Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa
The main focus of this journal is to promote global discussion forums and interdisciplinary exchanges among academics, practitioners and researchers of visual arts and visual culture.
Series will encourage practice and research innovation that focuses on visual arts and visual culture, contributing to a better understanding of the highly dynamic development of dynamic theories, practices and discourses of visual art and visual culture.
Articles
452 Documents
<![CDATA[FENOMENA KERIS TERHADAP KEHIDUPAN SOSIAL MASYARAKAT JAWA ]]>
<![CDATA[Darmojo, Kuntadi Wasi]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 7 No. 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v7i1.1579
<![CDATA[Keris is a work of art that have aesthetic value and the value of philosophy that can be used as guidance and spectacle, the social life of Java. Kris culture in Indonesia has been known since the 10th century and has continued until now. Kris as objects tradition that has been handed down and there is a change in character bit by bit according the demands of time or the king ( ruler ). When seen his form dagger is an art that has achieved a high level of sophistication and qualifies it has a symbolic meaning, so that the existence of a dagger in the Java community, by most people had believed that the order of the social life of a man is not considered perfect in the achievement of social value if it does not have a keris. The existence of a dagger function in social life has undergone many shifts according to the demands of the times, even in the social and cultural life in contemporary times functions in supporting community has emerged an interesting phenomenon. Kris as non material Cultural Heritage (intangible ) has received recognition from UNESCO as it has among other things: the historical value, aesthetic, social function, philosophy , symbols and mystical . Keywords: Culture, Keris, Function and Society ]]>
<![CDATA[AKTIVITAS KESENIAN KOMUNITAS SARANG TARUNG ]]>
<![CDATA[Hidayah, Fajar Nurul]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 9 No. 2 (2017) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v9i2.2166
<![CDATA[This article is the result of research that discusses the Sarang Tarung community art activities. The focus of the problem under study is the meaning that encourages the Sarang Tarung community to perform art activities, also discusses the background of the community's establishment, and how their activities are. The research method used is ethnography with taxonomic analysis. Symbolic interactionism theory (Herbert Blumer) is used as a scalpel. Sarang Tarung seen through symbolic interactionism is a series of processes of formation of meaning that underlie them to carry out artistic activities. Through symbolic interactionism, it can be seen that the meaning of art activities for the Sarang Tarung community is a form of caring, and it can be seen that the Sarang Tarung community does not fully understand popular art, they are also part of young people who consume popular art trends. They assume that popular art is a form of solidarity that is capable of giving changes to the welfare of the lower classes. This assumption encourages them to carry out artistic activities and not just become passive consumers. Keywords: Art Activity, Symbolic Interactionism, Sarang Tarung Community, Meaning. ]]>
<![CDATA[Makna Rumah Bagi Masyarakat Jawa ]]>
<![CDATA[-, Indarto]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 1 No. 2 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v1i2.247
<![CDATA[Communities on the island of Java considers the house like a man worthy to be appreciated and respected. Respect means honoring the house occupants inside the man. Houses must be respected because it is sacred. This statement was seen when the ceremonies at the time of making the residence. Before the house started its construction, the thing to do is to give offerings as gratitude to God. Typically these offerings in the form of crops if the various types of food and pray together like a newborn baby. This traditional ceremony is performed from the ancestors of the Javanese community. Construction of the house is sacred and holy. Implementation of deve-lopment chosen by the good days are tailored to the occupants and a good day for the people in Java. Because the house as a sacred container, then the Javanese people always treat her well and always clean so that their lives are always peaceful and prosperous future free from the calamity that has adversely affected the family. Keywords: Houses, Sacred and Holy, Offerings, Peace and Prosperity]]>
<![CDATA[Degradasi Seni Reduksi Kreatifitas Dalam Arus Globalisasi ]]>
<![CDATA[Iksan, Nur]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 3 No. 2 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v3i2.317
