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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 512 Documents
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ANALISIS HUBUNGAN ANTARA KEGIATAN MELUKIS DENGAN KEBUTUHAN PSIKOLOGIS PADA REMAJA Shokiyah, Nunuk Nur
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v6i2.211

Abstract

This research aims to learn the correlation between painting activities and psychological needs of theteens. There are two variables in this research covering painting activities as the independent variableand psychological needs as the dependent variable. The correlation technique of Product MomentPearson is used to know the correlation between painting activities and the psychological needsof the teens, while the calculation uses the computer program SPSS 15 for windows release. Subjectof this research is all active students of the Pure Fine Arts Department in Institut Seni IndonesiaSurakarta. All data that is collected covers 61 subjects. The measuring instrument used is the intensityscale of painting activities and the scale of psychological needs. The result of this research showsthe coefficient correlation (rxy = 0,746; p = 0.000), it means that there is a significant correlationbetween the painting activities and the psychological needs to the teens. Meanwhile, the determinationcoefficient of the correlation is R2 is 0,556. It means that the painting activities give the effectivecontribution to the psychological needs to the teens as much as 55,6 % while the rest of 44,6 % isdetermined by other variables.Keywords: painting activities, psychological needs.
PENGUATAN CITRA MEREK BATIK DENGAN TIPOGRAFI VERNACULAR Murtono, Taufik
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v6i2.215

Abstract

This study aims to design a brand identity of batik with vernacular typography. Vernacular typographyis typography with daily life character that is familiar with the activities of local community.Vernacular typography is used in this study because the types that are created by the previous researchdo not meet the needs of the product owners at batik center in Bayat, Klaten District. Themethod used is descriptive qualitative research to find qualitative data that is used as the base of thevernacular typography creating through the design process which is divided into four stages. Thestages covers assimilation, such as the collection and arrangement of information problem that isbeing studied; general studies, such as investigating the characteristics of the problem and possiblesolutions as well as tools and support materials; developing, creating and modifying; communicationconcerning the creative presentation of one or more solutions to the people inside and outside of theresearch team. Small scale industries such as batik center Bayat have disadvantages in accessingcreative sources because of the limited capital and opportunity. Therefore, this study becomes a helpfulthing in designing the brand identity for small industries. The results obtained include vernaculartypography design that is traced from the surrounding environment so that they produce specialtypefaces for example typographic style of batik motif, street-style typography, typographic styleengraving, handwriting-style typography, and free-style typography. Typographies that are generatedsubsequently applied in developing batik brand identity. Keywords: Typography, vernacular, brand, batik
TIPOGRAFI DEKORATIF KAWUNG FLORAL REGULAR Handriyotopo, Handriyotopo
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v6i2.217

Abstract

Typeface as a print advertising communication element has an important role to convey the message.There are many variations in the use of type application in typography. One is a kind of decorativetypeface. The existence of decorative letters during the Dutch East Indies in terms of silografi iswidely used in newspapers. Currently the use of decorative letters is less productive because it is onlyused as a supplement and as an aesthetic element. The creation of works of decorative letters will adddigital reference letters in adopting elements of local culture in the motif. The chosen motif to thesource of creation decorative letters is like motif kawung of Surakarta and Yogyakarta batik stylesthat have a common history. The application of this new type of decorative fonts as supporting visualaesthetic in design wedding invitations, especially themed Javanese batik or marriage. The method ofcreation is through the stages of observation and exploration, experimentation, creation and applicationin the design of wedding invitation cards.Keywords: Decorative letter, batik, wedding invitations
UNSUR SOSIAL BUDAYA DALAM SERAT ANGLINGDARMA Masturoh, Titin
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v6i2.221

Abstract

This research aims to find answers of the questions: (1) how the Serat Anglingdarma as the literarywork is; (2) how the Socio-Cultural Elements of Serat Anglingdarma are. Focus of this researchdiscusses about the text of Serat Anglingdarma, so the use of genetic structuralism approach to theanalysis of intrinsic and extrinsic elements are the elements of social culture.This result of the research shows that Serat Anglingdarma contains message that can function as thekingdom dynasty relationship and strengthening or authority at the time as a complementary chain ofgenealogical ancestors. Serat Anglingdarma as a literary work contains the important elements, theyare: (1) element of plot; (2) element of characterizing; (3) element of setting; (4) element of theme (themain theme and additional theme); (5) element of message. The social elements of Javanese culture inSerat Anglingdarma can be seen from the kinship system. It can also be seen from the language,because the language used in Serat Anglingdarma is Java krama and Java ngoko language. SeratAnglingdarma can be seen from the farm system containing the ways of farming. While viewed fromthe art, Karawitan is used for the ceremony and certain days.Keywords: Socio-cultural, Serat Anglingdarma, Javanese.
IDENTITAS VISUAL DALAM DESTINATION BRANDING KAWASAN NGARSOPURO Panindias, Asmoro Nurhadi
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v6i2.223

