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INDONESIA
SURYA SENI
Published by Institut Seni Indonesia Yogyakarta
ISSN : -     EISSN : -     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
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Articles 6 Documents
 1 
Search results for , issue "Vol 5, No 1: Februari 2009" : 6 Documents clear
DUR ARI KAPIJI (HARI TERPILIH YANG PENUH KEMURKAAN) Edi Suisno
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.98

Abstract

Dur Ari Kapiji (The Elected Angrily Day. Play of “Dur Ari Kapiji”(DAK) forms a play that has as a starting point of an investigation history of Jayakatwang’s rebellion which is related with a confl ict of “Monsserat”  created by Emanuel Robles. This investigation compares heroism between  Jayakatwang’sand Simon Bolivar’s. Eventually, both of the characters inspire the play of DAK apparently with theme and confl ict which are the same more or less but with new invention characters.In addition to be inspirited that matters, the play of DAK is also formed in tragedy. The tragedy forms a play about human sufferings in order to realize their desires or to face their reality fate. While the play of DAK is a tragedy which experiences the top of esthetic achievement in the past, but the tragedy inthe play of DAK is also appeared in critical spirit to face nowadays problems.Afterwards the play of DAK will be formed into a realism staging through representation approach. The realization of the elected representation approach is guided by confl ict combination from ‘authentic’ DAK manuscript which is the source of directing creativity. Besides that, addition and modifi cation of themanuscript occur as an effort in ‘sharpening’ the play dynamics. Hence, the forms in ‘radically’ adapting and processing of the manuscript are not become a part of modifi cation concept at all. The approach or representation form occurs through represents a visual form as the ‘selected’ realism which is guided by outwardly of ‘impression’ and not only displace the reality on the stage.Keywords: Jayakatwang, Monsserat, and Representation
GITA ARDAYA Agoeng Prasetyo
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.97

Abstract

A creation of art is infl uenced by the artist life experiences. The more experience he has the more skillful he is. A composer is also infl uenced by his/her background and the way he or she interprets phenomena around him/her. The idea can be form his or her imaginative experience, observation, exploration ofsocial life, religious matter, culture, tradition and nature. The composition of Gita Ardaya  is a music composition containing basic values based on sense of honesty to life that brings them to prosperity.This composition consists of fiveparts namely: (1) Byar, means morning; (2) Pamitan,meansask for leaving, farewell; (3) Taberi, means diligent or work hard; (4)Titiyoni,means midnight; (5) Loka, means the universe. The process of making this music involves a lot of instruments both westernand eastern musical instruments. The composition does not state a tone or note, and the core sound of the music is arranged and creates new image.Keywords: meaning, expression, honesty, and sounds.
KETELANJANGAN DALAM SENI LUKIS INDONESIA: PERSPEKTIF KRITIK SENI RUPA I Wayan ‘Kun’ Adnyana
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.99

Abstract

Nudity in the Indonesia Painting: Perspective of  Art Critics. Nude painting (art) is not something new in Indonesia. Many archaeological remains show how nudity, from its most sacred to its mundane forms, has existed in many cultures of this Nusantara archipelago.Although not all of the painters’ (artist’s) current creativity is infl uenced by the custom of this ancient mystic culture, it can be said, however, that the creative heritage of these people of Nusantara who expressed nudity as a language of symbolicand religion languages: lingam-yoni for example, has had an infl uence on these artists especially on the Balinese painters (artists).The creative principle, which obviously of a bigger infl uence has been the tradition of nude painting as part of the teaching process of academic arts, which initially intended to strengthen the skill in anatomic rendition but later developed into a subject of visual art that challenge the artists’ independent creativity. Indeed, several Indonesian artists explore nudity very intensely as their language of expression. And several visual phenomena inherent in their works become widely recognized as artistic and conceptual achievements and receive awards from the global art community. It’s true that works with nudity as their subjects do not receive immediate acceptance from the publik. Some actually  experience confl ict and even rejection; conflict which arises from the lack of agreement over the standard valuethat an art work has to be read solely from an artistic parameter.Reading the existing confl ict on the one hand, and refl ecting upon the enormous appreciation on the other, especially the recognition of concepts behind those works with subject of nudity, makes the research on Nudity in the Indonesian Paintings evermore urgent. Keywords: Indonesian Nude Painting and Eroticism
BATIK “DJAWA HOKOKAI” SEBUAH FENOMENA TENTANG BATIK DI MASA PENDUDUKAN JEPANG DI PEKALONGAN Muh. Arif Jati Purnomo
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.100

