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Gorga : Jurnal Seni Rupa
Published by Universitas Negeri Medan
ISSN : 23015942     EISSN : 25802380     DOI : https://doi.org/10.24114/gr.v9i1
Core Subject : Education, Art,
Arts Education
Gorga : Jurnal Seni Rupa terbit 2 (dua) kali setahun pada bulan Juni dan Desember, berisi tulisan/artikel hasil pemikiran, hasil penelitian, dan pengabdian kepada masyarakat yang ditulis oleh para pakar, ilmuwan, praktisi (seniman), dan pengkaji dalam disiplin ilmu kependidikan, kajian seni, desain, dan pembelajaran seni dan budaya.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 846 Documents
 78   79   80   81   82 
Digital Comic Strip as an Attempt for Self-Control Againts Impulsive Buying among Generation Z Imanda, Ghea Sonja; Siswo Martono; Evi Farsiah Utami
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

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Abstract

Generation Z has a close relationship with social media, which influences the emergence of Fear of Missing Out (FOMO). Uncontrolled FOMO can result in a lifestyle that prioritizes wants over needs. This type of lifestyle eventually has an impact on impulsive buying behaviors often seen in Generation Z. To prevent impulsive buying in Generation Z, good self-control is necessary. Based on this, the research aims to design a digital comic strip as an effort for self-control and prevention of impulsive buying in Generation Z. The digital comic strip is designed to send educative informations for the target audience. The research uses a qualitative method and the design process using a design thinking method. The results of the data collection in the form of observations, interviews, documentation, and literature studies indicate that many Generation Z have engaged in impulsive buying. In addition, data collection also shows that Generation Z is interested and easily accepts information from digital comic strips because of the simple language, easily understandable content, easy access, and attractive features, such as illustration style, character design, and story flow. Therefore, it is concluded that a digital comic strip is needed that can be used as an effort for Generation Z's self-control over impulsive buying.
Transformation of East Kalimantan Batik into Ready-to-Wear Fashion with Augmented Reality for Creative Economy IKN Putri, Hesti Rosita Dwi; Yendra, Sasferi; Syaputra, Eko Agung
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

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Abstract

The uniqueness of East Kalimantan batik lai in its motifs and colors which are influenced by motif designs inspired by the Dayak tribe, local flora, and fauna.  The transformation of East Kalimantan batik into ready-to-wear fashion is a strategic initiative to combine cultural heritage with modern design trends, and contribute to the creative economy in Indonesia's new capital city. This research explores the development of batik from a traditional fabric into a contemporary fashion product, with the aim of strengthening local identity so as to expand market reach. Augmented reality technology is used to enhance the consumer experience through a virtual try-on feature, allowing users to view batik clothing in real time. The problem formulation in this research is how the transformation process of East Kalimantan Batik into ready-to-wear fashion products, and how the use of Augmented Reality technology can provide solutions to improve user experience in trying and deciding product purchases effectively. The method used is the Design Thinking method which is carried out with 4 stages namely discover, define, develop and deliver. The results obtained Augmented Reality  in the promotion of ready-to-wear batik not only supports the preservation of local culture, but also strengthens the competitiveness of batik products in the modern era. This is an important step in making batik a highly competitive ready-to-wear fashion product in supporting IKN's creative economy.
Implementation of Kosa Rupa Book: Drawing and Coloring of Elementary School Teachers in Pegayaman Village, Bali Alhail, Hadi; Rubijanto, Vincensius Jovan; Musthafa, Akram; Purnama, Della; Utama, I Gusti Agung Gede Aditya
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

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Abstract

Difficulty in teaching learning related to drawing from teachers to students is a problem experienced by elementary school teachers in Pegayaman Village, previous research provides information that there is one media to help teachers improve their drawing and coloring competencies, namely "kosa rupa". The purpose of this study was to implement kosa rupa in elementary school teachers in Pegayaman Village through training and mentoring. The method used is qualitative, descriptive and exploratory research design. Collection techniques through interviews, observations, and documentation. The instruments used are interview drafts, observation drafts, and documentation lists. Data validity testing is carried out by triangulation testing. Data analysis techniques use domain analysis, taxonomy, and componential. Respondents involved in the research setting were 3 teachers. The results of the research on the implementation of kosa rupa in elementary school teachers in Pegayaman Village through training and mentoring are: 1) Discussion of teaching experiences in drawing and coloring that have been applied to students, 2) Discussing and identifying problems faced by teachers, 3) Introducing and presenting kosa rupa and how it works, 4) Demonstrating kosa rupa based on aspects of composition, perspective, and color, 5) Conducting training and mentoring on the implementation of village-themed kosa rupa for teachers, 6) Conducting intensive open evaluation and reflection carried out by teachers on the results of work made based on aspects of composition, perspective, and color.
Halliday’s Discourse Analysis of the "Tatap" Exhibition Haryono, Haryono; Satria, Christofer; Mawardi, Taufik
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

