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INDONESIA
Ekspresi: Indonesian Art Journal
Published by Institut Seni Indonesia Yogyakarta
ISSN : 14114305     EISSN : 29645921     DOI : https://doi.org/10.24821/ekp.v1i11
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences
EKSPRESI is a double-blind peer-reviewed international journal published twice a year in April and October. Ekspresi published by Institut Seni Indonesia Yogyakarta. This journal contains articles on research results, conceptual ideas, art creation, and community service activities in the fields of arts and humanities.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 74 Documents
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Jelajah Kreativitas Seni Menuju New Normal Nensi Listiowati
EKSPRESI Vol 11, No 1 (2022)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (714.207 KB) | DOI: 10.24821/ekp.v11i1.6994

Abstract

AbstrakHampir seluruh bidang kegiatan manusia, termasuk seni rupa, terdampak oleh wabah Covid-19. Berbagai alternatif cara dicoba untuk mempertahankan berjalannya industri di tengah situasi pandemi. Pameran fisik dan residensi seniman harus berubah bentuk menjadi pameran dan interaksi termediasi teknologi. Beragam platform digital kemudian hadir untuk menggantikan pameran secara fisik. Tulisan ini hendak membahas mengenai dampak pandemi Covid-19 terhadap para pelaku seni, serta bagaimana solusi yang dilakukan untuk menghadapi proses era New Normal. Tulisan ini mengeksplorasi beberapa pendekatan khususnya melalui media internet yang dapat dimanfaatkan  para seniman untuk tetap dapat berkarya. Eksplorasi berbagai alternatif upaya berkesenian serta kolaborasi dibutuhkan guna kepentingan bersama untuk membangkitkan kembali dinamika seni rupa dengan memanfaatkan berbagai kebaruan dan teknologi. Kata kunci: Seni Rupa, Era New Normal, Residensi, Pameran Rupa Fisik, Teknologi.  AbstractAlmost all fields of human activity, including fine arts, have been affected by the Covid-19 outbreak. Various alternative conducted to keep the industry running in the midst of a pandemic situation. Physical exhibitions and artist residencies must transform into technology-mediated art exhibitions and interactions. Various digital platforms then came to replace the physical art exhibition. This paper try to discuss the Covid-19 pandemic impacts and the alternative solutions to deal with the process of the New Normal era. This paper explores several approaches utilized by fine artists to continue their work, primarily through the internet media. Exploration of various artistic endeavors, as well as collaboration is needed for the common interest to revive the dynamics of art by utilizing various novelties and technologies. Keywords: Visual Arts, New Normal Era, Residency, Visual Arts Exhibition, Technology.
Memaknai Ungkapan Musik Melalui Dimensi Linguistik Lintang Pramudia Swara
EKSPRESI Vol 11, No 1 (2022)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (776.469 KB) | DOI: 10.24821/ekp.v11i1.6983

