi. This study employs a qualitative approach with a semiotic reading of symbols, movements, and performance structures. The analysis shows that the symbol of betel leaves and the gentle quality of women’s movements construct a myth of ideal femininity that normalizes women’s roles as hosts and guardians of social harmony. This representation is ambivalent because, on the one hand, it elevates women as symbols of cultural honor, while on the other hand it reproduces gender stereotypes that limit women’s expression and agency within the performance structure. This article argues that Tari Sekapur Sirih can be understood as a cultural text that reflects the relationship between tradition, symbolism, and gender construction in Malay Jambi society.
Land Purification Commission: Sunning The Earth As An Ecological Decolonial Practice In Ceramic Arts Dyah Reno Fitriani
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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This article examines Komisi Pemurnian Tanah: Menjemur Bumi as a practice-led artistic research that responds to the extractive history of sugar factory industries in Yogyakarta, particularly Kasongan, which has left chemical residues in the soil since the colonial era. The research aims to reinterpret ceramic practice as a decolonial ecological gesture by positioning soil not merely as raw material but as an ecological body carrying historical trauma. The study applies practice-led research methodology combining material experimentation, performative repetition, and symbolic installation strategies. Clay sheets were manually twisted and dried on sugarcane stalks, symbolically reversing colonial agricultural hierarchies. The work was expanded through textile-based textual statements addressing soil contamination as a collective commission. Findings indicate that ceramic practice can function as a critical medium to reveal ecological wounds embedded in material history. The novelty of this research lies in reframing purification as a symbolic act exposing inherited environmental trauma rather than technical restoration. The study contributes to expanding discourse on ecological art, decolonial aesthetics, and material-based research methodologies.

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