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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 519 Documents
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NGABEO: THE STUDY OF TRANSMISSION METHOD OF DONGKARI AS A SINGING TECHNIQUE IN TEMBANG SUNDA CIANJURAN Setiaji, Denis
Acintya Vol. 16 No. 1 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i1.6031

Abstract

The following research focused on explaining about the Ngabeo as a learning method in Tembang Sunda Cianjuran. This research used phenomenology as an approach as well as field activity and in-depth interviews with Penembang as a practitioner in Bandung City and collected data by virtual fieldwork. The research analyzed the ngabeo as the transmission process of knowledge, technique, and ornamentation as the operation of dongkari in the Tembang Sunda Cianjuran repertoire. Ngabeo as the traditional learning method in Tembang Sunda Cianjuran is the oral-aural transmission process used for inheritance the concept of sing in Tembang Sunda Cianjuran.
COLLECTIVE ETHNOGRAPHY OF PRINT MAKING IN YOGYAKARTA: A THEORETICAL STUDY OF ART AND SOCIETY Wirajati, Yohanes De Britto; Waryanti, Dessy Rachma
Acintya Vol. 16 No. 1 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i1.6181

Abstract

The research entitled ‘Ethnography of Graphic Printmaking Collective in Yogyakarta: A Theoretical Study of Art and Society’ aims to analyse the institutionalisation process of two graphic print art collectives in Yogayakarta, namely: Grafis Minggiran and Krack! Printmaking Studio, and its influence on the art scene. The method that will be used in this research is ethnographic method with data collection techniques in the form of interviews and literature studies. This method was chosen in order to obtain a detailed depth of data from the experiences of the two graphic printmaking collectives. The results of this research are: (1) Both printmaking collectives endeavour to respond to art conventions (especially about techniques) in their art practices; (2) The formation of the collective is an on-campus tradition that spreads out; (3) Krack! Printmaking consistently makes the screen printing technique as a medium of expression in the realm of graphic printing art; (4) Krack! Printmaking then made the phrase ‘Ojo Wedi Mbleset’ (‘Don't be afraid to miss’) as their credo in carrying out the practice of silk screen/screen printing; (5) Grafis Minggiran makes the introduction of a wealth of techniques as its vision in art; (6) Grafis Minggiran is known as one of the (non-campus) graphic collectives that emerged the earliest and at the same time the initiator of the Yogyakarta Graphic Arts Week event.
Batik as a Source of Inspiration for Aesthetic Elements in Efforts to Preserve Traditional Arts and National Identity Kholis, Achmad Nur
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

Culture is a component of life that can be used as a source of inspiration in creating aesthetic elements. Batik as one of the cultural products that has deep details both in terms of meaning and visuals, where it can influence other products. The closeness of the history of batik with the city of Surakarta has a strong correlation and creates new phenomena to other elements. The purpose of this study is to determine the variety of aesthetic elements in the city of Surakarta, and to find out how it can be an effort in preserving traditional arts and national identity. The qualitative descriptive research method was chosen as the basis for the research and supported by observation techniques, interviews, documentation and the addition of literary sources. The results obtained that batik can be a source of inspiration for creating aesthetic elements in various corners and become a representation in the community's approach to preserving culture in the form of traditional arts and strengthening national identity. The smallest level that is attempted can have a wider impact on the environment around the area to the highest level, namely national.
Musical Creativity of the Reyog Gajah Manggolo Group at the 2022 Reyog Ponorogo National Festival Wulan, Wulan Dwi Karlina Sari; Kiswanto, Kiswanto
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

This study aims to describe the musical presentation and analyze the creativity of the Reyog Gajah Manggolo (RGM) group from SMA Negeri 1 Ponorogo in the 2022 National Reyog Ponorogo Festival. The research employs a qualitative approach with a descriptive-analytical method. Data were collected through field observations, in-depth interviews, visual documentation, as well as document and music notation analysis. The findings reveal that the musical arrangement performed by RGM was systematically designed to support the dramatic flow of the performance. Music functioned not only as an accompaniment to dance but also played a crucial role in shaping the atmosphere and dynamics of the stage presentation. The creative process was carried out collaboratively among the coach, composer, and musicians through several stages, including planning, musical experimentation, intensive rehearsals, and a final preparation period before the festival. The creativity generated from this process brought positive impacts, both on the quality of the performance and the personal development of its members. Internally, it strengthened character, boosted self-confidence, and fostered solidarity. Externally, the group’s presence helped reinforce the role of Reyog art as a living cultural heritage within the school and the wider community. These findings indicate that musical creativity within the RGM group represents a form of traditional adaptation that aligns with contemporary developments, while also serving as an effective strategy for the regeneration and preservation of Reyog among younger generations.
Traditional Food-Making In Story Photography: Emping Melinjo By Bu Sum, Kartasura Iman, Priaji; Khasanah, Azizah Uswatun
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

