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PERANCANGAN CLOTHING DENGAN DESAIN KHAS LOMBOK SEBAGAI SUVENIR “ Adalah
Tugas Akhir - RD 141558 PERANCANGAN CLOTHING DENGAN DESAIN KHAS LOMBOK SEBAGAI SUVENIR BAIQ NINDIASTUTY FITRIMAGHFIRA NRP. 08311440000048 Dosen Pembimbing : R.Eka Rizkiantono, S.Sn. M.Ds NIP : 197612092003121001 Program Studi Desain Komunikasi Visual Departemen Desain Produk Fakultas Arsitektur, Desain dan Perencanaan Institut Teknologi Sepuluh Nopember 2018 i (Halaman ini sengaja dikosongkan) ii Final Project - RD 141558 CLOTHING DEVELOPMENT AUTHENTIC LOMBOK DESIGN FOR MERCHANDISE BAIQ NINDIASTUTY FITRIMAGHFIRA NRP. 08311440000048 Lecturer : R.Eka Rizkiantono, S.Sn. M.Ds NIP : 197612092003121001 Visual communication Design Undergraduate Programme, Departement of Product Design Faculty of Architecture, Design and Planning Institut Teknologi Sepuluh Nopember 2018 iii (Halaman ini sengaja dikosongkan) iv v (Halaman ini sengaja dikosongkan) vi PERNYATAAN KEASLIAN KARYA TULIS TUGAS AKHIR Saya mahasiswa Program Studi Desain Komunikasi Visual, Departemen Desain Produk Industri, Fakultas Arsitektur, Desain dan Perencanaan, Institut Teknologi Sepuluh Nopember Surabaya, Nama Mahasiswa : Baiq Nindiastuty Fitrimaghfira NRP : 3414100048 Dengan ini menyatakan bahwa karya tulis Laporan Tugas Akhir yang saya buat dengan judul “PERANCANGAN CLOTHING DENGAN DESAIN KHAS LOMBOK SEBAGAI SUVENIR “ adalah : 1) Bukan merupakan duplikasi karya tulis yang sudah dipublikasikan atau yang pernah dipakai untuk mendapatkan gelar sarjana di universitas lain, kecuali pada bagian–bagian sumber informasi dicantumkan sebagai kutipan/referensi dengan cara yang semestinya. -
Analysis on Symbolism of Malang Mask Dance in Javanese Culture
ANALYSIS ON SYMBOLISM OF MALANG MASK DANCE IN JAVANESE CULTURE Dwi Malinda (Corresponing Author) Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 365 182 51 E-mail: [email protected] Sujito Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 817 965 77 89 E-mail: [email protected] Maria Cholifa English Educational Department, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 345 040 04 E-mail: [email protected] ABSTRACT Malang Mask dance is an example of traditions in Java specially in Malang. It is interesting even to participate. This study has two significances for readers and students of language and literature faculty. Theoretically, the result of the study will give description about the meaning of symbols used in Malang Mask dance and useful information about cultural understanding, especially in Javanese culture. Key Terms: Study, Symbol, Term, Javanese, Malang Mask 82 In our every day life, we make a contact with culture. According to Soekanto (1990:188), culture is complex which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society. Culture are formed based on the local society and become a custom and tradition in the future. Culture is always related to language. This research is conducted in order to answer the following questions: What are the symbols of Malang Mask dance? What are meannings of those symbolism of Malang Mask dance? What causes of those symbolism used? What functions of those symbolism? REVIEW OF RELATED LITERATURE Language Language is defined as a means of communication in social life. -
Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok
Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok Madoka Fukuoka Graduate School of Human Sciences, Osaka University, Japan [email protected] ABSTRACT This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia. In addition, it discusses his endeavours of crossing gender boundaries by focusing on his use of costumes and masks, and analysing two significant works: Dwimuka Jepindo as an example of comedic cross-gender expression and Dewi Sarak Jodag as an example of serious cross-gender expression. The findings indicate three overall approaches to crossing gender boundaries: (1) surpassing femininity naturally expressed by female dancers; (2) mastering and presenting female characters by female impersonators and cross-gender dancers; and (3) breaking down the framework of gender itself. Keywords: Didik Nini Thowok, cross-gender, dance, Java, Indonesia © Penerbit Universiti Sains Malaysia, 2014 58 Wacana Seni Journal of Arts Discourse. Jil./Vol.13. 