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THE MEANING OF BATIK MOTIFS IN THE TANDO PUSAKO BATIK HOUSE IN MUKOMUKO REGENCY Tiara Husnun Efrashia; Agusti Efi
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.61487

The Tando Pusako Batik House in Mukomuko Regency, Bengkulu Province, faces the challenge of public understanding of the motifs and meanings of batik that are still not conveyed. This research aims to describe the meaning of Tando Pusako batik motifs through qualitative methods by collecting data from observations, interviews, and documentation. Data analysis follows the Miles and Huberman model, including collection, reduction, data presentation, and conclusion drawn. The results of this study prove that there are several meanings of batik motifs, including: 1) The Cerano motif in Tando Pusako batik means respect. 2) The mikih fish motif in Tando Pusako batik has a meaning, which reflects gratitude. 3) The Lokan motif in Tando Pusako batik has the meaning of advice to humans that in social life we help each other. 4) The oil palm tree motif in Tando Pusako batik has the meaning of prosperity and abundance of property. 5) The Rafflesia flower motif in Tando Pusako batik has the meaning of earth fertility. 6) The Mangrove Plant motif in Tando Pusako batik has the meaning of perseverance in facing challenges and changes in life. 7) The Basurek motif (Arabic Calligraphy) in Tando Pusako batik has a religious meaning. For further research, research can be carried out on how to transform the source of the idea of Tando Pusako batik motifs which has meaning for Mukomuko district.

MOTIF DAN MAKNA MOTIF TENUN ULOS BATAK ANGKOLA DI KABUPATEN TAPANULI SELATAN Adriani Adriani; Nova Fitriani
Gorga : Jurnal Seni Rupa Vol. 12 No. 2 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i2.49593

