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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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IMPLEMENTASI IMPERATIF KATEGORIS DALAM SISTEM PENDIDIKAN Widyawati, Setya
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i2.1935

Abstract

This study entitled The Implementation Categorical Imperatives in The Education System aims to determine the ethical thinking of Immanuel Kant, his inference, as well as its implementation in learning. This is a literature study using axiological approach in the branch of ethics. The material object is the implementation of ethical thinking into learning while the formal object is axiological philosophy. Immanuel Kant was a German philosopher (1724-1804) who suggested that the first argument of morality is to have true oral values. Deeds needed to be done in terms of liability. The second proposition is an act done out of obligation that does not have the moral objectives to be achieved through but in the doctrine in which it is determined. Therefore, the moral value does not depend on the realization of the object but only works on the principle of volition by which the act is done without regard to the objects of basic skills. The government’s policy in shaping characters is done gradually starting in 2004 with Kurikulum Berbasis Kompetensi (KBK; Competency-based Curriculum). At 2011, the government issued Kurikulum Pendidikan Karakter (Character Education Curriculum).The most actual policy for higher education was issued in 2013 entitled Standar Nasional Pendidikan Tinggi (SNPT; National Standard of Higher Education) referring to Kerangka Kualifikasi Nasional Indonesia (KKNI; National Framework’s Qualification of Indonesia). Learning is one of the objects in the education system. Art education system is a unique educational system because it accentuates the value of ethnic cultural heritage as part of the national identity. Relevance between Immanuel Kant’s categorical imperative with the world of education lies in the role of the categorical imperative thatinspires people to realize the importance of good will unconditionally. Internal awareness of inherent is a soft skill so as to contribute in the education world. In turn, education will produce quality output that is sought after by the world of work.Keywords: ethics, curriculum, learning, educational system, the categorical imperative.
MODEL PEMBELAJARAN AKTIF MATA KULIAH PRAKTIK PEDALANGAN GAYA JAWA TIMURAN Sudarsono, S.,
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i2.1937

Abstract

This article is squeezed from the research class action entitled “Active Learning Model Course Practice Puppetry East Javanese Style”. The study was conducted in order to evaluate the success of the learning process and determine the effectiveness of the learning model that has been applied, in order to determine the extent of the success of a process that has lasted learning. It was important to remember the era of the development of competency-based curriculum that is implemented from 2008 to 2013, special courses have not been evaluated. The method used in the study of this class action is syntaxmatic development, which is implemented in an active learning model for the course of Practice Puppetry East Java style. The first stage is to establish a climate of inclusion. The secondstage; lecturers provide an alternative example in accordance with the work on the topic of teaching materials in the face of it. The third stage is to make a decision of personal value. The fourth stage is to identify courses of action. In the process of learning and teaching faculty should be able to makethe atmosphere is not boring to the students, therefore, lecturers wherever possible to consider the classroom atmosphere and the character of the students. The fifth stage; students make general comments on the matter and the steps that have been made. The last stage is the follow-up behavior.From the experience that has been lived for more than five semesters, students are expected to show the positive behavioral change that is better than before. The learning process is essentially a system of teaching and learning is an integral inseparable from the system the involvement of elements otherlearning. Therefore, in the model of syntaxmatic development can not be separated also from other learning systems such as: system response and support system.Keywords: Learning model, puppetry, style, East Java.
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 | 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.
PENGKAYAAN TARI GANDRUNGAN GAGAH GAYA SURAKARTA Suharji, S.,
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i2.1941

Abstract

The aim of research entitled Enrichment Dance Gandrungan Gagah Surakarta style is to describe the dance gandrungan gagah Surakarta style. The target achieved of the research is an improvement of textbooks in 2014. The method used is librarian study that studies the books that have been published in advance. Some flaws in the book and then enhanced by adding dance gandrungan different characters. Model analysis using interpretive narrative. The results were obtained additional repertoire of dance descriptions gandrungan Garuda Yaksa and Niwatakawaca gandrung. Previous research has been completed Gathutkaca dance, Kelana, Menakjingga gandrung. Overall a description gandrungan gagah dance Surakarta styles include Gathutkaca Kelana, Menakjingga, GarudaYaksa and Niwatakawaca gandrung.Keywords: gandrungan, gagah, dance, Surakarta.
DRAMA TARI ARJUNA WIWAHA KARYA S. MARIDI MAESTRO TARI TRADISI KARATON GAYA SURAKARTA SEBUAH KAJIAN ESTETIK Sumargono, S.,
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i2.1943