The creative research entitled “Traditional Food Production in Story Photography: Emping Melinjo by Bu Sum, Kartasura” aims to visualize the traditional production process of emping melinjo so that it can be better understood and appreciated by society, especially the younger generation. Through a narrative photography approach, this work serves as both an educational medium and an effort to preserve cultural values and local wisdom. The object of this work covers the entire process of emping melinjo production, which is still carried out manually using human labor. The creation method includes data collection, exploration, experimentation, production, editing, and presentation. The final work consists of 18 main photographs in 24R size (60 × 90 cm) and 9 supporting photographs in 10RL size (20 × 30 cm). This work is expected to broaden appreciation of the traditional emping melinjo-making process and foster a deeper understanding among younger generations of the cultural values contained within.
The Creation of the Manik Pangaras Dance A Form of Acculturation of Two Balinese and Chinese Cultures I Nyoman Agus Hari Sudama Giri; I Nyoman Resa Angga Nurbawa
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

Manik Pangaras is a dance work inspired by the acculturation of two cultures, namely Balinese and Tionghoa (Chinese). This story is found in the babad wich tells of the union of love the Balinese king named Sri Jaya Pangus and Kang Cing Wie (now in Balinese still worshipped as the figure of Ayu Mas Subandar). Conceptually, this work is more focused on the unification of the breath of two cultures, through research, exploration of the techniques of various movements in the dance of two cultures, as well as empirical experience and body aesthetics. The Nolin instrument as one form of cultural acculturation, is used as an accompaniment in this work. Collaborating with the Neo Nolin Community, this first dance work with Nolin accompaniment requires a unification of thought and a fairly long process. The Manik Pangaras dance work refers to the meaning of the massage to be conveyed, referring to the harmonization of the unification of the breath of two cultures, protected by the umbrella of unity, namly tolerance and matual support. The procces of creating this work uses the “Padu Rasa” method, proposed by I Nyoman Agus Hari Sudama Giri in his book, “Tapak Samar”. This method refers to the system of combining or marryng artistic elements. It consists of seven step, know as “Pitung Tindak”, namely: Nureksain (description), Nglaca-laca (concept), Tategar (experimentation), Pilah-pilih (sorting and selecting), Mupulang (collecting), Ngawangun (Composing and realizing), and Nelesin (evaluation, deepening the sense of movement and expression). The Manik Pangaras dance, performed by five female dancers, has a duration of approximately 8 minutes and 30 seconds. The performance consists of three parts: part 1 depicts the beginning of the unifications, part 2 contains the choreography of the fan game, and part 3 depicts the umbrella game scene.
Djelantik’s Aesthetic Study in the Visual Poster “Every Flower Tells a Story” Putri, Haniyah Ashillah; Patriansah, Mukhsin; Selomita, Tria Puspa; Ridwan, Muhammad
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

A poster is a visual communication medium that effectively conveys messages through a combination of design elements such as images, colors, and text. The purpose of this study is to examine the effectiveness of the poster titled "Every Flower Tells a Story," created by Shalyna, a student at Indo Global Mandiri University (UIGM) in 2025. The poster conveys meanings of growth and self-uniqueness through floral symbolism, utilizing the distinctive aesthetics of the Y2K era. A retro-futuristic style is presented through a neon color palette, varied typography with digital effects, and decorative elements such as stars and dynamic lines. The urgency of this study lies in the need to evaluate how visual constructions adopting the digital nostalgia of the 2000s can influence the perception and emotional engagement of contemporary audiences. This research employs a descriptive qualitative method with visual and formal analysis approaches. Data collection techniques include in-depth interviews with the creator, observation of the creative process, and a literature review on design theory and aesthetics. The collected data were analyzed using an aesthetic theoretical approach based on the theories A.A.M. Djelantik, which examine the relationship between visual elements and the meanings embedded in the poster. The findings indicate that the poster successfully integrates Y2K digital nostalgia aesthetics with a cohesive combination of bright colors, experimental typography, floral illustrations, and futuristic ornaments. The fusion of visual and verbal signs in the poster reinforces the message of self-acceptance and appreciation for individual growth processes. Based on these results, it is hoped that this research can contribute academically to the development of visual communication design and inspire the public to better understand and appreciate strategic and relevant aesthetic messages within the context of meaningful communication.
Alternative Film Soup Process in Creating Experimental Photography Works Catyuriyanto, Setyo Tohari; Pratmajaya, FX. Purwastya; Rozak, Abullah
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

The purpose of this research is to create experimental photography works with alternative soup film processes. The target to be achieved in this research is to show that in creating experimental photography works with alternative soup film processes can produce scratches and spots of color composition that have an expressive impression. The steps that will be taken in creating this work are observation, brainstorming, exploration, experimentation and presentation of the work. This research can be used as a learning medium in the form of information on the stages of creating experimental photography works with the output of textbooks and journal articles.
Tari Kleting Sumandhing In Sanggar Andhe Andhe Lumut Yasmin, Alysa; Aminudin, Aminudin; Suharji, Suharji; Wibowo, Anggono Kusumo
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

This research aims to describe the form and creative process of creating the Tari Kleting Sumandhing. The method used in this study is descriptive qualitative research through observational data collection, interviews, and literature studies. The result of this research is the form of the Sumandhing Kleting Dance which consists of movement, dancers, makeup, and clothing, floor patterns, accompaniment music and staging venues. So that the dance form finds beautiful choreography and can be felt by the five senses. Meanwhile, the creative process is the process of thinking in creating, expressing, and creating the visuals of the Tari Kleting Sumandhing. This creative process involves deep exploration to translate values into symbolic forms of movement. The visualization of this symbol is expressed by thinking creatively as a process of imagining combining feelings and movements to find the expression of the character or figure of Kleting Kuning.

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