The current problem is that the Angkola Batak Ulos weaving is not widely known to the public, because the types of Ulos in North Sumatra are very diverse. This research was conducted to describe the shape of the motifs, the meaning of the motifs and the weaving technique of Angkola Batak Ulos in South Tapanuli Regency. The research method used is descriptive qualitative with data types in the form of primary data and secondary data. Collecting data in this study using observation techniques, interviews and documentation. The results of the research show that the Ulos Batak Angkola weaving motifs in South Tapanuli Regency consist of 17 motifs, namely pusuk robung, distance, cap mumbang, hiok-hiok, sijobang, singap, simata na maraturan, simata namaradopan, Ruang, lus-lus, bungo ros, iran-iran, letters, naginjang signs, sirat, jojak, suri-suri. The shape of the Ulos weaving motif is geometric and decorative. The source of inspiration for the Angkola Batak Ulos weaving motifs is living things and the surrounding environment. The meaning contained in the Ulos Batak Angkola woven motif is in the form of advice, hopes and prayers as well as the family tree of the people of North Sumatra. The Angkola Batak Ulos weaving technique is to carry out the preparatory process, namely mangunggas, manjomur, mangukul, mangasoli, mangani. After that, weaving can only begin, in weaving the position of the two legs must be straight ahead, the soles of the feet are right on the point. The sitting position must be fixed (not shifting) because it will affect the balance of the body when weaving. In making a motif, the first thing to do is move the guyun first, then carry the guyun with both hands, so that you can see the voids in the warp threads, use balobas to make it easier to count the threads, after that the motif making can be done according to the calculation of the motif. Use the tipak to secure the thread. So that the Ulos Batak Angkola weaving in South Tapanuli Regency can develop according to fashion developments but refers to the characteristics of regional motifs so that it becomes attractive to consumers, for this, targeted guidance and support from the government is needed for weaving craftsmen in South Tapanuli Regency.Keywords: weaving, Ulos Batak Angkola. AbstrakPermasalahan dewasa ini tenun Ulos Batak Angkola belum banyak dikenal masyarakat, dikarenakan jenis Ulos di Sumatera Utara sangat beragam. Riset dilaksanakan untuk mendeskripsikan model motif, makna dari motif dan teknik menenun Ulos Batak Angkola di Kabupaten Tapanuli Selatan. Metode penelitian yang dipakai ialah deskriptif kualitatif dengan jenis data berupa data yang bersifat primer dan data sekunder. Pengumpulan data penelitian memakai teknik observasi, wawancara dan dokumentasi. Hasil penelitian menunjukkan bahwa motif tenun Ulos Batak Angkola pada Kabupaten Tapanuli Selatan terdiri dari 17 motif yaitu pusuk robung, jarak, tutup mumbang, hiok-hiok, sijobang, singap, simata na maraturan, simata namaradopan, ruang, lus-lus, bungo ros, iran-iran, surat, rambu naginjang, sirat, jojak, suri-suri. Bentuk dari motif tenun Ulos meupakan bentuk geometris dan dekoratif. Dasar inspirasi motif tenun Ulos Batak Angkola makhluk hidup dan lingkungan sekitar. Makna yang terkandung dalam motif tenun Ulos Batak Angkola yaitu berupa harapan, nasehat dan doa serta silsilah keluarga masyarakat Sumatera Utara. Teknik menenun Ulos Batak Angkola yaitu melakukan proses persiapan yaitu mangunggas, manjomur, mangukul, mangasoli, mangani. Setelah itu, baru menenun dapat dimulai, dalam menenun posisi kedua kaki harus lurus kedepan, kedua telapak kaki tepat pada tadokan. Posisi tempat duduk harus tetap (tidak bergeser-geser) karena akan mempengaruhi keseimbangan badan saat menenun. Dalam pembuatan motif, hal yang pertama dilakukan adalah menggerakkan guyun terlebih dahulu, setelah itu baru guyun dijinjing dengan kedua tangan, sehingga terlihat rongga pada benang lungsinya, gunakan balobas untuk mempermudah penghitungan benangnya, setelah itu pembuatan motif dapat dilakukan sesuai dengan perhitungan motifnya. Gunakan tipak untuk merapatkan benangnya. Agar tenun Ulos Batak Angkola di Kabupaten Tapanuli Selatan dapat berkembang mengikuti perkembangan mode namun tetap beracuan terhadap ciri khas motif daerah sehingga tetap menjadi daya pikat terhadap konsumen, mengenai hal tersebut maka penting pembinaan dan sokongan yang terencana dari pemerintah terhadap pengerajin tenun di Kabupaten Tapanuli Selatan.Kata Kunci: tenun, Ulos Batak Angkola. Authors:Adriani : Universitas Negeri PadangNova Fitriani : Universitas Negeri Padang References:Agusti Efi. (2019). Studi Kasus Motif Tenun Sipirok di Aek Bayur Kota Padang Sidimpuan. kapita selekta geografi, 2, 64“72.Alamo, E., Eliza, M., & Syailillah, G. (2021). Makna dan Fungsi Kain Ulos pada Pusat Latihan Opera Batak Pematang Siantar (PLOt) di Pematang Siantar Provinsi Sumatera Utara. Gorga¯: Jurnal Seni Rupa, 10(1), 94. https://doi.org/10.24114/gr.v10i1.24824.Binarul Anas. (2012). Mengenal Tenun Songket Ratu Kain Sumatra Barat.Denyanty, L. (n.d.). Studi Tentang Tenun Songket Silungkang. UNP.Ernawati, Izwerni, & Nelmira, W. (2008). Tata Busana. In Winarti (Ed.), Tata Busana (1 ed., hal. 1“419). Direktorat Pembinaan Sekolah Menengah Kejuruan.Fitriani, S. R., & Armojo, W. T. (2020). Desain Kerajinan Tas Ulos Batak Karya Sabina Collection. Gorga¯: Jurnal Seni Rupa, 9(2), 462. https://doi.org/10.24114/gr.v9i2.22120Lubis, J. R., & Sandi, D. M. (2020). Keberagaman Jenis Ulos Dalam Kajian Visual. September, 152“168.Marfianda, W., Ramainas, & Adriani. (2014). Tenun Kubang di Kecamatan Guguak Kabupaten Lima Puluh Kota. Home Economics And Tourism, 6(2), 2“16.Meyliona, G., Adriani, & Weni, N. (2013). Studi Tentang Tenunan Pandi Sikek di Rumah Tenun Pusako Kecamatan X Koto Kabupaten Tanah Datar. Journal of Home Economics and Tourism, 4(3), 1“15.Muri yusuf. (2017). Metode penelitian kuantitatif, kualitatif & penelitian gabungan gabungan (irfan fahmi (ed.); 4 ed.). Kencana.Nelmira, W. (2014). Pengetahuan Dasar Bordir.Novitasari, P., Ernawati, & Nelmira, W. (2015). Songket Bungo Tanjung di Kabupaten Bungo Provinsi Jambi. Journal of Home Economics and Tourism, 9(2), 1“11.Novrita, S. Z., Pratiwi, M., & Puspanelli. (2022). Makna Motif Batik Di Kabupaten Solok Selatan Studi Kasus Pada Sanggar Azyanu Batik 1000 Rumah Gadang. Gorga¯: Jurnal Seni Rupa, 11(2), 628. https://doi.org/10.24114/gr.v11i2.39652Pateda. (2001). Semantik Leksikal (2 ed.). Rineka Cipta.Purnamawati, S., Adriani, & Novrita, S. Z. (2016). Studi Tentang Batik Basurek di Kota Bengkulu Provinsi Bengkulu. Journal of Home Economics and Tourism, 11(1), 1“12.Ramainas. (2013). Pengetahuan Tekstil. Universitas Negeri Padang.Salamun. (2013). Kerajinan Tenun dan Batik.Saputri, F., Adriani, & Novrita, S. Z. (2018). Bentuk, Fungsi dan Makna Motif Batik Muaro Bungo Jambi. Journal of Home Economics and Tourism, 18(3), 1“17.Siregar. (2017). Mangihut Siregar Jurnal Studi Kultural Industri Kreatif Ulos pada Masyarakat Pulau Samosir. Jurnal Studi Kultural, II(1), 1“5.Siregar, R. (n.d.). Pergeseran Fungsi Abit Godang (Ulos) dalam Perkawinan Masyarakat Batak Angkola-Sipirok Di Kota Medan. http://digilib.unimed.ac.id/173/1/Pergeseran fungsi Abit Godang %28ulos%29 dalam perkawinan masyarakat Batak Angkola-Sipirok di Kota Medan.pdf#Suhersono, H. (2005). Motif Flora dan Fauna.Takari, M. (2015). Ulos Dan Sejenisnya Dalam Budaya Batak Di Sumatera Utara: Makna, Fungsi, Dan Teknologi (Nomor January 2007). https://doi.org/10.13140/RG.2.1.3025.1925Valenta, N. S., & Adriani. (2022). Studi Tentang Batik Batam (Studi Kasus di Indra Batik Batam di Kota Batam). Gorga¯: Jurnal Seni Rupa, 11(1), 89“106. https://doi.org/10.24114/gr.v11i1.29696Widati, & W, R. (2002). Perempuan dalam Usaha Pertenunan Sulawesi Selatan. Jurnal Perempuan, 22.Zahrina, C. (2012). Tenun Angkola Dalam Dinamika Sejarah (S. . Parlindungan Harahap (ed.)). Balai Pelestarian Sejarah dan Nilai Tradisional. http.ww%5Cw.bpsnt-bandaaceh.Gom

KAJIAN REPRESENTASI MISTISISME JAWA PADA MISE EN SCENE LATAR FILM KKN DI DESA PENARI Rizka Salsabila Riadi; Intan Rizky Mutiaz
Gorga : Jurnal Seni Rupa Vol. 12 No. 2 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i2.49137

