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PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT
Published by Institut Seni Indonesia Surakarta
ISSN : -     EISSN : 27154351     DOI : https://doi.org/10.33153
Core Subject : Humanities, Art,
Arts Humanities
Seni, teknologi, dan masyarakat dewasa ini telah menyatu dalam praktik penelitian dan pengabdian masyarakat di perguruan tinggi seni. Tidak ada lagi jarak antara praktik seni dan teknologi, terutama dengan masyarakat. Pemisaha antara disiplin sain dan teknologi dengan sosial, humaniora, dan seni tidak lagi populer saat ini. Praktek seni sudah seharusnya melebur dan kehadirannya mewarnai teknologi dan masyarakat . seni tidak lagi terbatas menjadi menara gading yang berlindung di balik kredo seni untuk seni. Kehadiran seni semakin diperlukan dalam dunia yang kian berlari menuju kecanggihan teknologi. Seni telah membuktika hal tersebut dengan munculnya disiplin-disiplin baru dalam ilmu pengetahuan seperti disiplin desain, kajian budaya dan sebagainya. Dengan demikian terjadilah dialog antar disiplin yang memungkinkan seni memberi manfaat lebih bagi peradaban. Lembaga Penelitian dan Pengabdian Masyarakat Institut Seni Indonesia Surakarta konsisten mewadahi praktik seni dalam penelitain dan pengabdian masyarakat dengan perspektif yang lebih holistik. Seni dikembangkan tidak terpisah dengan masyarakat dengan segala dinamikanya.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 162 Documents
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Rini Rahayu OLAH VOKAL SEBAGAI ALAT DAN BAHAN PENUNJANG SAJIAN TARI Rini Rahayu
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.123

Abstract

This research is an analytical description which positions singing as a tool and supporting material in a danceperformance. In order to limit the problem and focus in more detail on the study material, the sindenan forbedhaya Duradasih was chosen as the material object, specifically in the final performance by students fromthe Dance Department at Institut Seni Indonesia (ISI) Surakarta in 2018. The problem addressed is related tocooperation in the process of interpreting the sindenan for bedhaya Duradasih. In a vocal performance, themain tool for interpreting the material is of course the voice. The way in which the voice is produced is relatedto the technique or method used by each musician, in this case the pesinden (female singer) and penggerong(male singer), in interpreting the material. Therefore, cooperation refers to the way the material is treated in anattempt to realize a vocal performance that is rampak and rempeg. Accuracy in the way breathing is regulatedinfluences the sound of the voice because breathing is the basis of producing sound. Naturally, every person,and more specifically every pesinden and penggerong, has a different way of breathing. This leads to differencesin the way sound is produced in the process of interpreting the material to become a pragmatic reality.In addition, differences in habit for determining preferences in the vocal melody between the pesinden andpenggerong when performing their own roles also creates a problem when performing the sindenan for bedhayaDuradasih in unison. Therefore, in order to realize a vocal performance that is rampak and rempeg a solidprocess of interpretation is required. Every treatment, as a form of interpretation of the material, must beperformed with careful consideration. Departing from this problem, it is known that singing in a dance performance,in particular with the sindenan material for bedhaya Duradasih, involves flexible and open cooperation.The principle mad-sinamadan is a manifestation of the treatment of performance material, bearing in mind thedifferent breathing between the musicians. Mad-sinamadan is performed in an endeavour to realize a vocalperformance that is rampak and rempeg, using a breathing technique in which the singers snatch breathswhile they are singing the vocal melody. The purpose of this is to ensure the continuity and unity of the vocalmelody, because the sindenan for bedhaya Duradasih places more emphasis on the continuity and unity of themelodic line rather than the integrality of the vocal text. Therefore, it may be said that breathing techniqueplays an important role in a vocal performance.
Dwi Sulistyawati RESPON RUANG GENERASI MILENIAL DALAM MELAKUKAN AKTIVITASNYA AKIBAT PENGARUH TEKNOLOGI INFORMASI Dwi Sulistyawati; Imam Santosa; Deddy Wahyudi
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.124

Abstract

Space is a means both real and imaginary. Humans need a container in the form of space in carrying out theirdaily activities. Due to the rapid development of Information Technology (IT), many human activities are facilitatedby using the tools of the Information Technology (IT), which can affect the user’s response to the spacethey inhabit. One form of development of Information Technology (IT), is marked by the development of gadgetdevices. Millennial generation is a generation that has a high dependency with this gadget. The high dependenceon gadgets is due to the ease of all needs in living their daily lives so that they become faster, practicaland efficient. This research has the background of the phenomenon described as analyzed data and then isformulated in the form of a visualization of the response of millennial generation in carrying out their activitiesdue to the influence of Information Technology (IT).
Sri Suparsih WANGSALAN SEBAGAI BAHAN DAN ALAT PENDUKUNG SAJIAN GENDHING Sri Suparsih
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.125

