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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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KEMASAN DALAM RANGKA PENUNJANG IDENTITAS KAWASAN (PERANCANGAN KEMASAN APEM SEWU SURAKARTA) Panindias, asmoro nur hadi
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i1.2611

Abstract

ABSTRAKKelurahan Sewu atau disebut juga Kampung Sewu merupakan salah satu kelurahan di Kecamatan Jebres.Daya tarik sejarah di Kelurahan Sewu diwujudkan dalam bentuk festival, yaitu Festival Gethek dan Festival Apem Sewu.Festival Apem Sewu dan keberadaan produsen apem membuat Kelurahan Sewu mulai dikenal dengan kelurahan penghasil kuliner apem yang memiliki ciri khas sendiri.Berbagai upaya dilakukan untuk meningkatkan kualitas, diantaranya dilakukan pelatihan membuat dan mengkreasi apem, pengemasan serta pemasaran.Produsen apem belum mengetahui teknologi dan manfaat kemasan, termasuk diantaranya adalah branding dan pemasarannya.Kendala utama yang dikeluhkan oleh peserta adalah desain kemasan sebagai identitas usaha yang mereka miliki.Produk apem sewu telah memiliki kekhasan tersendiri, sekarang yang perlu dilakukan adalah menyampaikan kelebihan dan keunikan apem tersebut kepada calon konsumen.Kemasan sesuai fungsinya, dapat menjadi corong dalam mengkomunikasikan keinginan produsen.Bahkan kemasan tidak hanya memasarkan produk yang ada didalamnya, tapi juga dapat mengkomunikasikan potensi sebuah wilayah.Kata kunci: Kemasan, Kelurahan Sewu, apem sewu ABSTRACTKampung Sewu is one of the villages in Jebres District. The historical appeal in Kampung Sewu is manifested in the form of festivals, namely Gethek Festival and Apem Sewu Festival. The Apem Sewu Festival and the apem producers make Kampung Sewu known as the apem culinary producer that has its own characteristics. Various efforts were done to improve quality, including training in making and creating apples, packaging and marketing. Apple producers don't know the technology and benefits of packaging, including branding and marketing. The main obstacle complained by participants is the packaging design as their business identity. Apem Sewu has their own peculiarities, and one thing that needs to be done is to convey the advantages and uniqueness of the apem to the consumers. Packaging according to its function can be a means of communicating the hopes of producers. Even packaging not only markets the products inside, but also can communicate the potencies of a region.Keywords: Packaging, Sewu village, Apem Sewu
REDESAIN STAN PEDAGANG SUVENIR DILINGKUNGAN MUSEUM SANGIRAN SRAGEN DENGAN PENDEKATAN ERGOKULTURAL Haryanto, Eko sri; Utomo, Tri Prasetyo
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i1.2612

Abstract

The souvenir product booth is an important tool that is used to support the smooth running of business activities in public space for traders. The souvenir product booth is used by sellers to display their merchandise to attract visitors to come and do buying and selling activities. This applied research aims to determine the condition of the souvenir merchant product booth at the Sangiran Museum, then analyze and synthesize, then do a new booth redesign that is in accordance to the demands of function, ergonomics, culture and image of Sangiran Museum tourism object. The design of the new booth was made so that it could function properly to support the display of the typical Sangiran products sold. In the end, it was hoped that there would be additional transactions so as to increase the sales turnover of souvenir merchants in Sangiran Museum area. The design is made based on the rules of function, safe and comfortable ergonomically, and has a distinctive character according to the tourist destinations in Sangiran Museum.The object of applied design research is the product stand for souvenir merchants in SangiranMuseu. The method used is descriptive with a qualitative approach supported by quantitative dataor can be called a multiple research strategy. Quantitative data here means using numerical data which is the result of measurement in the field, then compared to the references, resource persons and analyzed based on the researcher interpretation. The design activities begin with product discovery stage to obtain innovative creations in the product design process.The results of applied art / design research are in the form of designs and booths that are in accordance to the rules; functions, ergonomics, beauty and image of Sangiran Museum. The results of the creation of art / design are also expected to provide material for the Interior Design and Furniture Design Courses in Interior Design Study Program, ISI Surakarta.  Keywords  : booth redesign, ergonomics, culture, Sangiran Museum
MEME DI ERA DIGITAL DAN BUDAYA SIBER murfianti, Fitri
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i1.2613

