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BERMAIN PERSEPSI DAN TANDA Adam Wahida
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.86

Playing with Perception and Sign. The art creation aims at making art works based on the spirit of playing with perception and sign, criticizing mass culture phenomena and giving new alternative in the creative process of making visual arts. The author uses the approach of lateral thinking method, brainstorming and playing in making the art work. The creating stages include exploration, improvisation and forming. The exploration is conducted to directly gather the information of mass culture in both printed or electronic media. The improvisation is made to ﬁnd out various possible ideas and concepts found in the exploration stage, while the forming stage is conducted to materialize the concept into theplanned art work. The spirit of playing in the creating process of the art work can bring mental enlightenment and joyful and pleasing atmosphere. The playing with perception and sign can help construct idea and open freedom space that results in variousalternative manifestations not bound by conventional and standard norms.Playing with perception and sign enables free selection of cultural signs in order to construct the perception building. The resulting work is two-dimension painting with realistic painting technique. The painting represents the perception of thephenomena and the sign of the mass culture, while its subject matter may be classiﬁ ed into some categories such as fashion trend phenomena, idol, communication technology, consumerism, and education as the symbol of prestige andappearance dominance. Keywords: playing, perception, sign, and mass culture

TARIAN CAHAYA DALAM FOTOGRAFI Dody Doerjanto
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.87

Light Dance in Photography. Light dance is a theme of creation that is based on the art of photography. The photographic technique is done directly on the stage. Therefore, the capture of the aesthetical moment is determined by intensive observation, time availability, and the perception of the photographer.The purpose is to explore and to present the unique and surprising visual aspect of the dancer’s body movement through photographic technique such as static camera, mobile camera, lenses manipulation and any possible kind of photographic technique.The methods are: (1) tangram and quantum approaches (2) trial and error and (3) observation and lateral thinking. The psychological aspect contributesin capturing a scene. Emotional feeling such as joy, happiness, and motivation mix with fear, depression, and worry. This, in fact, generates different passion.It seems that the event can cause the greater effect of the quantum leap. Thus all creation became more unique and interesting.The result of shows that the camera capture to ward the light reﬂ ection of the acting dancer can generate new image other than the image of the dancer.The new image can be alike the movement of water, wind, dust, dew, ﬁ re, stone, tree and abstract.Keywords : dance and lightI. PENDAHULUANA. Latar Belakang Penciptaa

FUNGSI ALAT MUSIK SULIM DALAM PESTA PERKAWINAN ADAT MASYARAKAT BATAK TOBA Eva Florida Simanjuntak
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.88

Sulim is bambo ﬂ ute of Batak Toba society, is one of many traditional music instrument of Batak Toba society. It must combine ceremony. This instruments be close to the Batak Toba people since Opera Batak ceremony by Tilhang OberlinGultom. After that, Batak Toba people always use the sulim on some of the traditional ceremony.There are three questions that need explanation thy are: (1) How is the chronology of traditional wedding ceremony of Batak society, (2) What is the function of sulim in the traditional mariage ceremony of Batak Toba society, and (3) Whythe Batak Toba people use the sulim in their traditional mariage, in this problem to be explain by multi diciplined approach. Resuld of this reseach aprove that traditional mariage ceremony performed closely by the people. Music ansambel with the sulim instruments after to accompanyitems of ceremony. Sulim as the main choise to accompany the ceremony because it has the register of note that longer than another instruments, for example hasapi, sarune etek, sarune bolon, and garantung; sulim has speciﬁc expression and style.Keyword: Sulim

VISUALISASI MITOS DEWI SRI DALAM SENI LUKIS Gigih Wiyono
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.89