The film industry in Indonesia has grown rapidly since the early 20th century and continues to be one of the people's favorite pastimes. Among the various genres of films released, horror films with elements of mystical myths and Indonesian culture are the most popular among audiences. Horror films have the main objective of evoking audience tension through the exploitation of horror elements, with a tense and frightening atmosphere built through physical and psychological mise en scene elements. This research focuses on the representation of Javanese mysticism in the setting of KKN di Desa Penari, an Indonesian horror film that set a record as a feature film with the highest number of viewers. Descriptive qualitative method was used in this research, with data collection through literature search and visual analysis based on the theories of Mise en Scene, Representation, and Cultural Studies of Javanese Mysticism. The results showed that the film succeeded in creating an immersive atmosphere with the use of representations of Javanese mysticism in various mise en scene elements, especially in the setting of places such as the Forest, Sinden Pool, Bathroom and Tapak Tilas, as well as the properties of Selendang Penari, Dancer Clothing, Kawaturih, and Gamelan Musical Instruments. The application of special effects, light and shadow and color in this film also represents mysticism and Javanese culture. Thus, this film successfully combines the representation of Javanese mysticism with strong cinematic elements, thus creating an interesting and captivating work for the audience.Keywords: KKN, Desa Penari, Film Setting. AbstrakIndustri film di Indonesia berkembang pesat sejak awal abad ke-20 dan terus menjadi salah satu hiburan favorit masyarakat. Di antara berbagai genre film yang dirilis, film horor dengan unsur mitos mistis dan budaya Indonesia menjadi paling populer di kalangan penonton. Film horor memiliki tujuan utama membangkitkan ketegangan penonton melalui eksploitasi unsur-unsur horor, dengan suasana tegang dan menakutkan yang dibangun melalui elemen mise en scene fisik dan psikologis Penelitian ini difokuskan pada representasi mistisisme Jawa dalam latar film KKN di Desa Penari, film horor Indonesia yang mencatat rekor sebagai film layar lebar dengan jumlah penonton terbanyak. Metode kualitatif deskriptif digunakan dalam penelitian ini, dengan pengumpulan data melalui pencarian literatur dan analisis visual berdasarkan teori Mise en Scene, Representasi, dan Kajian Budaya Mistisisme Jawa. Hasil penelitian menunjukkan bahwa film ini berhasil menciptakan suasana mendalam dengan penggunaan representasi mistisisme Jawa pada unsur mise en scene yang beragam, terutama dalam latar tempat seperti Hutan, Kolam Sinden, Bilik Mandi dan Sanggar Tapak Tilas, serta properti Selendang Penari, Busana Penari, Kawaturih, dan Alat Musik Gamelan. Penerapan efek khusus, cahaya dan bayangan serta warna pada film ini juga merepresentasikan mistisisme dan budaya Jawa. Dengan demikian, film ini berhasil menggabungkan representasi mistisisme Jawa dengan elemen sinematik yang kuat, menciptakan karya yang menarik dan memikat bagi penonton.Kata Kunci: KKN, Desa Penari, Latar Film. Authors:Rizka Salsabila Riadi : Institut Teknologi BandungIntan Rizky Mutiaz : Institut Teknologi Bandung References:Agustina, W. L. (2016). Mitos dan sensualitas dalam perkembangan film horor Indonesia. Patrawidya: Seri Penerbitan Penelitian Sejarah Dan Budaya, 17, 193-208.Bordwell, D., dan Thompson, K. (2008). Film Art: An Introduction, McGraw Hill, 550.Geertz, C. (2013). Agama Jawa : Abangan, Santri, Priyayi dalam Kebudayaan Jawa. Depok: Komunitas Bambu.Gustama, A. (2021). Unsur-unsur Gotik dalam Thread dan Novel KKN di Desa Penari: Kajian Sastra Bandingan. MATAPENA: Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya, 4(2), 303-316.Halim, B., & Yulius, Y. (2023). Analisis Semiotika Ferdinand De Saussure pada Film œSelesai. Gorga¯: Jurnal Seni Rupa, 12(1), 63“69. https://doi.org/10.24114/gr.v12i1.41423Herusatoto, B. (2008). Simbolisme Jawa. Ombak, Yogyakarta.Khaira, F., Jamarun, N., & Minawati, R. (2022). Mise En Scene Dalam Film Surat Kecil Untuk Tuhan. Gorga: Jurnal Seni Rupa, 11(2), 288-295. https://doi.org/10.24114/gr.v11i2.37425Permana, R. S. M., Puspitasari, L., & Indriani, S. S. (2019). Industri film Indonesia dalam perspektif sineas Komunitas Film Sumatera Utara. ProTVF, 3(2), 185-199.Pinel, V. (2017). Genres et Mouvements au CinÃ©ma, LAROUSSE, Paris, 240.Pratama, H. N., & Rozak, A. (2021). Karakteristik Musikal Pada Film Tenggelamnya Kapal Van Der Wijck. dalam Jurnal Gorga: Jurnal Seni Rupa, 10(2). https://doi.org/10.24114/gr.v10i2.29202Pratista, H. (2008). Memahami Film. Yogyakarta: Homerian Pustaka.Pratista, H. (2017). Memahami Film (2 ed.). Yogyakarta: Montase Press.Pujiyanto, M. (2011). Warna Berbicara. DeKaVe, 1(2), 1-10.Swandhani, A. R., Wahjudi, D., dan Lukitaningsih, L. (2023). Semiotika Roland Barthes sebagai Pendekatan untuk Mengkaji Logo Kantor Pos. Gorga¯: Jurnal Seni Rupa, 12(1), 182“188. https://doi.org/10.24114/gr.v12i1.43650Tjin, E. (2011). Lighting Itu Mudah!. Jakarta: Bukune.Whitehead, J. (2017). Creating Interior Atmosphere: Mise-en-scÃ¨ne and Interior Design. London: Bloomsbury Publishing.Wiyanto, A. (2002). Terampil Bermain Drama. Jakarta: Grasindo.Yoesoef, M. (2013). Film Horor Sebuah Definisiyang Berubah. Wacana, Journal of the Humanities of Indonesia, 5(2), 1.