Abstract

This research is based on the writer’s interest in the application of wangsalan texts (cakepan), which are anelement of sindhenan, in a way that is appropriate (trep) to the performance of a gendhing. The appropriate(trep) application of wangsalan texts (cakepan) will support a better performance of the gendhing. The reasonfor this is that it was found, after a detailed study, that wangsalan and gendhing can be synchronized byapplying wangsalan texts (cakepan) in the correct and appropriate (trep) way. The method used for this researchis qualitative and the steps included a library study and observation. The library study was carried outby reading books and listening to cassettes. The observation included watching live performances of karawitanand also direct involvement in a number of performances. Several categories of wangsalan texts (cakepan) insindhenan were found that could be matched with particular gendhing. These were wangsalan that were concernedwith names of flowers, plants, the solar system, and natural phenomena (water, wind, fire, stone, etc.).These wangsalan texts (cakepan) in the sindhenan were applied to gendhing by matching the title and character(rasa) of the gendhing performed. It can be concluded, therefore, that there is a need for specific classificationof wangsalan texts (cakepan) to facilitate the application of these texts in the performance of gendhing.The researcher collected the wangsalan texts (cakepan) studied in this research from various oral and writtensources, and classified them according to the criteria determined by the researcher. Subsequently, thesetexts were matched or applied to gendhing in accordance with the title or character (rasa) of the gendhing.
Karyono POLA-POLA GERAK PADA TOPENG BARONGAN KERTAS SEBAGAI INOVASI PENGEMBANGAN TRADISI KERAKYATAN Karyono; Tubagus Mulyadi
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.126

Abstract

Barongan Blora is one of the communal arts that developed in the Blora, Rembang and Grobogan areas.Barongan dish was originally a spiritual form of its presence, not paying attention to the aesthetic elementsmore focused on its function. Barongan movement patterns cannot be separated from the Barong mask whichhas been made from wood which is the shape of a large mask. This greatly affects the patterns of movementin the Barong dance.The innovation of the Barongan mask as a form of developing a populist tradition has analternative in making masks made from paper. This is done to get the possibility of movement patterns relatedto the development of innovation in the Barong populist arts tradition. The creative engineering effort of theBarongan mask by utilizing waste paper becomes an alternative to enrich the work of dance moves related tothe lighter mask properties as a large mask performance. Replacing wood media with paper in mask making.With the hope of facilitating the game techniques in accordance with the character of Barong and silat movementsas if kanuragan.The purpose of this study is to look for basic concepts about Barongan movementpatterns that are technically related to paper mask media. The research method used is rise up by practice,the artistic method, the creation of art based on research.The results of the study showed that the movementpatterns were worked on as the basis for developing the Barongan Kertas mask dance. Research outputstargeted at this study are; Intellectual Property Rights and National Journal.
Dharsono PEMANFAATAN JERAMI SEBAGAI PRODUK KREATIF NON INDUSTRIAL SEBAGAI DASAR PERTIMBANGAN DESAIN Dharsono; Sumarno; N.R. Ardi Chandra
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.127

Abstract

Design plays an important role for product creation to have high aesthetic and economic value as an effort toempower the community. Important to be considered in the design is the ability of human resources andnatural resources related to straw. Therefore identifying the use of straw for various products and productiontechniques becomes important for planning in the development of industrial design. The research method is touse descriptive analytical research with data sources in the form of written, oral, related images. Data collectiontechniques with observation and data validity with data triangulation. Data analysis uses interactive analysis.The result of the discussion is that straw has been utilized as a variety of creative products, however theproduction is not yet industrial and there is no design development. Production capabilities and productiontechniques that develop in the community are important as a basis for the development of handicraft productsand industrial furniture.
Rahel Olivia Chandra Estoni PELESTARIAN CERITA RAMAYANA MELALUI MEDIA WAYANG LIMBAH KERTAS UNTUK SISWA SEKOLAH DASAR DI SUKOHARJO Rahel Olivia Chandra Estoni Putri; Nadiah Arif Firdausi; Bayu Adi Susetya; Basnendar Herry Prilosadoso
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.128