Abstract

Ungkapan musik kerap diasosiasikan dengan ungkapan yang diekspresikan oleh bahasa. Hal ini membuat musik memiliki koneksi yang kuat dengan dunia linguistik. Ungkapan yang diekspresikan antara musik dan bahasa memang berbeda akan tetapi sama-sama tertuju pada emosi manusia dan dimaknai secara intensional. Artikel ini akan menjabarkan mengenai bagaimana ungkapan musik dimaknai  lewat dimensi linguistik. Penelitian dilakukan dengan menggunakan metode kualitatif deskriptif yakni melalui metode studi literatur dan wawancara.  Melalui studi literatur disoroti empat hal yakni mood linguistik,  semantik, bahasa referensial, dan arousal theory. Keempat poin ini berperan dalam menentukan karakter linguistik dari musik. Wawancara dilakukan dengan menggali impresi yang dirasakan subjek terhadap salah satu karya musik yang ia sukai. Hasil wawancara menunjukkan adanya  koneksi yang kuat antara musik dan linguistik yang kunci utamanya dibangun dari bagaimana pengalaman subjek dalam menghayati musiknya. Penghayatan ini menjadi dasar dari terkonstruksinya makna yang spesifik atas karya musik yang subjek deskripsikan selama wawancara.Kata kunci: ungkapan musik, makna, linguistik, impresi, penghayatan The expressions given by music are often associated with expressions conveyed by language. This makes music has a strong connection with the field of linguistics. The expressions that are conveyed between music and language are different, but they are  lead to human emotions and are interpreted in an intentional way. This article is intended to describe how musical expressions are interpreted through the linguistic dimension. This research was conducted using a qualitative approach, namely through the method of literature study and interviews. Through the literature study, four things were highlighted, namely linguistic mood, semantic aspects, referential properties, and arousal theory. These four points play a role in determining the linguistic character of music. The interview was conducted by exploring the impressions felt by the subject on one of the musical works that he liked. The results of the interview show that there is a strong connection between music and linguistics whose main key is built on how the subject experiences the enjoyment through the music. This enjoyment is the basis for the construction of specific meanings for the musical works that the subject described during the interview.Keywords: music expressions, meaning, linguistic, impression 
Cendayam: Interpretasi Cengkok Ayu Kuning dalam Komposisi Karawitan Gangsar Yogi Armansyah; Anon Suneko; Setya Rahdiyatmi Kurnia Jatilinuar
EKSPRESI Vol 11, No 1 (2022)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1175.081 KB) | DOI: 10.24821/ekp.v7i1.7075

Abstract

AbstrakMusik karawitan Jawa mengenal istilah cengkok. Cengkok adalah abstrak yang tidak terdengar maupun terwujud sedangkan cengkok yang terwujud dinamakan wiled. Cengkok yang berasal dari nada vokal salah satunya adalah Ayu Kuning. Cengkok Ayu Kuning memiliki lagu yang menonjol seperti nada lagu tinggi kemudian ke rendah. Cengkok ini memiliki ciri khas tersendiri pada garap sindhen, gender, maupun rebab dibanding cengkok lain. Penelitian ini mengunakan metode Practice as Research through Performance (praktik sebagai penelitian melalui pertunjukan) yang terdiri dari pragarap (observasi, studi pustaka, analisis sumber terkait, wawancara, diskografi, konteks musikal), garap (instrumentasi musikal, tafsir garap, presentasi musikal), dan pascagarap. Karya ini juga menggunakan medium tradisi dan idiom baru. Penelitian ini bertujuan untuk  menafsirkan dan memaknai cengkok Ayu Kuning dalam karya komposisi karawitan. Karya komposisi “Cendayam” yang diciptakan merupakan karya komposisi karawitan yang mengambil subtansi dasar karawitan tradisi sebagai ide dasar dan konsep penciptaan karya. Karya ini menginterpretasikan dan mengembangkan cengkok Ayu Kuning sebagai tema penciptaan dan menggunakan pola garap kreasi baru dengan mengolah aspek harmoni dan unsur-unsur dalam musik seperti melodi, ritme, dan dinamika. Cengkok Ayu Kuning juga dilihat dari dua sudut pandang, yaitu dasar cengkok Ayu Kuning yang biasa digunakan dalam karawitan dan pemaknaan dari epistimologi kata Ayu Kuning. Kata kunci : cengkok, Ayu Kuning, wanita, pengembangan, pemaknaan, interpretasi AbstractJavanese karawitan music has cengkok term. Cengkok is an abstract that is neither heard nor manifested while the manifested one is called "wiled." Cengkok comes from a vocal tone, one of which is Ayu Kuning. Cengkok Ayu Kuning has a unique song with a high and then a low tune. This cengkok has its characteristics in working on sindhen, gender, and fiddle compared to other cengkok. This study uses the Practice as Research through Performance method which consists of pragarap (observation, literature study, analysis of related sources, interviews, discography, musical context), garap (musical instrumentation, interpretation of garap, musical presentation), and pascagarap. This work also uses the medium of tradition and new idioms. This study aims to interpret and interpret the cengkok Ayu Kuning in musical composition works. The compositional work "Cendayam" is a musical composition work that takes the basic substance of traditional music as the basic idea and concept of creating the work. This work interprets and develops the Ayu Kuning cengkok as the theme of creation and uses a new creation work pattern by processing aspects of harmony and elements in music such as melody, rhythm, and dynamics. Cengkok Ayu Kuning is also seen from two points of view, namely the basis of the Cengkok Ayu Kuning which is commonly used in karawitan, and the meaning of the epistemology of the word Ayu Kuning. Keywords : cengkok, Ayu Kuning, women, develompment, meaning, interpretation
I Wayan Geria: Penari, Pencipta, dan Guru Seni Pertunjukan Bali Ayu Ketut Putri Rahayuning
EKSPRESI Vol 10, No 1 (2010)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v10i1.7848

