Runtas: Journal of Arts and Culture
Runtas: Journal of Fine and Performing Arts draws its contributions from academics and practitioner-researchers at the interface of new visual and performing arts. It acts as a forum for critical scholarship, innovative practice, and creative pedagogy, addressing themes that may be domain-specific (e.g. theatre, dance, music, live art, visual arts) or situated at the convergence of two or more disciplines. The journal invites original, significant, and rigorous inquiry into all subjects within or across disciplines related to visual and performing arts. It encourages debate and cross-disciplinary exchange across a broad range of approaches. The spectrum of topics includes Ethnomusicology, Karawitanology, Music Education, Dance Theatre, Movie and Television, Interior Design, Industrial Design, Media Arts, Fine Arts, Photography These topics are addressed in full-length academic articles, critical statements on current issues, developmental practice, and reviews of books and live/media-based visual and performing arts. The journal presents an innovative platform for researchers, students, practitioners and educators to both learn from and contribute to the field. All articles are subject to initial Editor screening and then a rigorous double-blind peer-review process before publication.
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<![CDATA[JAPANESE WISTERIA AND KAWUNG MOTIFS AS THE DEVELOPMENT OF BATIK FOR ART WEAR ]]>
<![CDATA[Widi, Sayekti Nugrahaning]]>;
<![CDATA[-, Septianti]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 1 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v1i2.5315
<![CDATA[Batik has various kinds of motifs. They are traditional and developed motifs. The combination of wisteria and kawung motifs for art wear is a work inspired by hokokai batik. It is a result of acculturation between Japan and Indonesia. Japanese wisteria (Wisteria Floribunda) is a kind of flower that grows in Japan. In Japan, it is called Fuji. The wisteria flower symbolizes loyalty, nobility, and immortality. Furthermore, kawung motif is a motif developed in Indonesia, especially in Java. It has a meaning of sedulur papat lima pancer. This article aims to batik by combining two motifs, wisteria, and kawung. These two motifs would be applied in art wear. Exploration is the first stage in creating this work. It starts from looking for some references of kawung motif and wisteria motif. The second is the design stage. In this stage, the creator designs motifs that would be chosen in some alternatives as a motif would be applied in art wear. The last stage is manifestation. Making batik motifs begins with making patterns, nyorek, nyanting, coloring, and, melorod. This creation results in four works. The first is titled Hi. The second is titled Kaze. The third is titled Ki. The fourth is titled Mizu. These four titles represent four elements ruled by the four guardian gods of the cardinal directions. The four gods are legends from Japan.]]>
<![CDATA[SEMICOLON BATIK MOTIVES AND ITS APPLICATION TO CASUAL CLOTHES ]]>
<![CDATA[Pramesti, Julieta Citra]]>;
<![CDATA[-, Guntur]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 1 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v1i2.5335
<![CDATA[A semicolon is a semicolon (;). This semicolon punctuation in writing serves as a substitute for a conjunction in a sentence. In a sentence the use of a semicolon is not intended as the end of a sentence for the author. In the lives of people with mental disorders , the use of this punctuation mark is a statement of self to survive, to avoid fatalistic actions (suicide). Semicolon mental disorder as the theme of the work is motivated by the socialization constraints of the sufferer's community and their self-expression. Semicolon is a sign used by individuals or communities to show themselves and the suffering they experience. As a sign, the semicolon is interesting to be used as inspiration in the creation of batik motif designs. Its application in casual clothing is to provide another alternative in expressing self-identity. Through exploration, design, and embodiment, the Seroja Sauntara motif is created ; Roman Wani; Lang Aruna; and Semisulur . As for its application to clothing, namely Eunoia, Tittari, Renjana, Upeksha, and Sattva . The title of the work is adapted to the character and appearance, as a means of self-healing .]]>