ANALISIS ELEMEN VISUAL PENERAPAN LETTER SPACING PADA KAMPANYE ANTI RASISME LIGA INGGRIS Yosef Yulius; Nyoman Dewi Pebryani; Suharto Suharto; Amelia Aiununnisa; Hadhira Rahma
Gorga : Jurnal Seni Rupa Vol. 13 No. 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i01.58181

The problem of racism can occur anywhere and anytime, including in the Premier League. With so many clubs and fans around the world, the Premier League is prone to racism from players, spectators, to fanatical fans. To minimize racism, the English League held an anti-racism campaign with the theme 'No Room For Racism' which used attractive typography visuals and meeting fonts that were rarely used. The purpose of this study is to analyze visual elements to assess the effectiveness of the visual use of typography in the 'No Room For Racism' campaign from the perspective of visual communication design. This study uses a qualitative descriptive method with data collection techniques, documentation, and analysis through aesthetic theory and semiotics. The results of the study show that the visual form of the logo of the "No Rooms for Racism" campaign has applied the principles of graphic design well. The resulting works have high aesthetic value and are interesting to observe. However, based on an analysis of typography principles, the logo puts aside the legibility aspect and prioritizes the attractive visual aspect. The study provides a better understanding of how typography visuals affect messaging in social campaigns and offers ways to improve readability without sacrificing visual appeal in the future. This research shows that the proper use of visual typography in the 'No Room For Racism' campaign can raise awareness and influence public attitudes towards racism, with attractive and different designs capable of attracting attention and influencing audience perceptions.Keywords: campaign, typography, visual communication designAbstrakPermasalahan rasisme bisa terjadi di mana saja dan kapan saja, termasuk di Liga Inggris. Dengan banyaknya klub dan penggemar di seluruh dunia, Liga Inggris rentan terhadap rasisme dari pemain, penonton, hingga penggemar fanatik. Untuk meminimalisir rasisme, Liga Inggris mengadakan kampanye anti rasisme dengan tema ˜No Room For Racism™ yang menggunakan visual tipografi menarik dan font rapat yang jarang digunakan. Tujuan penelitian ini adalah menganalisis elemen visual untuk menilai efektivitas penggunaan visual tipografi dalam kampanye ˜No Room For Racism™ dari perspektif desain komunikasi visual. Penelitian ini menggunakan metode deskriptif kualitatif dengan teknik pengumpulan data dokumentasi dan analisis melalui teori estetika dan semiotika. Hasil penelitian menunjukkan bahwa bentuk visual logo dari kampanye œNo Rooms for Racism telah menerapkan prinsip-prinsip desain grafis dengan baik. Karya yang dihasilkan memiliki nilai estetis yang tinggi dan menarik untuk diamati. Namun, berdasarkan analisis prinsip tipografi, logo tersebut mengesampingkan aspek keterbacaan dan lebih memprioritaskan aspek visual yang menarik. Penelitian ini memberikan pemahaman yang lebih baik tentang bagaimana visual tipografi mempengaruhi pesan dalam kampanye sosial dan menawarkan cara untuk meningkatkan keterbacaan tanpa mengorbankan daya tarik visual di masa depan.Penelitian ini menunjukkan bahwa penggunaan visual tipografi yang tepat dalam kampanye ˜No Room For Racism™ dapat meningkatkan kesadaran dan mempengaruhi sikap publik terhadap rasisme, dengan desain yang menarik dan berbeda dari biasanya mampu menarik perhatian dan mempengaruhi persepsi audiens.Kata Kunci: kampanye, tipografi, desain komunikasi visual. Authors:Yosef Yulius : Universitas Indo Global MandiriNyoman Dewi Pebryani : Universitas Indo Global MandiriSuharto : Universitas Indo Global MandiriAmelia Aiununnisa : Universitas Indo Global MandiriHadhira Rahma : Universitas Indo Global Mandiri ReferencesBastari, R. P., Aditia, P., & Putra, I. D. A. (2020). SUBSTANSI MAKNA PADA SENI KOMODITAS: KAJIAN SEMIOTIKA PADA KARYA KAWS x UNIQLO TAHUN 2019. Demandia, 5(2), 281“301. https://doi.org/10.25124/demandia.vHorne, J. (1996). Hiching Racism Out of Soccer in England and Scotland. Journal of Sport and Social Issues, 20(1), 45“68. https://doi.org/10.1177/019372396020001005Liliweri, A. (2005). Prasangka & Konflik Komunikasi Lintas Budaya Masyarakat Multikultur. In Yogyakarta: PT LKiS.Migotuwio, N. (2020). Aspek Komunikasi Visual Dan Estetika Pada Karya Desain Grafis Bergaya Glitch Art. Journal of Contemporary Indonesian Art, 6(1), 48“68. https://doi.org/10.24821/jocia.v6i1.3901Raden, A. Z. M. (2016a). Custom Typefaces Pada Web Menggunakan. Jurnal Desain, 3(2), 97“Bastari, R. P., Aditia, P., & Putra, I. D. A. (2020). SUBSTANSI MAKNA PADA SENI KOMODITAS: KAJIAN SEMIOTIKA PADA KARYA KAWS x UNIQLO TAHUN 2019. Demandia, 5(2), 281“301. https://doi.org/10.25124/demandia.vHorne, J. (1996). Hiching Racism Out of Soccer in England and Scotland. Journal of Sport and Social Issues, 20(1), 45“68. https://doi.org/10.1177/019372396020001005Liliweri, A. (2005). Prasangka & Konflik Komunikasi Lintas Budaya Masyarakat Multikultur. In Yogyakarta: PT LKiS.Migotuwio, N. (2020). Aspek Komunikasi Visual Dan Estetika Pada Karya Desain Grafis Bergaya Glitch Art. Journal of Contemporary Indonesian Art, 6(1), 48“68. https://doi.org/10.24821/jocia.v6i1.3901Raden, A. Z. M. (2016a). Custom Typefaces Pada Web Menggunakan. Jurnal Desain, 3(2), 97“106. http://journal.lppmunindra.ac.id/index.php/Jurnal_Desain/article/view/609/582Raden, A. Z. M. (2016b). Custom typefaces pada web menggunakan embedding font. Jurnal Desain.Rahman, M. T. (2011). Glosari Teori Sosial (Baik). In Ibnu Sina Press (Vol. 1, p. 148).Rello, L., Baeza-Yates, R., & Saggion, H. (2013). DysWebxia: Making texts more accessible for people with dyslexia. Procesamiento Del Lenguaje Natural, 51, 205“208.Risyanto, D., & Juandi, J. (2022). 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Besaung¯: Jurnal Seni Desain Dan Budaya, 5(1), 81“87. https://doi.org/10.36982/jsdb.v5i1.1804

STUDY ON THE MOTIVES PERAHU BAGANDUANG IN BATIK KUANSING BATIK NAGORI BUSINESS Ridawati Azzahra; Agusti Efi
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.62066

