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Muhamad Prasatyo Nugroho ARTiVAC 2020 PENGANTAR DAFTAR ISI KEUNIKAN REPRESENTASI ALAM DALAM LUKISAN JELEKONG TEKNIK REPRESENTASI UNIK DALAM LUKISAN PEMANDANGAN ALAM JELEKONG Shopia Himatul Alya 1 VISUAL ARTS STUDENT FINAL PROJECT TOPICS AS AN INSIGHT OF PROFESSIONAL CHOICES AFTER GRADUATION Donny Trihanondo 7 KARAKTERISTIK KARYA-KARYA TUGAS AKHIR/SKRIPSI MAHASISWA PROGRAM STUDI SENI RUPA TELKOM UNIVERSITY Didit Endriawan 11 POTRET KREATIVITAS MAHASISWA MILENIAL DALAM PENCIPTAAN BUSANA BERBASIS BATIK Mira Marlianti, Wuri Handayani 15 KOMPUTASI SENI MOTIF TENUN GENERATIF SEBAGAI MODEL PENGEMBANGAN KRIYA SENI TRADISI DI MASA PANDEMI Wanda Listiani, Sri Rustiyanti, Fani Dila Sari, IBG. Surya Peradantha 23 FILOSOFI DALAM WAYANG GOLEK GAGASAN FILOSOFIS TERSEMBUNYI DALAM KISAH MAHABARATHA Iman Budiman 28 PESONA BATIK LASEM DAN PENERAPANNYA DALAM BUSANA BERKONSEP KONTEMPORER Dewi Isma Aryani, Hasnaa Taaj Aiman 33 ORNAMEN GORGA IPON-IPON SEBAGAI INSPIRASI MOTIF TEKNIK BLOCK PRINTING PADA PRODUK FASHION Mochammad Sigit Ramadhan, Olivia Yvonne 37 SENI DAN TEKNOLOGI: MANFAAT DAN FUNGSI DALAM KEHIDUPAN MANUSIA J Kiara Z Santosa, Ariesa Pandanwangi 41 POLA PIKIR, BUDAYA DALAM TATANAN KEHIDUPAN MASYARAKAT NIAS Kristina Iman, Yana Kristi Zai 47 AKULTURASI RUPA INDONESIA TIONGKOK DALAM KARYA SENI RUPA WAYANG RAHWANA DALAM WAYANG BEBER Sangid Zaini Gani 52 KAJIAN PERANCANGAN AKSESORI FASHION DENGAN INSPIRASI BUDAYA NUSANTARA SEBAGAI STRATEGI KOMUNIKASI FASHION Maradita Sutantio 57 PENERAPAN SIMBOL UPACARA KEMATIAN SUNDA PADA LUKISAN DENGAN TEKNIK CHINESE METICULOUS PAINTING Farid Kurniawan Nz 61 SENIMAN AKADEMIK DAN OTODIDAK SERTA PERBEDAAN LATAR BELAKANGNYA Florenza Octarina 67 Proceeding/ARTiVac#1/12/2020 | I | EKSISITENSI KAIN TAPIS LAMPUNG SEBAGAI SALAH SATU WARISAN KEBUDAYAAN TRADISIONAL INDONESIA PERKEMBANGAN VISUAL WAYANG GOLEK TANAH SUNDA Fauziah Rohmah 71 EKSISTENSI DAN AKULTURASI KESENIAN UBRUG DALAM ERA GLOBALISASI Aufa Fadillah 77 LOMPAT BATU SEBAGAI SIMBOL TRADISI KEBUDAYAAN SUKU NIAS Alexander Aleksandre Zai 81 TEKNOLOGI DIGITAL DALAM KARYA SENI KONTEMPORER VIDEO MAPPING SEMBILAN MATAHARI DI INDONESIA Alisha Sugianto 87 BONEKA “MENONG” SEBAGAI IKON PURWAKARTA Andini Futy 91 PERUBAHAN FUNGSI KESENIAN ONDEL-ONDEL PADA ERA MODERN Bintang Gumilar 95 PENELITIAN BATIK PENYU SUKABUMI Isma Awal Fitroh Cahyani 101 PELESTARIAN CERITA RAKYAT INDONESIA: UTARA DI TENGAH BHARATAYUDDHA Sari Dewi Kuncoroputri 105 PELESTARIAN CERITA WAYANG INDONESIA: NAKULA DAN SADEWA DI PEPERANGAN BHARATAYUDDHA Sekar Ayu Kuncoroputri 107 PERKEMBANGAN KESENIAN TUTUNGGULAN KAMPUNG SAMBAWA KABUPATEN TASIKMALAYA Wulandari 109 EKSISITENSI KAIN TAPIS LAMPUNG SEBAGAI SALAH SATUWARISAN KEBUDAYAAN TRADISIONAL INDONESIA Muhamad Prasatyo Nugroho 115 RUPA VISUAL KESENIAN TRADISIONAL WAYANG BAMBU DI KOTA BOGOR Nurul Siyamita 120 UNSUR KERUPAAN YANG MENJADI SIMBOL TRADISI DALAM KESENIAN SASAPIAN DESA CIHIDEUNG Ainun Nur Fadilah 123 VISUAL ARTISTIK TARI KEMBANG BEKASI Evania Sarah 127 | II | Proceeding/ARTiVac#1/12/2020 Shopia Himatul Alya KEUNIKAN REPRESENTASI ALAM DALAM LUKISAN JELEKONG TEKNIK REPRESENTASI UNIK DALAM LUKISAN PEMANDANGAN ALAM JELEKONG Shopia Himatul Alya Program Studi Seni Rupa Murni, Universitas Kristen Maranatha Alamat Instansi: Jl. Surya Sumantri No.65, Sukawarna, Kec. Sukajadi, Kota