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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.
Arjuna Subject : -
Articles 171 Documents
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Fotografi Jalanan: Membingkai Kota dalam Cerita Kusrini Kusrini
Journal of Urban Society's Arts Vol 3, No 2 (2016): October 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v3i2.1482

Abstract

Fotografi jalanan (street photography) menjadi sarana bagi fotografer Erik Prasetya untuk menggambarkan kota Jakarta secara visual dalam buku foto Jakarta: Estetika Banal. Di dalamnya terdapat hasil kerja fotografi selama sekitar 20 tahun yang berisi cerita tentang Jakarta. Foto-foto tersebut dicermati secara keseluruhan untuk mengetahui gambaran umum tentang Jakarta yang diusung oleh fotografer. Fotofoto tersebut dipilih sesuai dengan deskripsi umum dan dibahas lebih lanjut untuk mendapatkan cerita tentang Jakarta pada 1990-2000’an. Dalam foto-foto tersebut, Jakarta merupakan kota dengan masyarakat yang dinamis. Jalanan tidak pernah sepi dan tidak tidur meskipun di waktu malam. Bangunan, transportasi, para pekerja, mobilitas yang tinggi, menjadi bagian dari visual Jakarta, yang sekaligus menceritakan masih adanya kesenjangan ekonomi dan sosial masyarakatnya. Di dalamnya ternyata masih juga terdapat tawa dan kegembiraan. Semangat bertahan hidup di ibukota menjadi bagian yang tidak terpisahkan dari cerita tentang Jakarta. Keindahan foto terlihat dari imaji yang ditampilkan mengeksplorasi teknik manual yang disesuaikan dengan kondisi dan situasi serta cerita yang hendak disampaikan. Keindahan lain dalam fotografi jalanan karya Erik Prasetya ini terdapat dari cerita visual yang tersaji. Fotografi jalanan tidak sekadar cerita tentang jalanan secara fisik, namun juga cerita tentang masyarakat di sepanjang jalan serta perjalanan kehidupan yang dilalui fotografer.  Street Photography: Framing City in Stories. Erik Prasetya is photographer who uses street photography (fotografi jalanan) to narrate visually Jakarta in a photo book titled Jakarta: Estetika Banal. There are photos of his work for 20 years about Jakarta. The photos are examined as a whole to know the general idea of Jakarta carried by the photographer. They are selected to get the general description and finally are studied further to get stories about Jakarta in late 1990-2000. In these photos, Jakarta is a city with a dynamic society. The streets are never quiet and do not sleep at night though. Building, transportation, greater mobility of workers, become parts of Jakarta visually, which also tell the persistence of economic and social discrepancy in society. However, there are laughter and exhilaration that we can find. The spirit to survive in the capital becomes an integral part of the story of Jakarta. The beauty of the photos came from the images are displayed exploring manual techniques adapted to the conditions and situations, and stories that would be submitted. Another beauty of street photography works by Erik Prasetya is that there is a visual story presented. Street photography is not just a story about the streets physically, but also stories of people found along them as well as the journey of life experienced by the photographer.
Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto Andreas Arie Susanto
Journal of Urban Society's Arts Vol 4, No 1 (2017): April 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v4i1.1484

Abstract

Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terhadap keunggulan reduplikasi, proses instan, dan otomatisasi fotografi membuat fotografi kehilangan tempatnya di dunia seni. Akan tetapi, persoalan seni adalah persoalan rasa. Fotografi tetaplah sebuah seni dengan melihat adanya relasi intensional yang tercipta antara objek dan seorang fotografer dalam sebuah foto. Relasi intensional ini tercermin dalam proses, imajinasi, dan kreativitas fotografer di dalam menghasilkan sebuah foto. Lukisan dan fotografi adalah seni menurut rasanya masing-masing. Photography is an Art: A Disaproval towards Roger Scruton's Analysis on the Legitimacy of Art Value of a Photograph. This paper aims to disprove Roger Scruton's argument about the validity of the artistic value of a photograph. Scruton argues that photography is not a work of art. Photography is simply a mechanical action in producing a picture, not a representation but merely a causal event, not an imaginary image, but only a copy. Photography presupposes the ease of art creation. Scruton's statement is further reinforced by the phenomenon of technological development that has forgotten the aesthetic side and only entirely devoted to the action of the machine. The excessive emphasis on the benefits of reduplication, instant processing, and photographic automation makes photography lose its place in the art world. However, the issue of art is a matter of taste. Photography remains an art by seeing the intense relationships created between an object and a photographer in a photograph. This intense relationship is reflected in the process, imagination, and creativity of the photographer in producing a photograph. Painting and photography are arts according to their own taste.
Fashion Budaya Nasional dalam Konteks Wawasan Kebangsaan: Studi Kasus pada Jember Fashion Carnaval Agustinus Tampubolon; Cecep Darmawan
Journal of Urban Society's Arts Vol 3, No 1 (2016): April 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v3i1.1473

