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<![CDATA[DESAIN RUMAH BUDAYA PASAR GEDHE HARDJONAGORO SEBAGAI DESTINASI PARIWISATA KOTA SOLO ]]>
<![CDATA[Ariyanto, Ahmad Fajar]]>
<![CDATA[ Acintya Vol. 10 No. 1 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i1.2284
<![CDATA[This article is the research result of Interior Design Pasar Gedhe Hardjonagoro: Tourism Destination that Represents Cultural House in Solo City. This research is about an effort in rehabilitation program to maintain cultural heritage building that function as Traditional Market with the best featured products. The zoning and grouping are not well planned that it causes problems to the hierarchy of space. The circulation provides less accessibility for visitors, traders, distribution of goods, and waste. The research uses descriptive analytic method and design approach as design solution. The results achieved are: The concept of interior design revitalization of Pasar Gede Hardjonagoro aims to re-mapping the needs of interior design patterns for traders and visitors and provide an alternative offer of a functional, attractive design that resulting in increase of sales ratio. To achieve this goal, the design idea refers to functional, effective and efficient aspects that aesthetically adopt some architectural elements of Pasar Gede Hardjonagoro as a thematic approach. Keywords: Pasar Gedhe Hardjonagoro Revitalization, Tourism Destination, functional design, Cultural House.]]>
<![CDATA[FILM DOKUMENTER SEBAGAI MEDIA PELESTARI TRADISI ]]>
<![CDATA[Utami, Citra Dewi]]>
<![CDATA[ Acintya Vol. 2 No. 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v2i1.93
<![CDATA[the concern of tradition which is often said ancient becomes an idea of various arts. Tradition that is oftenly considered to be given things, one of them is penanggalan Jawa (Javanese calender), is sometimes ignored if is observed tradition of penanggalan jawa is still very closed to the society's social lives. Some daily activities are unconsciously planned based on the Javanese calender. Traditional is many times executed ritually. Sometimes people forget to inherit its phylosophy and use. Documentary film is one of audio visual media genres used to mediate the tradition preservation ad return which is essentially becomes a great heritage. Documentary film shows the importance of critizising the myth of various tradition.Keyword : documentary film, medition, tradition]]>
<![CDATA[PERENCANAAN STRATEGIS PENGEMBANGAN TV KAMPUS ISI SURAKARTA SEBAGAI TELEVISI SENI DAN BUDAYA ]]>
<![CDATA[Murfianti, Fitri]]>
<![CDATA[ Acintya Vol. 6 No. 2 (2014) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v6i2.203
<![CDATA[This study is an evaluation form of ISI TV. During this time, ISI TV can not be aired optimally but itsexistence is important and necessary either by the campus community and the residents of ISI Surakartaitself. It requires an evaluation to identify the internal and external factors of ISI TV constraints to airperiodically and strategic planning that can be taken to make the ISI TV as an art and culture televisionthat is instructive as well as to be a creative and productive laboratory for lecturers and students.The method used to evaluate this situation is to make the IFE Matrix, EFE Matrix, SWOT Matrix andMatrix QSPM.The results of the study indicate that the campus television ISI TV is internally weak and unresponsiveboth to the opportunities as well as threats that exist in the industry. Therefore, the strategic actionsthat could involve two important aspects include improving management and Rejuvenation Hardware.Reengineering Management is done by optimizing the existing human resources in accordancewith the job description, increasing the number of human resources management in ISI TV, recruitingmore students to join with ISI TV, doing approach to all units in ISI TV, forming curator, working withTV with other cable or local television, building a partnership with the third agent to support thefunding of program activities. Strategic action in rejuvenation equipment is, for example, asking themto help funding in the equipment purchasing to the foreign foundation; and establishing cooperationwith foreign universities also makes the television stations are more advanced technologically.Keywords: Campus TV, Strategic Planning, SWOT]]>
<![CDATA[MODEL PEMBELAJARAN AKTIF MATA KULIAH PRAKTIK PEDALANGAN GAYA JAWA TIMURAN ]]>
<![CDATA[Sudarsono, S.,]]>
<![CDATA[ Acintya Vol. 8 No. 2 (2016) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v8i2.1937
<![CDATA[This article is squeezed from the research class action entitled “Active Learning Model Course Practice Puppetry East Javanese Styleâ€. 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.]]>
<![CDATA[PANDHU MUKSA DALAM PAMUKSA KARYA KI NARTO SABDO ]]>
<![CDATA[Triyogo, YB Rahno]]>
<![CDATA[ Acintya Vol. 9 No. 1 (2017) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v9i1.2122
<![CDATA[Pamuksa was a play told us that heaven and hell were a mere options. Heaven was togetherness withthe God, the divine source of happiness, while hell was the opposite. Pandhu and Tremboko hadpicked the fruit of their choices. Pandhu went to hell not because of his fault and sin but rather by hisown choice. Pandhu’s choice to prefer worldly life was a reckless attitude that did not reflect sarirahangrasa wani. Due to the devotions of his sons: Bratasena and Arjuna, and with support by theangels, Pandhu was saved. This study discussed the moral aspect, therefore a moral approach wasused. The result of this study were the moral messages that first, if humans wanted to be happy thenthe heavenly value was the first and foremost priority. Second, that children’s devotions to the parentswas able to save the parents from disgrace which in Javanese tradition was referred as mikul dhuwur,mendhem jero.Keywords: heaven and hell, option, children’s devotion, save.]]>
<![CDATA[ANALISIS INDUSTRI BUDAYA PADA DESAIN PRODUK KEMASAN MAKANAN INDUSTRI KECIL MENENGAH (1KM) ]]>