Bandung, Jawa Barat 40164 E-mail: [email protected] Telepon: 0857-5933-7319 ABSTRACT Jelekong is an area in South Bandung, West Java where most of the population work as painters. Based on the latest data, the number of painters in Jelekong has reached approximately 500 people. All of these painters have their respective specialties in creating a work. One of the popular streams of painting in Jelekong is painting that represents the beauty of natural landscapes that will remind us of the Indies Molek era (mooi indie) which was popular in the 19th century. Unfortunately, the uniqueness of the technique of visualizing natural landscapes into two-dimensional works by Jelekong painters is not widely known by the general public. So that the authors are interested in further examining the uniqueness of Jelekong. This research is intended to explore Jelekong painting in terms of its aesthetics viewed from the material and the creation process. The samples in this study were paintings produced by Jelekong artists. This study uses a qualitative method. The purpose of this research is to explore the uniqueness of the technique in representing the natural beauty of Jelekong paintings in terms of methods and materials. The samples in this study were paintings by Jelekong artists. The qualitative descriptive method is considered the most appropriate for analyzing Jelekong paintings. This research exposes the excellence of Jelekong painting which has a unique technique called the sponge technique. Keywords: Representation, Uniqueness, Technique, Jelekong, Painting, Nature, Work, Artist. PENDAHULUAN para pelukis semakin bervariatif dan membuat lukisan Sebuah daerah di Bandung Selatan, tepatnya Jelekong menonjol dan berkarakter atau mudah dikenali di Kampung Seni Jelekong yang terletak di Kelurahan dibandingkan karya seni rupa yang lain pada umumnya. Jelekong, Kecamatan Baleendah, Kabupaten Bandung, Berdasarkan wawancara dengan salah satu penggiat terdapat sebuah fenomena unik di mana sebagian besar seni lukis Jelekong, ada salah satu teknik yang sangat masyarakatnya menekuni profesi sebagai pelukis. Jelekong disukai para pengunjung dan penikmat seni lukis yang telah menjadi sentra seni lukis sejak tahun 1970-an. datang langsung ke Jelekong. Teknik tersebut merupakan Tema yang populer pada awal perkembangan seni rupa teknik spon yang merupakan sebuah teknik melukis di Jelekong ialah tema yang mengangkat mooi indie lokal yang sudah secara turun temurun menjadi sebuah teknik Jelekong. Seiring waktu, tema-tema lain mulai bermunculan yang melegenda dalam sejarah perkembangan seni rupa bahkan sampai perkembangan seni lukis Jelekong saat Jelekong. Teknik spon ini sukses memberikan identitas ini. Berdasarkan kronologi yang didapatkan dari warga khas terhadap seni lukis Jelekong yang fokus utamanya setempat, pada tahun 1970-an tersebut terdapat sebuah adalah penggambaran keindahan alam seperti keindahan perkembangan masif di mana terdapat ribuan pelukis pesawahan, air terjun, dan perkampungan. yang memproduksi lukisan-lukisan dengan berbagai tema. Permasalahan yang diangkat dalam penelitian Namun, berdasarkan wawancara terbaru, saat ini hanya ini ialah teknik merepresentasikan pemandangan alam tersisa kurang lebih 500 orang perlukis di Jelekong. yang unik dalam lukisan Jelekong dikaji dalam segi