Abstract

Abstract The rapid dissemination of meme cannot be separated from the development of communication technology. Memes that circulate are not just a joke but a reflection of offline reality and presented with interesting visuals. Image processing technology encourages people to be more creative. This study focuses on the process of consumption, production, and distribution of internet memes and the formation of cyberculture because of these process by using the literature study method. In consuming this internet meme commodity, a "work of consumption" process is needed. When the audience consumes information, it also has a "work of production" .The effort when the audience consumes and reproduces these information is called "work in progress". In consuming internet memes, there are several underlying motives, namely entetainment motives, self-expression motives, socializing and community building mottives, and informativeness Motives. Today Meme internet develops into a new communication style as a form of participatory digital culture. Cyber culture that is formed is the result of the construction of virtual identities that combine to form a new cultureKeyword : Internet Meme, Digital Era, Cyberculture
Sense Of Multikulturalisme: Potensi Integrasi Dalam Kelompok Teater Pelajar SMA Di Kota Solo Ansari, Isa; Dipoyono, Achmad
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i1.2614

Abstract

In general, this study departs from a large scheme of research on Sense of Multiculturalism initiated by the Center for Theater Studies and Social Integration. This is a basic research to explore the potencies that exists among adolescents, both related to the conflict as well as efforts to integrate in high school theater groups. Problems of this research include; first, what potencies that can lead them into conflict areas? What potencies that develops in youth theater groups that can anticipate and strengthen the social integration? Data collection is done by interview, observation, and documentation. The results of this study indicate that the potencies that directs group members into conflict is due to the impartiality experienced by students participating in theater extracurricular activities, both from the school as well as from their family. But their potencies in integration is strongerthan the potencies in conflict, namely independence, maturity, togetherness, cooperation, and kinship among members of the student theater group. Keywords: integration, conflict, students theater
Aplikasi Motif Panji-Sekartaji pada Pendok Keris Gaya Surakarta Darmojo, Kuntadi Wasi
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i1.2615

Abstract

Pendok is one part of kris furniture elements that are always attached to warangka or sarong kris. The main function of pendok is to wrap the gandar in order to protect the kris blade. Pendok keris also has other functions, namely symbolic and social functions. Pendok of Surakarta style kris mostly have a form with a variety of ornamental applications. Along with the dynamics of development, there has been an innovation in the application of Panji-Sekartaji motif which represents the development of wayang beber motif. This is in accordance to the basic concept of ornamental variety, with the function of adding beauty so that the pendok, when it is applied to the warangka, will make the kris interesting and beautiful. This writing uses interactive analysis method where data analysis that is used to analize problems related to the application of Panji-sekartaji motif on the pendok of Surakarta-style kris. Keywords: pendok, kris, ornament, motives and Surakarta. 
PENINGKATAN KEMAMPUAN GARAP CIBLON IRAMA DADI DENGAN MODEL PEMBELAJARAN KOOPERATIF TIPE STAD PADA MAHASISWA SEMESTER II TAHUN AKADEMIK 2017/2018 Sosodoro, Bambang
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i1.2616

Abstract

This class action research was conducted to improve the ability of students in kendangan ciblon irama dadi in Karawitan Surakarta II. The mastery of kendangan ciblon irama dadi is considered very important for it is the foundation for kendangan ciblon irama wiled in the form of inggah ladrang, kethuk 4, and kethuk 8 in the next course. Kendangan ciblon irama dadithat are emphasized are gambyongan ciblon which has a high complexity. Therefore,it needs more attention. So far, there are still many problems encountered in the learning process of the course, especially in mastering kendangan ciblonduring the middle semester, namely semester III, IV, IV. The problems include the scheme of kendangan, sekaran ciblongambyongan and wiledan. It may happen because most sudents do not master well the ciblon irama dadi at the second semester. It needs an appropriate learning method. In order to increase the students’ abilities in kendangan ciblon irama dadi semester II, during this time, the method of speech, drill and demonstration seem insufficient to overcome the problem, so that it is necessary to use another method namely the Stad Type Cooperative Learning Model. This method is in fact very effective and useful to improve the students’ practical skills. This is indicated by an increase in group learning activities and a more live class and the good student achievement.Keywords: learning, ability, ciblon
REINTERPRETASI SIMBOL BATIK DEMAK afrizal, afrizal
Acintya Vol. 11 No. 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i2.2751

