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Bayu koen Anggoro
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INDONESIA
Jurnal bahasa, sastra, seni, dan pengajarannya
Published by Universitas Negeri Malang
ISSN : 08548277     EISSN : 25500635     DOI : https://doi.org/10.17977/2550-0635
Core Subject : Science, Education, Art,
Arts Education Languange, Linguistic, Communication & Media Library & Information Science Other
The Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya is an international, peer-reviewed, open-access journal that reports on all aspects language, literature, arts, and their relation to teaching, the aim of this journal is to highlight research and development leading to an advancement in the field of language, literature, arts, and teaching methods. It publishes scientific articles on language, literature, and art, as well as their relation to teaching, including empirical and theoretical studies, original research, case studies, research or book reviews, and innovation in teaching and learning with various perspectives. Specific topics covered in the journal include: Art and Design Education Music Education Bilingual, Multilingual, and Multicultural Education Educational Assessment, Evaluation, and Research Educational Methods Educational Technology Higher Education Language and Literacy Education Online and Distance Education Special Education and Teaching Teacher Education and Professional Development
Arjuna Subject : Seni dan Humaniora - Bahasa dan Linguistik
Articles 354 Documents
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A Visual Analysis of the Color Variety in Pekalongan Hand-drawn Batik from 1910 to 2015 Lucius, Christophera Ratnasari; Ramadhan, Yanuar; Fuad, Ahmad
Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya
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Abstract

UNESCO has recognized Indonesian Batik's variety of designs and colors as an intangible cultural asset. Pekalongan batik, which is categorized as batik pesisir and is distinguished by its varied and expressive color combination, is one prominent example. Cultural acculturation influenced by China, Japan, India, and the Netherlands has created its visual identity. In order to create a culture-based color reference, this study will map the color variations of sixty hand-drawn Pekalongan batik pieces created between 1910 and 2015. Contemporary batik from current workshops and museum collections are among the research subjects. Digital photography was used for visual documentation, and Adobe Photoshop's color sampling techniques were used for analysis. The findings show that each piece of hand-drawn Pekalongan batik has an average of eight colors, with a total of three to ten colors. According to these results, hand-drawn Pekalongan batik has a consistent and varied color character that might be developed into a regional cultural color palette in the field of Visual Communication Design.
An Initial Formulation of a Tactile-Based Art Creation Method from a Low-Vision Artist's Relief Painting Practice at <i>Yayasan Teratai Bali</i> Putra, Ida Bagus Komang Sindu; Adnyana, I Wayan; Karja, I Wayan; Sujana, I Wayan
Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya
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This article examines the relief painting practice of one low-vision artist at Yayasan Teratai Bali as the basis for an initial formulation of a tactile-oriented visual art creation method. It addresses a methodological gap in inclusive art education and disability art studies, where blind and low-vision individuals are often discussed as learners, participants, or audiences, while their own procedures for making artworks receive less attention. Using an instrumental case study with a descriptive-interpretive orientation, data were collected through repeated observation, informal conversational interviews, artwork and process documentation, close observation of textural details, and contextual workshop documentation. Recurring actions and statements were reviewed, grouped into categories of work sequence, material use, assistance, evaluation, and tactile encounter, and translated into methodological components. The study proposes the Taktil-Raba Cipta Method as a preliminary and contextual framework, not as a broadly validated model for all blind and low-vision artists. The formulation consists of five core creation stages: concept formation from memory and experience, tactile-guided form planning, relief construction and material layering, assisted color access, and haptic evaluation and revision. Shared tactile encounter is positioned as an accessibility and appreciation orientation, not as a core production stage. The findings show that touch functions as a basis for artistic decision-making, the artist's authority remains central, and assistance should support access rather than direct the artwork. The article contributes a practice-derived framework for inclusive visual art education while emphasizing the need for further testing, adaptation, and participatory validation.
Visual Aesthetic Structure in East Java Temple Reliefs: A Study of Line, Plane, Proportion, and Rhythm Wardaya, Marina
Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya
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Abstract

The temple reliefs of East Java constitute one of the main categories of the material tradition that reflects not only the aesthetic taste of Javanese culture, but also its spiritual viewpoint and the socio-cultural milieu that characterized early Javanese society. In addition to being abstract visual texts, these reliefs also embody and represent cultural identity and values. The proposed research will analyze the visual structure of temple reliefs using a visual language (Bahasa Rupa) approach and visual design theory by examining the four principal visual components (line, plane, proportion, and visual rhythm) that together form the formal structure of these reliefs, each of which carries some degree of associative meaning. The method of the proposed research is qualitative-descriptive and will involve analyzing the reliefs of two significant temples, Candi Jago (Singhasari period) and Candi Penataran (Majapahit period), using direct field observation, photographic documentation and literary sources. The four visual components will each have implications for representing hierarchy, narrative sequencing and spiritual meaning. The way in which the proposed research envisions scenarios of stories using a variety of strategies demonstrates the complexity of the aesthetically embedded cultural system rather than the Western conceptualization of art. This research is expected to significantly enhance the current understanding of Nusantara aesthetics as well as facilitate the re-evaluation of the traditional visual cultural heritage from both a formal and contextual standpoint.
Theatre Practice as a Restorative Medium for Collective Memory in the Collaborative Performance ``Install <i>Ulang</i>: <i>Surawana Lewat Jalan Memutar</i>'' Amanullah, Rifqi Haekal; Novianto, Wahyu
Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya
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Abstract

This study examines the socio-cultural estrangement between members of the Canggu Village community and the reliefs and spatial environment of Surawana Temple. It explores how theatrical practice can serve as a performative medium for reactivating and reinterpreting collective memory associated with a historical site embedded in everyday life. Focusing on the collaborative performance Install Ulang: Surawana Lewat Jalan Memutar, the study employs artistic research with a practice-based approach, with the lead author acting as director and artistic facilitator. Data were collected through interviews, observation, literature review, workshops, artistic exploration, and post-performance reflection involving temple caretakers, farmers, archaeologists, and local youth. Drawing on Maurice Halbwachs's theory of collective memory and Richard Schechner's concept of restored behavior, the study analyzes the transformation of local rituals, water-related practices, stone maintenance, njedul, and interpretations of temple reliefs.

Page 36 of 36 | Total Record : 354

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