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Abstract

Painting exhibitions are part of a discourse strategy published by artists through public spaces. Where art exhibitions generally try to represent multi-dimensional values in the form of artwork from various types of spaces. Exhibitions are seen as art events that are discoursed in the form of exhibition packages with the theme "Tatap". Tatap is the concept of Ahmad Junaidin's solo exhibition which consists of three categories of small sub-themes, namely the theme of nature, the theme of Sasak mythology, and the theme of tradition. Behind the exhibition with the theme "Tatap" of course, there is another purpose that must be conveyed by the discourse to the audience. The purpose of this study is to try to describe the existence of the dimensions of the artist's paintings that are exhibited and the curatorial dimensions presented in the form of a narrative of the relationship between works and paintings are dimensions that are related to one another. Because behind the text, both visual and verbal, there are certain intentions and purposes. This study uses a qualitative research type with the Halliday discourse analysis research method consisting of the field of discourse (field of discourse) what is being discussed, the discourse participants (tenor of discourse) who are involved in the conversation, and the mode of discourse (mode of discourse) the choice of language used by the media. The results of the study show that what is exhibited and what is opined experience distortion between the work and its curatorial.
Application of Artsteps in Exhibitions as a Creative Learning Platform for Art Education Students Faradila, Nita Dian; Indar Sabri; Welly Suryandoko; Trisakti
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

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Abstract

Art is a skill or medium that is done and made by humans to realize the imagination and creativity of the artist. Art has several fields such as dance, painting, sculpture, carving, and many more. Art includes many human activities in creating visual, audio, or performance works based on the imagination of the artist’s ideas and techniques of the art maker (artist). Art exhibition is an activity to exhibit or showcase works of art so that they can be appreciated by the general public with the aim of conveying creative ideas and ideas owned by the artist. This exhibition is carried out on the website artsteps.com. The website is a website that is useful for exhibiting works in the form of paintings that are famous in pandemic areas. Artsteps presents a 3D virtual exhibition platform where individuals and collectives can exhibit their work on the platform. This platform is useful in the implementation of exhibitions that are carried out to fulfill exhibition management courses, as well as useful for the general public or art education students in appreciating works of art virtually. In this research, the researcher conducted several qualitative approaches, namely interviews and observations. This research also has the aim of fostering the spirit of work to visitors to the virtual exhibition that has been implemented.
Medan City Icon Image as Applied Art on Tourism T-Shirts Diningrat, Raden Burhan Surya Nata; Priyatno, Agus; Muslim, Muslim
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

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Abstract

The general aim of this research is to create a new design and apply it to typical Medan City souvenirs on T-shirts which are starting to be difficult to find. So that tourists who visit Medan can get a more interesting and varied variety of souvenirs, it will also support tourism in the city of Medan as well as become a reference for designers who want to develop a clothing business with characteristics typical of the city of Medan. The method used is a qualitative method, with a design thinking method approach consisting of the empathize, define, ideate, prototype and test stages. The results of the research are t-shirts as souvenirs, as a form of creativity that elevates the iconic shape of the city of Medan. Add value to souvenirs in the form of t-shirts that previously existed and add aesthetic value to t-shirt designs with Medan icons. Adding a variety of souvenir items to tourist destinations in the city of Medan.
Correlation of Color Symbolism in Guel Dance Costumes and Movement in The Gayo Community Permata, Magfhirah Murni Bintang; Setiawan, Indra
Gorga : Jurnal Seni Rupa Vol. 14 No. 1 (2025): 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.v14i1.67690