Abstract

AbstractThis article wants to reinterpret the symbol of batik Demak that has been lost for hundreds of years. Demak as the first Islamic empire, in its time, becomes the center of Islamic Javanese culture and a cultural figure with the various cultural products. One of the cultural products in Demak is batik. The context of this study views Batik Demak as a cultural form, namely artifacts that contain a discourse of self-representation found by ideographic aspects of the initiator and the culture that produce to it. This discourse is reflected in the form or figure of the object as well as the implicit meaning. Batik Demak is considered to be a cultural heritage in Demak since hundreds of years ago. It had, once, disappeared then in 2006 it was reappeared. This must cut the strings of history about the meaning and function of Batik Demak in ancient times. Batik Demak tends to present when each region in the territory of Indonesia, especially Central Java is promoting batik with regional motifs. The reinterpretation of symbols that emerge seems to be a strategy of branding or imaging an area. The meaning of the symbol of batik does not really represent the pattern of life of Demak community as manifested in the five typical motives of Demak.Keywords: Batik Demak, Reinterpretation, Symbols
SUNDRAWING SEBAGAI TEKNIK EKSPERIMENTASI FOTOGRAFI astiti, anin
Acintya Vol. 11 No. 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i2.2752

Abstract

AbstractThe sundrawing technique has been done by artists or photographers in photography in the 19th century. In the following years, they did something related to the making of photography. The practicality can be synergized with the standards in this study so that the tools used to make photograms can be done outdoors, using sunlight. For this reason, the process of making these tools is a process, which will be described in the inovated method.The sundrawing technique is a technique of exposing paper or light sensitive media using sunlight. Sundrawing in this case the author uses to realize a photogram that can be done outside the dark room, by utilizing sunlight, so it will be like the shooting process with conventional cameras in general. The main thing that must be done is to make a device in the form of a photogram camera which is then equipped with a lightproof bag / changing bag that is useful for removing paper from a photogram camera. By using the changing bag, there is no need for a dark room to enter and replace paper in the photogram camera.Keywords: sundrawing, experimentation, sun, photogram. 
PROSES KREATIF (STRUKTUR TEKNIK KARYA LUKISAN) DEWA MADE MUSTIKA Syamsiar, Syamsiar
Acintya Vol. 11 No. 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i2.2753

Abstract

AbstractThis study aims to describe the ceative process (techniques and structures) of Dewa Made Mustika’s paintings in 1994-2018. Dewa Made Mustika is a man born in Tegalalang, Gianyar, Bali, on August 25, 1974. He grew up in Bali and continued his art education at the Indonesian Institute of Arts Yogyakarta in 1994 and graduated in 2000. The creative process of Dewa Made Mustika, reflected in his paintings, is interesting because the energy that exists in the creative process is extraordinary over time. His work on display at the Cultural Park of Yogyakarta in 2017 showed a remarkable energy, not only big that reaches 2800 cm long and 280 cm wide but also with excellent expressive-figurative cultivation technique. If the work of Dewa Made Mustika has tremendous energy at this time, then what about-the works that were created at the beginning of the study at the Indonesian Institute of Arts Yogyakarta up to his present super jumbo works, how the shape structure, the coloring and the techniques used in order to give an idea of how the creative process takes place. This is important for artists from an arts institute to become inspiration in learning the progress of a successful artist in developing his career. The research technique used is descriptive research technique by collecting data based on the facts, summarizes the existing data and presenting it.Keywords: Creative Process, Structure, technique, Paintings, Dewa Made Mustika
BERGADA RAJAMALA SEMANGGI Mulyadi, Tubagus; Slamet, Slamet
Acintya Vol. 11 No. 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i2.2754

Abstract

ABSTRACTRajamala is a puppet character from Mahabarata story which represents an incarnation of Dewi Loroamis’ disease in a form of a small-giant little boy. Rajamala is a symbol of disaster that must be removed from human life. This event inspired Sultan HB X to create a ship Cantik Baito in the form of Rajamala’s face in order to get safety trip to Madura through Semanggianchorage at Bengawan Solo River. The Rajamala at Cantik Baito, then, became inspiration for the Semanggi community to create“Bergada Rajamala”, an army with Rajamala mask. This creation is related to the anchoragesite in Semanggi. The problem of this study is about how to brand Rajamala as an icon of Semanggi and why it is necessary to make “Bergada Rajamala” in Semanggi parade. This study uses the method of creation through observation, exploration, experimentation, reflection, and formation. The results obtained include the creation of the parade dance or “Bergada” dance that use Rajamala mask costumes that is called “BergadaRajamalaSemanggi.”KeyWords: Rajamala, Bergada, Semanggi.

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