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[AN INQUIRY OF BATIK MOTIF FOR WEDDING CLOTHES: EDELWEISS FLOWER BATIK MOTIF ]]>
<![CDATA[Rosalina, Desi]]>;
<![CDATA[Purnomo, Moh Arif Jati]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 2 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v2i1.4809
<![CDATA[The purpose of this art creation is to apply edelweiss motive on party dress suitable for wedding party dress. The method of this artwork creation method consists of expression, technique, and creation. Batik creation process is conducted through combination of handmade and expressive technique by using brush and the proceeded with staining using covering and dying technique. This works consists of two clothing work title, namely “Endless Love” and “This Love” with the motif names for each work being “Edel” and “Weiss”, respectively. The meaning behind the combination of title endless love which means long lasting and “edel” which mean glorious is that the bride’s wedding becomes glorious and eternal. On the other hand, the title this love means that the love is vulnerable if not handled with care and its motif “weiss” means white which is very easily stained. As a result, we conclude that the final result of this artwork creation is suitable for wedding dress.]]>
<![CDATA[TRANSFORMING KINATAH NAGASASRA AS A BATIK MOTIFS FOR CASUAL CLOTHES ]]>
<![CDATA[mellynada putri, casi]]>;
<![CDATA[saputra, andi taslim]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 2 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v2i1.4816
<![CDATA[This work creation was inspired by the shape of Kinatah Nagasasra, a name of dhapur (physical form) of a Kris. Such a dapur is characterized by the presence of decoration in the form of dragon as a Kinatah on the surface of the Kris blade. The characteristics of Nagasasra are having a kinatah in the form of crowned dragon, having a thousand scales on its body, and having a jamang (head ornament worn on the forehead). This Kris blade has visual meaning in the form of symbols representing characteristics of a leader. This study aims at exploring and stylizing the shape of Kinatah Nagasasra and using it in creating handmade batik on the casual wear. The creation of this work employed the art creation method by collecting data from literature as well as previous designs and embodiments. Handmade batiks technique was used in the creation process by using primissima cotton fabric and remasol (coloring matter) as raw materials. Handmade batik technique that is used is dipping technique. The color chosen is the color preferred by consumers aged 18-35 years. The resulting work consists of four dresses and is entitled UPANGGA RADMILA. Each of dress has also its own title, namely PANDITA, PARAHITA, PRABALA, PRASANTI. The designers hope that this work can help to socialize good characteristics of leader through symbols in it. The characteristics consists of prioritizing the welfare of members, the awareness that power is a trust, being able to protect and prosper members, and being a role model to the members.]]>
<![CDATA[WIWITAN EQUIPMENT AS BATIK MOTIF CREATION FOR MODERN KEBAYA ]]>
<![CDATA[listya iswandari, aviva]]>;
<![CDATA[-, Guntur]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 2 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v2i1.4818
<![CDATA[The main ideas that became the basis for the batik motif on jarik for modern kebaya clothing was offering equipment in wiwitan tradition. The wiwitan tradition in traditional agricultural practice is a ceremony carried out by the community before harvesting, wiwitan is a tradition that deserves to be maintained and preserved and can even be developed in its ritual procession to become its own attraction. Basically, this tradition is an expression of gratitude to God. The rituals of this tradition completed with offerings and bancakan which are a form of gratitude for all the favors and blessings of God to the earth. The content of the offerings or known as uborampe was used as a source of inspiration for the creation of batik motifs on jarik for modern kebaya. The creation of batik motif is carried out by means of batik tulis that is styled contemporary then colored with remasol dye and colet technique. The colors used are brown, cream, brick red, purple, grey, blue, and pink. Batik with wiwitan offering motifs is equipped with modern kebaya to create total of 4 designs completed with sequins as decoration and veil as a head-wear to make it look elegant and appropriate for both formal and non-formal events.]]>
<![CDATA[BATIK MOTIF OF PANDAWA FIGURES AS INSPIRATION FOR GLOW IN THE DARK MODERN KEBAYA ]]>
<![CDATA[Agustina, Sari]]>;
<![CDATA[Rudianto, M]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 2 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v2i1.4839