Abstract

This writting will disclose and identify the aesthetics of Arjuna Wiwaha dance by aplying a special attention to the analysis of dance’s elements and the relations of one element to the others. The notation patterns of the music of the dance were described in detail so that it was posible to identify the tempo,laya,rhythm,musical taste and the pattern of kendangan mungkus. The result is that we know the choreography of Arjuna Wiwaha dance has a harmonious impression. This aesthetic analysis was based on the aesthetic concept of Javanese traditional dancing of Surakarta style,both the techniqueand its taste. The concept covers pacak, pancat, lulut, luwes, ulat,wiled, rhythm and gendhing which are known as hastha sawanda. This writing at least can make a contribution to the aesthetic analysis on dance of Surakarta style and possibly other styles.Keywords: Arjuna Wiwaha, aesthetic, gendhing, dance movement, dramatic design.
PENULISAN SKENARIO BERGENRE FIKSI ILMIAH MENGANGKAT KEUNIKAN KARTOGRAFI KOTA DENGAN PENDEKATAN RISET SEJARAH ‘ATMODIRONO’ Adji, Titus Soepono
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i2.1945

Abstract

Atmodirono is experimentation screenwriting science fiction genre with the approach of historiography and science of cartography or mapping the city of Semarang. Historiography raised is related to the history of the city of Semarang from its inception to the present. In terms of cartography, this filmfocuses on the potential uniqueness map of Semarang who have axes secret that connects several points in the city of Semarang and other points in the world. Experimentation methods of mapping using the online application Google Earth Remote Sensing.Meanwhile, as the binder story, based onthe life story Atmodirono, an architect first Natives in the Dutch East Indies, where life is still rarely discussed and mysterious. Scriptwriting method used is the method of Richard Krevolin, who can work to work on the screenplay adaptation of the various processes that allow, in this case the historyof the city. Atmodirono figures and the map of Semarang. This story can end up being a critique of urban development is not organized at this time.Keywords: Science Fiction, Cartography, Atmodirono figures.
STUDI KONSEP DAN BENTUK KARYA SENI RUPA MURNI MODERN INDONESIA YANG TERINSPIRASI SENI TRADISI NUSANTARA Purnomo, Tonny
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i2.1947

Abstract

This study aims to explain the concepts and forms of modern works of pure art that is inspired by nusantara traditional arts. The nusantara traditional art, here, not on geographical constraints but in cultural areas. This particular study, the research area is the Yogyakarta and Surakarta. This study also continued to restrict and emphasis on the works of pure art, especially modern art that is inspired by the art of Javanese tradition, but did not rule on the works of art inspired by the nusantara traditional arts other than Java. This study uses the aesthetic approach of Clive Bell confirms the significant form. The analysis is the interpretation of the analysis applied to give appreciation to the concepts and art forms that become the object of research. This study takes an object of art created by I Gusti Nurata Nengah, Heri Dono, and Soegeng Toekio. The findings produced is the concept and form of the works of modern art that is inspired by the Nusantara traditional art not necessarily present because the influence of the trend alone, but is the result of a personal experience that in regard to the events in the life of the natural and social environment, and manifested in personal expression in line with experience aesthetic inspired by the concept and the traditional art form experienced and understood. The forms were present were not 100% like in the traditional arts, but still feels inspiring visual character of locality tradition, both in terms of technique, color or deformationof the display. Forms of the puppets and wayang beber be one option is a reference in the visual reinterpreting the tradition art references terkair especially its art.Keywords: pure visual arts, concept, form, nusantara traditional art.
KONSEP KREATIVITAS GARIN NUGROHO DAN KETERLIBATANNYA DALAM PERFILMAN DI INDONESIA Novianto, Wahyu
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i2.1949