Abstract

The Guel Dance, a traditional performing art originating from the Gayo culture in Central Aceh, Indonesia, is a captivating yet underappreciated cultural heritage. Although the dance is practiced within the community, many remain unfamiliar with its intricate visual and symbolic elements, such as the elaborate costumes, decorative patterns, properties (ulen-ulen), and especially the use of specific colors. These colors go beyond mere ornamentation—they act as visual metaphors and spiritual expressions, communicating profound cultural values. In Gayo culture, visuality is deeply meaningful and not simply decorative. Each design and color carries symbolic significance, inherited and sustained through generations, forming a rich semiotic system. The kerawang embroidery, a hallmark of Gayo visual identity, exemplifies this symbolic tradition. Despite its cultural importance, the role of color in the Guel Dance remains largely misunderstood by both dancers and musicians, often resulting in performances that lack harmony between costume visuals and dance expression. This research seeks to uncover and clarify the functions and meanings of visual elements—particularly color—in the performance of the Guel Dance. It investigates how colors and patterns in costumes are interwoven with movement, spiritual values, and ritual practices of the Gayo people. Employing a descriptive qualitative approach with a visual ethnographic model, the study documents how visual elements function in artistic performances and cultural rituals. This research identifies five primary colors in Guel dance costumes—red (courage), green (fertility), yellow (wisdom), black (authority), and white (purity). These colors are not arbitrary; they correspond to specific movements and spiritual expressions within the dance. The findings contribute to a deeper understanding of the cultural meanings embedded in Gayo traditional arts and emphasize the need for preserving and recontextualizing these values through synchronized and informed performances.
PEWARNAAN ALAM DENGAN BIJI KESUMBA DAN DAUN KETAPANG: STUDI KASUS DI KABUPATEN BUNGO Zola, Ami; Efi, Agusti
Gorga : Jurnal Seni Rupa Vol. 11 No. 1 (2022): 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.v11i1.32195