The Myth of Devi Sri in Painting. Most Javanese, Balinese, Kalimantanese and people in other areas believe that Dewi Sri is the goddess of rice and fertility. Earth is the place where Dewi Sri’s soul lives and resides. No other goddess the farmers adore and love like Dewi Sri who is also Nyi Pohaci asthe farmers’ mother. Soil is often disturbed by the power that will facilitate her existence. In Java, the violence against the earth is told in Dewi Sri fairy tale. In many mythologies woman is described as the fertility symbol. Dewi Sri’s death is like Jesus’ death, her death enlivens. Dewi Sri’s death gives the farmers life-energy. Coconut tree emerges from her head, rice plant grows from her navel, sugar palm tree grows from her vagina and papaya tree grows from her breast. Mango tree grows from her hands and edible tuber and cassava grow from her feet.Visualization of Dewi Sri Myth in the art of painting is a concept of representing the myth of Dewi Sri . Based on the creative idea and perspective, the writer tries to treat, to transform the ﬁgure of Dewi Sri Myth in the current context. In this concept, Dewi Sri is represented through the painting using impasto,underpainting and rendering techniques. Here Dewi Sri is presented symbolically so that the visualization emerging can remain to be perceived as work representing its age.Visualization of Dewi Sri’s symbols is the manifestation of the author in two-dimensional work through canvas, wood, and oil paint media with pallet knife and brushes, and other mixed media material to give new motif and colour in the art world, particularly in the creation of painting.Keywords: Dewi Sri and myth

TAMANSARI MONGSO RENDHENG KARYA HENDRO MARTONO DAN BAGHAWAN CIPTONING KAJIAN KONSEP KOREOGRAFI LINGKUNGAN Lilin Candrawati Sukmaningsih
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.90

The research is aimed to determine, examine, and analyze an Architectural Choreography of Hendro Martono and Baghawan Ciptoning’s Tamansari Mongso Rendheng (TMR) presented on 1 and 2 March 2003 in Tamansari Keraton Yogyakarta. Conceptual Study on Choreography of TMR is a qualitative research conducted on November – June 2006. Data collecting techniques employed in the research were interview, observation, documentary study, and literaturestudy. Interview was conducted by directly asking questions to choreographers, artists, educational workers watching TMR, and the society around Tamansari.Observation was conducted by directly observing the TMR. Documentary study was regularly conducted through video record of TMR. Literature Study was conducted by reading documents relating TMR and literature on choreography. Results of the research show that: First, TMR choreography is an architectural choreography resulted by movement and sound exploration in a room of old building offering new discourse in efforts to ﬁ ll and to bring to life ancient architecture through cultural behavior. Choreographic concept of TMR was conducted by observing Tamansari and its environment through choreography not only as entertainment, but also choreography as multifunction not only a dance performance but also a learning model for history, architecture, tourism, culture, sociology, and modern transformation. Second, the creation process of TMR included: experiencing, comprehending, imagining, implementing, and giving forms. TMR is divided into eight presentations of each repertoire as follow: 1) Gapura Panggung: photographs exhibition, 2) Gedong Sekawan: keroncong music, Glass Srimpi, Flamenco, Waltz, ﬂ ash of past period, Dagelan Parikeno, 3) Umbul Binangun: Srimpen Lelumban, 4) Pasarean Ledhoksari:the servant’s (abdi) activities in well, Kamasutra, and Ngadi Sarira, 5) Gapura Agung: Isen-isene Jagad, 6) Kampung Taman: real life of the society, 7) Sumur Gumuling: Donga Joged, and 8) Urung-urung: self-contemplation of the onlookers after enjoying TMR.Keywords: Choreography, Architectural, Tamansari Environment, and Mangsa Rendheng

EMPAT LAFADZ DZIKIR DAN MASJID SEBAGAI IDE PENCIPTAAN KALIGRAFI DALAM SENI KRIYA KULIT Mr. Rubingun
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.91