The Batik Perahu Baganduang motif originates from the Perahu Baganduang Tradition, a cultural practice in Kuantan Singingi Regency. Despite its growing popularity, many people are unaware of its cultural roots due to a lack of understanding. This research aims to contribute to the knowledge and appreciation of the motif, its sources of inspiration, and the symbols and meanings it carries, focusing on its application in the Kuansing Batik Nagori Batik Business. Using a qualitative approach, the research gathers primary and secondary data through observation, interviews, and documentation. The analysis follows a process of data reduction, presentation, and conclusion drawing. The findings reveal that: 1) The Batik Perahu Baganduang motif is designed to resemble the Perahu Baganduang, a boat paraded by the Lubuk Jambi community. This boat consists of two or three boats combined into one using bamboo, decorated with various colorful traditional symbols. 2) The transformation of the motif is rooted in the Perahu Baganduang Tradition itself, combined with motifs from Kuansing Batik Nagori and traditional Riau Malay designs. 3) The symbols embedded in the Batik Perahu Baganduang motif carry deep cultural significance: the Boat symbolizes unity, the Dome represents religiosity, the Buffalo Horn signifies strength, the Ani-ani symbolizes prosperity, the Gourds represent unity, the Cerano symbolizes respect, the Umbrella signifies protection, and the Colorful Cloth and Marowagh represent the indigenous community.This research provides valuable insights into the rich cultural heritage behind the Batik Perahu Baganduang motif, enhancing its appreciation and understanding within the broader community.

IMPLEMENTASI MODEL EVALUASI FORMATIF-SUMATIF DALAM MENINGKATKAN PEMBELAJARAN SENI BUDAYA Srimutia Elpalina; Ambiyar Ambiyar; Agustina Agustina; Adek Cerah Kurnia Azis
Gorga : Jurnal Seni Rupa Vol. 13 No. 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i01.55826

AbstractThe learning of Arts and Culture plays a crucial role in shaping students' creativity, cultural understanding, and art appreciation. Despite its significance, Arts and Culture education faces several challenges, including insufficient school support, limited resources, technological challenges, and the availability of qualified teachers. Therefore, this research aims to explore the implementation of formative-summative evaluation models as an effort to enhance the quality of Arts and Culture education. The study employs a literature review method with four stages, involving the development of tools and equipment, compilation of bibliography, reading and noting research materials, and content and descriptive analysis. The results of the analysis reveal that the implementation of formative-summative evaluation models plays a central role in improving Arts and Culture education. Formative evaluation provides continuous feedback and identifies the need for improvement, while summative evaluation offers an overall picture of students' achievements. The application of this evaluation model involves the development of evaluation instruments, monitoring the learning process, adjusting teaching methods, providing feedback to students, identifying the need for improvement, and developing teaching and learning programs. The conclusions drawn from this study encompass the variation in the implementation of Arts and Culture education, the central role of teachers' creativity, and the positive impact of formative-summative evaluation models. Suggestions for further research involve a comparative study between schools, a focus on teacher qualifications, and further investigation into the influence of evaluation models on students' achievements and interest in the arts. Thus, the implementation of formative-summative evaluation models becomes an effective strategy in enhancing the quality of Arts and Culture education, contributing positively to students' creative development and cultural understanding.Keywords: formative-summative evaluation, arts and cultureAbstrakPembelajaran Seni Budaya memiliki peran krusial dalam membentuk kreativitas, pemahaman budaya, dan apresiasi seni siswa. Meskipun penting, pembelajaran Seni Budaya dihadapkan pada sejumlah tantangan, termasuk minimnya dukungan sekolah, keterbatasan sumber daya, tantangan teknologi, dan ketersediaan guru yang kompeten. Oleh karena itu, penelitian ini bertujuan untuk mengeksplorasi implementasi model evaluasi formatif-sumatif sebagai upaya meningkatkan kualitas pembelajaran Seni Budaya. Studi ini menggunakan metode studi pustaka dengan empat tahap, melibatkan penyusunan alat dan perlengkapan, menyusun bibliografi, membaca dan mencatat bahan penelitian, serta analisis konten dan deskriptif. Hasil analisis mengungkapkan implementasi model evaluasi formatif-sumatif memainkan peran sentral dalam meningkatkan pembelajaran Seni Budaya. Evaluasi formatif memberikan umpan balik terus-menerus dan identifikasi kebutuhan perbaikan, sementara evaluasi sumatif memberikan gambaran keseluruhan tentang pencapaian siswa. Penerapan model evaluasi ini melibatkan pengembangan instrumen evaluasi, pemantauan proses pembelajaran, penyesuaian metode pengajaran, umpan balik kepada siswa, identifikasi kebutuhan perbaikan, dan pengembangan program belajar-mengajar. Kesimpulan dari studi ini mencakup variasi pelaksanaan pembelajaran Seni Budaya, peran sentral kreativitas guru, dan dampak positif model evaluasi formatif-sumatif. Saran untuk penelitian selanjutnya melibatkan studi komparatif antar sekolah, fokus pada kualifikasi guru, dan penelitian lebih lanjut tentang pengaruh model evaluasi terhadap prestasi dan minat siswa terhadap seni. Dengan demikian, penerapan model evaluasi formatif-sumatif menjadi strategi yang efektif dalam meningkatkan kualitas pembelajaran Seni Budaya, sekaligus memberikan kontribusi positif terhadap perkembangan kreativitas dan pemahaman budaya siswa.Kata Kunci: evaluasi formatif-sumatif, seni budaya Authors:Srimutia Elpalina : Universitas Negeri PadangAmbiyar : Universitas Negeri PadangAgustina : Universitas Negeri PadangAdek Cerah Kurnia Aziz : Universitas Negeri Medan References:Adlini, M. N., Dinda, A. H., Yulinda, S., Chotimah, O., & Merliyana, S. J. (2022). Metode Penelitian Kualitatif Studi Pustaka. Edumaspul: Jurnal Pendidikan, 6(1), 974“980.Astuti, K. S., Pamadhi, H., & Rini, Y. S. (2010). Pengembangan Model Evalasi Pembelajaran Seni Budaya SMP. Jurnal Kependidikan, 40(1), 87“98.Creswell, J. W. (2012). Educational Research: Planning, Conducting and Evaluating Qualitative and Qualitative Research. Boston: Pearson Education.Creswell, J. W. (2014). Research Design. California: SAGE.Fadli, M. R. (2021). Memahami Desain Metode Penelitian Kualitatif. Humanika, 21(1), 33“54.Fitrianti, L. (2018). Prinsip Kontinuitas dalam Evaluasi Proses Pembelajaran. Al-Ishlah: Jurnal Pendidikan, 10(1), 89“102.Fitzpatrick, J. L., Sanders, J. R., & Worthen, B. R. (2011). Program Evaluation Alternative Approaches And Practical Guidelines. Boston: Pearson Education.Hikmah, R. A., & Hakim, R. (2019). Pengembangan Modul Seni Budaya Berbasis Pendidikan Karakter Untuk Siswa Kelas X di SMK. Gorga: Jurnal Seni Rupa, 8(2), 417“423.James C. McDavid, Huse, I., & Hawthorn, L. L. (2019). Program Evaluation and Performance Measurement. London: SAGE Publishing.Linfield, K. J., & Posavac, E. J. (2019). Program Evaluation:Methods and Cases Studies. London: Routledge.Lubis, S. K. (2022). Evaluasi Kinerja Guru Seni Budaya Ditinjau dari Kesesuaian Latar Belakang Pendidikan Guru dengan Aspek Seni yang Diajarkan. Gorga: Jurnal Seni Rupa, 11(2), 394“401.Mardiah, M., & Syarifuddin, S. (2019). Model-model Evaluasi Pendidikan. Mitra Ash-Shibyan: Jurnal Pendidikan & Konseling, 2(1), 38“50.Mertens, D. M. (2015). Research and Evaluation in Education and Psychology. London: SAGE Publishing.Mertens, D. M., & Wilson, A. T. (2019). Program Evaluation Theory and Practice. London: The Guilford Press.Purwanto, M. N. (2020). Prinsip-prinsip dan Teknik Evaluasi Pengajaran. Bandung: Remaja Rosda Karya.Raharja, J. T., & Retnowati, T. H. (2013). Evaluasi Pelaksanaan Pembelajaran Seni Budaya SMA di Kabupaten Lombok Timur, NTB. Jurnal Pendidikan Dan Evaluasi Pendidikan, 17(2), 287“303.Selegi, S. F. (2017). Model Evaluasi Formatif-Sumatif Terhadap Motivasi Belajar Mahasiswa Pada Mata Kuliah Perencanaan Pengajaran Geografi. Seminar Nasional 20 Program Pascasarjana Universitas PGRI Palembang, 188“192.Stufflebeam, D. L. (1987). Meta Evaluation: An Overview. Evaluation and The Health Professions, 1(1), 17“43.Wulandari, N. S., & Hadi, H. (2023). Pembelajaran Seni Budaya di SMA Negeri 8 Padang. Journal On Teacher Education, 4(4), 157“164.

