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Journal of Urban Society´s Arts
Published by Institut Seni Indonesia Yogyakarta
ISSN : 23552131     EISSN : 2355214X     DOI : -
Core Subject : Humanities, Art, Social,
Arts Humanities Social Sciences
Journal of Urban Society's Art ( Junal Seni masyarakat Urban) memuat hasil-hasil penelitian dan penciptaan seni yang tumbuh dan berkembang di masyarakat perkotaan yang memiliki struktur dan kultur yang berbeda dengan masyarakat pedesaan. Seni masyarakat urban merupakan manifestasi seni yang dihadirkan melalui media-media seni rupa, seni pertunjukan, dan seni media rekam yang erat dengan problematika kehidupan yang terjadi dalam keseharian masyarakat, serta bisa menjadi simbol yang menarik dan menjadi elemenpenting yang menjadi ciri khas dari (1) pusat kota, (2) kawasan pinggiran kota, (3) kawasan permukiman, (4) sepanjang jalur yang menghubungkan antar lingkungan, (5) elemen yang membatasi dua kawasan yang berbeda, seperti jalan, sungai, jalan tol, dan gunung, (6) kawasan simpul atau strategis tempat bertemunya berbabgai aktivitas, seperti stasiun, jembatan, pasar, taman, dan ruang publik lain.
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Articles 6 Documents
 1 
Search results for , issue "Vol 4, No 2 (2017): October 2017" : 6 Documents clear
Komodifikasi Agama Pada Media Sinema Sebagai Strategi Jualan Industri Perfilman Indonesia Dwi Haryanto
Journal of Urban Society's Arts Vol 4, No 2 (2017): October 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v4i2.2161

Abstract

Penelitian ini bertujuan untuk membuktikan adanya relevansi secara tekstualitas antara konten agama sebagai isu atau tematik komoditas dengan konten film biopik yang menjadi obyek material maupun untuk mengetahui dan mengungkapkan relevansi teks-teks berbasis konsepsi teks agama dalam film biopik sebagai bagian dari tipe-tipe komodifikasi agama di tren genre film Indonesia. Melalui film Sang Pencerah, bagaimana konsepsi agama yang dikembangkan oleh KH Ahmad Dahlan keluar dari konsepsi Islam puritan dalam menjalankan Dakwah Islamiyah. Pembaharuan yang dilakukan oleh KH Ahmad Dahlan melalui dekonstruksi terhadap konsepsi puritanisime terlihat dari teks-teks film yang menghadirkan KH Ahmad Dahlan mengkoreksi posisi sholat secara radikal kearah 14 derajat, dakwah melalui musik biola, menggunakan baju dengan model masyarakat eropa, berjualan batik dan melarang sesajen. Bahkan konsekuensinya, KH Ahmad Dahlan dimusuhi oleh sesama kiai atau ulama dan mushola yang didirikannya sempat dibakar. Konten cerita yang bersinggungan dengan sejarah KH Ahmad Dahlan dan keyakinanya dengan konsepsi agama dan identitas menjadi teks-teks konten yang menarik menjadi komoditas film. Sejarah KH Ahmad Dahlan dengan konsepsi perjuangan agamanya dikomodifikasi oleh para sineas, baik sutradara, penulis naskah, maupun produser, menjadi barang tontonan yang kemudian dijual kepada penonton. Aspek ekonomi menjadi lebih utama dibandingkan dengan alasan-alasan ideologi agama. Konten-konten ini menarik dari sisi cerita sebuah film. Karena film adalah industri hiburan yang menarik penonton, maka konten film juga sangat menentukan. Konsepsi agama kembali menjadi basis praktik komodifikasi. This study aims to prove the textual relevance between religious content as an issue or thematic commodity with biopic film content that becomes material object or to know and express the relevance of texts based on the conception of religious texts in biopic film as part of the types of religious commodification in trend of Indonesian film genre. Through a film entitled Sang Pencerah, how the religion conception developed by KH Ahmad Dahlan by way out of puritan Islamic conception in conductthe islamic values. KH Ahmad Dahlan renewed through the deconstruction of puritanism conception seen in the text of the film that presents KH Ahmad Dahlan which corrects the position of prayers radically to 14 degrees, dakwah through violin music, using clothes with european models, selling batik and banning offerings.As a consequence, KH Ahmad Dahlan was enraged by his fellow Islamic religious leaders and the mosque he founded was burned. The contents of the story that intersect with the history of KH Ahmad Dahlan and his beliefs with the conception of religion and identity become an interesting text to be used as filmcommodity. The history of KH Ahmad Dahlan with the conception of his religious struggle commodified by the filmmakers, both directors, writers, and producers, a spectacle that is then sold to the audience. The economic aspect becomes more important than the reasons for religious ideology. These contents are interesting from the side of the moviestory, because the movie is an entertainment industry that attracts viewers, then the movie content is also very decisive. Religion conception is again the basis of commodification practice.
Drawing Maps for Research in Creative Writing through A/r/tography Chrysogonus Siddha Malilang
Journal of Urban Society's Arts Vol 4, No 2 (2017): October 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v4i2.2158