<![CDATA[THE EQUIPMENT OF THE TEDHAK SITEN TRADITION AS A SOURCE FOR CREATING BATIK MOTIFS IN CASUAL CLOTHING ]]>
<![CDATA[Kusdiyanti, Adilah Raidah]]>;
<![CDATA[Khoirunnisa, Izzun]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 1 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v1i2.5336
<![CDATA[Fashion creation in this study uses a theme related to Javanese tradition, entitled The Equipment of the Tedhak Siten Tradition as a Source for Creating Batik Motifs in Casual Clothing. This study aims to create a batik motif with the source of equipment ideas of the Tedhak Siten Tradition. It can encourage the preservation of traditions in Indonesia. Therefore, it can create a sense of belonging to and continue to protect cultural heritage. The data is collected from the literature study. The work creation uses a method consisting of exploration, design, and manifestation. Several batik colors are used as a basis in the creation of this fashion work. They are dark brown, light brown, and dark red. The results of this study are four batik motifs by dab coloring technique. Each fashion work is given a title that is considered to have a connection among the character, appearance, and meaning of each style. Work 1 is entitled "Nawasena", work 2 is entitled "Lavanya", work 3 is entitled "Tapak Kluwung”, and work 4 is entitled "Rumaksara". As a result, this fashion creation can give new shades to the art world, in the form of batik applied in casual clothing.]]>
<![CDATA[TUMPENG MEGANA AS A SOURCE OF IDEAS CREATION MOTIVE BATIK ON CLOTHES CASUAL ]]>
<![CDATA[Arifah, Hesti Nur]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 1 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v1i2.5338
<![CDATA[Abstract Tumpeng megana is a traditional Indonesian culinary served at the event thanksgiving birth baby or commemorate day born. Presentation tumpeng megana as form symbolic as a delivery of gratitude and supplication or pray. Characteristic features tumpeng megana is rice white form cone And surrounded side dish pauk And vegetables around the rice and there are sticks of eggs, shallots, and chilies on top of the rice. The rice white color which symbolizes a purity and vegetables which symbolize hope or prayer request in living life for the child someday, whereas the stab symbolize roundness embroidery Which full Spirit in face challenges in later life. The purpose of creating this work is to introduce back to the culinary archipelago that was almost lost amidst the incoming foreign culinary and develop in Indonesia. Poured into the exists work motive batik on fashion casual . Casual clothing is clothing that is suitable for everyday use and casual needs made with the comfort of the wearer in mind. The foundation of creation on the process The creation of this final project adheres to SP Gustami's creation method with 3 stages namely the exploration stage, the design stage, and the embodiment stage. Motive design selected with the source of ideas from tumpeng megana created through the process of batik and unplug color. Batik write is process incision Evening on cloth with use canting which aims to block the colors. In the process of making batik using dyes remasol And unplug color with use sulfurite. ]]>
<![CDATA[READY TO WEAR CLOTHING WITH BATIK MOTIFS INSPIRED BY CISADANE LENGGANG DANCE ]]>
<![CDATA[Zanira, Zahra Alfina]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 1 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v1i2.5349
<![CDATA[The work on the final project batik motif with the source of the idea of Dance Lenggang Cisadane for clothing Ready to Wear. The purpose of this final project that is, creating Batik motifs dance Lenggang Cisadane with the main motive in the dance movement that rests on the four elements of culture in dance Lenggang Cisadane. The method used in the process of creating this work is Gustami method which is divided into three methods, namely starting from the exploration stage, by making direct observations at the location of the dance studio and digging for data through interviewing. The second stage is the design, starting with alternative designs to be selected as batik motifs applied to ready-to-wear clothing. Starting from the process of pattern, shading, batik, coloring, melorod, sewing to finishing. The results in the creation of this work in the form of four ready to wear clothing. His attributes are softie, beauty, agility and cheerfulness. The creation of fashion works that raise the motif of Dance Lenggang Cisadane can be known more widely in the general public, especially the younger generation who are less aware of traditional dance culture. ]]>