Abstract

The phenomenon of increasingly intense globalization in the present, where in the condition of the collapse ofthe nation’s morality with the increasingly culture of hedonism and individualism without life among the youngergeneration. The decreasing awareness of moral values that have been passed down through generations bythe ancestors, has begun to be displaced by norms and regulations from the west that tend to be incompatiblewith the conditions of our society. Solutions to counteract or reduce the culture, one of them through culturalarts. This activity is an effort to preserve traditional arts, especially wayang kulit and as a medium of charactereducation for elementary school students. Implementation of activities as locations in SD Negeri 05 WirunSukoharjo. The method in carrying out this introduction activity prioritizes activeness between participants andmentors supported by the use of media and training models that are effective and efficient with the aim oftraining materials that can be accepted by the training participants, namely elementary students well. Broadlyspeaking, a design design especially WALIMBA (WAyang LIMBah kertAs / Waste Paper Puppet) refers toDavid Gibson’s theory with the design stages in three major groups, namely: planning, design and implementation.While the stages of implementation of activities through 3 (three) methods, namely: the method oftogetherness approach, personal approach, and partnership approach. Paper Puppet Waste is packaged sowell that students can be creative and play while learning, besides this activity is one of the main ways topreserve puppets.
Taufiqur Rahman AUGMENTED REALITY SEBAGAI MEDIA PEMBELAJARAN INTERAKTIF SENI TARI RANTAYA DI ISI SURAKARTA Taufiqur Rahman; Johan Patar Hutapea; Latifah Azmul Fauzi; Siti Cholifatur Rohmaniah; Rendya Adi Kurniawan
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.129

Abstract

Setiap daerah di Nusantara ini memiliki perbedaan tradisi dan budayanya masing-masing, seperti seni tari.Seni tari tradisi Nusantara didalamnya banyak mengandung muatan tentang pendidikan karakter sebagaimedia transformasi nilai-nilai kehidupan dalam kepribadian seseorang dalam lingkungan masyarakat. Surakartaterdapat tari khas daerah yang sudah menjadi kebanggaan bernama Tari Gaya Surakarta yang merupakansalah satu tari tradisi yang turun-temurun masih menggunakan waton-waton atau patokan-patokan yang telahditentukan oleh para empu tari terdahulu. Tari Rantaya termasuk Tari Gaya Surakarta yang diajarkan kepadamahasiswa Prodi Seni Tari, Fakultas Seni Pertunjukkan, ISI Surakarta pada semester II, IV, dan VI.Permasalahan dari mahasiswa mengenai Tari Putra Alus ini antara lain, ritme yang sulit, pasangan menariyang kurang mahir, keterbatasan waktu latihan dalam kelas, mahasiswa hanya mengandalkan mahasiswalain yang hafal dalam pengajaran di dalam kelas, media buku materi yang terbatas, dan kurangnya mediapenunjang lain sebagai referensi visual. Upaya percepatan dan pengembangan pendidikan ke depan sangatdibutuhkan adanya inovasi dan kreasi pembelajaran yang lebih baik. Augmented Reality (AR) sebagai hasilberupa teknologi yang menggabungkan benda maya dua dimensi dan ataupun tiga dimensi ke dalam sebuahlingkungan nyata tiga dimensi lalu memproyeksikan benda-benda maya tersebut dalam waktu nyata. Tahapanperancangan AR, yaitu : Concept (Pengonsepan), Design (Perancangan), Material Collecting (PengumpulanBahan), Assembly (Pembuatan), Testing (Pengujian), dan Distribution (Pendistribusian). Hasil perancanganini dibagi menjadi tiga karya desain yaitu : desain buku materi Rantaya, desain aplikasi Augmented Reality(AR), dan desain modelling. Teknologi ini sangat membantu pembelajaran Tari Rantaya, mudahpengoperasiannya dan dapat diulang-ulang agar mahasiswa Prodi Seni Tari FSP ISI Surakarta dapat melakukantarian tersebut sehingga materi perkuliahan dapat berjalan lancer. Augmented Reality (AR) dapat menjadisolusi ke depannya, sehingga seni budaya nusantara dapat dipelajari dan dikembangkan agar tetap lestarisekaligus menjaga warisan leluhur agar tidak punah.
SENI DAN TEKNOLOGI: Tantangan dan Peluang dalam Dunia Tari Een Herdiani
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 3 (2020): Seni, Tenologi, dan Masyarakat #5
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v3i0.130