Abstract

Garin Nugroho is regarded as a film director who managed to put the local culture in the midst of global cultural dominance. Garin is also as one of the few directors in various parts of the world who do not like to repeat expressions. In every of his film works, Garin is capable of doubling his role asscreenwriter as well as a producer. Garin Nugroho’s selection of creative attitude is unique if juxtaposed with other Indonesian cinematographer-filmmaker. Therefore, it is interesting to examine about the creativity concept of Garin Nugroho and his involvement in the film industry in Indonesia.In regard to review on these issues, the theory of creativity is used to observe the creative attitudes and the ideas that underlie Garin’s movie creation process. The data that were used to reveal matterswere the three films of Garin Nugroho that entitledSurat Untuk Bidadari, Bulan Tertusuk Ilalang, and Opera Jawa. The data was obtained through the data collection techniques that include documentation, literature, and interviews. The result of this research shows that through the work of his movies, Garin attempted to reveal thatthere is harmony and balance in position between the local and the global value,where the selection of creative attitude shows a spirit of multiculturalism. Garin’s animating spirit of multiculturalism is not only demonstrated through his work, but also on his creative actions during the process of creating a movie. In this case, Garin is not only as a film director, but he is also as a humanist.Keywords: creativity, movie director, movies.
KAJIAN IKONOGRAFI KARYA DULLAH “PRAKTIK TENTARA PENDUDUKAN ASING” Adisukma, Wisnu
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i2.1951

Abstract

The article with the title Iconography Study of Work Dullah “Army Practice of Foreign Occupation“ intended to seek the textual and contextual meaning of painters Dullah. With the approach of iconography will be obtained meaning that deeper and broader than a work of art. Through this approach, the artwork will be a major concern in reviewing the history of art, nevertheless alsonecessary to understand the contextual and symbolic aspects. At the time of independence, Dullah many immortalize the events related to the struggle of Indonesian nation in seizing and maintaining independence in his works. Dullah even led a group of young artists to paint directly events duringthe occupation of Yogyakarta as an effort documenting the history of the national struggle. One of his very powerful is the “Army Practice of Foreign Occupation“ that depicts cruelty colonizers against the indigenous population. In this case the work Dullah Practice Foreign Occupation Army will findits context as understood by tracing the history of socio-cultural-years 1940-1950an. From the work we can find out how the socio-historical situation of the community when the colonial era.Keywords: Dullah, Iconography, Army Practice of Foreign Occupation.
POLA, TATAHAN DAN SUNGGINGAN BONEKA WAYANG KULIT DAGELAN GAYA SURAKARTA DAN YOGYAKARTA SERTA KREASI PENGEMBANGANNYA Ahmadi, Agus
Acintya Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i1.1985

Abstract

The choice of clown (painting) puppet as the object of research is because of its simple and funny shape. This simple shape of puppet is very appropriate for a reference in making the pattern, inlaying and painting of the leather puppet for the beginner. Clown leather puppet /panakawanis a typical thing in Indonesia and it cannot be found in Indian where the original story comes from. The objectives of research are: to classify and to elaborate the inlay pattern/shape, size and motive applied to the clown puppet group; to explain the process and result of painting applied to Surakarta and Yogyakarta styles of clown puppet; as well as to express the clown puppet development creation. The research method used in this current study is a qualitative research method so that the research process is conducted in cycle, with repeatedly, ongoing or sustainable data collection activity. The result of research shows that the clown puppet group could be divided into 5 types consisting of 13 puppet characters in which each character of clown puppet is given puppet pattern example, inlay motiveshapes, and painting manifestation, in both Surakarta and Yogyakarta styles. The pattern and in lay of clown leather puppet group is much different from that of other leather puppet group. The difference is that the pattern and inlay of clown leather puppet group are simpler than that of jangkahan or bokongan puppet group. The unity of inlay and painting has been seen clearly in the painting inlay shape that becomes an overlapping decoration.Inlay is the border of painting motive and painting is the filler/color of inlay motive.Keywords: clown, leather puppet, creation.

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