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INDONESIA
Jurnal Pendidikan Seni dan Industri Kreatif
Published by BBPPMPV Seni dan Budaya Yogyakarta
ISSN : 27463605     EISSN : 30631734     DOI : https://doi.org/10.70571/PSIK
Core Subject : Education, Art,
Arts Education Other
Sendikraf adalah jurnal akademik, akses terbuka, dan peer-review. Diterbitkan pertama kali pada bulan November 2020 oleh BBPPMPV Seni dan Budaya yang merupakan unit pelaksana teknis Direktorat Jenderal Vokasi Kementerian Pendidikan, Kebudayaan, Riset dan Teknologi Republik Indonesia. BBPPMPV Seni dan Budaya bertugas meningkatkan kompetensi guru pendidikan vokasi dan melaksanakan penjaminan mutu pendidikan vokasi. Jurnal ini diterbitkan 2 (dua) kali dalam setahun, yaitu pada bulan Mei dan November. Memuat artikel-artikel baik yang berbasis penelitian maupun kajian non-penelitian serta gagasan-gagasan konseptual dalam bidang pendidikan seni dan industri kreatif. Pengiriman artikel terbuka sepanjang tahun. Sebelum mengirimkan artikel, harap pastikan artikel tersebut sesuai dengan fokus dan gaya Sendikraf. Pedoman dan tata cara penyerahan dapat diakses lebih lanjut pada bagian penyerahan online.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 133 Documents
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KENNA, DESAIN KARAKTER DALAM “SAJI”: SEBUAH FILM ANIMASI BERBASIS KEARIFAN LOKAL Ika Yulianti
SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif Vol. 3 No. 1 (2022): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v3i1.59

Abstract

The current research aims at acquiring data for character design of “Kenna”in an animationfilm entitled “Saji” based on the values of local genius. The character name of “Kenna” itselfrefers to ylang-ylang flower, one of the mixed sweet flowers (“kembang setaman”) used forJavanese offerings. Data collection techniques include observation, interviews, anddocumentation. Results of data analysis are used for designing the character of “Kenna” usingthree-dimensional development theory involving psychological aspect, physiological aspect,and sociological aspect. The subsequent result is animation character design of “Kenna.Through the animation film, character design of “Kenna” puts forward the importance ofremembering and preserving cultural identity inherited from our ancestors. Penelitian ini bertujuan untuk mendapatkan data bagi perancangan karakter “Kenna” dalamfilm animasi “Saji” yang berbasis local genius. Nama karakter “Kenna” sendiri mengacukepada bunga kenanga, yang menjadi salah satu dari bunga setaman pada sesaji yangdilakukan oleh orang Jawa. Teknik pengambilan data dilakukan melalui observasi,wawancara, dan dokumentasi. Data yang diperoleh dianalisis untuk melakukan perancangankarakter “Kenna” dengan menggunakan teori three-dimensional development yang meliputiaspek psikologis, fisiologis, dan sosiologis dalam mendesain karakter. Hasil yang diperolehadalah desain karakter animasi “Kenna” yang digunakan dalam film animasi “Saji”. Pesanyang disampaikan melalui desain karakter “Kenna” melalui film animasi ini adalah pentingnyamengingat dan melestarikan warisan budaya leluhur yang merupakan identitas budaya.  
TANTANGAN PEMBELAJARAN SKETSA LATAR PADA SISWA INKLUSI KELAS ANIMASI SMK NEGERI 9 SURAKARTA MELALUI PROJECT-BASED LEARNING Ahmad Nakhomi
SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif Vol. 3 No. 2 (2022): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v3i2.61