Four Lafads Inspiring Features to Create Calligraphy in LeatherCraft. Dzikir is believed to be a medium of calling and remembering Allah by articulating particular words or sentences as they were taught by Rasulullah. Dzikir is not only an effective means to bring about feelings of peacefulness and tranquillity, but also an inspiring source to create leather craft product. The underlying aspect of dzikir messages reﬂ ected in the works of art is the spiritualpower of dzikir itself. It is expected that the messages may remind people to be always aware that they will always encounter some problems in life. The calligraphy presented as a work of art in the current project was created through a sequence of methods consisting of the exploration stage, design process, (alternative designs and selected one), and the production stage. The messages of dzikir were represented in the form of calligraphy with some modiﬁ cation in Arabic which was subsequently applied in the form of a mosque. The calligraphy of dzikir and the mosque were created as a two-dimensional work of arts using teak wood, chrome and brass. It reﬂ ects the greatness of Allah and the warmness of Baitullah. Through this creation, dzikir and mosque are manifested as a work of arts which is intended both to stir up the feeling of love to God and to maintain the harmonious relationship with human beings and other creatures in the world.Keywords : dzikir, mosque, and calligraphy

KOMPOSISI MUSIK BATU NISAN KARYA F.X. SUTOPO Ditinjau Dari Aspek Rasa, Referensi, Dan Bentuk Musik Mr. Suprijadi
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.93

Batu Nisan Music Composition by FX Sutopo: Studied Based on the Aspect of the Mood, the Reference, and the Music Form. Batu Nisan is a complete masterpiece music composition composed by FX Sutopo in the form of orchestra and choir. It was composed in the unity of music form (Duchkomponirent).The process composistion went on for a year from 1962 to 1963 in Yogyakarta.The composition describes about gravestone without identityfounded oudtside of resting place, and it was believed that the man burried under the gravestone was one of Indonesia independence heroes.The composition is worthy because of its creation concepts and historical background. To understand needs the Batu Nisan composition comprehensively, it needs to be studied by using qualitative method with the arstistic approach, and based on the three aspects of the Mood. the Reference, and the Music Form.Keywords: Batu Nisan, the Mood, the Reference, and the Music form.

ERIODISASI SENI UKIR KARYA I MADE SUTHEDJA I Wayan Sudana
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.94

Period of I Made Suthedja’s Craft Art. Suthedja’s style changes can be categorized into three main parts, which are: the ﬁ rst period (1960–1970), his styles were mainly togog-shaped three-dimensional ﬁ gures made of ebben wood.The second period (1971-1989), at this time the moment his style changed into two-dimensional classical-modern reliefs made of teak or sometimes exhibited in frames. The third period (1990–2004) his works are two-dimensional freereliefs using second-hand wood and are exhibited without any frames. Suthedja’s style changes is inﬂ uenced by several factors. These factors are crisis and material condition, his formal and non-formal education, ﬁ ne arts growth modern Bali, his person experience, cultural social environment, and motivation or personal ambitions, Keywords : changes, art works, and Artisan.

GROMPOL DAN SIDO ASIH SENSASI IMPIAN PERADUAN Ms. Widarwati
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.95

Grompol and Sido Asih Royal Bed Sensation. Batik is an art-work comes from native Indonesia culture that has high value. There are many philosophy values inside it, according to each motif ornaments and elements. The decreasingnumber of batik users has became a concern for the writer, so that an idea emerges from it to use batik as a source of inspiration in an art-work making.Sido Asih and Grompol are kinds of batik’s motif from a lot of motifs that have speciﬁ c philosophical meaning. “Grompol” means to gather around with “Sido Asih” means to be loved or love and affection have been combined nicely as the elements for royal bed in a bridal room which are implemented on somematerials such as: bed sheet, primisima (shantung) dacron and siphon cloth, beside the other elements like wooden carving and cendani bamboo that also have royal their own meanings. It was expected that the philosophy inside this artworkbecome the reﬂ ection of the bridal couple’s life in the future in wading across their life.From many processes that have been done, then it was produced an art work that has its own uniqueness, that is the combination between the modern and glamorous elements represented by tassels and curtains with traditional, superiorand supreme values on batik cloth. The basic of creation of this art-work uses textile craftsmanship, especially batik and quilting techniquesKeywords: batik, grompol, sido asih, and royal bed

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Contact Name
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Journal Mail Official
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Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA