ROLE OF SUPPORT COMMUNITY AND NEDERLANDSH INDISCHE KUNSTRING AS COMPONENTS OR THE MOOI INDIE FINE ARTS

This research is focused on the importance of role played by the supporting society and art institutions,especially Nederlandsche Indeische Kunstring to encourage development of Mooi Indie painting. The reasons for the support will be the Dutch indie elite in terms of cultural and aesthetic visions will be the focus of the work. This research is a qualitative study by applying historical methodology. The method is the main instrument in order to reveal the phenomena of the art history. The main characteristics of the historical study lie on tracing the sources (heuristic), selecting and providing criticisms based on the analyses and interpretations of the data sources in order to produce synthesis: hence, at the last stage, to develod a historiography. The explanations of the Mooi Indie painting. Artists and hair works, the supporting society, and the socio-cultural and art institutions of the Nederlansch Indische Kunstring who clearly showed mutual relations among components in the development of the art world. The relationship has proven that Mooi Indie painting together with the supporting society and the institution Nederlansch Indische Kunstring is the type of social production in yhe colonial system of the dutch Indies. In this system, cultural vision of the feudal colonial power is reflected in the strong style and form of painting with aesthetic vision of exotic romanticism. In the distribution processes of the cultural and aesthetic visions, the support and synergy between the components in the art world have worked very effectively. Keywords: Moii Indie, exotic romanticism, art support, and kunstring

Ikonografi dan Ikonologi Lukisan Djoko Pekik: ‘Tuan Tanah Kawin Muda’

ABSTRACT This research talked about ‘Tuan Tanah Kawin Muda’, painted by Djoko Pekik, with art history as the basic approach and therefore using Erwin Panofsky’s iconography and iconology theory. Hi- story research method followed with field data investigation, literature data, selection and critic, ana- lysis and source interpretation purposing to get the synthesis, continue with historiography framing. The result of this research contains; Preiconography descriptions explained the early textual aspect idea, reveals communication and conflict between the two figures. Iconography analysis explained about theme and concept, it tells about the oppression through economy asset, social, and cultural. The creator thought about how to defend among the conflict. Iconology interpretation, explained the art work symbolic value. Through the psychology experience and his social also cultural background, conclude that this painting is a crystallization symbol of deprivation and defense from the suffering poor people’s right. Keywords: Social realism, social conflict, oppression symbol  ABSTRAK Penelitian ini tentang lukisan Djoko Pekik yang berjudul ‘Tuan Tanah Kawin Muda’ yang dianalisis dengan pendekatan sejarah seni dan memakai teori ikonografi dan ikonolo- gi Erwin Panofsky. Metode yang dipakai adalah metode sejarah dengan langkah pencarian sumber di lapangan dan pustaka (heuristik), seleksi dan kritik, analisis dan interpretasi sumber untuk menghasilkan sintesis, dan penyusunan historiografi. Hasil penelitian ini berupa: Deskripsi pra ikonografi berisi tanggapan awal aspek tekstual, mengungkap ko- munikasi dan konflik antara dua figur. Analisis ikonografis yaitu tentang tema dan konsep penindasan kaum laki-laki pada perempuan lewat kekuasaan modal ekonomi, sosial dan kultural. Konsep dasar penciptaannya tentang konflik antara kekuasaan yang menindas dan hak yang harus dipertahankan. Interpretasi ikonologis yaitu tentang nilai simbolik yang diungkap dalam lukisan. Lewat pengalaman psikologis pelukis dengan berbagai ke- kerasan dan penderitaan, serta pandangan hidup dari latar belakang sosial dan kultural- nya, maka lukisan ini merupakan kristalisasi simbol dari perampasan dan pertahanan hak rakyat bawah yang menderita.. Kata kunci: realisme sosial, konflik sosial, simbol ketertindasa

KEHADIRAN PELUKIS SALIM DALAM SEJARAH SENI LUKIS MODERN INDONESIA

Investigating the socio-cultural background, specifically the contradiction among the ideological influences in Indonesia in the late 1950s, cannot be done without discussing Salim. This painter promoted the aesthetic paradigm of ‘universalism’ that emphasized on the freedom of personal expression. Many facts show that Salim was a painter with a firm personality. He built an intensive social relation with Indonesian national movement figures. His paintings contributed significantly to the development of the art of painting in Indonesia. However, he was stick to his decision to stay in Europe. His major rationale was that Europe was his only chance to develop both as human being and a professional painter. In Europe, he intuitively expressed Indonesian values through visual idioms. Europe acknowledged him as a painter with Eastern spirit, whereas in Indonesia he was considered too western. As the matter of fact, he was a universalist. In the bargaining of the aesthetic paradigm the history of modern visual art in Indonesia, Salim existence has been an inspiration and psychological support for painters who fight for universal humanism in his works. His presence was a true manifestation of the national identity issue in art. It was a reflection of political live tradition that is always a color in the journey of Indonesia modern art and culture.   Keywords: modern paintings, nationalism, universalism, identity

The Struggle Never Ends (The Reflection on the History of Struggle between Socio-Political Groups in the Creation of Painting)

This artistic research aims for the creation of contemporary painting. State of art issues of art creation consists of paintings, socio-political, social functions, and visual symbols. The creation goals are to create painting from the ideas of creation and aesthetics visual form, departing from socio-political history condition in the struggle among mass organizations and politic organizations in Indonesia. By utilizing practice-based research method, the researcher is united with the object being worked in an in and through appreciation, must also refer to published creation method, thus that it is not subjective and the explanation is detailed. David Campbell’s creation method is used as the reference, i.e., Preparation, concentration, incubation, illumination, and verification-production. The study results and art design are contemporary painting “Pertarungan tak Kunjung Usai” (The Struggle Never Ends). It portrays the reflection of ideology struggle and socio-political outlook of figures or among community groups. Subject matter shows two figures group who facing and opposing each other with allegory or symbol attributes, such as weaponries, normative books, bulls, and garudas. The setting is on a ruins or ship deck wreckage. The painting is shown in decorative-expressive style, within contemporary aesthetic artistic images. Penelitian artistik ini bertujuan untuk penciptaan karya seni lukis kontemporer. State of art permasalahan penciptaan karya meliputi seni lukis, sosial-politik, fungsi sosial, dan simbol visual. Tujuan penciptaannya menciptakan lukisan dari ide penciptaan dan bentuk visual yang estetik, dari fenomena kondisi sejarah sosial politik dalam pertarungan ormas dan orpol yang ada di Indonesia. Metodenya practice based research, peneliti menyatu dengan objek yang dikerjakan dalam penghayatan secara timbal balik (in and through), juga harus merujuk metode penciptaan terpublikasi, sehingga tidak subjektif dan pemaparannya rinci. Metode penciptaan David Campbell digunakan sebagai rujukan, yaitu preparation, concentration, incubation, illumination, verification-production. Hasil penelitian dan perancangan karya ini adalah karya seni lukis kontemporer "Pertarungan Tak Kunjung Usai". Menggambarkan refleksi pertarungan ideologi dan pandangan sosial politik dari figur-figur atau antarkelompok masyarakat. Subject matter menampilkan dua kelompok figur-figur yang berhadapan dan saling bertentangan dengan masing-masing atribut alegori atau simbolnya, seperti senjata, kitab normatif, banteng, dan garuda. Setingnya ada dalam reruntuhan bangunan atau potongan geladak kapal. Lukisan ini ditampilkan dalam gaya dekoratif ekspresif, dalam citra artistik estetika kontemporer

Analisis Variabel Keberhasilan Kud (Studi Kasus di Kud Kabupaten Musi Banyuasin, Sumatera Selatan)

The aims of this research are to determine (1) the effect of variables to the success of cooperation in achieving an autonomous village cooperative; (2) to determine which of the seven variables has the strongest effect on the success of the village cooperative. This research was mainly on the village cooperatives running in providing food and distributing production tools such as fertilizer, pesticide, prime seeds, and so on, in the Musi Banyuasin regency, South Sumatra province. The research location was determined based on the fact that the Musi Banyuasin Regency is one of the regencies located in South Sumatera which succeeded in developing the autonomous village cooperative. Sampling was applied to the village cooperatives which had been operating for more than two years and had corporate body at the time of investigation. As many as 47 autonomous village cooperatives were selected from the 147 available in the Musi Banyuasin regency. A village cooperative is considered autonomous if it has fulfilled the 13 criteria of the Department of Cooperative. To measure the success of the cooperative, several indicators are used, they are Profit Margin, Liquidity Ratio, and Solvability Ratio. The variables influencing the success of the village cooperative in becoming an autonomous cooperative are member's participation, operation volume, the board's education, board's experience, capital growth, business variation and service of the village cooperative involved. The regression and regression coefficient test simultaneously showed highly significant influence on the indicators of profit margin, liquidity and solvability. This means that the suggested variables statistically determined toward the success of the village cooperative. The t-significance at a=1% showed that two variables highly influenced the success of the village cooperative, they were the operation volume and capital growth. This fulfils the autonomous cooperative criteria: the total operation volume has to be in proportion with the number of members and the capital equity has to be at least 25 million rupiah. This indicates that the core of success for the village cooperative rests on the operation volume and the capital growth: the higher the operation volume and capital growth, the better the marketing and financial performance of the village cooperative. From the management handling perspective, it is indicated that the higher the board's education and the longer the experience, the higher the success of the village cooperative

