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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 512 Documents
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KAJIAN TEKNIK MENGGAMBAR WAYANG BEBER GAYA PACITAN JOKO SRI YONO Gozali, Amir; Sutriyanto, S.,
Acintya Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2035.898 KB) | DOI: 10.33153/acy.v7i1.1989

Abstract

Wayang beber is one of the local heritage arts genius of our ancestors were awarded UN World Board through the (United Nations Educational, Scientific and Cultural Organization) UNESCO. Wayang beber consists of two styles of Pacitan style and Wonosari style. Both have a very clear distinction, which is present in the background and some of the characters involved. This study aimedto Pacitan style wayang beber, which is characterized by a very complicated background and has a very interesting artistic value. From both also have different kaedah manufacture especially when applying the colors used. This study examined the anatomy contained in wayang beber body, be it amain character or some other supporting cast. Anatomy directed against members of the body are found in various types of puppets such as eyes, nose, mouth, ears, hands, feet up clothes and accessories that are used. In addition, this study will reveal some of the symbols contained in the background, where the background can be seen from the condition and location that is happening ineach scene. In this study, the object is wayang beber with emphasis minitik studies on aspects of its art techniques and media that manufacture Pacitan style wayang beber Sri Yono Joko work. To solve some of the issues raised using a direct approach to the puppeteers, craftsmen and artists were stillprimarily Joko Sri Yono as an artist who holds the grip wayang beber style Pacitan, as well as the review of existing literature and using some of the theoretical approaches in the hope to replied the existing formula.Keywords: Wayang Beber, Style, Pacitan.
PARADIGMA KONFLIK DALAM DRAMA ANALISIS UNSUR INTRINSIK, REKAYASA DRAMATIK, DAN RESOLUSI KONFLIK Makaf, Akhyar
Acintya Vol. 10 No. 1 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v10i1.2285

Abstract

Conflict is an important element in dramas to assemble and unite intrinsic elements of theme, characterization, and groove. Conflict is also a determinant of the quality of a drama, because it is directly related to the reality of human life as individuals, as well as social beings. This study was conducted to determine the patterns, causes, effects, and conflict resolution presented in four realist dramas that differed from the time side of the incident, the background of the place, and the social setting, to find the resolution offered by the author, from the social conflicts that occurred in the community every period. The method used is analytic descriptive of conflict, intrinsic element, and social condition that underlies the creation of four realist dramas being sampled, Ketika Malam Bertambah Malam, Domba-domba Revolusi, Sayang Ada Orang Lain, and Pertja. In this study, it can be concluded while the conflict that arises is the depiction of social reality at the time this text is written, as well as the psychological condition of society in overcoming the problems that arise. Each author offers a reasonable and reasonable resolution of the conflict to provide a solution to each of the issues raised. Keywords :conflict, intrinsic, social, resolution.
MEMBANGUN CITY BRANDING MELALUI SOLO BATIK CARNIVAL Murfianti, Fitri
Acintya Vol. 2 No. 1 (2010)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2725.443 KB) | DOI: 10.33153/acy.v2i1.101

Abstract

City branding is an ejfort to establish the identity of a city. ldentiql is a construction. a consequence of B process of interaction between people, institutions, and praxis in social life; o place/region which bring:its uniqueness and may appear difierently from its competitors not only in slogans or tagline but also in its ability to ofier something which is unique and dtflerenl, crystallized as a strong identity in the customers‘ perception. Solo Batik Carnival is a creative industry that produces “symbolic goods ” in the form of ideas, experiences, and images. The event is hold as on effort to construct the image which represents the city of Solo as a city of Batik and makes the city of Solo a marketable city. Thus, SBC has a dual function. Apanfrom an attempt to potent batik culturally and oflirm brand Solo as the City of Batik, SBC also can function as a showroom or storefront that oflers a unique batik Solo as a unique selling proposition so that it can be used as a tourism pmmotion event of the city of Solo in national and international scale.Keywords: Solo Batik Carnival, City Branding, Identity
GARAP KEBAR IN JAVANESE KARAWITAN Sugimin, S.,
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (644.117 KB) | DOI: 10.33153/acy.v8i2.1939