Fenomena terbentuknya ratusan hingga ribuan proses kreasi dan material yang digunakan para pelukis pelukis ini mendorong para pelukis untuk melakukan Jelekong. Tujuan dari penelitian ini yaitu mengkaji teknik eksperimen dan eksplorasi terhadap gaya atau aliran melukis spon yang digunakan oleh para pelukis di Jelekong baru. Perkembangan gaya atau aliran dalam seni rupa dalam merepresentasikan pemandangan alam ke dalam Jelekong, mengakibatkan teknik yang diterapkan oleh sebuah karya, menggali keanekaragaman teknik seni Proceeding/ARTiVac#1/12/2020 | 1 | KEUNIKAN REPRESENTASI ALAM DALAM LUKISAN JELEKONG TEKNIK REPRESENTASI UNIK DALAM LUKISAN PEMANDANGAN ALAM JELEKONG rupa yang unik di ranah seni rupa tradisional Jelekong Rolland Strasser, Carel Dake Jr, dan banyak lagi. Seniman- serta mengkaji keunikan teknik spon dari segi proses dan seniman ini menghasilkan lukisan-lukisan bertema genre material. Kemudian manfaat yang penyusun peroleh dari lokal. Tema pemandangan alam : gunung, sawah, laut, penulisan laporan ini adalah menjadi sumber infomasi bagi penduduk pribumi–ekspresi khas pemikiran orientalisme para akademisi, mahasiswa, perupa/seniman/budayawan, mendominasi karya para seniman dalam berbagai gaya peneliti, pemerhati seni serta masyarakat umum mengenai naturalisme, realisme, impressionisme hingga post keunikan teknik merepresentasikan alam dalam seni lukis impressionisme. Ini kelak di sebut sebagai Mooi Indie Jelekong, membuka wawasan para akademisi, mahasiswa, (Hindia Molek) oleh pelukis Indonesia Sindudarsono perupa/seniman/budayawan, peneliti, pemerhati seni Sujoyono (terkenal dengan nama Sujoyono). Seiring dengan serta masyarakat umum tentang keunikan teknik spon berdatangannya para seniman Eropa dan meningkatnya dari segi proses dan material serta membuka wawasan kelas menengah Eropa pemegang kendali administrasi para akademisi, mahasiswa, perupa/seniman/budayawan, dan perdagangan, di tahun 1902 didirikan Bataviasche peneliti, pemerhati seni serta masyarakat umum dari Kunstking (The Batavian Art Cirle), kemudian diikuti Bond luar wilayah agar mengetahui keberadaan Jelekong yang van Nederlandsch Indische Kunstkringen (The Alliance memiliki ciri khas yang mandiri. of Art Circles of the Netherland East Indies) di tahun 1916. Sejak saat itu beberapa konser, pameran maupun seminar banyak diadakan di dua institusi tersebut. Hanya saja, baik METODOLOGI pengunjung maupun anggota yang diperkenankan hadir Penelitian ini menggunakan metode deskriptif mengikuti acara-acara tersebut dibatasi untuk orang- analitis yang bertujuan untuk mendeskripsikan data yang orang Eropa dan sedikit elit pribumi. Ironinya, bahwa penyusun peroleh dari berbagai sumber rujukan maupun banyak pertunjukkan lokal dipertontonkan untuk para elit dari data lapangan kemudian dianalisis. Penelitian ini tersebut. Sangat sedikit acara internasional dibuka untuk menggunakan teknik pengumpulan data seperti wawancara umum, antara lain