<![CDATA[Hidayat, Moch. Junaidi]]>
<![CDATA[ Acintya Vol. 1 No. 2 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i2.55
<![CDATA[Discussing about packaging is always interesting especially discussing topic of food packaging which grows quite fast at this time. Packaging, at this moment, is not only comprehended as a container~ apackage, orfood protector but also comprehended as a business strategy, sign jfi cation process and an understanding about difference principle of social values and packaging tradition itself. Here is the cultural industry especially an understanding of the consumptive society and packaging becomes one of the interesting objects to talk about. This article tries to describe the meaning of object as a sign through the study ofproduct semantics and the understanding ofpackaging as a critic towards industrial culture and creativity by taking food packaging that is produced by small industry. The object of this research is food packaging offruit chips ‘Nature’ in small industry, Batu, Malang. Keywords : Food Packaging, Culture Industry, Product Semantic]]>
<![CDATA[PENCIPTAAN PROGRAM TELEVISI EKSPRESI ORANG KAMPUNG ]]>
<![CDATA[Rahmad, Cito Yasuki]]>
<![CDATA[ Acintya Vol. 6 No. 1 (2014) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v6i1.173
<![CDATA[Motivation and the inspiring theme in documentary television programs are very popular broadcastedin our television. Public like these programs because they provide educational values to thepublic especially related to the value of spirit, togetherness and the desire to achieve the goals. Thiskind of program has raised many pioneering figures that inspire audience.The problem is the narrator or the narration of that program that always be performed by thirdperson, i.e. a reporter or presenter. The reporter or presenter here often only fulfills the market needs:she/he is beautiful or handsome, and she/he sounds tuneful. She/he only presents the story about thesubject, but she/he dominates it. Although this method can help to promote the programs and help theproduction technique team but this method is potential to bring two biases. First, the presenter doesn’thandle the atmosphere around the subject. Second, the presenter maybe presents the subject in thewrong way. So we create this documentary television project “Villager’s Expressions†in order to tryto solve the problems. This project mixes the standard production pattern of documentary televisionprogram with the production pattern of video participatory: the subject tells their own stories bythemselves and with their own point of view.As an experimental project, we present the first episode: “AWI, Children (villager’s) Theaterâ€. AWI isa children theater community that is based on kampong Merganser Kidul, Yogyakarta which hasexisted in Yogyakarta during 2000s. We present this episode beside the above reason and we alsowant to open the stagnation of documentary television program, especially about art and culturaltheme.Keywords: Expression media, Indigenous people, Inspirational TV program, video participant]]>
<![CDATA[EKSPRESI SENI RITUAL MASYARAKAT TUTUP NGISOR ]]>
<![CDATA[Ansari, Isa]]>
<![CDATA[ Acintya Vol. 8 No. 1 (2016) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v8i1.1919
<![CDATA[This paper is presented to the reader is presented to describe the ritual art forms and restrictions made by local people to the art they present. Due to these restrictions they realize the implications of their art performing. To explain these realities the author uses anthropological perspective about the experience, which emphasizes the bodily and mental disposition of the local community.Methodological implications that emerges is that the interviews and observations intent should be done to the informant. From the analysis, that the ritual arts community in Tutup Ngisor village done to support the sustainability of the arts in the area.Keywords: Expression, Ritual Art, Tutup Ngisor.]]>
<![CDATA[TARI JARAN GOYANG: SIMBOL PEMIKAT ASMARA ]]>
<![CDATA[Suharti, Mamik]]>
<![CDATA[ Acintya Vol. 7 No. 2 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v7i2.2015
<![CDATA[A genre of dance Jaran Goyang is one of the traditional dance genres in Banyuwangi initiated by Suparman which is composed in 1960s. The treatment developing is executed by SumitroHadi, a very productive dance expert in Banyuwangi. The dance Jaran Goyang represents a form of traditionaldance with love theme. The vocabularies of dance movements, dance music as well as ricikanthat are used refer to the existing traditional dance. The dance name is taken from the name of a love spell called “jaran goyangâ€. Jaran Goyang choreography shows about love refusal of a woman but finally and suddenly she falls in love due to the supernatural power of the spell jaran goyang.Keywords: dance, rarely, symbol, attractive trick, amour.]]>
<![CDATA[KEAKTORAN NANIK SETYARINI DALAM PERTUNJUKAN WAYANG ORANG SRIWEDARI SURAKARTA ]]>
<![CDATA[Widyastuti, Mamik]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.19
<![CDATA[This article will strives a field of Nanik Setyarini as an dance-actrees on the wayang orang performance of Sri Wedari, Surakarta. Nanik Setyarini’s acting process has been built since her childhood while she get along by watching wayang performance. Her sensitive abilities to the wayang performance had examined her to start her dancing practice and brought her to join the wayang groups of Sri Wedari, from her role as a supporting dancer to her role as a main dance-actrees as a wayang Srikandi, at least she become a director of wayang performance of Sri Wedari. Nanik’s dedication of her dancer-actrees’s entities to the wayang performance of Sri Wedari at Surakarta seems her role as a wayang Srikandi presently. Nanik Setyarini has her gandar excellence, dance movement expression, dialogues, tembang singing, musical sensibility, and her excellence of acting dedication on a wayang’s she taken role entirely.Keyword : acting dedication, Nanik Setyarini, excellence, wayang orang]]>
