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Ranang Agung Sugihartono
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Jl. Ki Hadjar Dewantara 19, Surakarta, Jawa Tengah, Indonesia 57126
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INDONESIA
ARTISTIC : International Journal of Creation and Innovation
Published by Institut Seni Indonesia Surakarta
ISSN : 27219445     EISSN : 27219321     DOI : https://doi.org/10.33153/artistic
Core Subject : Education, Art,
Arts Languange, Linguistic, Communication & Media
The publishing of "ARTISTIC: International Journal of Creation and Innovation" specializes within the focus and scope including: 1. Creative and conceptual thinking related to the practice of art works and creative problems (Artistic Creation Thought). 2. The results of artistic research in the fields of : a. Batik b. Keris c. Crafts d. Karawitan e. Pedalangan (Puppetry) f. Dance g. Music h. Theater i. Painting j. Sculpture k. Graphics l. Interior Design m. Stage Design n. Visual Communication Design o. Product Design p. Television q. Film r. Photography s. Animation t. Games u. Visual Effects, and v. other arts. 3. New insights about the practice of art, resulting from the creative process. 4. New knowledge generated from the practice of art and artwork produced. 5. Values and meanings of novelty produced in the creation of art works, or studies of innovation in art.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 10 Documents
 1 
Search results for , issue "Vol. 4 No. 1 (2023)" : 10 Documents clear
JAVANESE FARMERS’ PRANATA MANGSA CONCEPT AS THE IDEAS OF WAYANG BEBER CREATION Faris Wibisono; Basuki Teguh Yuwono
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.4499

Abstract

Javanese farmers practice the pranatamangsaas their agricultural way. This conception has guided the Javanese agricultural approach in treating nature for generations from their ancestors to the present day. This teaching also inspires the creation of wayangbeberwith the sunggingtechnique. The creation process consists of three phases, namely (1) exploration, (2) design, and (3) realization. The resulting work is divided into 24 pejagongsand six scrolls of wayangbeber, with each pejagongcontaining a continuous narrative. The applied sunggingancolors represent the changing seasons, while the gununganof kala at the beginning and conclusion of each pejagong represents the change in time and setting. The descriptions are separated into various categories, including the farming community, village officials, religious leaders, and intermediaries.
SURONO'S CROSS-STYLED CREATION IN THE SHADOW PUPPET PERFORMANCE Chatur Rhama; Tatik Harpawati
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.5068

Abstract

Surono Gondo Taruno's shadow puppet (wayang kulit) performance has a distinctive cross-style, making him a famous puppeteer in East Java. Accordingly, this discussion seeks to answer the question, "What is the cross-style of Surono's wayang figures in the Wahyu Wijaya Kusuma play? This discussion uses a qualitative method with Sunardi and Umar Kayam's cross-styled approach. Observational and interview-based were analyzed descriptively and qualitatively. The study results indicate that Surono's performance uses a cross-styled approach between the Surakarta style as the dominant style and the East Java and the Yogyakarta styles as the supporters. Surono's cross-style has made his performance attractive to contemporary spectators.
THE CREATION PROCESS OF THE PELUK JIWA DANCE WITH DEAF CHILDREN Smirna Wardanny; Sri Rochana Widyastutieningrum
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.5069

Abstract

Adopting a distinctive dance with movements and musical accompaniment to children with hearing impairments is exceptional. One can imagine the process and complexity that surrounds it. This article illustrates the PelukJiwa dance creation process by Jonet Sri Kuncoro and WasiBantolo with deaf children. This analysis employs a qualitative method by observing the creation and staging of the dance and conducting interviews with dancers, choreographers, and directors, which are then descriptively analyzed qualitatively. The analysis outcomes indicate that the process of creating this dance incorporates dance movement, theme selection, technique, exploration, organization, cohesion, and presentation. In addition, the performance conveys a message of social equality for deaf and normal children.
BADUI HOUSE AS AN IDEA SOURCE FOR CREATING CHILDREN'S BATIK MOTIFS Lisa Tri Agustin; Muhammad Arif Jati Purnomo
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.5075

Abstract

Badui (Bedouin) tribe is one of the ethnic groups that continues to exist and thrive today, including the traditional house-building method. Accordingly, the Badui traditional house is transformed into a batik motif for the children's casual dress to maintain continuity. This creation seeks to design and implement the traditional Badui house batik motif in casual clothing for 10-year-old girls. Exploration, design, and embodiment were the means of creating works. The process of creating works startedwithexploring motifs, clothing, material, and technique, followed by motifs and children's casual clothing designs. This work utilizedthe written batik technique;colet-tutup-celupcoloring;Remasol, Naptol, and Indigosol dyes; Japanese cotton and Primissima; and bright colors as embodiment techniques. Implementing batik motifs (ImahSawarna,ImahNgahiji,ImahSalonjor,ImahKahuripan) to children's casual clothing resulted in 4 pieces of clothing, namely: Inleum, Makaul, Galis, and Bageur.
WATER AS THE IDEAS FOR KERIS CREATION Muhammad Ra'uf Dwi Fajri; Bening Tri Suwasono
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.5076