Abstract

Garap kebar is one of the treatment on the musical offerings of Javanese musical by using a kebar’s drum pattern presented irama tanggung and dados responsibility to fulfill the musical expression by considering a variety of needs. The emergence of garap kebar on the musical offerings are caused byvarious factors, among which are interpretation of treatment, creativity of artists, and serving functions. There are several options kebar drum pattern that each has a different character, that kebar gambyong, kebar golek, kebar matut, and kebar gecul. Various aspects of forming the musical sense in garap kebar include: musical pattern instrument, rhythm, tempo or laya, and serving functions. Gending who worked kebar containing musical taste sigrak, berag, prenes, and gecul.Keywords: interpretation of treatment , creativity, and offering functionality.
SAPUT POLENG DALAM PENCIPTAAN KARYA SENI LUKIS DENGAN TEKNIK OPAQUE DAN IMPASTO Suyasa, I Nyoman; Rahman, Deni
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2121.837 KB) | DOI: 10.33153/acy.v9i1.2123

Abstract

The research titled “Saput Poleng dalam Penciptaan Karya Seni Lukis dengan Teknik Opaque danImpasto” was an art creation research based on the development of painting that served as an awareness media of nature conservation by raising local wisdom as symbol of natural balance. Polengcloth was a symbol of natural balance. In everyday life, Hindus in Bali, especially in Hindu ritualactivities, often wore objects or woven fabrics with various colors, such as white, red, yellow, or amixture of these colors. The variety of colors used was not just for enhancing the beauty of theceremonies in order to make them look splendid, but actually the use of color was based on thephilosophical meaning derived from the Vedic scriptures. This research used several methods of artistic research (art creation). These stages included: research, experimentation, contemplation, and formation. The research was focused on the meaning of poleng cloth in nature conservation, usingmetaphor language in its disclosure, visualizing it by combining opaque technique and impasto technique. These technique was used to create cloth characters and tree characters. Utilized acrylic paintas the ingredient, because in addition to dry quickly, this paint brought unexpected effects added tothe artistic value. The hope was, by creating this painting in addition to experimenting and exploringfor new possibilities in combining opaque techniques with wider and free impasto techniques, thepainting was also became awareness media to be more concerned with nature conservation.Keywords: Saput poleng, metaphor, opaque and impasto.
CANGGET SEBAGAI IDENTITAS KULTURAL PADA MASYARAKAT LAMPUNG Martiara, Rina
Acintya Vol. 1 No. 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2492.063 KB) | DOI: 10.33153/acy.v1i2.57

Abstract

This article talking about a Cangget dance of Lampung society and its identity related to the dance performance itself The Cangget dance and its specific field of its performance because of it was danced by a group of female dancers. Uniquelly the female dancers mostly the daughters of the traditional ethnic leaderand their appearance represents the unappearance of the ethnic leaders. Here! would like to examine through this article in what kind of the Cangget dance and its role as a culktural identity amongs Lampung society furthe rmore the extended role of this dance tradition presently. In other ways this article will also examine the Cangget dance by using sosio-historical approach in order to analyze the Cangget dance and its existence into the pattern of culture, system of value and its norms related to the intercontextualities of cultural diversity. Keywords: Cangget dance, cultural identity, society.
MAKNA ORNAMEN KUMUDAWATI PENDHAPA AGENG MANGKUNEGARAN Adisukma, Wisnu
Acintya Vol. 6 No. 1 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1047.119 KB) | DOI: 10.33153/acy.v6i1.177