Abstract

Penelitian ini bertujuan untuk menjelaskan konstruksi makna fashion yang berkaitan dengan konsep wawasan kebangsaan. Desain penelitian yang digunakan adalah kualitatif dengan metode fenomenologi. Teknik pengumpulan data dilakukan dengan wawancara, observasi mendalam dan studi dokumentasi.Hasil penelitian menunjukkan bahwa:(1) hal-hal yang diungkapkan fashion sebagai penguat wawasan kebangsaan melalui Jember FashionCarnaval (JFC) berkaitan dengan aspek kreativitas, tema, dan simbol-simbol dalam kostum karnaval;(2) pesan fashion berkaitan dengan wawasan kebangsaan karena memuat nilai-nilai persatuan dan kesatuan yang dilandasi semangat dan usaha rela berkorban. Pesan menggambarkan bagaimana konstruksi nilai-nilai kebangsaan yang dimiliki secara bersama-sama dapat dijadikan sebagai pedoman hidup antarmasyarakat berbangsa dan bernegara;(3) proses mengonstruksi nilai-nilai kebangsaan melalui fashion ditunjukkan dengan partisipasi atau keterlibatan secara aktif dan bertanggung jawab dalam mengikuti program pelatihan dan pembimbingan. Program yang disebut In House Training selama lima bulan menjelang pelaksanaan JFC meliputi pemilihan tema berdasarkan riset dan pengkajian sampai pada acara puncak, yaitu grand carnival. The Fashion of National Culture in the Context of National Insight : CaseStudy on Jember Fashion Carnaval. This study aims to explain the construction meaning of fashion related to the concept of national insight. The study is qualitative with phenomenological method. Data collection technique was carried out by interviews, in-depth observation, and documentation studies. The results show that: (1) disclosed matters of the fashion as a reinforcement of the concept of national insight through Jember Fashion Carnaval (JFC) deal with aspects of creativity, themes, and symbols in carnival costume; (2) the fashion statement relates to the concept of national insight because it contains the values of unity and the spirit of understanding and self-sacrificing efforts. The messages describe how the construction of the national values held together can be used as guidelines for intra-national and state of life; (3) the process of constructing the national values through fashion is indicated by participation or involvement actively and responsibly in the training program and coaching. The program called In House Training for five months before the implementation of JFC includes the selection of themes based on the research and studies until the main event, which is a grand carnival.
Creative by Way of Adaption: Ramayana Relief of Prambanan Temple Soeprapto Soedjono
Journal of Urban Society's Arts Vol 2, No 2 (2015): October 2015
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v2i2.1447

Abstract

Artikel ini membahas tentang proses penciptaan karya seni berdasarkan teori adaptasi sebagaimana yang didiskusikan oleh Linda Hutcheon dalam bukunya yang berjudul: A Theory of Adaptation. Penekanan pembahasan lebih diletakkan pada aspek-aspek estetis visual yang terdapat pada karya seni relief naratif yang mengelilingi sepanjang dinding bagian dalam candi Prambanan di Kalasan, Yogyakarta. Sebagaimana tema relief yang diadaptasi dari ceritera legenda Ramayana yang ditulis oleh Walmiki pada waktu silam, maka proses penciptaan relief tersebut pada masa berikutnya diyakini mengikuti prosedur teori adaptasi tersebut. This article aims to discuss the creation of arts based upon the theory of adaptation that had been laid on by Linda Hutcheon in her book called A Theory of Adaptation. The discussion has put emphasis on the elaboration of any visual aesthetics aspects embodied within the Ramayana sculptural program in the narrative relief which is encircling along Prambanan temple inner wall in Kalasan, Yogyakarta. Since the relief’s theme is derived from the ancient epic story of Ramayana legend (by Valmiki), it is plausible that the later creative process of the relief work was created through the adaptation theory procedure. 
Kapital dan Strategi Garin Nugroho dalam Proses Produksi Film Vedy Santoso
Journal of Urban Society's Arts Vol 4, No 1 (2017): April 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v4i1.1492