2014 INTRODUCTION This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia.1 In addition, it discusses his endeavours of crossing gender boundaries by focusing on the human body's role and Didik's concept of cross-gender dance, which he has advocated since his intensive study of the subject in 2000. For the female impersonator dancer, the term "cross-gender" represents males who primarily perform female roles and explore the expression of stereotypical femininity. Through his artistic activity and unique approach, Didik has continued to express various types of femininity to deviate from stereotypical gender imagery. -
Masyarakat Kesenian Di Indonesia
MASYARAKAT KESENIAN DI INDONESIA Muhammad Takari Frida Deliana Harahap Fadlin Torang Naiborhu Arifni Netriroza Heristina Dewi Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara 2008 1 Cetakan pertama, Juni 2008 MASYARAKAT KESENIAN DI INDONESIA Oleh: Muhammad Takari, Frida Deliana, Fadlin, Torang Naiborhu, Arifni Netriroza, dan Heristina Dewi Hak cipta dilindungi undang-undang All right reserved Dilarang memperbanyak buku ini Sebahagian atau seluruhnya Dalam bentuk apapun juga Tanpa izin tertulis dari penerbit Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara ISSN1412-8586 Dicetak di Medan, Indonesia 2 KATA PENGANTAR Terlebih dahulu kami tim penulis buku Masyarakat Kesenian di Indonesia, mengucapkan puji syukur ke hadirat Tuhan Yang Maha Kuasa, karena atas berkah dan karunia-Nya, kami dapat menyelesaikan penulisan buku ini pada tahun 2008. Adapun cita-cita menulis buku ini, telah lama kami canangkan, sekitar tahun 2005 yang lalu. Namun karena sulitnya mengumpulkan materi-materi yang akan diajangkau, yakni begitu ekstensif dan luasnya bahan yang mesti dicapai, juga materi yang dikaji di bidang kesenian meliputi seni-seni: musik, tari, teater baik yang tradisional. Sementara latar belakang keilmuan kami pun, baik di strata satu dan dua, umumnya adalah terkonsentasi di bidang etnomusikologi dan kajian seni pertunjukan yang juga dengan minat utama musik etnik. Hanya seorang saja yang berlatar belakang akademik antropologi tari. Selain itu, tim kami ini ada dua orang yang berlatar belakang pendidikan strata dua antropologi dan sosiologi. Oleh karenanya latar belakang keilmuan ini, sangat mewarnai apa yang kami tulis dalam buku ini. Adapun materi dalam buku ini memuat tentang konsep apa itu masyarakat, kesenian, dan Indonesia—serta terminologi-terminologi yang berkaitan dengannya seperti: kebudayaan, pranata sosial, dan kelompok sosial. -
Tayuban Dance and Culture Change in East Java
THE POLITICS OF POPULAR ART: TAYUBAN DANCE AND CULTURE CHANGE IN EAST JAVA Robert W. Hefner In terms of our often chimerical Image of px.iya.yi culture, tayuhan dance can at first sight appear bewilderingly un-Javanese. Contrary to most Indonesian dance styles, tayuhan involves men dancing directly with women,1 in a fashion which on occasion may be flirtatious or even intimate. The female dancers are paid professionals known as ttzd k zk or tandh.ak.2 When it is a man’s turn to "receive the dance scarf," these women come to sit at his side, sing him a song, and, at its end, offer him a glass of alcohol, which he dashes down boldly, then taking to the dance floor. Although the practice is generally discouraged today, sometimes women may sit on the male dancer’s lap, and on a few occasions actually kiss him. Such sexual behavior by tlzd h ek has contributed to the widespread perception of them as prostitutes, and, together with the dance’s drinking and economic expense, has also caused Muslim reformists and some government officials in recent years to call for the dance’s abolition. Whatever notoriety tayuhan has gained, however, it still enjoys considerable popularity in areas of East and (to a perhaps lesser degree) Central Java. In many communities, moreover, it is not only a popular form of entertainment, but an integral part of spirit shrine ritual associated with annual hzxAih. dut&a festivity. Without the dance, one is told, crops might fail, people would fall ill, and the land might turn barren. -
