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Ahmad Ashifuddin Aqham
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PUSAT RISET DAN INOVASI NASIONAL UNIVERSITAS SAINS DAN TEKNOLOGI KOMPUTER Alamat: Jl. Majapahit No.304, Palebon, Kec. Pedurungan, Kota Semarang, Jawa Tengah 50199
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Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM)
Published by Lembaga Pengembangan Kinerja Dosen
ISSN : 28290283     EISSN : 28290186     DOI : 10.55606
Core Subject : Art,
Arts
Sub Rumpun ILMU SENI PERTUNJUKAN 1 Senitari 2 Seni Teater 3 Seni Pedalangan 4 Seni Musik 5 Seni Karawitan 6 Seni Pertunjukkan Lainnya yang Belum Disebut Sub Rumpun ILMU KESENIAN 1 Penciptaan Seni 2 Etnomusikologi 3 Antropologi Tari 4 Seni Rupa Murni (seni lukis) 5 Seni Patung 6 Seni Grafis 7 Seni Intermedia 8 Bidang Ilmu Kesenian Lain Yang Belum Tercantum Sub Rumpun ILMU SENI KRIYA 1 Kriya Patung 2 Kriya Kayu 3 Kriya Kulit 4 Kriya Keramik 5 Kriya Tekstil 6 Kriya Logam (dan Logam Mulia/Perhiasan) 7 Bidang Seni Kriya Lain Yang Belum Tercantum
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 273 Documents
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Representasi Perjuangan dan Keberuntungan dalam Tari Ironi Kajian terhadap Ungkapan Batin Koreografer Suci Nisva Salsia; Tarina Seulanga; Monalisa Monalisa; Nuri Suhespa; Putri Naiza Hijriani; Nora Akmila; Ahmad Syai
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 1 (2025): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i1.10414

Abstract

Ironi Dance is a contemporary dance work inspired by the choreographer’s personal experiences and inner anxiety regarding the realities of life, particularly the contradiction between hard work and fortune. This phenomenon illustrates that individuals who possess ability, work diligently, and strive earnestly do not always achieve outcomes that reflect their efforts, while others may attain success without undergoing comparable struggles. This study employed a qualitative approach using a descriptive research design. Data were collected through observation, interviews, and documentation, while data analysis consisted of data collection, data reduction, data presentation, and data verification. The findings reveal that the creation process of Ironi Dance follows Alma M. Hawkins’ dance creation method, which includes the stages of experiencing, seeing, feeling, imagining, transforming, and forming. The work is realized through the exploration of free contemporary movement as a representation of the choreographer’s anxiety, struggle, and sense of injustice experienced by the main character. The presentation of Ironi Dance is further supported by choreographic elements, including movement, floor patterns, musical accompaniment, theme, number of dancers, costumes, makeup, and lighting, all of which are integrated to strengthen the concept and communicate the meaning of the work.
Analisis Struktur Lagu pada Komposisi Duet Gitar Klasik “Echoes” Asysyifa Yuna Rahima; Gustiana Gustiana; Intan Puasana; Geubrina Thifal Nada; Fitri Tarina Suri; Najwatun Oesan; Nurlaili Nurlaili
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 3 No. 1 (2024): April: Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v3i1.10415

Abstract

This study examines and analyzes in depth the formal structure of the classical guitar duet titled “Echoes” by Asysyifa Yuna Rahima. This musical work, based on the Phrygian mode in E, artistically represents psychopedagogical phenomena as well as the mental barriers the composer faced during her instrumental learning process. To produce a focused, systematic, and in-depth analytical study, this research integrates Firdana’s theoretical framework of contemporary musical structure (Intro, Verse, Pre-Chorus, Chorus, Outro) with Karl-Edmund Prier’s approach to classical phrase morphology. Through a qualitative research method with a descriptive-analytical approach, the score manuscript will be dissected and segmented textually and structurally. The research findings indicate that the characteristics of the Phrygian mode in E consistently act as an emotional anchor that binds the integrity of the composition’s entire macro-structure. Furthermore, the analysis reveals that the interplay between Guitar 1 and Guitar 2 dialogically projects the communication and dialectic between two distinct eras. In practical terms, this integrated segmentation demonstrates that abstract expressions of personal narrative can be objectively deconstructed into a formal model of musical analysis.
Kajian Nilai-Nilai Budaya pada Ragam Hias Masjid Kuno Lam Ura di Aceh Besar Fatimah Azzahra; Uswatun Hasanah; Nasywa Salsabila; Akrima Zahara; Suri Wulan; Hidayani Hidayani; Yeni Zuryaningsih
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 3 No. 2 (2024): Oktober: Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v3i2.10416

Abstract

The Lam Ura Ancient Mosque in Aceh Besar Regency is one of the cultural heritage sites that possesses historical significance while preserving its traditional ornamental decorations as an integral part of Acehnese cultural identity. The ornamental motifs found throughout the mosque serve not only as aesthetic elements but also embody cultural values that reflect the community's social life, religious beliefs, historical development, and artistic traditions. This study aims to examine the cultural values embedded in the ornamental decorations of the Lam Ura Ancient Mosque. The research employed a qualitative descriptive approach, with data collected through observation, interviews, and documentation. The collected data were analyzed using an interactive analysis model and interpreted through an iconographic approach and cultural value theory. The findings reveal that the mosque's ornamental decorations are predominantly composed of geometric, floral, and vine motifs, reflecting the integration of Islamic aesthetics with the distinctive characteristics of traditional Acehnese art. Beyond their decorative function, these motifs convey religious, historical, aesthetic, and cultural identity values while illustrating the process of cultural acculturation in Aceh. Therefore, the Lam Ura Ancient Mosque serves not only as a place of worship but also as an important cultural heritage site that contributes to the preservation of cultural values and provides a valuable source of knowledge for present and future generations.

Page 28 of 28 | Total Record : 273

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