Abstract

The return of Creative Writing to the academia was intended as an answer to rigid approaches employed in the nineteenth century’s teaching of English Literature. This comeback has since brought back a new perspective in seeing body of literature as a living body but at the same time also introduced clash between dominating research paradigm in the academia. The writers who were hired to teach creative writing tended to prioritise their creative practice, while the general consensus in academia called for more theoretical-oriented research. In order to compromise, the practice-based research method was born.  Despite various justifications that creative process is the same as research inquiry, the heavier emphasis on creative works in this method still invites criticism, such as the lack of research rigour (Biggs & Büchler, 2007). New framework to balance and bridge practice and research rigour is thus needed – especially one that can accommodate the non-linear thinking trajectories in creative practices. Due to the possible non-linearity, the new research platform should not follow the reigning ‘arborescent scheme’ in the academic research tradition, but incorporate the concept of Deleuzian rhizome.  A/r/tography – developed based on the premise of art and art creation as a rhizomatic process / activity – is proposed as one of the potential practices for creative writing research. The non-linear view of a/r/tography towards arts practices suggests a rhizomatic role in the mapping of creative writing process. As it addresses and accommodates multiplicities, a/r/tography also facilitates non-native English speakers to conduct and map his journey in art creation and research inquiry. Author’s project of writing a collection of bilingual poems based on classical Javanese song cycle – Sekar Macapat – is presented to illustrate the claim.   
Tiga Gaya Tari Rantak Kudo Berpotensi Sebagai Sajian Pariwisata Di Kawasan Mandeh Dan Sekitarnya Nerosti - Adnan
Journal of Urban Society's Arts Vol 4, No 2 (2017): October 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v4i2.2162

Abstract

  This article is part of the research (2017) to analyze the style of Pesisir Selatan dance in textual and contextual. The study focuses on the style of dance Rantak Kudo from Nagari Painan Timur, Laban, and Bayang. Textual analysis includes (a) Attitude of the body; (b) Transition type of motion; (c) the dimensions of motion; (d) Active moving parts of the body; And (e) Action and effort. Contextual analysis includes the geographical areas of dance, customs, and community life structures. Descriptive evaluative method by comparing the three areas of dance development, namely Rantak Kudo dance of Talaok (Bayang), Rantak Kudo dance of Painan Timur, and Rantak Kudo dance of Laban. The discovery found that Rantak Kudo dance of Talaok  there is a tendency to make a humble movement to the earth, jerking feet rigidly to the ground closely related to the livelihood of the dominant community farming both fields and fields. Rantak Kudo dance of Painan Timur is more varied with patterned motion arrangement leads to artistic, expressing patterns of life and ways of thinking of a developing society. Rantak Kudo dance of Laban, with its close influence of the dance development area of the coast as well as the friendly and intimate style and attitudes of the people, is highly visible in the flexible or non-rigid motion style.
Fungsi Dan Upaya Pelestarian Tradisi Sorong Serah Aji Krama Di Desa Penujak Kabupaten Lombok Tengah Baiq Widya Rahmasari; Robby Hidajat
Journal of Urban Society's Arts Vol 4, No 2 (2017): October 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v4i2.2160

Abstract

Tradisi Sorong Serah Aji Krama adalah peristiwa adat pada penyelenggarakan pernikahan dikalangan masyarakat bangsawan Sasak di Lombok Tengah, akan tetapi tradisi itu telah menjadi pedoman umum pernikahan pada masyarakat suku Sasak. Dewasa ini tradisi Sorong Serah Aji Krama mengalami kemunduran karena perkembangan gaya hidup, sehingga masyarakat tidak mampu mendapatkan referensi yang cukup untuk melaksanakannya. Memperhatikan melemahnya pemahaman masyarakat Sasak terhadap tradisi Sorong Serah Aji Krama itu digunakan sebagai pokok permasalahan, yaitu (1) bagaimana fungsi tradisi Sorong Serah Aji Krama, (2) apa upaya yang dilakukan oleh masyarakat suku Sasak untuk mempertahankan tradisi Sorong Serah Aji Krama. Penelitian ini menggunakan kualitatif dengan metode fungsional. Narasumber kunci penelitian ini pemangku adat dan pemuka masyarakat kalangan bangsawan Sasak. Hasil penelitian ini (A) Fungsi tradisi Sorong Serah Aji Krama meliputi (1) Religi dan (2) sosial, dan (B) upaya pelesatrian Sorong Serah Aji Krama meliputi (1) membangun organisasi pelaksana tradisi Sorong Serah Aji  Krama, (2) pembinaan dan pelatihan pelaksanaan tradisi Sorong Serah Aji Krama pada generasi muda, (3) memasukan tradisi Sorong Serah Aji krama sebagai muatan lokal pelajaran sekolah, dan (4) ditampilkan sebagai atraksi pariwisata.
Penciptaan Teater “Jaka Kembang Kuning” Wahid Nurcahyono
Journal of Urban Society's Arts Vol 4, No 2 (2017): October 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v4i2.2164