KNOCKDOWN WORK DESK: ENHANCING DESIGN STUDENT’S ACTIVITIES IN LIMITED SPACES Akmal Nur Arifin; Andrianto Andrianto; Ica Ramawisari
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.62820

With the increasing population, residential land is becoming more limited, including accommodations such as boarding houses, which are commonly used by students, including design students. Observation of design students at Telkom University revealed that the average size of boarding house rooms ranges from 9-12 m², equipped with facilities like wardrobes, bathrooms, and floor desks to support studying. However, these conditions pose challenges for design students due to their specific activities, such as sketching, using laptops or PCs, and creating mockups or models. The lack of supporting facilities in such limited spaces can hinder the productivity of design students. Furthermore, preliminary data shows that design students have a high level of mobility in terms of relocating residences, requiring an ergonomic work desk that can support their activities and mobility within limited space and access. Therefore, an ergonomic work desk with a knockdown system is needed to enhance flexibility and adaptability in constrained spaces and access, supporting the activities and mobility of design students. This research employs a qualitative approach with the User-Centered Design methodology. Data collection techniques include interviews, participant observation, questionnaires, documentation, and literature reviews. The study resulted in a work desk designed with ergonomic dimensions and a knockdown system to accommodate the specific activities of design students within limited space and mobility constraints.

PENGENALAN SENI LUKIS MELALUI MEDIA TAS DENGAN TEKNIK DEKORATIF KEPADA KELOMPOK PKK KOTA JANTHO UNTUK MENGHASILKAN PRODUK YANG KREATIF Miftahun Naufa; Anni Kholilah; Muhammad Ghifari
Gorga : Jurnal Seni Rupa Vol. 12 No. 2 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i2.50352