Abstract

RINGKASAN Teknologi dan seni kini menjadi bidikan yang seksi oleh para kreator untuk melahirkan karya-karya dengan media baru. Termasuk dalam bidang tari. Miroto sebagai salah satu koreografer ternama di Indonesia mempelopori penggunaan teknologi dalam karya-karyanya. Kecanggihan teknologi dimanfaatkannya untuk memunculkan kebaruan dalam tari terutama dalam gerak dan tempat pertunjukan. Eksperimennya dilakukan bertahun-tahun hingga kebaruan dan orisinalitasnya terjaga. Kreator lain berlatar belakang rupa dan teknologi yaitu Harry Nuriman yang mengawinkan tari dan teknologi untuk mendigitalisasikan gerak menggunakan metode dan media Motion Capture. Dua model karya ini diangkat dengan tujuan menunjukkan dua model yang berbeda dengan fokus yang sama mengenai tari. Hal ini sebagai pemodelan untuk menangkap peluang dan menjawab tantangan dalam pemanfaatan teknologi pada bidang tari.
Sunardi KREASI DAN INOVASI SENI PERTUNJUKAN WAYANG SEBAGAI PENGUATAN PRE-ARTISTIC RESEARCH UNIVERSITY Sunardi
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 3 (2020): Seni, Tenologi, dan Masyarakat #5
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v3i0.131

Abstract

Tulisan ini bertujuan memaparkan hasil kreasi dan inovasi seni pertunjukan wayang sebagai upaya penguatan pre-artistic research university di Institut Seni Indonesia (ISI) Surakarta. Penelitian artistik menjadi penciri utama ISI Surakarta yang terejawantahkan dalam kegiatan pengajaran, penelitian, dan pengabdian masyarakat. Kreasi dan inovasi seni pertunjukan wayang sebagai bagian dari penelitian artistik perlu dikembangkan secara berkelanjutan. Beberapa persoalan yang dibahas pada tulisan ini: (1) pentingnya roadmap penelitian seni pertunjukan wayang; (2) metode kreasi dan inovasi wayang sebagai salah satu model penelitian artistik; dan (3) hasil-hasil kreasi dan inovasi seni pertunjukan wayang sebagai penguatan pre-artistic research university. Roadmap penelitian wayang didasarkan pada problematika eksistensi wayang mulai menurun sehingga diperlukan kajian dan penciptaan wayang dalam berbagai jenis menuju pengembangan wayang Indonesia. Metode kreasi dan inovasi wayang dilakukan dengan eksplorasi, perancangan, proses kreasi-inovasi, dan presentasi karya seni wayang yang mencirikan metodologi penelitian artistik. Beberapa hasil kreasi dan inovasi meliputi wayang babad nusantara, wayang perjuangan, dan wayang sinema diharapkan menjadi penguat fase pre-artistic research university di ISI Surakarta. Kata kunci: kreasi, inovasi, pertunjukan wayang, penguatan, pre-artistic research university
INFOGRAFIS PANDEMI COVID-19 PADA MEDIA PERSS ONLINE DI INDONESIA Handriyotopo
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 3 (2020): Seni, Tenologi, dan Masyarakat #5
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v3i0.133

Abstract

ABSTRACT The phenomenon of infographics as a visual strategy attracts readers of digital newspapers to make them aware of the importance of protocols for the community as recommended by WHO and the government of the Republic of Indonesia in an effort to deal with the Covid-19 pandemic which is quite prevalent by online media perss. Through qualitative research methods on the phenomenon of infographic design with literature review of its constituent elements to find important infographic data in the online perss media. Literature research with literature studies as the object of covid-19 infographic material is in the local and national perss media which have been determined by positive sampling, the main ones are solopos.com, detik.com and kompas.com. The aim is to determine the visual elements of infographics and important messages of infographics in response to the Covid-19 pandemic related to health protocols during the new normal. The findings of this study are related to the form of infographics that are predominantly portrait or vertical where visual elements of color tend to be primary colors such as red, yellow, blue, and black to denote a pandemic-related color psychology. The visual metaphor tends to be iconic, such as the emphasis on header letters and the dominant copy (script) uses sanserif. Infographics always contain messages of equality in the meaning of complying with health protocols, such as the slogan of messages from 3 (three) M mothers, namely Wearing Masks, Washing Hands, and Maintaining Social Distancing which are the keywords for deciding the pandemic in all online perss. Keywords: Covid-19 infographics, aesthetics, visual rhetoric, online perss media

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