Balinese Dances As a Means of Tourist Attraction
BALINESE DANCES AS A MEANS OF TOURIST ATTRACTION : AN ECONOMIC PERSPECTIVE By : Lie Liana Dosen Tetap Fakultas Teknologi Informasi Universitas Stikubank Semarang ABSTRACT Makalah ini menguraikan secara ringkas Tari Bali yang ditinjau dari perspekif ekonomi dengan memanfaatkan Bali yang terkenal sebagai salah satu daerah tujuan wisata di Indonesia. Keterkenalan Bali merupakan keuntungan tersendiri bagi pelaku bisnis khususnya bisnis pariwisata. Kedatangan wisatawan asing dengan membawa dolar telah meningkatkan ekonomi masyarakat Bali, yang berarti pula devisa bagi Indonesia. Bali terkenal karena kekayaannya dalam bidang kesenian, khususnya seni tari. Tari Bali lebih disukai karena lebih glamor, ekspresif dan dinamis. Oleh karena itu seni tari yang telah ada harus dilestarikan dan dikembangkan agar tidak punah, terutama dari perspektif ekonomi. Tari Bali terbukti memiliki nilai ekonomi yang tinggi terutama karena bisa ‘go international’ dan tentunya dapat meningkatkan pemasukan devisa negara melalui sektor pariwisata. Kata Kunci: Tari, ekonomi, pariwisata, A. INTRODUCTION It is commonly known that Bali is the largest foreign and domestic tourist destination in Indonesia and is renowned for its highly developed arts, including dances, sculptures, paintings, leather works, traditional music and metalworking. Meanwhile, in terms of history, Bali has been inhabited since early prehistoric times firstly by descendants of a prehistoric race who migrated through Asia mainland to the Indonesian archipelago, thought to have first settled in Bali around 3000 BC. Stone tools dating from this time have been found near the village of Cekik in the island's west. Most importantly, Balinese culture was strongly influenced by Indian, and particularly Sanskrit, culture, in a process beginning around the 1st century AD. The name Balidwipa has been discovered from various inscriptions. -
The Islamic Traditions of Cirebon
the islamic traditions of cirebon Ibadat and adat among javanese muslims A. G. Muhaimin Department of Anthropology Division of Society and Environment Research School of Pacific and Asian Studies July 1995 Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Muhaimin, Abdul Ghoffir. The Islamic traditions of Cirebon : ibadat and adat among Javanese muslims. Bibliography. ISBN 1 920942 30 0 (pbk.) ISBN 1 920942 31 9 (online) 1. Islam - Indonesia - Cirebon - Rituals. 2. Muslims - Indonesia - Cirebon. 3. Rites and ceremonies - Indonesia - Cirebon. I. Title. 297.5095982 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Printed by University Printing Services, ANU This edition © 2006 ANU E Press the islamic traditions of cirebon Ibadat and adat among javanese muslims Islam in Southeast Asia Series Theses at The Australian National University are assessed by external examiners and students are expected to take into account the advice of their examiners before they submit to the University Library the final versions of their theses. For this series, this final version of the thesis has been used as the basis for publication, taking into account other changes that the author may have decided to undertake. In some cases, a few minor editorial revisions have made to the work. The acknowledgements in each of these publications provide information on the supervisors of the thesis and those who contributed to its development. -
Asia Society Presents Music and Dance of Yogyakarta
Asia Society Presents Music and Dance of Yogyakarta Sunday, November 11, 2018 7:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City This program is approximately ninety minutes with no intermission In conjunction with a visit from Hamengkubuwono X, the Sultan of Yogyakarta in Indonesia, Asia Society hosts a performance by the court dancers and musicians of Yogyakarta. The Palace of Karaton Ngayogyakarta Hadiningrat is the cultural heart of the city. From generation to generation, the Sultans of Yogyakarta are the traditional governors of the city and responsible for passing on art and culture heritage. The entire royal family is involved in preserving these art forms, and the troupe must perform with a member of the royal family present. The dances from Yogyakarta