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Acintya
Published by Institut Seni Indonesia Surakarta
ISSN : 20852444     EISSN : 26555247     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
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Articles 512 Documents
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PETA TEORITIK PENGKAJIAN TEATER: DARI TEORI STRUKTURALIS SAMPAI POSTRUKTURALIS Novianto, Wahyu
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.v11i2.2755

Abstract

AbstractThis article tries to map out the structuralist and poststructuralist theories as the basis of theater studies. So far, the studies of theater performed by theater academics have always been based on structuralist views; examining aspects of form, meaning, style and exclude the human aspects as forming agents of the structure. Structuralist view is antihumanist. It says that the sign has meaning when it is associated with other signs in a systematic unity of structure and not from its relation to the individu (artists). According to poststructuralist view, it is very possible to do a cultural study of theatrical text by looking at the interrelationship between one text and another outside, including social, cultural, literary, political, and other texts that are present randomly and overlapping (juxtaposition). Therefore, this theoretical mapping needs to be done in order to enrich the theater academics to conduct theater performances studies.Keywords: studies, theoretical map, structuralist, poststructuralist
PENCIPTAAN KARYA SENI RUPA ABSTRAKSI WAJAH TOGOG DAN TOPENG BUJANG GANONG DENGAN TEKNIK CBT (CETAK BENANG TARIK) Zarkasi, Sofwan; Suwasono, Bening tri
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.v11i2.2756

Abstract

ABSTRACT”Penciptaan Karya Seni Rupa Abstraksi Wajah Togog Dan Topeng Bujang Ganong Dengan Teknik CBT (Cetak Benang Tarik)”( The Creation Of Abstraction Artworks Of Togog’s Face And The Mask Of Bujang Ganong With CBT (Print Thread) Technique) by Sofwan Zarkasi and Bening Tri Suwasono is based on the opportunities related to creativity and experimentation in two-dimensional works of art that utilize systems or techniques of creation in graphic arts, which have two-dimensional print art characters. One of them is creating mono print graphic artwork with a print process that utilizes tensile threads, namely threads that are colored and printed on paper and pulled with a little pressure. This research aims to open wide opportunities for creativity in two-dimensional works of art. The method applied in the creation of works in this study is using the theoretical approach of L. Chapman, which mentions three stages. The first stage is finding ideas by approaching the source of inspiration; the second stage includes refinement, development and establishment of the initial idea, including how the artist perfects, develops and establishes the initial idea which in this case relates to the search of forms, the choice of medium, tools, materials, and techniques; and the third stage, visualization into media, namely how artists visualize in the media. Indirectly the theory also put forward the experimentation, which in this study is the technique of Tensile Print (CBT) which produces the image prints in the form of lines that form the visual subject of Togog’s face and Bujang Ganong’s face mask in two-dimensional media. The results of this aristic research are two-dimensional works of art in the form of abstractions of Bujang Ganong masks with the characteristics of printed characters from the attraction of colored threads.From the creation of abstraction artworks of Togog’s face and the mask of Bujang Ganong with CBT (Print Thread) technique, this two-dimensional art works with the traditional dimensions is expected to be rich of innovation, both in technique and form, so that it can raise the prestige of the arts.Keywords: Fine Arts, two dimensions, abstraction, puppets, CBT.
MAKNA DAN FUNGSI JEMPARINGAN MATARAMAN BAGI ABDI DALEM KARATON NGAYOGYAKARTA HADININGRAT Paramita, Widyantari Dyah
Acintya Vol. 12 No. 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i1.2816

Abstract

Abdi dalem are state servants and cultural servants, who can come from relatives of the palace or from retirees or ordinary people. Ngayogyakarta Palace has a community in preserving culture, one of the community is Gandhewa Mataram community. The Gandhewa Mataram community is focus on preservation of the Jemparingan Mataraman. Pamenthanging gandhewa, pamanthenging cipta is the basis of the philosophy of Jemparingan. It has existed since Hamengkubuwono I. The iconological approach which is part of iconographic theory becomes the method used in analyzing the meaning and function of Jemparingan Mataraman. The data source came from the abdi dalem who participated in the Jemparingan activities. The result of this study stated that the meaning and function of Jemparingan Mataraman were related to the community’s foundation and the life learning process aimed at realizing hamemayu hayuning bawana.Keyword: abdi dalem, jemparingan Mataraman, meaning and  function
Studi Eksperimentasi Teknik Pewarnaan Akrilik dan Outlinefirst Pada Kekaryaan Lukis Wayang Beber Sutopo, Sutopo
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.v11i2.2985