Abstract

I Wayan Geria: Dancer, Composer, and Balinese Performing Art Teacher. This study aims at comprehending I Wayan Geria’s important role and existence as a Balinese performing artist. The result of this research indicates that I Wayan Geria is an eminent dancer, a strong dance creator, and a highly respected dance teacher. As a dancer, Geria is a model for an artist with high dedication to his art, with an endless effort to improve his artistic skill. As a dance creator, Geria always dedicates his new works to his village and community. As a dance teacher, Geria always teaches his student with high discipline and provides them with the best training.Keywords: Balinese dancer, dance creator, performing arts.
Makna Simbolik Upacara Wulla Poddu dalam Masyarakat Loli Sumba Barat Nusa Tenggara Timur Flora Ceunfin
EKSPRESI Vol 10, No 1 (2010)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v10i1.7853

Abstract

The Symbolic Meaning of the Wulla Paddu Ceremony. The research on the Wulla Paddu ceremony of the Loli community in West Sumba, East Nusa Tenggara province, intends to find out the symbolic meaning expressed in local traditional music called talla. The ceremony represents ritual activity during the Holy month of Loli New Year observed once a year according to the cultural calendar of the local community who believed in the supreme being of Marapu. The aim of the ceremony is to show respect and to express gratitude and requests to Ama wolu-Ama rawi (The Creator) through the intercession of Marapu. Wulla Paddu ceremonial event is organized in several phases which are always accompanied by talla music. The performance of talla music represents a symbolic meaning in terms of worshipping the supreme being of Marapu. The performance of talla music has been compulsory as an important part of the annually observed Wulla Paddu where the rhythm of the music reflects the symbolic meaning of the ceremony. The outcome of this research has shown that the performance of talla music in Wulla Paddu ceremony has played an important role in revealing the meanings of religious, social, and cultural symbols. The music is worthy to be preserved in accordance with its local cultural values, as well as an intangible heritage of West Sumba people, that hopefully will remain observed by the Loli community for many generations to come.  Keywords: Talla, Marapu, Loli community
Menimbang Definisi Seni dalam Estetika Deni Junaedi
EKSPRESI Vol 10, No 1 (2010)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v10i1.7849

Abstract

Rethinking Art Definition in Aesthetic Field. In the aesthetic definition of art, an object is an art, and only if it is produced with the intention that it possessed a capacity of affording aesthetic experience. Aesthetic experience refers to some mental states that a spectator brings to or undergoes in responding to artworks. Two major accounts of aesthetic experience are the affect-oriented accounts. The affect-oriented accounts are marked by disinterestedness, empathy, and contemplation. The content-oriented accounts can be sorted under three broad headings: unity, diversity, and intensity. If the aesthetics definition of art can be examined for all artworks, the definition is correct; otherwise, if the aesthetics definition of art cannot be examined for all artwork, the definition is incorrect. Keywords: aesthetic experience; art definition
Kritik terhadap Pendekatan Psikologi Meyer dalam Analisis Musik Andre Indrawan
EKSPRESI Vol 10, No 1 (2010)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v10i1.7854