will be accompanied by gamelan music native to Java. Program Golek Menak Umarmaya Umarmadi Dance Masked Dance Fragment (Wayang Wong) “Klana Sewandana Gandrung” Bedhaya Sang Amurwabhumi About the forms: Golek Menak The golek menak is a contemporary example of the seminal influence exerted by the puppet theater on other Javanese performing arts. This dance was inspired by the stick–puppet theater (wayang golek), popular in the rural area of Yogyakarta. Using the three dimensional rod-puppets, it portrays episodes from a series of stories known as menak. Unlike the high-art wayang kulit (shadow puppets), it is a village entertainment, and it did not flourish at the court. As a dance drama, golek menak focuses on imitating this rod-puppet theater with amazing faithfulness. Human dancers realistically imitate the smallest details of puppet movement, right down to the stylized breathing of the puppets. -
Maintaining Social Relationship of Balinese and Sasak Ethnic Community
International Journal of Social Sciences and Humanities Available online at http://sciencescholar.us/journal/index.php/ijssh Vol. 2 No. 1, April 2018, pages: 92~104 e-ISSN: 2550-7001, p-ISSN: 2550-701X http://dx.doi.org/10.29332/ijssh.v2n1.96 Maintaining Social Relationship of Balinese and Sasak Ethnic Community I Wayan Ardhi Wirawan a Article history: Received 20 August 2017, Accepted in revised form 25 January 2018, Approved 11 February 2018, Available online 9 March 2018 Correspondence Author a Abstract This research aims to study the background of building informal cultural ties as a medium of reharmonization between Balinese ethnic community and Sasak ethnic community in Mataram City, West Nusa Tenggara Province. This study used qualitative interpretive design in order to find answers issues, namely background of establishing a cohesion bond between two ethnic communities. Based on the result of this research, it is found that there are four influential factors, namely cultural contact between Balinese ethnic and Sasak ethnic communities during the historic period, the implementation of Balinese culture and Sasak culture in Lombok, cultural adaptation of each cultural identity, and construction of informal cultural ties as medium of interethnic communication. Keywords The informal cultural ties have an important significance in maintaining the integration between Balinese ethnic community and the Sasak ethnic Ethnic balinese; community in Mataram city. Based on this phenomenon, the recommendation Informal cultural ties; that can be proposed is to maintain the sustainability of informal cultural ties Quotidian; through the cultivation of awareness in each ethnic community and Sasak ethnic; involvement of traditional figures in providing intensive guidance on the Social harmony; importance of preserving the cultural values of ancestral heritage in maintaining social harmony. -
The Value of Yogyakarta Palace Dances : Relevance to the Nation Character Nurturing
The Value ofYogyakarta Palace Dances... 377 THE VALUE OF YOGYAKARTA PALACE DANCES : RELEVANCE TO THE NATION CHARACTER NURTURING Sunaryadi Institut Seni Indonesia Email: [email protected] Abstrak Tan Keraton Yogyakarta bukan sekedar tontonan tetapi adalah sebuah media yang mengandung tuntunan. Bukan hanya bagi semuayang terlibat dalam pementasan tari, tetapi juga tuntunan bagi yang menonton Patokan bak.u dalam tari keraton yang hersumber pada nilai tata krama keraton merupakan etika moralitas, sebagai sarana penanaman karakter. Nilai-nilai tersebut terumuskan dalam empat prinsip yang wajib dimiliki penari yaitu sawiji, greget, sengguh, dan ora mingkub (falsafah Joged Mataram). D ikaji dari aspek aksiologis, tari keraton mengandung ajaran yang menempatkan \rasa sebagai rub’ dan 'pengendalian diri sebagai in ti’. Aspek rasa sertapengendalian diri ini labyang memiliki relev ansi bagi pembangunan karakter bangsa saat ini. .wjELlujI j 6J_aLi*u> ^ (jjSjLivXI .lr>a 9 lSengguh t g reg et^ sawiji 05&J ^.iEs <xjjI J (^jjl j^ai y * Joged mingkuh (Ijjlj L i us LftjLltlj ii i II ,k> t*b _j •S^JU ftJLa aju& ^ Keywords, tari keraton, Joged Mataram, penanaman karakter. 378 Millah Vol. XU, No. 2, Februari 2013 A. Introduction Indonesian society now days has many colored multiple conflicts, demonstrations, religious conflict, the position seizure, and the seizure of property rights indigenous territories. Regrettably, all of them tend to be wild and brutal. Violence happens everywhere, attitudes of tepa slira are scarce, sincere attitude has been hard to find. Many cultural roots reflected in Pancasila has been abandoned, as if the nation has lost the identity and lost the spirit of the cultural life of the nation adhesive. -