<![CDATA[In globalization and the current developments, many local fashions have been neglected, one of which is batik. Younger generations are often prefer to wear fashion that is influenced by foreign trends. The clothes used have their own uniqueness according to what the wearer likes. However, in recent years, clothing has often been misunderstood, that clothing is the main cause of harassment of women. In fact, there is no connection between the clothes worn by women and sexual harassment. To dispel rumors circulating that clothing is the cause of harassment, a modern kebaya with pandawa figure motifs with glow in the dark batik is made. Through this clothing, author wished that it can make people think that clothing is not the cause of sexual harassment and hope that it will be able to make women more courageous in dealing with people who behave certain ways.]]>
<![CDATA[THE MOJOARUM SITE AS A SOURCE OF IDEAS FOR CREATING BATIK MOTIFS FOR KEBAYA CLOTHES ]]>
<![CDATA[Desiatri, Olivia Evi]]>;
<![CDATA[Oktaviani, Danissa Dyah]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 2 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v2i1.4846
<![CDATA[This study aims to make Mojoarum Site as a source of inspiration in creating batik motif for Javanese blouse. The artwork creation process begins with exploration stage by doing direct observation toward Mojoarum site. The results of the observations are then used as a batik motif on Javanese blouse. Designing process is the next stage after exploration where, at this stage, the selection of the most suitable batik motifs is carried out. The last step is embodiment process in which this step uses covering and dying technique in creating batik motifs. Naphthol was chosen as coloring matter for resulting sense of beauty to the artwork. Overall, the embodiment process comprises nyorek (creating pattern), membatik (drawing batik motif), coloring, melorod (releasing wax from fabric), sewing, and finishing. This creation process resulted in four works and each one was named according to the history of the formation of the Mojoarum site as a village. The name of the first work is Slobog Paceklik, the second work is Udan Liris Bramantha, the third work is Sidomukti Sutrepta, and the fourth work is Sidomukti Rahayu Windraya. We then call the batik motifs relulted from this artwork creation as Mojoarum Batik Motif. It is expected that the society inspired to be more care with environment and tries to maintain cultural preservation through the creation of Mojoarum Batik Motifs.]]>
<![CDATA[GIRLS PARTY DRESSES WITH CEMPAKA FLOWER BATIK MOTIFS ]]>
<![CDATA[Nafiah, Anisa]]>;
<![CDATA[Nurarfah, Ismy Putra]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 2 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/runtas.v2i1.4867
<![CDATA[The purpose of creating this work is to apply the Cempaka Flower motif into party dresses for girls. The methods used in making this work include expression, technique, and creation. The process of making this work consists of: the initial process using the batik tulis technique, then proceed with the coloring process in the form of dyed caps with synthetic dyes, namely with remasol dye, and using silk cotton fabric that is smooth and soft, therefore it is comfortable to use for girls’ party fashion works. The creation of this work resulted in four different types of girls' party dresses for ages 6-12 years. In this work, there are four different titles for each work that has been made, namely Lalita, Arabelle, Nayara, and Wening. Each of which has the meaning and expectations of the creator for each work created. The meaning of the work inspired by the cempaka flower is to present the leadership spirit of a woman, have a beautiful shape and smell good, present a woman who has a beautiful and charming appearance and has a strong character and a very attractive personality. The presence of a woman with a leadership spirit is able to present a nurturing feeling like the long petals of a chrysolite flower and are able to cover many people and other things. The end result of the creation of this work is that it is suitable for girls' party dresses aged 6-12 years and is suitable for attending birthday parties, garden parties, and various other formal events.]]>
<![CDATA[NIGHT PARTY PUCUAK RABUANG MOTIF INSPIRATION ]]>
<![CDATA[Anggara, Egi]]>;
<![CDATA[Yanuarmi, Dini]]>;
<![CDATA[Irja]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 2 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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<![CDATA[The work entitled “The Creation of Evening Party Dresses Inspired by the Pucuak Rabuang Motif” was inspired by evening party dresses and the pucuak raburan motif. Clothing is generally an expression or personal expression that is not always the same for everyone, the clothing created is an A-line silhouette evening party dress. Motif is a pattern that is formed in such a way as to produce a variety of shapes. The motif which is the source of the idea in this work is the pucuak raburan motif seen from the perspective of a mirror above the water. Everything that is visible above the water will be seen in two and upside down. Likewise, the pucuak raburan motif which is applied to this work resembles an inverted triangle motif as seen from above the water. The materials used are Silungkang songket, bridal sateen, brocade and velvet, consisting of ready to wear, ready to wear deluxe and houte couture clothing levels. In the embodiment using semi boutique techniques and boutique techniques. The method of creation that is carried out starts from preparation, namely looking for books or references related to the idea of creation that is made, conducting a field survey to find the source of the idea or theme and the formulation of the idea of creation to get to know more about the form of the work produced]]>