<![CDATA[As human beings that be dynamic creatures, they should not compromise or ended by neutralized from the authenticity offering from the outside. They should optimize their having potential to reveal the reality and they involvement in any process that they must be a subject of the process if they want to ben gebuine self.This portion will put them on the holistic of knowledge that became the foundation for life. This knowledge as a foundation for the improvement of the meaning of life into a personal selft and forming themselves freely and be aware of his actions. A konswensi to be faced with the choice of putting the authority that based on autonomous, and appreciation for the confidence with which to create a form of human responsibility for the existence. Humans created to “be authenticâ€. there are two elements of human to act creative. They are the productive capacity and the ability to rekonstruktif. every human being has the potential for resulting in literary works, independence be important factor fr themselves with “intact†and put the position by way of productivity in order to meet their needs. Creativity (the essence of art) this boils down to whether it’s the creation of something that could be used by others or just for personal expression. Here the creation of a literary work does not mean he has to paint, play music, play movies, and art is actually an activity that has an important role in human life, and in some perspectives of art is one aspect that must be fulfilled for people in need of aesthetic or beauty. As a tool for reflection and raise awareness in personal, to response any issues.Here the subjectivity has a vital role in a terms of beautiful sense that have relation with a sense of satisfaction problems in human beings, there is fundamental need and absurd in its fulfillment.Moreover, the reality of the dynamic, demanding for human to always be example, the primordial man with several tolls in the ritual that aimed to worshiping the gods. The appearance of gods as projections is be the substances that embodiment of sublime everything that in needs are absurd. That is something similar that can be found in every human being in compliance with the terms that are beautiful. keywords : creativity, art,authentic.]]>
<![CDATA[Kajian Visual Gambar Beber Karya Soegeng Toekio Tahun 2011-2012 ]]>
<![CDATA[Chaidir, Muhammad]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 5 No. 2 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v5i2.425
<![CDATA[This thesis examines the visual images beber from Soegeng Tekio 's art work in 2011-2012. Soegeng Toekio began a cultural approach to explore the myths, legends, folklore and also a source of other lexis, including the history and ritual activities as well as a theme in his work concept. This type of research is descriptive qualitative study using a theoretical approach Monroe Beardsley. Based on the elements of art, we can conclude that Soegeng Toekio has managed to cultivate such a wayang beber beber image into the form of work that characterizes his work. For example Soegeng Toekio using comics in the shape of the face as he explained the picture, but the shape of posture using realistic proportions. In addition Soegeng Toekio also has a strong character lines in sunggingnya concept and the theme of his work is always related to cultural traditions that exist in Indonesia archipelago. Keywords; beber image, the process was working, meaning.]]>
<![CDATA[HUBUNGAN ANTARSPESIES: VISUALISASI ANJING SETIA DALAM SENI PATUNG ]]>
<![CDATA[Mirwa, Tetty]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 8 No. 2 (2016) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v8i2.1823
<![CDATA[Tujuan penelitian dan penciptaan ini adalah untuk membangun kesadaran manusia akan pentingnya hubungan harmonis antara manusia dengan alam.Target khusus yang akan dicapai dalam penelitian penciptaan ini adalah menciptakan karya yang mencerminkan hubungan antarspesies khususnya anjing dan manusia.Untuk membedah kisah hubungan manusia dengan anjing ini diperlukan pendekatan ilmu budaya. Anjing sebagai binatang yang setia kadangkala mendapat nilai yang kurang baik dalam persahabatannya dengan manusia, hal ini menimbulkan ketidakharmonisan hubungan antara manusia dengan anjing dalam lingkup hubungan antarspesies.Anjing diketahui sebagai binatang setia dalam huhungannya dengan manusia merupakan suatu keindahan tersendiri dalam membentuk ide dasar atau konsep penciptaan ini.Proses penciptaan karya ini terdiri dari: tahap eksplorasi, perancangan, dan perwujudan, yang menguraikan tentang visualisai gagasan, bentuk, media, dan pesan moral yang terkandung.Hasil penciptaan ini diharapkan dapat berkontribusi bagi kemajuan berpikir manusia dalam berinteraksi dengan dalam hubungan antarspesies di kehidupan modern sekarang ini. Kata kunci: Karya seni, hubungan antarspesies, anjing.]]>