Abstract

Penelitian berjudul Studi Eksperimentasi Teknik Pewarnaan Akrilik Dan Outlinefirst Pada Kekaryaan Wayang Beber ini menekankan pada studi eksperimentasi kekaryaan wayang beber dengan fokus pengembangan teknik sungging wayang beber pada media kain primisima. Penganekaragaman teknik sungging dengan bahan pewarnaan cat akrilik dimaksudkan untuk mencari alternatif pengembangan produk-produk kriya.Perlunya hal tersebut diangkat dalam penelitian ini karena teknik sungging khususnya teknik sungging dengan menggunakan cat akrilik merupakan salah satu hasil budaya tradisi klasik. Dengan penelitian ini nantinya akan diperoleh sebuah alternatif pengembangan seni lukis sungging wayang beber yang akan memperkaya kasanah seni rupa tradisi yang berdampingan dengan bentuk-bentuk seni modern saat ini, terutama aplikasi teknik outlinefirst.Adapun tujuan penelitian ini adalah untuk mengembangan teknik sungging agar dapat digunakan oleh para mahasiswa di perkuliahan, para seniman, dan pengrajin sehingga secara tidak langsung akan meningkatkan nilai jual sekaligus memberi alternatif pengembangan teknik. Selain itu juga untuk menganekaragamkan teknik sungging pada produk kriya. Sedangkan metode yang digunakan dalam penelitian ini dilaksanakan menggunakan metode kualitatif dengan pendekatan holistik yang memanfaatkan salah satu keunikan dalam seni tradisi yaitu teknik sungging wayang beber.Kata Kunci : wayang beber, teknik sungging, teknik outlinefirst.
Eksistensi Karawitan Putri Di Kota Budaya (Studi Kasus Karawitan Sekar Praja Putri, Pemerintah Kota Surakarta) Fatimah, Mutiara Dewi
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.v11i2.2986

Abstract

ABSTRAKKarawitan adalah bagian dari hidup oleh masyarakat Solo. Kondisi psykologis masyarakat Solo juga mempengaruhi berkembangnya karawitan di kota budaya. Salah satunya fenomena karawitan putri yang sampai saat ini masih terdengar meski lirih gaungnya di lingkungan seniman Solo dan sekitarnya. Sekitar tahun 80an karawitan putri mulai bermunculan, seiring diadakannya Lomba Karawitan Putri di Radio Republik Indonesia (RRI Surakarta). Fokus dari penelitian ini adalah karawitan sekar praja putri dimana karawitan putri masih diterima baik oleh masyarakat dan mampu bertahan walaupun telah digerus jaman. Sampai sekarang karawitan putri terus berkembang, adanya sekolah seni SMK N 8 Surakarta (SMKI/ Konser Vatori Surakarta) dan Perguruan Tinggi Seni (ASKI menjadi STSI sekrang ISI Surakarta) serta sanggar-sanggar seni menjadikan karawitan selalu ada dan tetap hidup.Kata Kunci: karawitan, karawitan putri. ABSTRACTKarawitan is a part of life for the people in Solo. The psychology condition of Solo community also influenced the development of karawitan in the cultural city. One of them is the female karawitan which is still heard, until now even with the soft echo among the Solo artists and its surroundings. In 1980s the female karawitan music began to emerge, along with the Women's Karawitan Contest that was held at Radio Republik Indonesia (RRI Surakarta). Focus of this research is the Karawitan Sekar Praja Putri with the female musicians which are still well received by the community and are able to survive even though it has been crushed by the era. The female karawitan continues to grow until now. The existence of SMKN 8 Surakarta (Vocational High School), ISI Surakarta (Indonesia Institution of Arts) and art studios make karawitan always exist and stay alive.Keywords: karawitan, female karawitan.
PELATIHAN SENI TEATER DI SURAKARTA : POTENSI, PERKEMBANGAN, DAN PENGELOLAAN Makaf, Akhyar
Acintya Vol. 12 No. 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i1.3137