Abstract

This research is about natural coloring in batik with kesumba seeds and ketapang leaves at Rumah Warna Dedaunan, Bungo Regency, which only uses natural dyes as batik dyes. Although the use of synthetic materials is widely used by batik craftsmen because of the easy and practical use process, Rumah Warna Dedaunan still maintains natural coloring as batik dyes. In addition, natural coloring is also friendly to the environment so that it can reduce pollution, especially in water. The purpose of this study was to describe how to make extracts of natural colors with kesumba seeds and ketapang leaves, natural coloring techniques with kesumba seeds and ketapang leaves, and the color produced by natural coloring of kesumba seeds and ketapang leaves at Rumah Warna Dedaunan, Bungo Regency. This research method is a qualitative descriptive method. The type of data is in the form of primary data and secondary data. The informants of this research are the leaders as well as owners and craftsmen at Rumah Warna Dedaunan. Data collection techniques through observation, interviews, and documentation. The data analysis technique was carried out by using interactive model analysis techniques related to the subject matter of data collection, data reduction, data presentation, and drawing conclusions. The results of this study are natural coloring with extracts of kesumba seeds and leaves of Ketapang, among others: 1) making extracts of kesumba seeds and leaves of ketapang first preparing the tools and materials, kneading the seeds of kesumba, cutting the leaves of ketapang into small pieces, then looking for, left overnight, rediscovered, filtered, and carried away, 2) dyeing technique by dipping cloth, soaked with laundry soap, dyed with alum for two nights then dyeing with extract and then dyeing with whiting and tunjung locks, 3) the color of the Kesumba seeds are brown in color, Ketapang leaves produce a light yellow color, using lime fixation produces a dark yellow color and tunjung leaves produce a yellow color. Thus, natural dyeing with kesumba seed extract and ketapang leaves can be used in batik coloring.Keywords: coloring, coriander seeds, ketapang leaves. AbstrakPenelitian ini adalah tentang pewarnaan alam pada batik dengan biji kesumba dan daun ketapang di Rumah Warna Dedaunan Kabupaten Bungo yang hanya menggunakan pewarnaan alam saja sebagai pewarna batik. Meskipun penggunaan bahan sintentis ramai digunakan oleh pengrajin batik dikarenakan proses penggunaan yang mudah dan praktis, Rumah Warna Dedaunan tetap mempertahan pewarnaan alam sebagai pewarna batik. Selain itu pewarnaan alam juga ramah terhadap lingkungan sehingga dapat mengurangi pencemaran terutama pada air. Tujuan dari penelitian ini adalah untuk mendeskripsikan cara pembuatan ekstrak warna alam dengan biji kesumba dan daun ketapang, teknik pewarnaan alam dengan biji kesumba dan daun ketapang, dan warna yang dihasilkan dari pewarnaan alam biji kesumba dan daun ketapang di Rumah Warna Dedaunan Kabupaten Bungo. Metode penelitian ini adalah metode deskriptif kualitatif. Jenis data yaitu berupa data primer dan data sekunder. Informan penelitian ini adalah pimpinan sekaligus pemilik dan pengrajin di Rumah Warna Dedaunan. Teknik pengumpulan data melalui observasi, wawancara, dan dokumentasi. Teknik analisis data dilakukan dengan teknik analisa model interaktif yang berkaitan dengan pokok permasalahan dengan pengumpuan data, reduksi dara, penyajian data, dan penarikan kesimpulan. Hasil penelitian ini yaitu pewarnaan alam dengan ekstrak biji kesumba dan daun Ketapang, antara lain: 1) membuat ekstrak biji kesumba dan daun ketapang yang pertama menyiapkan alat dan bahan, biji kesumba diremas-remas, daun ketapang di potong kecil-kecil, kemudian direbus, didiamkan semalaman, direbus kembali, disaring, dan didinginkan, 2) teknik pewarnaan dengan cara mencelupkan kain, direndam dengan sabun cuci, dicelup dengan tawas selama dua malam kemudian pencelupan dengan ekstrak dan selanjutnya pencelupan dengan pengunci kapur sirih dan tunjung, 3) warna yang dihasilkan dari biji kesumba yaitu  warna oren kecoklatan, daun Ketapang menghasilkan warna kuning muda, menggunakan fixsasi kapur menghasilkan warna kuning tua dan tunjung menghasilkan warna kecoklatan. Dengan demikian, pewarnaan alami dengan ekstrak biji kesumba dan daun ketapang dapat digunakan dalam pewarnaan batik.Kata Kunci:pewarnaan, biji kesumba, daun ketapang. Authors:Ami Zola : Universitas Negeri PadangAgusti Efi : Universitas Negeri Padang References:Eriani, W., & Herry, P. (2017). Pengaruh Waktu Maserasi, Perlakuan Bahan Daun Zat Fiksasi Pada Pembuatan Warna Alami Daun Ketapang (Terminalia Catappa Linn). Skripsi. Surakarta: Universitas Muhammadiyah Surakarta.Purnomo, M. A. J. (2004). Zat Pewarna Alam sebagai Alternatif Zat Warna yang Ramah Lingkungan. Jurnal Seni Rupa STSI Surakarta, 1(2): 57-61.Purwaningsih D. (2013). Pemanfaatan Biji kesumba (BixaOrellana) Sebagai Pewarna Alami Daun Antioksidan (Vitamin C) Untuk Pembuatan Kue Bolu Dari Berbagai Macam Tepung. Surakarta: Universitas Muhamadiah Surakarta.Sunarto. (2008). Teknologi Pencelupan Daun Pengecapan. Jakarta: Direktorat Pembinaan Sekolah Menengah Kejuruan, Departemen Pendidikan Nasional.Susanto, Koko, M. Sn Erwin,&M. Sn Minarsih. (2015). Bentuk, Fungsi daun Makna Motif Batik Bungo di Kecamatan Pelepat Ilir Kabupaten Muara Bungo. Serupa The Journalof Art Education, 3(2).
TEKNIK MENYULAM SULAMAN BENANG EMAS DENGAN TITIK SAMEK DI KELURAHAN BATUANG TABA KECAMATAN LUBUK BEGALUNG KOTA PADANG Yudi, Nindika Gustri; Novrita, Sri Zulfia
Gorga : Jurnal Seni Rupa Vol. 11 No. 1 (2022): 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.v11i1.32305