Abstract

Penelitian ini menganalisis struktur sosial Garin Nugroho sebagai sineas yang dilakukan berdasarkan paradigma sosial-kultural Pierre Bourdieu dengan pendekatan strukturalisme genetik. Teori strukturalisme genetik bertumpu pada empat konsep utama, yakni habitus, arena, kapital, dan strategi. Kajian ini diharapkan dapat melihat realitas sosial seorang sineas ketika memproduksi sebuah film. Data penelitian diperoleh dari dokumentasi media massa, katalog film, hasil wawancara narasumber, dan studi pustaka. Hasil penelitian menunjukkan bahwa terdapat dialektika internalisasi pada habitus Garin Nugroho yang menuntunnya untuk berani menutup luka lama kemudian membuka luka baru pada masa transisi budaya global. Dengan demikian, hubungan antara seni dan teknologi menjadi arena yang dipilih Garin Nugroho dalam memperjuangkan kreativitasnya. Dari arena perjuangan itu, ia memiliki beberapa jenis modal yang dipertukarkan dalam struktur sosialnya. Strategi yang diterapkan Garin Nugroho dalam menghadapi era digital adalah konsisten dalam menggunakan kecanggihan teknologi sebagai alat bantu untuk mewujudkan kreativitas melalui media film. Capital and Garin Nugroho’s Strategy on the Process of Film Production. This study analyzes the social structure of Garin Nugroho as a filmmaker that has been conducted based on the socio-cultural paradigm of Pierre Bourdieu with the genetic structuralism approach. The genetic structuralism theory rests on four main concepts, namely habitus, arena, capital, and strategy. This study is expected to be able to see the social reality of a filmmaker when a film is produced. Data were obtained from the documentation of mass media, film catalogues, informant interviews, and literature. The results of this research show that there is a dialectic of internalization in Garin Nugroho’s habitus which leads him to dare to close the old wounds then opens the new ones in the transition period of global culture. Therefore, the relationship between art and technology has been a chosen field by Garin Nugroho in struggling for the creativity. From the field of the struggle, Garin Nugroho has some kind of capitals that are exchanged in the social stucture. The strategy that is applied by Garin Nugroho in facing the digital era is consitent in using the power of technology as a tool to realize any creativity throgh the media of film.
Upaya Pelestarian Adat Semende di Desa Ulu Danau, Provinsi Sumatera Selatan Hatta Setiawan; Cecep Darmawan
Journal of Urban Society's Arts Vol 3, No 2 (2016): October 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v3i2.1480

Abstract

Penelitian ini bertujuan untuk mengetahui upaya-upaya yang dilakukan oleh masyarakat dan aparat desa dalam mempertahankan nilai-nilai luhur yang terdapat dalam aturan adat Semende yang ada di lingkungannya. Metode etnografi dengan pendekatan kualitatif digunakan untuk mengumpulkan data melalui observasi, wawancara, dan dokumentasi, serta dianalisis melalui reduksi data, penyajian, hingga penarikan kesimpulan. Hasil penelitian menunjukkan bahwa masyarakat Desa Ulu Danau memberikan kelonggaran dalam pelaksanaan adat, dan aparat desa telah mulai berupaya untuk mempertahankan aturan adat dengan memaksimalkan peran para pemuka adat, tokoh masyarakat, danwarga. The Efforts to Conserve Semende Customs in Ulu Danau Village, South Sumatera Province. This study aims to determine the efforts undertaken by the community and village officials in defending the noble values contained in the existing customs rules of Semende in the area. The ethnographic method with a qualitative approach is used to collect data through observation, interviews, and documentation, which are analyzed through data reduction, presentation, and finally can be drawn for conclusion. The results show that the villagers of Ulu Danau provide the concession for the implementation of custom, and the village officials have begun the efforts to maintain their custom rules to maximize the roles of traditional leaders, community leaders, and citizens.
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.

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