Abstract

ABSTRACT Theater Arts is widely taught in non-formal educational institutions such as studios, hermitage and extracurricular activities in formal schools. Its existence continues to grow as art education is realized to be an alternative media for the learning process. There came a number of Theater Arts training institutions in Surakarta. This research was conducted to examine the potential, development, and management of several training institutions that have a good reputation and have proven their presence in Surakarta. Qualitative research methods with analytic descriptive are used to analyze the training methods, curriculum, and management of training institutions that are used as research objects in order to see their potential and development. The results of this study can be used as a reference for anyone who is interested in developing non-formal educational institutions in the arts, especially Theater Arts. Based on this research, it can be concluded that the city of Surakarta as a City of Performing Arts, has the potential to be a location for the development of the Theater Arts training field. From the two objects of the training institution studied, the differences and variations in the training and management methods applied are described in accordance with the composition of the participants and the curriculum applied.Key words: theater arts, non-formal education, training methods, management.  ABSTRAK  Seni Teater banyak diajarkan dalam lembaga pendidikan non-formal seperti sanggar, padepokan dan kegiatan ekstrakurikuler di sekolah formal. Keberadaannya terus berkembang seiring disadarinya pendidikan seni sebagai media alternatif proses pembelajaran. Maka muncullah beberapa lembaga pelatihan Seni Teater di Surakarta. Penelitian ini dilakukan untuk mengkaji potensi, perkembangan, dan pengelolaan dari beberapa lembaga pelatihan yang sudah bereputasi cukup baik dan teruji keberadaannya di Surakarta. Metode penelitian kualitatif dengan deskriptif analitik digunakan untuk menganalisis metode pelatihan, kurikulum, dan pengelolaan lembaga-lembaga pelatihan yang dijadikan objek penelitian, guna melihat potensi dan perkembangannya. Hasil penelitian ini dapat digunakan sebagai rujukan bagi siapa pun yang tertarik untuk mengembangkan lembaga pendidikan non-formal di bidang seni, khususnya Seni Teater. Berdasarkan penelitian ini, dapat ditarik kesimpulan bahwa kota Surakarta sebagai Kota Seni Pertunjukan, berpotensi sebagai lokasi pengembangan bidang pelatihan Seni Teater. Dari dua objek lembaga pelatihan yang diteliti, tergambar perbedaan dan variasi metode pelatihan dan pengelolaan yang diterapkan sesuai dengan komposisi peserta dan kurikulum yang diterapkan. Kata-kata kunci : seni teater, pendidikan non-formal, metode pelatihan, pengelolaan.
PERANCANGAN IKON WISATA BERBASIS POTENSI WILAYAH Marwanto, Aries Budi
Acintya Vol. 12 No. 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i1.3138

Abstract

ABSTRAK Perancangan Ikon Wisata dilakukan di Embung “Mbah Mangun” Desa Juron, Kec. Nguter, Kab. Sukoharjo. Metode yang digunakan untuk merealisasikan rancangan dilakukan melalui metode eksplorasi, inspirasi dan elaborasi. Tahap eksplorasi meliputi pengumpulan data di lapangan, dokumentasi, kajian literatur dan wawancara. Tahap inspirasi dilakukan dalam pengembangkan gagasan atau pun konsep ide berdasarkan analisis data yang telah diperoleh. Tahap elaborasi pada kegiatan perancangan ini merupakan tahap kristalisasi ide dengan memperkuat konsep filosofi bentuk. Pada tahap ini sekaligus mempertimbangkan secara matang aspek-aspek realisasi perancangan yang berkaitan dengan tata letak ikon, material, konstruksi dan teknik perwujudan. Kata kunci: embung, ikon, wisata. ABSTRACT The design of the tourism icon is carried out in the “Mbah Mangun” Embung in Juron Village, Subdistrict Nguter, District Sukoharjo. The method used to realize the design is through exploration, inspiration and elaboration. The exploration includes data collection in the field, documentation, literature studies and interviews. Inspiration stage is carried out in developing ideas or concept of  ideas based on the analysis of data that has been obtained. The elaboration stage in this design activity represents the crystallization of ideas by strengthening the concept of the philosophy of form. This stage also considers the aspects of design realization related to the layout of icons, materials, construction and embodiment techniques.Keywords: embung, icons, tour.
“DURMA” (Model Penciptaan Pesan dan Kesan Musik Melalui Pembenturan Teks Lirik dengan Ekpresi Musik) Manggala, Bondan Aji
Acintya Vol. 12 No. 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i1.3139