Abstract

The titik samek is an embroidery technique which is usually combined with gold thread embroidery in Batuang Taba village. The titik samek is different from frenchknot or suji caia, and the process must use two needles, so it is considered difficult. The titik samek is a regional cultural asset that must be preserved. The purpose of the study is to describe the gold thread embroidery sewing technique in Batuang Taba village. This research method uses descriptive qualitative method. The type of data used is primary data and secondary data. Data collection techniques are observation, interviews and documentation. The data analysis technique carried out is an interactive model that has a relationship based on the subject matter, through data reduction, data presentation and conclusion drawing. The results of the study were the gold thread embroidery sewing technique using two sewing needles. For the technique, embroider the gold thread first by copying the motif on the fabric, locking the binding thread, inserting the binding thread, pulling slowly while tucking the gold thread. Pull the thread until the gold thread is tied. , repeat a maximum distance of 0.5cm. For the next technique, fill it with titik samek embroidery by inserting one sheet of moulin thread and gusset, stab from under the fabric on the part of the motif that will be filled with the titik samek, wrap one time around the sewing needle, stab again in the same hole, tuck in the loop. the large needle that will be used to hold the loop, so that it forms like a circle, pull the thread slowly so it can't be separated from the large needle. Embroidering gold thread is done by making the edges of the motif first using gold thread and then filling the interior of the motif with moulin thread with the titik samek technique. Keywords: gold thread embroidery, titik samek.AbstrakTitik samek merupakan teknik menyulam yang biasanya di kombinasikan dengan sulaman benang emas di Kelurahan Batuang Taba. Titik samek berbeda dengan kepala peniti atau suji caia, dan pengerjaannya harus menggunakan dua jarum, sehingga dinilai sulit. Titik samek merupakan aset budaya daerah yang harus dilestarikan. Tujuan penelitian adalah untuk mendeskripsikan tentang teknik jahit sulaman benang emas di Kelurahan Batuang Taba. Metode penelitian ini menggunakan metode deskriptif kualitatif. Jenis data yang digunakan data primer dan data sekunder. Teknik pengumpulan data yaitu observasi, wawancara serta dokumentasi. Teknik analisa data yang dilaksanakan yaitu model interaktif yang memiliki kaitan berdasarkan pokok permasalahan, melalui reduksi data, penyajian data serta pengambilan kesimpulan. Hasil penelitian yaitu teknik jahit sulaman benang emas menggunakan dua jarum jahit, Untuk teknik, lakukan meyulam benang emas terlebih dahulu dengan cara menyalin motif pada kain, kunci benang pengikat, tusukkan benang pengikat, tarik perlahan sambil menyelipkan benang emas.Tarik benang hingga benang emas terikat, ulangi jarak maksimal 0,5cm. Untuk teknik selanjutnya isi dengan sulaman titik samek dengan memasukkan satu lembar benang moulin dan buhul, tusuk dari bawah kain pada bagian motif yang akan di isi titik samek, lilitkan satu kali lilit pada bagian jarum jahit, tusukkan lagi pada lobang yang sama, pada lilitan selipkan jarum besar yang akan di gunakan untuk menahan lilitan, agar terbentuk seperti lingkaran, tarik benang perlahan tidak boleh lepas dari jarum besar. Menyulam benang emas dilakukan dengan mambuat bagian tepi motif terlebih dahulu menggunakan benang emas selanjutnya mengisi bagian dalam motif dengan benang moulin dengan teknik titik samek.Kata Kunci: sulaman benang emas, titik samek. Authors:Nindika Gustri Yudi : Universitas Negeri PadangSri Zulfia Novita : Universitas Negeri Padang References:Hervilas, Adriani., & Nelmira, W. (2016). Bordir Kerancang di Kota Bukittinggi (Studi Kasus di Usaha Sulaman Ambun Suri). Journal of Home Economics and Tourism, 13(3).Maydayusi, D., Yasnidawati, & Andriani. (2015). Studi Tentang Pelaminan Dikecamatan Kota Baru Kota Jambi. E-Journal Home Economic and Tourism, 8(1).Rahman, D., Novrita, S. Z., & Efi, A. (2015). Ragam Hias Suji Cair pada Sulaman Selendang Kotogadang Kabupaten Agam Sumatera Barat (Studi Kasus di Yayasan Amai Setia). E-Journal Home Economic and Tourism, 9(2).Sativa, Aswar. (1999). Antakesuma Suji dalarn Adat Minangkabau. Jakarta: Djambatan.Sugiyono. (2011) Metode Penelitian Kualitatif. Bandung: Alfabeta.Tamimi, Enna. (1982). Terampil Memantas Diri dan Menjahit. Jakarta: Depdikbut.Utari, A. G., Zahri, W., & Idrus, Y. (2014). Studi Tentang Kerajinan Sulaman Benang Emas di Nagari Saniangbaka Kecamatan X Koto Singkarak Kabupaten Solok. Journal of Home Economics and Tourism, 7(3).Wahyuni, S., Idrus, Y., & Novrita, S. Z. (2015). Studi Tentang Sulaman Tangan pada Pelaminan Tradisional Naras di Kecamatan Pariaman Utara Kota Pariaman. Journal of Home Economics and Tourism, 8(1).Yossi, Zullkarnaen. (2006). Sulam Benang untuk Pemula. Jakarta: Puspa Swara.
STUDI TENTANG TEKNIK MENENUN SONGKET RAWANG MENGGUNAKAN ALAT TENUN BUKAN MESIN (ATBM) DI RUMAH TENUN SONGKET RAWANG KABUPATEN AGAM Putri, Atika Dwi; Efi, Agusti
Gorga : Jurnal Seni Rupa Vol. 11 No. 1 (2022): 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.v11i1.32711