<![CDATA[ARWANA FISH BATIK MOTIF IN CASUAL CLOTHES ]]>
<![CDATA[Desinta, Vania Vicky]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 1 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v1i2.5357
<![CDATA[Arowana fish, a protected species due to its dwindling population, became the inspiration for this work. The aims of this work are: (1) to develop a batik motif design inspired by the arowana fish; (2) designing casual clothes with arowana fish batik motifs; and (3) the use of arowana fish-inspired batik motifs on casual clothing. SP Gustami's theory is used in the work production process, which consists of three stages of six steps: investigation, design, and embodiment. The investigation stage includes finding as much information as possible about the arowana. The design stage comes next, when many factors are taken into account, including functional characteristics, materials, processes, aesthetics and ergonomics. The embodiment step, which involves turning a design into a work, is the final phase. The dab method using Remasol dye is used for colorin fish g. The final product consists of four casual wear items with the names Antarrazka, Sraddha, Upeksha and Antarsukha. The design is inspired by arowana fish.]]>
<![CDATA[PITHECANTHROPUS ERECTUS BATIK FOR HAUTE COUTURE CLOTHES: A BLEND OF PRIMITIVE AND MODERN STYLES ]]>
<![CDATA[Hermawati, Dwi Puji]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 1 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v1i2.5387
<![CDATA[ABSTRACTThe source of the idea for the creation of this final project is the discovery of the Pithecanthropus Erectus fossil which is enshrined in the Song Terus Pacitan museum, this discovery is one of the earliest evidences of human evolution in prehistoric times. Phitechanthropus Erectus is an ancient human species that lived 1.9 million years ago. The characteristics of ancient humans, Phitechanthropus Erectus, had a more robust body than their predecessors. The purpose of making this work is to 1. Create a written batik motif design with the source idea of Pithecanthropus Erectus with a blend of primitive and modern styles 2. Create a haute couture fashion design with a source of batik ideas from pithecanthropus erectus combining primitive and modern styles 3. Apply the Pithecanthropus written batik motif Erectus into Haute Couture fashion design. The method in creating this work uses the principle of 3 stages, namely Exploration, Design and Realization. The final work produced is in the form of 5 Haute couture clothing with abstract coloring techniques on batik motifs. The finished batik cloth is combined with brocade and toyyobo fabrics which are applied to haute couture clothing. The motif title for this work is "Primi Hominis" which comes from the Greek language which means the First Man. The resulting work consists of 5 batik consisting of 5 batik motif designs, namely (1) Pusering jagat Batik Motif Design (2) Pawonan Batik Motif Design (3) Hanguripi Batik Motif Design (4) Riba mburu Batik Motif Design (5) Batik Motif Design ancient stone, which has the main motif of pithechanthropus erectus and 5 Haute couture clothing, namely (1) Spelaiotai (2) Synergasia (3) Agrotikos (4) Dimiourgikos (5) Kainotomos. This batik will be mixed and matched with haute couture clothing. In every haute couture fashion has a different form.]]>
<![CDATA[JAPANESE WISTERIA AND KAWUNG MOTIFS AS THE DEVELOPMENT OF BATIK FOR ART WEAR ]]>
<![CDATA[Widi, Sayekti Nugrahaning]]>;
<![CDATA[-, Septianti]]>
<![CDATA[ Runtas: Jurnal Fesyen dan Wastra Nusantara Vol. 1 No. 2 (2023) ]]>
Publisher : <![CDATA[Indonesian Institute of the Arts Surakarta ]]>
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DOI: 10.33153/runtas.v1i2.5315