Abstract

The current research aims at describing challenge of the learning process of makingbackground sketching for inclusion students through project-based learning (PjBL).Learning activities of making background sketching involve eleventh graders of animationclass in SMK Negeri 9 Surakarta consisting of 34 (thirty-four) general students and 2 (two)inclusion students. Focus of the qualitative research of PjBL implementation is to answerthree research questions, namely (1) How are the characteristics of inclusion studentsdescribed when being involved in the learning process of making background sketching? (2)In the learning process of making background sketching, how are the interaction betweenteacher and inclusion students portrayed? and (3) How are the activities of inclusionstudents described when being involved in the learning process of making backgroundsketching? Research results demonstrate that (1) deaf and mute disabled students undergocommunication barriers in which they tend to be silent when the learning process is goingon; teachers need to repeat the explanation with special approach dan assistance in relationto communication practice; meanwhile, slow learners need teacher to repeat over and overagain in order to understand the learning materials and to do the assignments; (2) teachersprovide additional service for inclusive students, and (3) due to their condition, inclusivestudents tend to be passive in the learning activities Penelitian ini bertujuan untuk mendeskripsikan tantangan pembelajaran materi membuatsketsa latar pada siswa inklusi melalui pengembangan pembelajaran berbasis project-basedlearning (PjBL). Aktivitas pembelajaran merupakan implementasi kegiatan pembelajaranberbasis projek membuat gambar sketsa latar yang dilakukan oleh siswa kelas XII Animasidi SMK Negeri 9 Surakarta, yang terdiri dari 34 (tiga puluh empat) siswa biasa dan 2 (dua)siswa inklusi. Fokus dari penelitian kualitatif pada penerapan PjBL ini adalah untukmenjawab tiga pertanyaan penelitian, yaitu (1) Bagaimana mendeskripsikan karakteristiksiswa inklusi dalam mengikuti pembelajaran membuat sketsa latar? (2) Bagaimanamendeskripsikan interaksi antara guru dan siswa inklusi dalam pelajaran membuat sketsalatar? dan (3) Bagaimana mendeskripsikan aktivitas siswa inklusi dalam mengikutipembelajaran membuat sketsa latar? Metode yang digunakan adalah metode penelitiankualitatif. Hasil penelitian menunjukkan bahwa (1) siswa bisu tuli mengalami kendalakomunikasi, saat pelajaran berlangsung siswa ini cenderung diam, dan mereka perlumendapatkan penjelasan ulang oleh gurunya dengan pendekatan serta pelayanan khususterkait cara berkomunikasi, sedangkan siswa slow learner memerlukan penjelasan berulang-ulang, agar materi bisa dipahami dan tugas bisa dikerjakan; 2) saat interaksi antara guru dansiswa inklusi dalam pelajaran membuat sketsa latar dilakukan, guru memberikan pelayananekstra kepada siswa inklusi; dan (3) aktivitas siswa inklusi dalam mengikuti pembelajaranmembuat sketsa latar terlihat cenderung pasif yang disebabkan oleh keterbatasan kondisimereka
RASA TAKUT DALAM FILM ANIMASI 2 DIMENSI "FEARS" KARYA NATA METLUKHLUKH) Moch. Yordan Rismarinandyo; Ranesti Damarsuri
SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif Vol. 4 No. 1 (2023): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v4i1.62

Abstract

“Fears” is a graduation film made by Nata Metlukh at Vancouver Film School in 2015. Nata’s first twodimensional animation film got numerous awards at various film festivals. Without dialogs, the film putsforward the strength of how visualization in the form of animation and music represents the feelings of fearin different forms and conditions as the message of the animator. Analysis of “Fears” aims at (1) describingthe plot of the story through the visualization of animation, and (2) exploring the forms and meanings of thefeelings of fear through the interpretation of the visualization of the plot of the story. Fifteen selectedanimation visualizations of black creatures with white eyes --signifying feelings of fear and alwaysshadowing the main animation character and others—were analyzed. The result of the analysis demonstratesthat feelings of fear may be understood by the owners as the entity disturbing, hindering, and limiting theirthoughts and actions; but on the other side, feelings of fear are also understood in a constructive sense whichfacilitates people to be always alert and cautious.
PENERAPAN TEKNIK SKETSA DENGAN KERTAS KARBON PADA PEMBELAJARAN SENI LUKIS REALIS UNTUK MENINGKATKAN HASIL BELAJAR SISWA DI SMK NEGERI 1 SUKAWATI BALI I Putu Bambang Juliarta
SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif Vol. 3 No. 2 (2022): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v3i2.63