development of creativity and improvement in the field of business and creating jobs through art and culture to the community can be a basic step in creating new works of art. There needs to be collaboration between ISBI Aceh through lecturers and students with the community so that the development of creativity in the community can run. Through a community organization that aims to empower women or commonly called the PKK Group, the author and his team try to introduce painting that is close to their lives. Conventional painting media is commonly known as using canvas, but creativity in exploration continues to grow so it does not rule out the use of various applied-based media. The association of women in bags is the main goal for the writer in terms of introducing painting to the PKK group in Jantho Makmur City. The PKK group will be given basic knowledge in creating decorative paintings on a media bag. The method carried out is by socialization and introduction of bag media painting to the community, the PKK group is given a decorative painting technique but is still free to explore with their respective creativity. Creative products of painting bags with decorative techniques produced by the PKK group must be marketable both offline and online. Creative products of painting bags with decorative techniques are packaged attractively and given harmonious packaging in order to attract the attention of consumers.Keywords: painting, bags, decorative, creative products.AbstrakPengembangan kreativitas serta peningkatan dalam bidang usaha dan menciptakan lapangan kerja melalui seni dan budaya kepada masyarakat dapat menjadi langkah dasar dalam menciptakan karya seni baru. Perlu adanya kolaborasi antara ISBI Aceh melalui Dosen dan mahasiswa dengan masyarakat agar pengembangan kreativitas pada masyarakat dapat berjalan. Melalui organisasi kemasyarakatan yang bertujuan untuk memberdayakan perempuan atau biasa disebut dengan Kelompok PKK, penulis bersama tim mencoba mengenalkan seni Lukis yang dekat dengan kehidupan mereka. Media lukis konvensional biasa dikenal dengan menggunakan kanvas, namun kreativitas dalam eksplorasi terus berkembang sehingga tidak menutup kemungkinan penggunaan berbagai media berbasis terapan. Keterkaitan perempuan pada tas menjadi tujuan utama bagi penulis dalam hal mengenalkan seni Lukis kepada kelompok PKK Kota Jantho Makmur. Kelompok PKK akan diberikan pengetahuan dasar dalam menciptakan lukisan dekoratif pada sebuah media tas. Metode yang dilakukan adalah dengan cara sosialisasi serta pengenalan seni Lukis media tas pada masyarakat, kelompok PKK diberikan sebuah teknik lukis dekoratif namun tetap bebas melakukan eksplorasi dengan kratifitasnya masing-masing. Produk kreatif tas lukis dengan teknik dekoratif yang dihasilkan oleh kelompok PKK harus dapat dipasarkan baik secara offline maupun secara online. Produk kreatif tas lukis dengan teknik dekoratif dikemas dengan menarik dan diberikan packaging yang selaras agar dapat menarik perhatian konsumen.Kata Kunci: seni lukis, tas, dekoratif, produk kreatif. Authors:Miftahun Naufa : Institut Seni Budaya Indonesia AcehAnni Kholilah : Institut Seni Budaya Indonesia AcehMuhammad Ghifari : Institut Seni Budaya Indonesia Aceh References: Ghifari, M., Kholilah, A., & Naufa, M. (2021). Pengenalan Lukis Kaca Sebagai Media Hias dan Cenderamata Pada Siswa-Siswa SMA N 1 Jantho. Gorga Jurnal Seni Rupa, 10(01),73-79. https://doi.org/10.24114/gr.v10i1.21107.Ginting, J., & Triyanto, R. (2020). Tinjauan Ketepatan Bentuk, Gelap Terang, Dan Warna Pada Gambar Bentuk Media Akrilik. Gorga Jurnal Seni Rupa, 09(02), 300-308 https://doi.org/10.24114/gr.v9i2.20118.Hauskeller, Michael. (2015). Apa Itu Seni, Posisi Estetika dari Platon sampai Danto. Yogyakarta: Kanisius.Kartika, Dharsono Sony (2016). Kreasi Artistik Perjumpaan Tradiri Modern dalam Paradigma Kekaryaan Seni. Karanganyar: Citra Sains.Komalayakti, D., Mustika, I, K., & Kondra, I, W. (2023). Tas Kanvas Lukis dengan Perca Endek Bali dan Kain Motif Khas Lombok yang Bernilai Seni dan Ekonomis. CITA KARA Jurnal Penciptaan dan Pengkajian Seni Murni, 3(1), 46-52. https://jurnal2.isidps.ac.id/index.php/citrakara/article/download/2335/860.Kholilah, A., Naufa, M., & Ghifari, M. (2022). Pembuatan Seni Lukis Mural Dinding Sekolah Yayasan Paud/TK Almuhajirin Kota Jantho Untuk Meningkatkan Pendidikan Karakter. Gorga Jurnal Seni Rupa, 11(02), 433- 438. https://doi.org/10.24114/gr.v11i2.38950.Maulida, D., & Saleh, K. (2020). Menggambar Bentuk Melalui Media Vidio Tutorial Di SMP Negeri 12 Pematangsiantar. Gorga Jurnal Seni Rupa, 09(01), 218-225. https://doi.org/10.24114/gr.v9i1.18879.Susanto, Mikke. (2002). Diksi Rupa. Yogyakarta: Kanisius.Sunaryo, Aryo. (2011). Ornamen Nusantara: Kajian Khusus tentang Ornamen Indonesia. Semarang: Dhara Prize.

SISTEM MODULAR PADA PERANCANGAN LEMARI BAJU DENGAN KONSEP SUSTAINABLE DESIGN Terbit Setya Pambudi; Gabriella Chrismaditya Putri Mawarni; Dandi Yunidar
Gorga : Jurnal Seni Rupa Vol. 13 No. 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i01.56591