Abstract

Criticism toward Meyer’s Psychological Approach in Music Analysis. This paper discusses a psychological approach to music analysis introduced by Leonard Meyer that has been criticized by Nicolas Cook (1987). Meyer’s rhythmical and linear analysis which focused on the foreground expectation is less practical in observing large-scale musical structure. In terms of its benefit to advancing musical performance interpretation, the strength and weakness of the approach have been compared to the Shenkerian method which gives more attention to the harmonic reduction that focused on the harmonic background. Although the critic concentrates on technical analysis only, Meyer’s analysis would be valuable to the Shenkerian side if they also take into account his concept of musical style which is mostly regarded as the area of aesthetic rather than technical analysis.  Keywords: Critic, psychological of music, music analysis
Gejolak dalam Harmoni Mujiyono Mujiyono
EKSPRESI Vol 10, No 1 (2010)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v10i1.7850

Abstract

Harmony in Frightening Natural Phenomenon. The main creation source is the aesthetic impressions of clouds and waves which implicitly express frightening, fearful, and scary passion. The objects of the creations are expressed in painting arts which tend to be expressionistic and abstract in style. The supporting sources of the creations are some paintings of Franz Kline, Willem de Kooning, Joan Mitchell, Anselm Kiefer, Piet Mondrian, and Ibrahim. The originality is emphasized in individual emotional expression. The methods of the creations begin with the exploration of ideas, improvisations, and creations which become one activity. The transformation of ideas into art products creates a subject matter which contains biomorphic forms from expressive brushing that is based on intuition and spontaneousness. The differences in the width of the brush, the stress of brushing, the level of painting thickness, and the color have become the supporting techniques. The results of the creation are the painting art products containing line configurations, organic forms, and coloring with the wild, free, uncontrolled, and ‘mleber’ effects. Keywords: Expressionistic abstract, art harmony, painting.
Kajian Semiotika pada Road Sing Restoran Taman Pringsewu Yogyakarta Dyah Nurhayati
EKSPRESI Vol 10, No 1 (2010)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v10i1.7855

Abstract

The Semiotics of Road Sign in Taman Pringsewu Restaurant. This study aims at revealing the meaning of road signs as the elements of the sign system of the Pringsewu restaurant in Yogyakarta. The samples that are taken based on the message (its competitive advantage) include the ‘free formalin’ sign, the ‘alert chicken carcass’ sign, the ‘free hotspots’ sign, and the ‘playback’ sign. The four signs are important because they involve public interest issues and trends that represent the whole road signs. This study operates a qualitative method with a semiotic theory-based explanation. The data gathered are analyzed in a qualitative-interpretative way. It relates to the principles of visual communication design. The result of this study confirms that road signs carry the public needs issues and modern lifestyles. Keywords: Pringsewu, road signs, meaning signs
Postmodernisme: Sebuah Dekonstruksi dan Kritik dalam Seni Miftahul Munir
EKSPRESI Vol 10, No 1 (2010)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v10i1.7851

Abstract

Postmodernism: A Reconstruction and Criticism of Art. There is no truth that is admitted to be absolute truth or forever truth because everything that correlates to a human being is dynamic. ‘Freedom in art creation’ is needed to guarantee the maximum quality of art making process. When art creation is subject to the power of value or its ethical criteria, it is ‘a veiled oppression process’. In such practices, art is not created for the art itself. What happens there is humanizing the art, moralizing the art, and controlling the art. The characteristic of art is its capacity to free itself from substantive matters. In contemplation, the soul leaves the physical materials and becomes one in the idea of form so that the contemplator experiences exquisiteness or unexquisiteness. This experience is then expressed as a work of art. It is important to be comprehended that each element and each entity may function as an active component in completing human existence in the realm of artistic activities. Keywords: Art critics, human existence, art deconstruction.

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