Abstract

Batik ”Djawa Hokokai”: a Study of Batik During The Japanese Occupation in Pekalongan. Pekalongan as one of the coastal regions in Java has a strong historical root in batik paintings. The motives of the Pekalongan batik have many diferrent characteristics which differs from other batik regions that is strecthed across the northern coast of, such as Cirebon, Indramayu, Garut, and Lasem. One example of the Pekalongan Batik is the ”Djawa Hokokai” Batik, wich appeared and was developed during the Japanese occupation in 19421945.The objectives of this study are, fi rst, to identify the factors which caused the emergence of the ”Djawa Hokokai” Batik, with the socio-cultural contexs which supported the development of such batik in Pekalongan. Second, to  recognized the reasons of the selection of color this was considered unsuitable for the vaguesituations and conditions at that time. Third, to acknowledge that the Japanese cultures, the coastal batik painting styles, and the royal batik painting styles have infl uenced the motives and decorations which are used  in the making of ”DjawaHokokai”  Batik. The main course of study used in third reasearch was the social studies which appeared in the emergence of the ”Djawa Hokokai” Batik, and using the multidisciplinary approach.The emergence and the development of the ”Djawa Hokokai” Batik were supported by some factors. i.e the socio-cultural institutions, the  supporting societies, the batik painters, the business owners, and the brokers. In its development, the existence of the ”Djawa Hokokai” Batik is not only used as acloth for  covering the lower parts of the body (tapih) but also as an  atribute for certain habitus.The phenomenon which appeared in the ”Djawa Hokokai” Batik was basically some kinds of propagandas made  by the Japanese colonial  government to gain supports from people of Pekalongan. The term ”Djawa Hokokai” was probably one of Japanese government strategic propaganda to socialize one oftheir organizations, the ”Djawa Hokokai”.Keywords: batik Pekalongan, Djawa Hokokai, and propaganda
MENCARI TELUR GARUDA Video Fitur Multi Kanal Nanang R. Hidayat
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.101

Abstract

Looking for the Egg of Garuda: Multi Channel Video Feature. Republic of Indonesia proclaimed its independence on 17th August 1945. As an inde-pendent nation, the people of Indonesia considered the “Garuda Pancasila” – asymbolic eagle like bird standing for the state ideology named Pancasila - as theoffi cial symbol of  the country.Ironically the history of that country symbol has never been noticed in thestate history. This is the question: why has such an important history never beendocumented by Indonesian historians? Whereas, the greatness of nations couldbe measured by how they could appreciate their history. Whilst, now more andmore, the meaning of Pancasila as the state principle is fading away, or manypeople begin forgetting its signifi cance.‘Looking for the egg of Garuda’ is an expression to metaphorise an effortto fi nd out where did our country symbol come from. Who were the people involvedin the designing process of Garuda as the state symbol.This video being displayed in a documentary feature format,  tries to relivethat very moment  in shape of “Wayang Suluk”, showed in multi-canal way asa new alternative to learn the history, in hope that this presentation can increasethe pride of , as well as affection to our motherland.Keywords: Garuda Pancasila, Important Historical, and Wayang Suluk
EKSPRESI TOPENG Ms. Parjiyah
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.102

Abstract

Expression of Mask. Mask Art represent is one of the cultural heritage result of Indonesian nation there is since long time and continued till now. Mask art have the symbolic value of characterization human being as according to teaching moral-etic. Symbolic value look at concept of face forming from mask with the colour cloth. Visual aesthetic method formulation from meaningful mask art of characterization symbolism is played by every fi gure.  Mask very interesting to made the source of inspiration of textile creation. Starting frombackground and idea which explained above, writer aim to to create the artistic textile in the form of valuable mask of decorative, unique, artistic, and ethnic. Base on text above, writer want to create textile creation two and three dimensional from the source of idea form the mask that made by assorted of mask expression. Process the making of this creation through three step and that are exploration that have source from idea of scheme and materialization through the creative new planning of inovatif creation The substance is used are the some kind media, hutch, agel, glass, brass, wood, shell of coconut withmacrame technique. In materialization more emphasizing of personal expression without leaving meaning and message which implied in the source of creation idea. The realization of art creations is not only concerning of visual beauty butalso meaning and fi ll the masterpiece.Through the process from the creation idea or accomodating the writer’s desire in creating the art creation. This creation is expected can be the one effort to preserve in society. Folk art must be interpreted by a alertness to prevent of thestabilization of tradition development suitable to demand from new culture.Keywords : expression, mask, and makrame.

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