<![CDATA[Batik has various kinds of motifs. They are traditional and developed motifs. The combination of wisteria and kawung motifs for art wear is a work inspired by hokokai batik. It is a result of acculturation between Japan and Indonesia. Japanese wisteria (Wisteria Floribunda) is a kind of flower that grows in Japan. In Japan, it is called Fuji. The wisteria flower symbolizes loyalty, nobility, and immortality. Furthermore, kawung motif is a motif developed in Indonesia, especially in Java. It has a meaning of sedulur papat lima pancer. This article aims to batik by combining two motifs, wisteria, and kawung. These two motifs would be applied in art wear. Exploration is the first stage in creating this work. It starts from looking for some references of kawung motif and wisteria motif. The second is the design stage. In this stage, the creator designs motifs that would be chosen in some alternatives as a motif would be applied in art wear. The last stage is manifestation. Making batik motifs begins with making patterns, nyorek, nyanting, coloring, and, melorod. This creation results in four works. The first is titled Hi. The second is titled Kaze. The third is titled Ki. The fourth is titled Mizu. These four titles represent four elements ruled by the four guardian gods of the cardinal directions. The four gods are legends from Japan.]]>
<![CDATA[SEMICOLON BATIK MOTIVES AND ITS APPLICATION TO CASUAL CLOTHES ]]>
<![CDATA[Pramesti, Julieta Citra]]>;
<![CDATA[-, Guntur]]>
<![CDATA[ Runtas: Jurnal Fesyen dan Wastra Nusantara Vol. 1 No. 2 (2023) ]]>
Publisher : <![CDATA[Indonesian Institute of the Arts Surakarta ]]>
Show Abstract
|
Download Original
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Original Source
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DOI: 10.33153/runtas.v1i2.5335
<![CDATA[A semicolon is a semicolon (;). This semicolon punctuation in writing serves as a substitute for a conjunction in a sentence. In a sentence the use of a semicolon is not intended as the end of a sentence for the author. In the lives of people with mental disorders , the use of this punctuation mark is a statement of self to survive, to avoid fatalistic actions (suicide). Semicolon mental disorder as the theme of the work is motivated by the socialization constraints of the sufferer's community and their self-expression. Semicolon is a sign used by individuals or communities to show themselves and the suffering they experience. As a sign, the semicolon is interesting to be used as inspiration in the creation of batik motif designs. Its application in casual clothing is to provide another alternative in expressing self-identity. Through exploration, design, and embodiment, the Seroja Sauntara motif is created ; Roman Wani; Lang Aruna; and Semisulur . As for its application to clothing, namely Eunoia, Tittari, Renjana, Upeksha, and Sattva . The title of the work is adapted to the character and appearance, as a means of self-healing .]]>
<![CDATA[THE EQUIPMENT OF THE TEDHAK SITEN TRADITION AS A SOURCE FOR CREATING BATIK MOTIFS IN CASUAL CLOTHING ]]>
<![CDATA[Kusdiyanti, Adilah Raidah]]>;
<![CDATA[Khoirunnisa, Izzun]]>
<![CDATA[ Runtas: Jurnal Fesyen dan Wastra Nusantara Vol. 1 No. 2 (2023) ]]>
Publisher : <![CDATA[Indonesian Institute of the Arts Surakarta ]]>
Show Abstract
|
Download Original
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Original Source
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Check in Google Scholar
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DOI: 10.33153/runtas.v1i2.5336
<![CDATA[Fashion creation in this study uses a theme related to Javanese tradition, entitled The Equipment of the Tedhak Siten Tradition as a Source for Creating Batik Motifs in Casual Clothing. This study aims to create a batik motif with the source of equipment ideas of the Tedhak Siten Tradition. It can encourage the preservation of traditions in Indonesia. Therefore, it can create a sense of belonging to and continue to protect cultural heritage. The data is collected from the literature study. The work creation uses a method consisting of exploration, design, and manifestation. Several batik colors are used as a basis in the creation of this fashion work. They are dark brown, light brown, and dark red. The results of this study are four batik motifs by dab coloring technique. Each fashion work is given a title that is considered to have a connection among the character, appearance, and meaning of each style. Work 1 is entitled "Nawasena", work 2 is entitled "Lavanya", work 3 is entitled "Tapak Kluwung”, and work 4 is entitled "Rumaksara". As a result, this fashion creation can give new shades to the art world, in the form of batik applied in casual clothing.]]>