Abstract

Surakarta city, then known as Solo, has a long history as part of the cultural centers of Java. “SoloPast is the Solo Future”, a slogan created by Solo City Government in an effort to make Solo as anicon of cultural heritage preservation. Solo is known as one tourist destination in Indonesia, which isrich in a variety of tourist attractions, ranging from cultural tourism, nature tourism, and culinarytours. Economic development and business in Solo can go hand in hand with the development, preservationof cultural heritage and tourism. Ngarsopuro is an area in front of the Mangkunegaran,which formerly lined electronics stores and antique markets called Triwindu. Ngarsopuro region isseen as a cultural activity. As a tourist destination, Ngarsopuro Region needs to have an identity as adifferentiating factor and promotion. It is necessary for a studies associated with Visual IdentityNgarsopuro area for promoting tourism potential.This design study will design a visual identity for the region as a destination brand Ngarsopuro, soresearch conducts with qualitative studies. To design a visual identity Ngarsopuro Region Solo willrequire methods to acquire the concept and design results, among others, to study and data collectingprimary data and secondary data conducted by interview, observation and documentation of data onthe scope of Ngarsopuro area, potential and excellence and values contained in Javanese culture.The visual identity of a company is not only formed by a logo, but also the supporting visual elementsthat appear in each component company. With consistency in the use of visual elements in a companywill further strengthen the position and identity of the company in the eyes of the visitor or relatedparties. Visual identity also includes some of the constituent elements including the name, logo, colors,and slogan.Keywords: Destination brand, Visual identity, Ngarsopu
KEDUDUKAN DALEM PADA PROGRAM RUANG RUMAH INDIS SAUDAGAR BATIK LAWEYAN DI AWAL ABAD KE-20 Hastuti, Dhian Lestari
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v6i2.225

Abstract

This article is a result of research that discusses about the tradional position of dalêm in the homespace program of Laweyan batik merchants in the early 20th century which explain and understandthe position of dalêm as cultural artifacts. Two approaches are used to approach the systems of Javaneseculture and quadrant system which describes the nature of space as a symbol of Javanese culture.This study aims to understand the merchant community perspective of Laweyan socially marginalizedculture in the early 20th century, through the notch dalêm to their home space program. The resultsare: 1) physical form of three home Indies batik merchants Laweyan, a smart strategy in makingdesign decisions in harmony with nature, social environment, economic life, and ideals. 2) Position ofdalêm for the space program is regarded as a sacred area and the cosmic center, although without theapplication of the concept mancapat. Dalêm placement on the highest floor level is a reflection of thesacred area and the cosmic center. Prerequisite relations relatives and well known to the owner of thehouse is a symbol that dalêm position as a sacred area of the quadrant system.Keywords: dalêm, Indis, quadrant system, a sacred area
KRIYA KULIT KREATIF PENGEMBANGAN WAYANG KULIT PURWA Ahmadi, Agus
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i1.1907

Abstract

Creativity is the ability to create something, which always develops in a person, including of crafts works and puppet. The study purposes were reviewed and data analyzed on: the creativity in the craft work, the diversity of puppet craft creations, design the creative puppet development and explain various examples of leather craft works on Purwa puppet development. The study method was adopted qualitative research character. The data analysis was used qualitative reasoning and iconography comparison. From the research results can be formulated the notion of creativity and creative craft creation. In practice of leather craft creation was required of art workmanship foundation, the datasource for exploration, and work practices methods. The diversity of the puppet art in Indonesia it can be noted that there are 55 types of puppets, which are mostly found in Java, and the most popular, widespread, and most of characters forms is the Purwa puppet. In the puppets creation was throughthe process of drawing, pattern or mbabon, inlaid, painting, and finishing. Subsequently reported the form of various creations of leather craft-themed puppet with an explanation, which including of the creation of puppets development for performances, works of leather craft was developed from Purwapuppet element, some new creations puppets, puppet crafts for wall hangings, decorativelighting and puppets patterned shutter, and leather puppets craft for souvenirs.Keywords: puppets, creative, crafts, diversity.
PERANCANGAN DESAIN PERMAINAN MATERI PENDIDIKAN ANAK USIA DINI BERBASIS WAYANG BEBER Sutedjo, Agus; Prilosadoso, Basnendar Herry
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i1.1909