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    [AJPS 6:2 (2003), pp. 247-263] A STUDY OF THE NIAS REVIVAL IN INDONESIA Julia Theis Dermawan 1. Introduction In the years between 1915 and 1940, the Niasan church in Indonesia rapidly grew. During this twenty-five year period, between the Golden Jubilee and the Diamond Jubilee, the number of baptized believers in Nias increased from about 20,000 to 135,000. The great revival movement that occurred in the island caused this phenomenal growth. Known as the Fangesa Dodo (“the Great Repentance”),1 it manifested a great conviction for and confession of sin. This paper is a historical report on the Nias revival from available sources and will show how it contributed to the overall growth of the church. This paper has also a pragmatic purpose: to remind all Asian Christians of the importance of the outpouring of the Holy Spirit for the growth of Christianity in Asia today. 2. The Location of the Revival 2.1 Geography Nias is the largest of a chain of Indonesian islands in the Indian Ocean off the west coast of Sumatra. It has an area of 1,569 square miles (or 4,064 sq. km) and is subject to earthquakes. The chief town is Gunung Sitoli on the northeast coast.2 1 Lee Ira Bruckner, “The History and Character of the Niasan People Movement in Indonesia, 1865-1940” (D.Miss. dissertation, Fuller Theological Seminary, 1979), p. 86. 2 “Nias,” The Encyclopedia Americana International Edition (Danbury, Conn.: Grolier, c1997), vol. 20, p. 300. 248 Asian Journal of Pentecostal Studies 6:2 (2003) 2.2 People Most of the 400,000 people are descendants of Proto-Malays who built megalithic tombs all over the island.
  • POCONGGG JUGA POCONG” (Studi Semiotik Ilustrasi Sampul Buku ”Poconggg Juga Pocong” Pada ”Bukune”)

    POCONGGG JUGA POCONG” (Studi Semiotik Ilustrasi Sampul Buku ”Poconggg Juga Pocong” Pada ”Bukune”)

    PEMAKNAAN ILUSTRASI SAMPUL BUKU ”POCONGGG JUGA POCONG” (Studi Semiotik Ilustrasi Sampul Buku ”Poconggg Juga Pocong” Pada ”Bukune”) SKRIPSI Oleh : ADITYO WILDAN NPM. 0843010034 YAYASAN PENDIDIKAN DAN PERUMAHAN UNIVERSITAS PEMBANGUNAN NASIONAL ”VETERAN” JAWA TIMUR FAKULTAS ILMU SOSIAL DAN ILMU POLITIK PROGRAM STUDI ILMU KOMUNIKASI SURABAYA 2012 Hak Cipta © milik UPN "Veteran" Jatim : Dilarang mengutip sebagian atau seluruh karya tulis ini tanpa mencantumkan dan menyebutkan sumber. PEMAKNAAN ILUSTRASI SAMPUL BUKU “POCONGGG JUGA POCONG” (Studi Semiotik Ilustrasi Sampul Buku “Poconggg Juga Pocong” Pada “Bukune”) Oleh : ADITYO WILDAN NPM. 0843010034 Telah dipertahankan dihadapan dan diterima oleh Tim Penguji Skipsi Jurusan Ilmu Komunikasi Fakultas Ilmu Sosial dan Ilmu Politik Universitas Pembangunan Nasional “Veteran” Jawa Timur Pada Tanggal 14 Juni 2012 PEMBIMBING UTAMA TIM PENGUJI : 1. Ketua Ir.H. Didiek Tranggono, M.Si Ir.H. Didiek Tranggono, M.Si NIP. 1958 1225 199001 1001 NIP. 1958 1225 199001 1001 2. Sekretaris Dra. Sumardjijati, M.Si NIP. 1962 0323 1999309 2001 3. Anggota Drs. Herlina Suksmawati, M.Si NIP. 1964 1225 1993009 2001 Mengetahui, DEKAN Dra.Ec. Hj. Suparwati, M.Si NIP. 1955 0718 198302 2001 Hak Cipta © milik UPN "Veteran" Jatim : Dilarang mengutip sebagian atau seluruh karya tulis ini tanpa mencantumkan dan menyebutkan sumber. PEMAKNAAN ILUSTRASI SAMPUL BUKU POCONGGG JUGA POCONG ( Studi Semiotik Pada Ilustrasi Sampul Buku ”Poconggg Juga Pocong” Pada Bukune) Disusun oleh ADITYO WILDAN NPM: 0843010034 Telah disetujui untuk mengikuti Ujian Skripsi Menyetujui Pembimbing Ir. H. Didiek Trenggono, M.Si NIP 19 581 2251 9900 11001 Mengetahui DEKAN Dra.Ec. Hj. Suparwati, M.Si NIP 19550718198302 2001 ii Hak Cipta © milik UPN "Veteran" Jatim : Dilarang mengutip sebagian atau seluruh karya tulis ini tanpa mencantumkan dan menyebutkan sumber.