Abstract

This article aims to identify, comprehend, and explain the influence of Mangkunegaran fortress previouslythrough mind concept of Mangkunegara VII in initiative making of ornament kumudawati atPendhapa Ageng Mangkungaran; and symbolic meaning consisting of barbed in ornament kumudawatiwith Java culture order. Bearing in mind that culture is an element which influences the existence ofornament kumudawati, an overall understanding of the form, role, and meaning of ornament kumudawatiis based on the cultural approach that is a way of looking at culture as a system. According to thisresearch, Kumudawati ornament presented by Mangkunegara VII is the effort to dynamics Javaneseculture lofty values that is adiluhung and combined with western hesitant. Kumudawati ornament isassociated with the mind concept of Mangkunegara VII that the concept of counter culture and toacquire Javanese culture legality as adiluhung and dynamic although western culture as modernculture stays inside Javanese people.Keywords: Kumudawati Ornament, Meaning, Mangkunegara VII
LOMOGRAFI SEBAGAI EKSPRESI SENI DAN GAYA HIDUP LOMOGRAPHIC SOCIETY SOLO Wahyudi, Johan Ies
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (875.48 KB) | DOI: 10.33153/acy.v8i1.1921

Abstract

The aim of this study is to investigate the phenomenon of Lomography as art and lifestyle at the Lomography community in Surakarta. The subjects were community Solo Lomographic Society and the object of research is the works Lomografi of the community. Collecting data in this study using the method of observation, literature / documents and interviews. Observations carried out on community activities Lomographic Society Solo in Surakarta and artifacts of their activities such as exhibition catalogs and documents activities. A literature study to strengthen the theoretical foundation and a variety of matters relating to Lomography. Interviews were conducted to speakers who are competentas a practitioner Lomografi, photographic art expert and journalist who has written about the phenomenon Lomografi in Indonesia. The target of this research is knowing the stages in the process of creating works Lomografi and aesthetic form of artwork Lomografi the aesthetic point of view of art‘as well as the internal-external factors that encourage the formation of community of Lomographic Society Solo and existence.Keywords: LOMO, Lomografi, Lomographic Society Solo, art expression, lifestyle.
MENGEMBANGKAN KREATIVITAS ANAK MELALUI KEGIATAN MENGGAMBAR Shokiyah, Nunuk Nur
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1997.668 KB) | DOI: 10.33153/acy.v7i2.2017

Abstract

This research aims to determine how to develop children’s creativitiesthrough drawing. This type of research is qualitative. The source of data in this study includes the children’s works, many literatures related to the research, documents, data collection techniques used in the study of literature,observation, and documentation. Results of the study are several ways to develop the children’s creativitiesthrough drawing. They include enriching children’s abilities in drawing, drawing freely, coloring by mixing a variety of medium, providing various facilities to draw, being creative every day,drawing while playing, drawing while storytelling, creative holidays, parental involvement. Some of the techniques describe efforts to develop the children’s creativitiesthrough drawing. This study emphasizes on the development of children’s creativities rather than emphasizing on the skill in drawing. Drawing activity gives more attention to the process than the results. It is important to make the children relaxwithout coercion from others when theyare drawing,so that the resulted image is very unique and naturally suitable to their expressive soul.Keywords: drawing, developing creativity
KRITIK SOSIAL TEATER EPIK DALAM STRUKTUR LAKON TUK KARYA BAMBANG WIDOYO SP Hudha, Tafsir
Acintya Vol. 1 No. 1 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3562.315 KB) | DOI: 10.33153/acy.v1i1.21

Abstract

A study of epic theory and its aplication (social realism) is an attempt to search a set and several epic methods which invented through the Tuk’s plays of Bambang Widoyo SP creation. This article will begin from a study of epic theater and its existence generally and its point of view related to social condition which inspires and pointed its audience either. This article traces and focuss on both the relation and its impacts among social realities and theater expression, and its relation to validity of the social realism’s theories (epic theories) in the theater. According to this article, the Tuk’s play of Bambang Widoyo’s creation will be analyzed from its structure of Tuk’s plays itself and its texture. By the end of this article, the Tuk’s plays of Bambang Widoyo’s creation may inspires the audiences through its tracing’s attemption of epic theory in the plays itself.Keyword : epic theory, theater, social criticism, structure, texture

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