Abstract

ABSTRACT This article is part of a report on the results of artistic research (works of music) in the field of music. Briefly expresses experience and some knowledge findings related to the process of creating musical works of art. "Durma" is an editorial for this artwork, which contains three works of music with a popular music creation approach. Inspired by the anxiety of observing the infertility of creativity in the area of popular music in Indonesia, through "Durma" the thought was made to model the creativity of popular music by paying attention to the clash of lyric texts with musical expressions to produce messages and impressions of songs that are not public. In the habits of popular music, the elements of lyric text and musical expression are linear and mutually reinforcing relationships. It has never been imagined before that when a popular musical creation thinks a little freely and tries to clash ideas with an established knowledge of popular music creation, it will instead create ambiguity and the complexity of a refreshing taste. The outputs of the "Durma" artistic research include (1) art work products in the form of audio recordings of three songs entitled (a) Candles, (b) Girls, and (c) Good Night, (2) research reports, and (3) scientific publications articles that unravel the knowledge behind this work process.Keywords : Music creation, popular, clash of musical expressions and lyric texts ABSTRAK Artikel ini adalah bagian dari laporan hasil penelitian artistik (karya musik) di bidang musik. Secara singkat, ini mengungkapkan pengalaman dan beberapa temuan pengetahuan terkait dengan proses penciptaan karya seni musik. "Durma" adalah editorial untuk karya seni ini, yang berisi tiga karya musik dengan pendekatan penciptaan musik populer. Terinspirasi oleh kecemasan mengamati ketidaksuburan kreativitas di bidang musik populer di Indonesia, melalui "Durma" pemikiran dibuat untuk memodelkan kreativitas musik populer dengan memperhatikan benturan teks lirik dengan ekspresi musik untuk menghasilkan pesan dan tayangan lagu yang tidak umum. Dalam kebiasaan musik populer, unsur-unsur teks lirik dan ekspresi musik adalah hubungan linier dan saling menguatkan. Belum pernah terbayangkan sebelumnya bahwa ketika sebuah ciptaan musik populer berpikir sedikit dengan bebas dan mencoba untuk bertabrakan dengan pengetahuan mapan tentang ciptaan musik populer, ia malah akan menciptakan ambiguitas dan kompleksitas rasa yang menyegarkan. Output dari penelitian artistik "Durma" meliputi (1) produk karya seni dalam bentuk rekaman audio dari tiga lagu berjudul (a) Lilin, (b) Gadis, dan (c) Selamat Malam, (2) laporan penelitian, dan (3) artikel publikasi ilmiah yang mengungkap pengetahuan di balik proses kerja ini. Kata kunci: Penciptaan musik, populer, benturan ekspresi musik dan teks lirik
STUDI PENCIPTAAN KARYA SITE SPECIFIC DANCE “HELAI KERTAS” Supendi, Eko; Isnanta, Satriana Didiek
Acintya Vol. 12 No. 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i1.3140