Abstract

Realism painting is a competence that should be mastered to recognize students’ ability in oilpainting. Online learning in Covid-19 pandemic time required students to learn independentlyalthough teachers’ assistance was still needed. Through early observation, the average ofstudents’ completion level in realism painting of eleventh graders in SMK Negeri 1 Sukawatiwas 40%. Classroom action research was subsequently carried out to improve the learningresults for thirty students in realism painting. Primary data was students’ learning results,while secondary data was obtained from field observation. Data was analyzed usingdescriptive qualitative method. The result of the study demonstrates that sketching techniqueapplication using carbon paper has improved the learning results of eleventh graders of SMKNegeri 1 Sukawati in realism painting in the academic year of 2021/2022. The averagelearning results in Cycle I was 79 which accordingly increased into 85 in Cycle II; students’completion level in Cycle I was 77% which increased into 87% in Cycle II for twenty-sixstudents. Seni lukis realis merupakan salah satu kompetensi yang harus dikuasai oleh siswa dalamketeknikan melukis dengan cat minyak. Kondisi pembelajaran daring pada masa Covid-19menuntut siswa untuk belajar secara mandiri meskipun bimbingan dari guru tetap diperlukan.Melalui pengamatan awal, rata-rata persentase tingkat ketuntasan hasil belajar melukis realissiswa kelas XI di SMK Negeri 1 Sukawati adalah 40%. Penelitian tindakan kelas perludilakukan untuk meningkatkan hasil belajar 30 (tiga puluh) siswa dalam melukis realis. Hasilbelajar siswa menjadi data primer, sedangkan data sekunder diperoleh dari observasi lapangan.Metode analisis data menggunakan analisis deskriptif kualitatif. Hasil penelitian menunjukkanbahwa penerapan teknik sketsa dengan kertas karbon dapat meningkatkan hasil belajarmelukis realis siswa kelas XI di SMK Negeri 1 Sukawati pada tahun pelajaran 2021/2022.Hasil belajar siswa pada Siklus I menunjukkan nilai rata-rata sebesar 79, yang kemudianmeningkat menjadi nilai rata-rata sebesar 85 pada Siklus II; persentase ketuntasan belajarsebesar 77% pada Siklus I, yang kemudian meningkat pada Siklus II menjadi 87% untuk 26(dua puluh enam) siswa yang dinyatakan tuntas.
“GALANG”: MEDIA BELAJAR BAGI AUDITORY LEARNERS Kulsum Nur Hayati
SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif Vol. 3 No. 2 (2022): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v3i2.64

Abstract

The current study aims to analyse audio learning media “Galang” (Geography AudioLearning), particularly the product of media entitled “Benua Merah” developed by BalaiPengembangan Media Radio Pendidikan dan Kebudayaan (BPMRPK) Kemendikbudristek in2020. The study attempts to look closely at how “Benua Merah” in “Galang”—produced asaudio learning media—is in line with the characteristics of students whose learning style isauditory in order to understand the presented learning materials. The aspects being analysedare elements constructing “Galang”, namely verbal or oral text, music, and sound effect,integrated as audio learning material. The results of the study demonstrate that “BenuaMerah” as part of “Galang” series puts forward the strengths of audio media: (1) usingidentification of instruments presented by Lincoln Land Community College, oral text as thelearning material in “Benua Merah” contains some instruments beneficial for auditorylearners; and (2) music and sound effect as the components of audio learning media offer thefunctions of audio program identical to audio programs developed by Open Learning Institutein British Columbia, as identified by Power (1990). Kajian ini dilakukan terhadap media belajar audio “Galang” (Geography Audio Learning),khususnya produk media yang berjudul “Benua Merah” yang telah dikembangkan oleh BalaiPengembangan Media Radio Pendidikan dan Kebudayaan (BPMRPK) Kemendikbudristekpada tahun 2020. Kajian ini mencoba untuk mencermati apakah “Benua Merah” dalam“Galang”—yang diproduksi sebagai media belajar audio—selaras dengan karakteristik siswayang memiliki gaya belajar auditory untuk dapat memahami materi belajar yang disajikan.Aspek yang dikaji adalah unsur-unsur pembentuk “Galang” yang diintegrasikan menjadimedia belajar audio, yaitu teks verbal (lisan), musik, dan efek suara. Hasil kajian terhadapmedia audio “Benua Merah” dalam seri “Galang” ini mengetengahkan kekuatan dari mediaaudio, yang menunjukkan bahwa (1) dengan menggunakan identifikasi yang dikemukakanoleh Lincoln Land Community College, aspek teks verbal lisan yang merupakan materipembelajaran pada “Benua Merah” mengandung beberapa instrumen yang bermanfaat bagiauditory learners; (2) musik serta efek suara yang menjadi komponen pada media audiomemiliki fungsi-fungsi program audio yang identik dengan program-program audio yangdikembangkan oleh Open Learning Institute di British Columbia sebagaimana diidentifikasioleh Power (1990).
MAKNA SIMBOLIS ORNAMEN PINTU BLEDEG MASJID AGUNG DEMAK Marsidik
SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif Vol. 4 No. 1 (2023): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v4i1.65