Abstract

This research aims to describe the shape of the loom, the function of the loom, and the technique of weaving using a non-machine loom (ATBM) at the Songket Rawang Weaving House. The research method used is descriptive qualitative. Types of data in the form of primary and secondary data. The informants of this research are the leaders, coaches and craftsmen at the Songket Rawang Weaving House. Data collection techniques in the form of observation, interviews and documentation. Data analysis techniques by means of data collection, data reduction, data presentation, and drawing conclusions. The results showed that the Rawang songket weaving technique using ATBM can store motifs directly without having to make motifs continuously. The technique of storing motifs in ATBM uses a tool called a gun/karok motif. The motifs that have been made can be stored in the motif gun/karok so that the process of making further motifs does not need to be remade, because it is already stored in the motif karok. The process of storing this motif is first stored in the motif sungkit then the motif is temporarily stored in sticks, after all the motifs are formed, they are transferred to the motif karok to be stored. Keywords: songket rawang, weaving technique, ATBM. AbstrakPenelitian ini bertujuanuntuk mendeskripsikan bentuk alat tenun, fungsi alat tenun, dan teknik menenun dengan menggunakan alat tenun bukan mesin (ATBM) di Rumah Tenun Songket Rawang. Metode penelitian yang digunakan adalah deskriptif kualitatif. Jenis data berupa data primer dan sekunder. Informan penelitian ini adalah pimpinan, pembina dan pengrajin di Rumah Tenun Songket Rawang. Teknik pengumpulan data berupa observasi, wawancara dan dokumentasi. Teknik analisis data dengan cara pengumpulan data, reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian diketahui bahwa teknik menenun songket Rawang dengan menggunakan ATBM dapat menyimpan motif secara langsung tanpa harus membuat motif secara terus menerus. Teknik menyimpan motif pada ATBM menggunakan alat yang disebut dengan gun/karok motif. Motif yang sudah dibuat dapat disimpan pada gun/karok motif sehingga proses pembuatan motif selanjutnya tidak perlu lagi dibuat kembali, karena sudah tersimpan di karok motif. Proses penyimpanan motif ini terlebih dahulu disimpan di sungkit  motif kemudian motif tersebut di simpan sementara di lidi-lidi, setelah semua motif terbentuk baru di pindahkan ke karok motif  untuk disimpan.Kata Kunci:teknik menenun, songket rawang, ATBM.Authors:Atika Dwi Putri : Universitas Negeri PadangAgusti Efi : Universitas Negeri Padang References:Affendi, Y. (1980). Seni Tenun Silungkang dan Sekitarnya. Proyek Media Kebudayaan Jakarta. Jakarta: Direktorat Jenderal Kebudayaan, Departemen Pendidikan dan Kebudayaan.Bart, B., Utama, E., & AZwar, N. (2006). Revitalisasi Songket Lama Minangkabau. Padang: Studio Songket Erika Rianti.Hertis, Sefni. (2001). Studi Tentang Ktiya Songket Di Silungkang. Padang: Jurusan Seni Rupa Fakultas Bahasa Sastra dan Seni Universitas Negeri PadangJuistry, Febriyani. (2013). Kerajina Tenun Songket Minang Saiyo di Nagari Unggan Kabupaten Sijungjung. Padangpanjang: Jurusan Kriya FSRD ISI Padang Panjang.Lubis, S. K., Retnowati, T. H., & Syawalina, S. (2020). Predictive Power of Intellectual Ability Test Score on Students™ Fine Art Learning Outcomes. In 3rd International Conference on Arts and Arts Education (ICAAE 2019) (pp. 41-44). Atlantis Press.Riris, W. Widati. (2002). Perempuan Dalam Usaha Pertenunan Sulawesi Selatan. Jurnal Perempuan edisi, 22.Saputra, H. (2019). Seni dan Budaya Tenun Ikat Nusantara. Res. Gate, 1, 1-15.Yudoseputro, W. (1995). Desain Kerajinan Tekstil. Jakarta: Departemen Pendidikan dan Kebudayaan Direktorat Jenderal Pendidikan Dasar Menengah Direktorat Pendidikan Menengah Kejuruan.

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