  • Originating Outside the Island, Westerners As Well As Non-Westerners, on the Other

    Originating Outside the Island, Westerners As Well As Non-Westerners, on the Other

    ACCULTURATION IN TANG NIHA (THE ISLAND OF NIAS)I James Danandj aj a University of Indonesia, Djakarta Acculturation on' Nias is discussed with special attention to religion and the role of missionaries as agents of change. The traditional social organization and religion are reviewed, followed by an examination of the processes of Dutch colonization and missionization by German Protest- ants. The role of an indigenous revitalization movement in the Christianization of Nias is dis- cussed at length. Finally, the Nias case is placed within a broader framework of acculturation and change. (acculturation, Christianity, colonial- ism, culture change, culture contact, Indonesia, Nias, religion, revitalization movements) I. INTRODUCTION The topic of this paper is acculturation on the island of Nias. Nias is a small island of 4,000 square kilometers, located off the west coast of Sumatra in the Republic of Indonesia. By acculturation I mean what Robert Redfield, Ralph Linton, and Melville J. Herskovits (1936) defined as: "Those phenomena which result when groups of individuals having different cultures come into continuous first-hand contact, with subsequent changes in the original cultural patterns of either or both groups." I shall discuss acculturation in terms of the culture of the indigenous people of Nias on the one hand, and the cultures of immigrants originating outside the island, Westerners as well as non-Westerners, on the other. The Westerners include Dutch and British colonial officers (civil as well as military) and German Protestant missionaries. The non-Westerners include other Indonesian ethnic groups, such as the Atjehnese traders and slavers, Minangkabau traders, Buginese migrants, Mr.
  • SETTING HISTORY STRAIGHT? INDONESIAN HISTORIOGRAPHY in the NEW ORDER a Thesis Presented to the Faculty of the Center for Inte

    SETTING HISTORY STRAIGHT? INDONESIAN HISTORIOGRAPHY in the NEW ORDER a Thesis Presented to the Faculty of the Center for Inte

    SETTING HISTORY STRAIGHT? INDONESIAN HISTORIOGRAPHY IN THE NEW ORDER A thesis presented to the faculty of the Center for International Studies of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sony Karsono August 2005 This thesis entitled SETTING HISTORY STRAIGHT? INDONESIAN HISTORIOGRAPHY IN THE NEW ORDER by Sony Karsono has been approved for the Department of Southeast Asian Studies and the Center for International Studies by William H. Frederick Associate Professor of History Josep Rota Director of International Studies KARSONO, SONY. M.A. August 2005. International Studies Setting History Straight? Indonesian Historiography in the New Order (274 pp.) Director of Thesis: William H. Frederick This thesis discusses one central problem: What happened to Indonesian historiography in the New Order (1966-98)? To analyze the problem, the author studies the connections between the major themes in his intellectual autobiography and those in the metahistory of the regime. Proceeding in chronological and thematic manner, the thesis comes in three parts. Part One presents the author’s intellectual autobiography, which illustrates how, as a member of the generation of people who grew up in the New Order, he came into contact with history. Part Two examines the genealogy of and the major issues at stake in the post-New Order controversy over the rectification of history. Part Three ends with several concluding observations. First, the historiographical engineering that the New Order committed was not effective. Second, the regime created the tools for people to criticize itself, which shows that it misunderstood its own society. Third, Indonesian contemporary culture is such that people abhor the idea that there is no single truth.