<![CDATA[SIBA AS A CONTEMPORARY FASHION INSPIRATION ]]>
<![CDATA[Suksa Hanifa, Nidya]]>;
<![CDATA[Imelda, Desra]]>;
<![CDATA[Rahmat, Fadri]]>
<![CDATA[ Runtas : Journal Of Arts And Culture Vol. 2 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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<![CDATA[The work entitled "Siba As Inspiration for Contemporary Clothing" was inspired by siba which is found in Minangkabau women's traditional clothing, namely the basiba kuruang shirt. Siba is a piece that is located on the left and right sides of the basiba kurung shirt which functions to increase the looseness of the clothes. The creators design clothes with innovative models into contemporary clothing. Creating this work with the aim of increasing the existence of the basiba kurung shirt and making it attractive to all Minangkabau women, and remaining in line with the Minangkabau adage, namely adat basandi syarak, syarak basandi Kitabullah. The process of embodiment of this work begins with exploration to produce sketches and designs, then the craftsmen carry out embodiments by sewing works using semi-boutique and boutique techniques. Using materials in accordance with the three concepts created. The works created by Siba as inspiration for contemporary fashion are three ready-to-wear works, two ready-to-wear delux works, and one houte couture work with each concept using the same color nuance.]]>
<![CDATA[AN INQUIRY OF BATIK MOTIF FOR WEDDING CLOTHES: EDELWEISS FLOWER BATIK MOTIF ]]>
<![CDATA[Rosalina, Desi]]>;
<![CDATA[Purnomo, Moh Arif Jati]]>
<![CDATA[ Runtas: Jurnal Fesyen dan Wastra Nusantara Vol. 2 No. 1 (2024) ]]>
Publisher : <![CDATA[Indonesian Institute of the Arts Surakarta ]]>
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DOI: 10.33153/runtas.v2i1.4809
<![CDATA[The purpose of this art creation is to apply edelweiss motive on party dress suitable for wedding party dress. The method of this artwork creation method consists of expression, technique, and creation. Batik creation process is conducted through combination of handmade and expressive technique by using brush and the proceeded with staining using covering and dying technique. This works consists of two clothing work title, namely “Endless Love” and “This Love” with the motif names for each work being “Edel” and “Weiss”, respectively. The meaning behind the combination of title endless love which means long lasting and “edel” which mean glorious is that the bride’s wedding becomes glorious and eternal. On the other hand, the title this love means that the love is vulnerable if not handled with care and its motif “weiss” means white which is very easily stained. As a result, we conclude that the final result of this artwork creation is suitable for wedding dress.]]>
<![CDATA[TRANSFORMING KINATAH NAGASASRA AS A BATIK MOTIFS FOR CASUAL CLOTHES ]]>
<![CDATA[mellynada putri, casi]]>;
<![CDATA[saputra, andi taslim]]>
<![CDATA[ Runtas: Jurnal Fesyen dan Wastra Nusantara Vol. 2 No. 1 (2024) ]]>
Publisher : <![CDATA[Indonesian Institute of the Arts Surakarta ]]>
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DOI: 10.33153/runtas.v2i1.4816
<![CDATA[This work creation was inspired by the shape of Kinatah Nagasasra, a name of dhapur (physical form) of a Kris. Such a dapur is characterized by the presence of decoration in the form of dragon as a Kinatah on the surface of the Kris blade. The characteristics of Nagasasra are having a kinatah in the form of crowned dragon, having a thousand scales on its body, and having a jamang (head ornament worn on the forehead). This Kris blade has visual meaning in the form of symbols representing characteristics of a leader. This study aims at exploring and stylizing the shape of Kinatah Nagasasra and using it in creating handmade batik on the casual wear. The creation of this work employed the art creation method by collecting data from literature as well as previous designs and embodiments. Handmade batiks technique was used in the creation process by using primissima cotton fabric and remasol (coloring matter) as raw materials. Handmade batik technique that is used is dipping technique. The color chosen is the color preferred by consumers aged 18-35 years. The resulting work consists of four dresses and is entitled UPANGGA RADMILA. Each of dress has also its own title, namely PANDITA, PARAHITA, PRABALA, PRASANTI. The designers hope that this work can help to socialize good characteristics of leader through symbols in it. The characteristics consists of prioritizing the welfare of members, the awareness that power is a trust, being able to protect and prosper members, and being a role model to the members.]]>