Abstract

ABSTRACTDance has experienced extraordinary development. Now, dance is no longer in the area of fairies but has entered the modern civilization, the tradition is shifted to the industry and academic. This is because of the role of academic dancers who conduct the research, both creation studies and scientific studies. Dance has become the object of laboratories in the studios of art academics in Indonesia and various parts of the world, so that dance laboratories and studios have emerged in various places in Indonesia. Now dance is not only seen as practicing soul, dance is no longer limited to the beauty of aesthetic invisible , but dance  also has explored other art worlds, such as theater and fine arts.Now it is difficult to distinguish between dance and theater performance. The above phenomenon often becomes a trend of artists. Art observers call it a contemporary phenomenon. Contemporary phenomena continue to develop in artists and academic world. Contemporary art is critical towards social problems around it as well as the art itself. Contemporary spirit does not only break the ice of one art discipline but also across art disciplines. Almost all elements of dance are explored and developed, one of which is site specific dance. A genre of contemporary dance that focuses on creating dance works using special places.This study uses an artistic research method. The researchers as well as the creators of site specific dance works is in the lobby of the H.U office Solopos. The research stages are in accordance with the stages of artistic research.Keywords: site specific dance, space, body, time, dance.  ABSTRAK Seni tari telah mengalami perkembangan yang luar biasa.  Sekarang, tari tidak lagi berada di wilayah peri-peri, tetapi telah masuk ke sentrum peradaban modern, dari kantong-kantong tradisi bergeser ke kantong-kantong industri dan akademik. Hal tersebut tidak lepas dari peran penari akademik yang melakukan riset, baik studi penciptaan maupun kajian ilmiah. Tari telah menjadi objek laboratorium di studio-studio akademisi seni di Indonesia dan berbagai belahan dunia, sehingga bermunculan laboratorium-laboratorium dan studio tari di berbagai tempat di Indonesia.Tari saat ini dipandang tidak saja berolah sukma, tari tidak lagi sebatas keindahan estetika yang kasat mata, tetapi tari sudah menjelajah dunia seni lainnya, seperti teater dan seni rupa.Sekarang sulit membedakan antara penyajian tari dan teater. Fenomena di atas sering menjadi trend para seniman individual. Kalangan pengamat seni menyebut fenomena tersebut sebagai fenomena kontemporer. Fenomena kontemporer terus berkembang dalam kalangan seniman dan lingkungan akademik. Seni kontemporer selain kritis terhadap persoalan sosial yang ada di sekitarnya juga kritis kepada seninya sendiri. Spirit kontemporer tidak hanya mendobrak kebekuan sekat –sekat satu disiplin seni, tetapi juga lintas disiplin seni. Hampir semua elemen tari dieksplorasi dan dikembangkan, salah satunya adalah site specific dance. Sebuah genre seni tari kontemporer yang fokus kepada penciptaan karya tari menggunakan tempat-tempat yang khusus.Penelitian ini menggunakan metode penelitian artistik, dimana peneliti sekaligus pencipta karya site specific dance di lobi kantor H.U. Solopos yang tahapan penelitiannya sesuai dengan tahapan riset artistik. Kata kunci: site specific dance, ruang, ketubuhan, waktu, tari. 
Jagad Jawa RM Kristiadi pada Proses Kreatif Program Televisi di TVRI Yogyakarta Adji, Titus Soepono
Acintya Vol. 12 No. 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i1.3141

Abstract

ABSTRACT RM Kristiadi is a TV producer at TVRI who has been working since 1997. He is involved in programs that still exist at TVRI Yogyakarta, such as Obrolan Angkringan, Plengkung Gading, Karang Tumaritis, etc. These programs stil exist until right now, among others, because they lift the atmosphere of Javanese Culture in accordance with the principle of the similarity of body memory, the framework of fantasy that is believed in the process of its creation. RM Kristiadi also conducted experiments in building new works through critical thinking on the achievements that have ever existed. This research is a qualitative descriptive study, which focuses on knowing the background of RM Kristiadi's creative process. Data was collected through a series of direct interview processes with the interviewees, with data reinforced from documents. Key Word: Java Athmosphere, TV Produser, TV Program.  ABSTRAK RM Kristiadi seorang produser televisi di TVRI yang berkarya sejak tahun 1997. Dia terlibat dalam program-program yang hingga saat ini masih eksis di TVRI Yogyakarta, seperti Obrolan Angkringan, Plengkung Gading, Karang Tumaritis, dll. Program-program tersebut eksis antara lain karena mengangkat atmosfer Budaya Jawa sesuai dengan prinsip kesamaan Memori tubuh, Kerangka fantasi yang diyakini dalam proses penciptaannya. RM Kristiadi juga melakukan eksperimentasi dalam membangun kebaruan karya melalui daya kritis atas capaian-capaian yang pernah ada. Penelitian ini merupakan penelitian Deskriptif Kualitatif, yang berfokus untuk mengetahui latar belakang alur pemikiran proses kreatif RM Kristiadi. Data dikumpulkan melalui serangkaian proses wawancara langsung pada narasumber, dengan diperkuat data-data dari dokumen. Kata Kunci: Jagad Jawa, Produser Televisi, Program Acara Televisi.

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