The progress of the local and global furniture industry opens up opportunities for Indonesia to return to producing local furniture to support the economy. Millennials as the largest furniture market share in Indonesia have an interest in modular furniture. Modular furniture systems provide ease of mobilization, installation and customization which helps optimize the use of increasingly limited residential land. Apart from that, the need for furniture that is able to adapt according to user needs is also a simple application of the sustainable design concept. The concept of sustainable design refers to intelligent human thought patterns and actions that are in harmony with and respect nature. In the context of research, this concept is realized in the form of a furniture modulation system that can adapt to user needs. This research focuses on designing modular wardrobes that accommodate millennial needs. The design was carried out using design methods: observation, interviews, questionnaires, and literature study, followed by a design process using the User-Centered Design method and identification of user personas. The furniture designed is furniture with a combination of on-a-frame & single bodied modular systems with a knockdown system for easy mobilization and customizationKeywords: EcoLifestyle, bags, modular, sustainable designAbstrakKemajuan industri furnitur lokal dan global membuka peluang bagi Indonesia untuk kembali memproduksi furnitur lokal demi mendukung perekonomian. Milenial sebagai pangsa pasar furnitur terbesar di Indonesia memiliki ketertarikan terhadap furnitur modular. Sistem furnitur modular menyediakan kemudahan mobilisasi, instalasi, dan kustomisasi yang membantu optimalisasi penggunaan lahan huni yang semakin terbatas. Selain itu kebutuhan furniture yang mampu berdaptasi sesuai kebutuhan pengguna juga merupakan penerpan sederhana dari konsep sustainable design. Konsep sustainable design mengacu pada pola pikir dan tindakan manusia secara cerdas yang selaras dan menghargai alam. Dalam konteks penelitian konsep tersebut diwujudkan dalam bentuk system modulasi furniture yang bisa beradaptasi dengan kebutuhan pengguna. Penelitian ini berfokus untuk merancang lemari modular yang mengakomodasi kebutuhan milenial. Perancangan dilakukan dengan metode desain: observasi, wawancara, kuesioner, dan studi literatur, dilanjutkan dengan proses perancangan menggunakan metode User-Centered Design dan identifikasi persona pengguna. Furnitur yang dirancang adalah furnitur dengan gabungan sistem modular on-a-frame & single bodied dengan sistem knockdown untuk memudahkan mobilisasi dan kustomisasiKata Kunci: Modular, Furniture, Lemari, Sustainable DesignAuthors:Terbit Setya Pambudi : Universitas TelkomGabriella Chrismaditya Putri Mawarni : Universitas TelkomDandi Yunidar : Universitas TelkomReferencesBadan Pusat Satistik (BPS). (2021). Hasil Sensus Penduduk 2020. Diambil Kembali dari https://demakkab.bps.go.id/news/2021/01/21/67/hasil-sensus-penduduk-2020.htmlBesson, A. (2019). A Call for more Modular Durability in Design. Diambil Kembali dari https://asiapacificcircle.org/asia-pacific-insights-trends/more-modular-durability-in-design-alexandre-besson/Durif, F., Boivin, C., & Julien, C. (t.thn.). In Search of a Green Product Definition. Innovative Marketing, 6, 25-33.Garip, B., Saglar, N., Politecnico, O., Torino, D., Garip, S., & GÃ¼zelci, O. (2019). Flexible and Modular Furniture Design for Changing Living Environments. The XXIXTH International.Halim, W., Kusbiantoro, K., Lesmana, C., Gunawan, IV. (2023). Perancangan Bangunan Modular Penunjang Green Economy Untuk Hunian Resiliensi Bencana. Medan. Gorga: Jurnal Seni Rupa. 12 (01), 124 “ 131.Hara, T., Sakao, T., & Fukushima, R. (2019). Customization of product, service, and product/service system: what and how to design. doi:10.1299/mer.18-00184.Kementrian Perindustrian Republik Indonesia. (2021). Tumbuh 8 Persen, Industri Furnitur Tangguh Hadapi Dampak Pandemi. Diambil kembali dari https://www.kemenperin.go.id/artikel/22793/Tumbuh-8-Persen,-Industri- Furnitur-Tangguh-Hadapi-Dampak-PandemiMcLennan, J. F. (2004). The Philosophy of Sustainable Design: The Future of Architecture. United Kingdom. Ecotone.Muttaqien, TZ. & Adilihung, H. (2023). Pemanfaatan Sisa Bahan Produksi Menjadi Material Siap Pakai Dan Penerapanya Pada Produk Dekorasi Rumah. Medan. Gorga: Jurnal Seni Rupa, 12(01), 224-229Pambudi, TS., Arliando, P., Muttaqien, TZ. (2022). Perancangan Tas Modular Sebagai Produk Eco Lifestyle. Medan. Gorga: Jurnal Seni Rupa, 11(02), 499-564Soewardikoen, D. (2019). Metodologi Penelitian: Desain Komunikasi Visual. Yogyakarta: PT Kanisius.Smardzewski, J. (2015). Furniture Design. Switzerland. Springer International Publishing doi:10.1007/978-3-319-19533-9Tseng, M., Wang, Y., & Jiao, R. (2018). Modular Design. The International Academy for Production (eds) CIRP Encyclopedia of Production Engineering. doi:10.1007/978-3-642-35950-7_6460-4UNEP 2009 Annual Report. Seizing The Green Opportunity. Nairobi: UNEP Publishing Service SectionUzoegbo, H. (2016). 8 - Dry-stack and compressed stabilised earth-block construction. Harries, K. and Sharma, B., Eds., Nonconventional and Vernacular Construction Materials, 205-249. doi:10.1016/B978-0-08-100038-0.00008-1Wijaya, D., & Anastasia, N. (2021). Pertimbangan Generasi Milenial pada Kepemilikan Rumah dan Kendala Finansial. Diambil kembali dari https://jmap.mappi.or.id/index.php/journal penilai/article/view/23/10Xue, D., Hua, G., Mehrad, V., & Gu, P. (2012). Optimal Adaptable Design for Creating the Changeable Product Based on Changeable Requirements Considering the Whole Product Life-Cycle. Journal of Manufacturing Systems, 31(1), 59-68. doi:10.1016/j.jmsy.2011.04.003

BRANDING ACTIVATION AS A SUSTAINABLE IMAGE BUILDING PROCESS: ANALYSIS OF EVENTS BY SEJAUH MATA MEMANDANG Ayuningtias Ramadhani; Agung Eko Budiwaspada
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.62549

Branding activation is part of the branding strategy in building and communicating the identity and values of a brand. This branding activation functions as a tool to interact directly with consumers through various activities such as events. Events are one of a series of branding activations because they have a direct connection with consumers, allowing for deeper and more personal interactions for brands to convey their image. In the context of sustainable branding, branding activation is a process that only aims to convey environmental, social, and economic values, but also to build deeper relationships with consumers by emphasizing the brand's commitment to sustainable practices. Through semiotic analysis, this research explores the role of branding activation in forming and communicating a sustainable brand image, with a focus on the "Kedai Kita" event by Sejauh Mata Memandang. The image of a brand can be formed through the meaning conveyed by visual elements which function to communicate certain messages to the audience through the meaning that is present. This research examines how these elements reflect a brand's commitment to sustainability. Seeing how Sejauh Mata Memandang can process through its branding activation conveys a sustainable image at the event. These findings show how Sejauh Mata Memandang effectively utilizes event branding activation as a strategic tool to convey a sustainable brand image through the immediacy of everyday life while raising awareness about the threat of climate change to our food sources.

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INDONESIA

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Adek Cerah Kurnia Azis

Contact Email adek_peros@yahoo.com

Phone +6285278021981

Journal Mail Official gorgajurnalsenirupa@unimed.ac.id

Editorial Address Jl. Willem Iskandar / Pasar V, Medan, Sumatera Utara – Indonesia Kotak Pos 1589, Kode Pos 20221

Location Kota medan, Sumatera utara INDONESIA

Abstract

Abstract

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Abstract

Abstract

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Abstract

Abstract

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Abstract

Contact Name
Adek Cerah Kurnia Azis

Contact Email
adek_peros@yahoo.com

Phone
+6285278021981

Journal Mail Official
gorgajurnalsenirupa@unimed.ac.id

Editorial Address
Jl. Willem Iskandar / Pasar V, Medan, Sumatera Utara – Indonesia Kotak Pos 1589, Kode Pos 20221

Location
Kota medan,

Sumatera utara

INDONESIA