Abstract

The current study aims to describe the symbolical meaning in the ornaments of “Bledeg” Doorof Demak Great Mosque viewed from three aspects, namely contour, content, and context. Theresults of the study demonstrate that analysed from the aspect of contour, ornaments of“Bledeg” Door consist of several parts, namely the crown, dragon head, and vase. There areseveral motifs originating from Majapahit, namely the “tumpal” motif and the use of SuryaMajapahit symbol stylized as dragon's eyes. The colors used are red, green, and white. Interms of content, the tumpal motif is a symbol of relationship of human beings with God, thecrown motif is a symbol of virtue, the dragon head motif is a symbol of strength in spreadinggoodness, the vase motif is a symbol of religion, and the floral plant motif is a symbol offertility, while the red, blue, and white colors symbolize safety. Viewed from the context, themyth of Ki Ageng Selo when catching lightning comes to light which is visualized into asymbolic ornament. The ornaments of “Bledeg” Door of Demak Great Mosque symbolizes therelationship between human beings and God signifying their privilege to spread God'steachings.
MEMBER CHECKING: EVALUASI KUALITAS INFOGRAFIK TIRTO.ID DI LAYANAN JEJARING SOSIAL INSTAGRAM M. Harun Rosyid Ridlo
SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif Vol. 4 No. 1 (2023): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v4i1.66

Abstract

The use of infographics has been increasingly popular on social networking services (SNS),especially on Instagram. On the other hand, infographics posting on Instagram faces somemajor challenges since it deals with various types of posts and user’s motivation. Tirto.id isone of Indonesian’ news platform which specifically uses Instagram to publish infographics.The problem is that Tirto.id often appends chartjunks to its visualization; however, it remainspopular among audiences. Hence, this study aims to determine the quality of Tirto.idinfographics. Infographic quality is determined through evaluations involving Tirto.idinfographics and their readers’ experiences. First, 23 (twenty-three) Tirto.id infographicswere evaluated for their information visualization. Then, the evaluation results were validatedbased on the experiences of 15 (fifteen) audiences through member checking. The findingsdemonstrate that Tirto.id infographics consist of content composed of various visual elementsand having specific function. The information in Tirto.id infographics was obtained fromTirto.id web page divided into two categories of information visualization. The readersexperienced two stages of perception and faced problems in understanding the infographics.Based on these findings, the evaluation results demonstrate that Tirto.id infographics have alack of clarity, precision, and efficiency. Meanwhile, readers’ interest depends on topics,information, illustrations, and data visualization in infographics.
JARANAN TURONGGO SEKTI: TINJAUAN ETNOGRAFI ANALITIS DARI SUDUT PANDANG UNSUR-UNSUR KEBUDAYAAN Afif Widyanto
SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif Vol. 4 No. 1 (2023): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v4i1.67

Abstract

The purpose of the current study is to describe the existence of Jaranan Turonggo Sekti as an art productin Suruh Village Trenggalek which is reviewed from the analytical ethnography with the approach ofelements of culture. The underlying concept of Koentjaraningrat’s ethnography framework (2015) wasemployed, stating that there are seven elements of culture, namely (1) religion and religious ceremonies,(2) system of social organization, (3) knowledge system. (4) language. (5) arts, (6) economic system andlivelihood, and (7) living equipment and technology system. In traditional culture, seven elements of cultureare closely linked, integrated one of another, forming part of a whole system. The results of the studydemonstrate that Jaranan Turonggo Sekti describes religion or belief system and religious ceremoniesthrough the rituals of offerings and sense-making of the braid horse being used. System of socialorganization or social relations are portrayed through the spirit of the community, while local knowledgeis applied in the creation of horse figure and its decoration. Language is represented in the form of visuallanguage, whereas arts element, particularly fine arts elements is signified by the figure of the horse.Livelihood system is interpreted in a simple economic concept in which the performance is held with paidresponse model. Technology element is carried out through the process of braid horse making determinedby the technical ability of the person who creates it.
REALITAS SOSIAL DALAM VIDEO PERTUNJUKAN “UBRUG” BERJUDUL “HALIWU” Zanuar Eko Rahayu
SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif Vol. 4 No. 1 (2023): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v4i1.68