<![CDATA[Transformasi Penciptaan Seni Lukis Bali ]]>
<![CDATA[Suyasa, I Nyoman]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 2 No. 2 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v2i2.299
<![CDATA[Painting as one means of creating works of art activity experienced a fairly rapid developments changes.This transformation can not be denied again because of the demans of users and the development of technological developments, as well as occuring in the world of art in Bali. Transformation of visual styles in painting in Bali is what will be discussed in this article, of Balinese traditional painting (painting Kamasan), semi traditional painting or so called modern painting (a focus on Pita Maha art and young artists), until in modern painting. Keyword : transformation, painting,Bali]]>
<![CDATA[Video: Mainan Dan Bermain ]]>
<![CDATA[Wati, Wahyu Utami]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 5 No. 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v5i1.399
<![CDATA[Â Playing is an expression of human's attempt to make him happy and comfortable. Playhas a broad meaning, but in the process of creating this work of understanding playingis more focused on the activities by the children who use the instrument of playing, ietoys.Toy is re-representated into a videography work that is presented in a video installationforms. To be able to play the video required a response from the audience. Responserequired is pressure on the plate that had been given Force Sensitive Resistor. Thepressure will be captured and linked to the four channel video which will then play thevideo.The purpose of creating the work "Video: Toys and Play" is to explore the toys in theform of video work. This video is presented in the form of interactive work. Interactive isone of the elements of the play. The presentation with interactive techniques is chosento make the audience as an active audience and be part of the videography work.]]>
<![CDATA[KEBERADAAN SENI LUKIS DAMAR KURUNG MASMUNDARI ]]>
<![CDATA[Utama, M. Wahyu Putra]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 8 No. 1 (2016) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v8i1.1803
<![CDATA[Damar Kurung sebagai aset budaya yang memiliki sejarah Abouti sejarah dan keberadaan Walisanga sebagai agama Islam penyebar dan budaya sebagai alat untuk membuat atau media sebagai penyebaran Islam. Pengembangan dan keberadaan Damar Kurung Masmundari dalam proses menciptakan sebuah lukisan dipengaruhi oleh gejala yang ada di sekitar Masmundari tinggal. Masmundari catatan peristiwa dalam kehidupan sosial dan dituangkan ke dalam pekerjaan. Faktor-faktor yang mempengaruhi Masmundari dalam menciptakan lukisan adalah fenomena yang terjadi di masyarakat di mana tempat tinggal pada waktu tertentu, yang menyebabkan perubahan dalam masyarakat Gresik. Perubahan-perubahan yang terjadi secara bertahap sehingga menimbulkan budaya baru yang merupakan hasil dari kondisi penyesuaian masyarakat. Sebuah budaya baru dalam perubahan berarti dalam kebiasaan orang di luar hal-hal yang harus dilakukan setiap hari. Masmundari kehidupan masyarakat mendongeng Gresik yang meliputi segi agama, budaya, seni, kehidupan sosial, dan teknologi melalui lukisan. Proses kreativitas dalam memvisualisasikan menjadi karya seni yang dibuat untuk latar belakang Masmundari pengalaman estetis, membuat lukisan Masmundari memiliki karakter yang khas dari visual. Penggunaan simbol-simbol sederhana dalam penggambaran, Masmundari ingin menyampaikan bahwa masyarakat Gresik keragaman dan kekayaan budaya yang khas dari pengaruh nuansa Islam.Keyword: Damar Kurung, Eksistensi, Masmundari]]>
<![CDATA[PEMBELAJARAN EKSTRAKULIKULER SENI LUKIS KACA DI SMP NEGERI 3 SUKASADA ]]>
<![CDATA[Suryawan, I Gde]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 10 No. 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v10i2.2328
<![CDATA[Glass painting art as a “Kosa Rupa Bali†wealth especially Buleleng was very important to keep, one of them was in education. Because of that, it must be trained and directed for skill development through glass painting art extracuricular in many level, in this research focus on junior high scool especially at SMP N 3 Sukasada. The problem, that would be analyzed in this research are: (1) How are the glass painting art extracuricular learning process at SMP N 3 Sukasada. (2) How is the result of glass painting art extracurricularat SMP N 3 Sukasada. (3) What are the factor that affect the glass painting art extracuricular at SMP N 3 Sukasada. The research method that used was qualitative. The location that was choose for this research was SMP N 3 Sukasada. The technique that was used for collecting the data included: observation, interview, and documentation. The data was analysed by descriptive. Keywords: Learning, Ekstracuricular, Glass Painting]]>