Abstract

The traditional game contains a lot of important elements such as aspects of educational, recreational, or competitive so that children can benefit. The traditional game according to the nature ofthe game can be divided into two, namely a game to play (games) that are competitive and games toplay (play) that are available. This study aims to provide solutions related to design problems oftraditional children’s games based material introduction wayang beber in Pacitan and learning media character education for children early age as a way to preserve the traditional art to obtainalternative modification of traditional games. The crisis in various dimensions that many hit Indonesian life that impact on the crisis of morality can be prevented by reviving the character educationthrough the incorporation of traditional games children with puppet figure. Character education isthe transformation of the values of life in one’s personality to become one in the behavior of thatperson’s life. Draft experiment will be conducted with the involvement of a team of professors andstudents and practitioners in the field of craftsmen game and the offender (puppeteer) wayang beber.To map data is done through literature studies, interviews, observation, and documentation. Experiments performed with the shape design and game design approach is supported by the psychologicalapproach, educational, social and cultural. The use of SWOT analysis models used when going to theformulation of traditional game design as a medium for the introduction of the figure of wayangbeber and learning material character education to early childhood.Keywords: Wayang beber Pacitan, the character of early childhood education, traditional games,Art Tradition Preservation.
“CAKIL JUGA MANUSIA” (DASAR KONSEPTUAL ME-MANUSIA-KAN CAKIL DALAM PERTUNJUKAN) Wibowo, Anggono Kusumo
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i1.1911

Abstract

Preparation of dance with the title “Cakil Juga Manusia (Cakil Also Human: Ing)” inspired by some contemporary thinking associated with the figure of Cakil. In the world of show tradition Puppet Stage, Cakil identical as antagonist iconic to the nature of evil and bad. Nevertheless, its presence is always awaited by the audience because of its motion is interesting, distinctive, attractive and acrobatic. In addition to the motion, the character traits that ngglece using everyday language of populist dialogue considered communicative audience. The show is entertaining and communicative as well as the populist spur compilers for presenting a claim jogetan Cakil new ones with shades of populist. Ina fragment of a story, Cakil presented as being humane because it has love, has the property of honest, innocent, and innocent. The work “Cakil Juga Manusia” try to work on one scene that is packaged in a dance drama story about inner feelings Cakil figure in romance. The process of this work is done by a coherent process stages. Starting from the literature, field studies, data reduction,the discovery of forms till, independent search process, the selection of dancers, the production team selection, implementation of the exercises, the deepening and strengthening of the work, up to the staging. This work is specifically aimed to re-discover the contrast of the characters Cakil. The rationale behind the idea of this work is the desire to realize the humanity of Cakil, that he has a love,feelings, loyalty, and a sense of sensibility. This effort will greatly affect the appearance of vokabulervokabuler new motion in the frame of a typical motion Ceklekan. Novelty characters and their Cakil vokabuler new motion will be attempted to be developed in the frame of narrative fragments of stories. This will add to the challenges of exploration and character motion in the cultivation process works.Keywords: Cakil, the concept works, fragments of Love, and Ceklekan.
MEDIA WAYANG SEBAGAI MODEL PEMBELAJARAN BAHASA INDONESIA UNTUK MAHASISWA ASING DI ISI SURAKARTA Mariani, E.R. Elis Noviati
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i1.1913

Abstract

Foreign students who study at ISI Surakarta is still plagued with the problem of the use of the Indonesian language. Indonesian official use in teaching and learning in the classroom. Indonesian teachers in the Art Institute of Indonesia Surakarta challenged fortunately find an innovative learning model to address the problems faced by foreign students. Indonesian model of learning through the medium of puppets are considered appropriate to teach the Indonesian language teaching. In addition, the puppet as one of Indonesia’s cultural assets can be used as a form of promotion to introduce Indonesian culture in other countries. Puppet art that is rich in philosophical values and character ofthe characters are very appropriate for learning in the classroom. This study will discuss the alternative learning models with media Indonesian wayang effective for foreign students at ISI Surakarta and introduce philosophical values of what is contained in learning the art of puppet to introduce Indonesian culture. This study includes qualitative research. The results of this study are a Indonesianlearning model that uses media puppets and philosophical values contained in the puppet.Keywords: puppet, media, models, learning, language

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