Abstract

Water is a natural element that inspires artistic creation. Water is crucial for life. Almost all organisms inhabit habitats ecosystems with sufficient water availability. Water as a source of inspiration in the creation of this artwork is embodied in the dhapurkeris. This work uses the Mor-Jo-Si-Ngun aesthetic approach, with exploration, design, and embodiment serving as its production method. There are three keris made with the names dhapurTirtaPanguripanluk-7, TirtaSegara luk-5, and TirtaAwang-awang. Each created work carries a meaning according to the title and philosophy of water as a symbol of life.
JAVANESE FARMERS’ PRANATA MANGSA CONCEPT AS THE IDEAS OF WAYANG BEBER CREATION Wibisono, Faris; Yuwono, Basuki Teguh
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.4499

Abstract

Javanese farmers practice the pranatamangsaas their agricultural way. This conception has guided the Javanese agricultural approach in treating nature for generations from their ancestors to the present day. This teaching also inspires the creation of wayangbeberwith the sunggingtechnique. The creation process consists of three phases, namely (1) exploration, (2) design, and (3) realization. The resulting work is divided into 24 pejagongsand six scrolls of wayangbeber, with each pejagongcontaining a continuous narrative. The applied sunggingancolors represent the changing seasons, while the gununganof kala at the beginning and conclusion of each pejagong represents the change in time and setting. The descriptions are separated into various categories, including the farming community, village officials, religious leaders, and intermediaries.
SURONO'S CROSS-STYLED CREATION IN THE SHADOW PUPPET PERFORMANCE Rhama, Chatur; Harpawati, Tatik
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.5068

Abstract

Surono Gondo Taruno's shadow puppet (wayang kulit) performance has a distinctive cross-style, making him a famous puppeteer in East Java. Accordingly, this discussion seeks to answer the question, "What is the cross-style of Surono's wayang figures in the Wahyu Wijaya Kusuma play? This discussion uses a qualitative method with Sunardi and Umar Kayam's cross-styled approach. Observational and interview-based were analyzed descriptively and qualitatively. The study results indicate that Surono's performance uses a cross-styled approach between the Surakarta style as the dominant style and the East Java and the Yogyakarta styles as the supporters. Surono's cross-style has made his performance attractive to contemporary spectators.
THE CREATION PROCESS OF THE PELUK JIWA DANCE WITH DEAF CHILDREN Wardanny, Smirna; Widyastutieningrum, Sri Rochana
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.5069

Abstract

Adopting a distinctive dance with movements and musical accompaniment to children with hearing impairments is exceptional. One can imagine the process and complexity that surrounds it. This article illustrates the PelukJiwa dance creation process by Jonet Sri Kuncoro and WasiBantolo with deaf children. This analysis employs a qualitative method by observing the creation and staging of the dance and conducting interviews with dancers, choreographers, and directors, which are then descriptively analyzed qualitatively. The analysis outcomes indicate that the process of creating this dance incorporates dance movement, theme selection, technique, exploration, organization, cohesion, and presentation. In addition, the performance conveys a message of social equality for deaf and normal children.
BADUI HOUSE AS AN IDEA SOURCE FOR CREATING CHILDREN'S BATIK MOTIFS Agustin, Lisa Tri; Purnomo, Muhammad Arif Jati
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.5075

Abstract

Badui (Bedouin) tribe is one of the ethnic groups that continues to exist and thrive today, including the traditional house-building method. Accordingly, the Badui traditional house is transformed into a batik motif for the children's casual dress to maintain continuity. This creation seeks to design and implement the traditional Badui house batik motif in casual clothing for 10-year-old girls. Exploration, design, and embodiment were the means of creating works. The process of creating works startedwithexploring motifs, clothing, material, and technique, followed by motifs and children's casual clothing designs. This work utilizedthe written batik technique;colet-tutup-celupcoloring;Remasol, Naptol, and Indigosol dyes; Japanese cotton and Primissima; and bright colors as embodiment techniques. Implementing batik motifs (ImahSawarna,ImahNgahiji,ImahSalonjor,ImahKahuripan) to children's casual clothing resulted in 4 pieces of clothing, namely: Inleum, Makaul, Galis, and Bageur.
WATER AS THE IDEAS FOR KERIS CREATION Fajri, Muhammad Ra'uf Dwi; Suwasono, Bening Tri
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.5076

Abstract

Water is a natural element that inspires artistic creation. Water is crucial for life. Almost all organisms inhabit habitats ecosystems with sufficient water availability. Water as a source of inspiration in the creation of this artwork is embodied in the dhapurkeris. This work uses the Mor-Jo-Si-Ngun aesthetic approach, with exploration, design, and embodiment serving as its production method. There are three keris made with the names dhapurTirtaPanguripanluk-7, TirtaSegara luk-5, and TirtaAwang-awang. Each created work carries a meaning according to the title and philosophy of water as a symbol of life.

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