Abstract

Kesenian Wayang Beber yang terdapat di desa Kedompol, kecamatan Donorojo, kabupaten Pacitan Jawa Timur kurang mendapat sentuhan artistik, sehingga tidak mempunyai kepekaan terhadap konteks zamannya. Kondisi tersebut menjadikan masyarakat Pacitan khususnya, tidak mampu menikmati pertunjukan tersebut secara intens. Selain konteks dan selera yang berubah, pola kerjasama masyarakat juga bergeser dari semangat kebersamaan di pedesaan berubah menjadi pola kerja yang individualis seperti perkotaan. Hal tersebut menjadi salah satu penghalang bagi kesenian ini untuk berkembang sebab hanya dipertunjukkan dalam acara-acara ritual tertentu misalnya bersih desa atau selamatan saja.Untuk itu terobosan perlu dilakukan diantaranya adalah dengan menjemput penonton di ruang publik untuk menyaksikan pertunjukan tradisional ini. Selain itu perlu ada usaha-usaha tertentu untuk memperkenalkan kesenian ini agar tetap mengikuti konteks zamannya. Meskipun berlatarbelakang cerita masa lalu, namun harus mampu diterima oleh masyarakat sebagai bagian mereka sesuai zamannya dengan mengambil beberapa idiom serta peristiwa kekinian.Penciptaan teater Jaka Kembang Kuning adalah usaha untuk mengangkat kembali sebuah ide cerita yang semula disajikan dengan bertutur secara tradisional dalam bentuk pergelaran Wayang Beber yang memiliki berapa kelemahan terutama jika dilihat dari dinamika pertunjukannya yang lemah. Hal tersebut menjadikan kesenian ini tidak bisa menopang kehidupan kebutuhan hidup masyarakat pendukungnya dari sisi ekonomi maupun sosial. Untuk itu perlu adanya beberapa terobosan kreatifitas untuk mempertahankan eksistensinya, diantaranya adalah dengan membuka diri terhadap konteks pemirsanya.Beberapa usaha tersebut diantaranya adalah adengan memasukkan aksi teatrikal, tembang serta musik, warna agar memberikan peluang yang lebih luas bagi munculnya imajinasi di penonton dan rasa ketertarikan mereka pada kesenian ini. Seluruh rangkain pertunjukan akan membentuk teks tersendiri dengan pemaknaan yang terbuka dan lugas. Peran aktif pemirsa sangat dibutuhkan agar tercipta sebuah jalinan yang erat antara seniman, karya cipta serta penikmatnya. Dibutuhkan usaha-usaha yang lebih radikal semisal mengajak penonton menjadi bagian dari sebuah karya seni yang utuh agar menumbuhkan rasa memiliki terhadap kesenian ini.  Creation theater Jaka Kembang Kuning is an attempt to revive an original story idea presented in the form traditionally tells Wayang Beber performances that have how many flaws, especially when viewed from the dynamics of the show. Visually traditional Wayang Beber becomes unattractive when compared with the puppet, puppet show, or other stage plays. This is the reason why Wayang Beber need to get a good touch broadly on the form and meaning of the play contained therein.Theatrical action, song and music, color and composition are used as a means of said stories provide a wider opportunity for the emergence of imagination in the audience. The entire string of performances will form a separate text with an open and straightforward meaning. Active role of the viewer is needed in order to create a strong braid between the artist, the copyrighted work as well as the audience. It takes the efforts to invite more radical audience to be part of an artwork intact. Breakthroughs such as involving the viewer to enter into the process or the show can be a separate option in the lifestyles of people who are too lazy to visit the venue. Invites viewers into direct contact with the expected performances more intimate communication. 
Eksotika Lee Man Fong : Sebuah Kolaborasi Apik Seni Rupa Modern dan Seni Lukis Tradisi China Satrio Hari Wicaksono
Journal of Urban Society's Arts Vol 4, No 2 (2017): October 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v4i2.2163

Abstract

In the development of Indonesian art, many artists who then fill out the history of the art of this country with a wide range of distinctive characteristics as a statement of the identity of the artist in his work, not to mention Lee Man Fong. Characteristics that are present in his work is a new breakthrough that combines the character of modern Western art with Eastern art, particularly China. A different viewpoints but can be combined and harmonized beautifully by the artist. With the approach does, Lee Man Fong able to get admission in the middle of rampant identity themes that are starting to be an important theme in the struggle of Indonesia. While many doubted the sense of nationalism, because the themes present in his work is more about the daily life and explores the theme instead filled with the spirit of struggle, but the emotional intimacy that is present in his work is able to capture the reality of the life of the Indonesian people that might escape from the views of many. A manifestation of the artist's love of the little things around it. Didn’t many artists are able to portray himself as a strong identity in his work, but Lee Man Fong's capacity and unique views will present a new visual way to penetrate the sustainability of Indonesian art that has evolved during that time. The use of methods, techniques, perspectives, and understanding which is a collaboration between the schools of modern and classic is the force that makes Lee Man Fong became one of the distinguishing elements. An approach that provides a fresh new look and adds such a richness of Indonesian art.

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