Abstract

The purpose of the study is to find out and to describe social reality in the video of “ubrug”performance with the story of "Haliwu" performed by Ubrug Sentra Agata in the agenda ofLongser Festival in West Java and Banten in 2019. The content analysis based on Berger andLuckmann’s social construction theory was conducted putting forward 3 (three) forms ofreality, namely objective, symbolic, and subjective. Through the study, objective and symbolicrealities of performance are interpreted into subjective reality. Techniques of collecting datainclude video observation, interviews, and literature reviews. Data collected is subsequentlygrouped according to the discussion to be analysed. The result of the analysis demonstratesthat social reality in the story of “Haliwu” reveals the structure of high, middle, and lowerclass society. These three classes of society are involved in constructing social issues relatedto financier society, hoax, politeness principles in society, and the world of love amongteenagers. Symbolic reality presented is merely replicating objective reality and so it givesinsufficient space for subjective interpretation.
TELUSUR SEJARAH MOTIF BATIK PADA LOMAR BADUY Tety Suparti; Khoirul Umam
SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif Vol. 4 No. 2 (2023): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v4i2.69

Abstract

This research aims to investigate the history of batik motifs applied to the head band, or "lomar,"of the Baduy community and the batik tradition among the Sundanese people, particularly in theBanten region. A descriptive-qualitative method was used, with data collection through literaturereviews, documentation, and interviews. The research findings indicate that the Sundanese peoplehave a tradition of batik making, as documented in ancient Sundanese manuscripts. The study alsofound that batik has been circulating in Baduy since the 1960s, although customary rules prohibitproducts from outside their ancestral land. One of the pioneers in selling batik in Baduy, AyahNasirah, initiated the production by ordering batik from batik craftsmen in Karet, Jakarta. Due tobusiness competition, a Baduy resident brought it to a Chinese businessman in Rangkasbitung andlater mass-produced it in Pekalongan. Based on documentary studies, in the 1950s and 1960s, themotif of hariang or tapak kebo began to be applied to head bands worn by several Baduyindividuals, although it was not as uniform as it is today. Until now, it is still unknown who initiatedthe production and the intellectual property rights to the motifs on the Baduy head bands, or lomar.In conclusion, the indigenous Baduy community does not produce batik. The batiks circulating andbeing applied to lomar head bands and cloth "lunas" are commissioned from batik producers inPekalongan. In other words, Baduy is both the "brand name" and the "market" for batik productsthat are not produced in their customary territory. Nevertheless, the hariang and tapak kebo motifs,as well as other batik motifs that continue to emerge to this day, acknowledged or not, have becomethe identity of the Baduy indigenous community. Tujuan penelitian ini adalah untuk menyelidiki sejarah motif batik yang diaplikasikan pada ikatkepala atau "lomar" Baduy dan terkait tradisi membatik di kalangan masyarakat Sunda, khususnyadi wilayah Banten. Metode kualitatif deskriptif digunakan dengan pengumpulan data menggunakan literatur, dokumentasi, dan wawancara. Hasil penelitian menunjukkan bahwa masyarakat Sundamemiliki tradisi membatik, seperti yang terdapat dalam naskah Sunda kuno, Saṅ Hyaṅ SiksaKandaṅ Karəsian. Penelitian juga menemukan bahwa batik telah beredar di Baduy sejak tahun1960-an, meskipun aturan adat melarang produk-produk yang berasal dari luar tanah ulayat.Berdasarkan studi dokumentasi pada tahun 1950—1960-an, motif hariang atau tapak kebo mulaiterlihat diaplikasikan pada ikat kepala yang dipakai oleh beberapa orang Baduy, meskipun belumseragam seperti saat ini. Dari penelitian yang telah dilakukan, dapat disimpulkan bahwa masyarakatadat Baduy tidak membuat batik. Batik yang beredar dan diaplikasikan baik pada ikat kepala(lomar) maupun kain lunas, merupakan hasil pesanan dari produsen batik di Pekalongan. Dengankata lain, Baduy merupakan jenama sekaligus ‘pasar’ dari produk batik yang tidak diproduksi diwilayah adat mereka. Meskipun demikian, motif hariang dan tapak kebo serta motif batik lainnyayang terus bermunculan hingga saat ini, diakui atau tidak, telah menjadi identitas masyarakat adatBaduy.

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