Bedhayan Ardhanaresvara Cross Gender Karya Didik Nini Thowok
BEDHAYAN ARDHANARESVARA CROSS GENDER KARYA DIDIK NINI THOWOK TESIS PENGKAJIAN SENI Untuk memenuhi persyaratan mencapai derajat magister dalam bidang Seni, Minat Utama Pengkajian Seni Tari Dani Candra Puspita 1520917412 PROGRAM PENCIPTAAN DAN PENGKAJIAN PASCASARJANA INSTITUT SENI INDONESIA YOGYAKARTA 2019 UPT PERPUSTAKAAN ISI YOGYAKARTA UPT PERPUSTAKAAN ISI YOGYAKARTA BEDHAYAN ARDHANARESVARA CROSS GENDER KARYA DIDIK NINI THOWOK TESIS PENGKAJIAN SENI Untuk memenuhi persyaratan mencapai derajat magister dalam bidang Seni, Minat Utama Pengkajian Seni Tari Dani Candra Puspita 1520917412 PROGRAM PENCIPTAAN DAN PENGKAJIAN PASCASARJANA INSTITUT SENI INDONESIA YOGYAKARTA 2019 i UPT PERPUSTAKAAN ISI YOGYAKARTA TESIS PENGKAJIAN SENI BEDHAYAN ARDHANARESVARA CROSS GENDER KARYA DIDIK NINI THOWOK Oleh Dani Candra Puspita 1520917412 Telah dipertahankan pada tanggal 27 Juni 2019 di depan Dewan Penguji yang terdiri dari Pembimbing Utama, Penguji Ahli, Prof. Dr. I Wayan Dana, SST., M.Hum. Dr. Bambang Pudjasworo, M.Hum Ketua, Dr. Fortunata Tyasrinestu, M.Si. Yogyakarta, ..................................... Direktur, Prof. Dr. Djohan, M.Si NIP. 196112171994031001 ii UPT PERPUSTAKAAN ISI YOGYAKARTA HALAMAN PERSEMBAHAN Tulisan ini saya persembahkan untuk: 1. Kedua orangtua, Slamet Hariyadi dan Laili Purwanti 2. Mertua, Asal Sugiarto dan Almarhumah Witun 3. Almarhum eyang kakung, R. Asih Djoko Soeyono, dan Almarhumah eyang putri Warsiyati 4. Istri, Ayodya Budayanti, dan anak Aksata Javier Art Arundaya, Bexxa Dayu Saraswati 5. Saudara kembar serta adik-adikku. iii UPT PERPUSTAKAAN ISI YOGYAKARTA PERNYATAAN Saya menyatakan bahwa tesis yang saya tulis ini belum pernah diajukan untuk memperoleh gelar akademik di suatu perguruan tinggi manapun.Tesis ini merupakan hasil pengkajian atau penelitian yang didukung berbagai referensi, dan sepengetahuan saya belum pernah ditulis dan dipublikasikan kecuali yang secara tertulis diacu dan disebutkan dalam kepustakaan. -
A Socio-Cultural Analysis on the Role of Sunan Ambu, Dewi Sri and Rongeng) Endang Caturwati*
Saudi Journal of Humanities and Social Sciences Abbreviated Key Title: Saudi J Humanities Soc Sci ISSN 2415-6256 (Print) | ISSN 2415-6248 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: http://scholarsmepub.com/sjhss/ Original Research Article The Profile of Indung in Sundanese Society (A Socio-Cultural Analysis on the Role of Sunan Ambu, Dewi Sri and Rongeng) Endang Caturwati* Institute of Indonesian Art and Culture, Bandung Indonesia DOI:10.21276/sjhss.2019.4.7.12 | Received: 20.07.2019 | Accepted: 27.07.2019 | Published: 30.07.2019 *Corresponding author: Endang Caturwati Abstract The research discusses the profile of Indung in Sundanese society, namely Sunan Ambu, Dewi Sri, and Ronggeng. It is conducted as an effort to unravel the existence of woman as indung or mother that has been influencing many aspects of life of Sundanese society. All those three actors have very dominant role both in social and internal aspect. The figure purpose of the research is to identify the process of value change in a series of time, particularly the change in their function caused by the particular circumstances during the past colonial era. The research employs descriptive-analytical methodology with qualitative approach, and focuses its analysis on process, event and authenticity. The findings of the research suggests that either the of Sunan Ambu, Dewi Sri or Ronggeng, have a multi-dimensional character: namely (1) as a woman who is responsible for human kind‟s life sustainability, (2) as a mother or indung, (3) as a protector and life-giver, the character of which are deeply embedded in those three figures.