Semiotic Analysis of the Changes of Ondel-ondel Costume Elements as a Betawi Cultural Negotiation

Recognized as one of Jakarta’s icons, the large pair of puppets known as ondel-ondel has undergone significant transformation since its origin centuries ago. Classically built in a fairly simple form, ondel-ondel presents itself in various ways at every performance. Now, ondel-ondel is increasingly found throughout Jakarta, having gone through numerous changes in its costume elements. Whereas it is usually meant to be shown as a couple, nowadays a single ondel-ondel can be found cruising alleys with a mere digital sound system as musical accompaniment. Once respected and feared for its looks, today it is belittled by its own people. Due to this phenomenon, this research aimed to answer the questions of who influenced this ideological change, which ruling elite encouraged their ideology, and what the ideology is. Interviews and direct observations produced stories and photographs, while literature and media studies provided a historical background. Roland Barthes’ semiotic connotations with a historical perspective were used to read the hidden concepts behind these signs, which connect the changes of the costume elements through the important events in Betawi society during the period of 1970–2020. The different interests of each party brought more conflict in their relations, which created a dynamic cultural negotiation. Based on the results, the terms for the ondel-ondel models were identified, specifically a personification model, Islamic model, and commercial model, each named after the historical events and ideology brought about by Jakarta’s ruling elites

Analisis Ekonomi terhadap Struktur, Perilaku, dan Kinerja Pasar Pupuk di Jawa Timur (Kasus di Kabupaten Lumajang dan Kabupaten Ngawi)

The objectives of this research are: (1) to analyze the market structure of subsidizedfertilizer in East Java, (2) to analyze the need of subsidized fertilizer which should beallocated to their farms, (3) to observe the deviation, if any, of subsidized fertilizerdistribution along the distribution channel.This research found that the market struc-ture has the following characteristics: the access of market information is generallyquite even among distributors at the same level but not between different level. Fromthe market conduct point of view, it is found that there are rent seeking behaviorsresulting in some deviation in distribution channel as mentioned above. It is the resultof market structure being characterized by oligopolistic in nature. Such market struc-ture and conducts result in the level of fertilizer prices far above the highest retailprice set by the government, but farmers are forced to buy because they are in emer-gency need

Prinsip Estetika Pakaian Cosplay Yogyakarta: Fantasi dan Ekspresi Desain Masa Kini

ABSTRACTCostume, dress code, animation, comics, legends, and manga, are inseparable parts of the cosplay costume. Those parts give fantasy and digital world discourse through costume style. Its spiritual domain stands on Japanese culture by being cultured through clothing. One of them, cosplay ideo- logy, reflects the self-imaging through social communities, as an e?ort for group and self-existence. Cosplay entity bridges fantasy and real world, presents designers’ expressions through the costume designs to show. This writing will be analyzed by using the main theories based on Dewitt H. Parker point of view, in The Principles of Aesthetics, which divides principles of aesthetics into three, they are: Principle of Organic Unity, Principle of Dominant Element, and Principle of Balance. Principle of organic unity indicates that cosplay clothing is an accumulation of design elements, to refer and mark a figure. Principle of dominant element, is accentuation, or the center of interest of a cosplay clothing design. Principle of balance, see placement and setting ornamentation applied to cosplay clothing.Keywords: cosplay clothing, principles of aesthetics, costume style, YogyakartaABSTRAKPakaian, dress code, animasi, dan manga, merupakan unsur yang tidak terpisahkan dalam pakaian cosplay. Unsur-unsur tersebut merupakan wacana dunia digital dan fantasi pada dunia pakaian. Ranah spiritualnya berp?ak pada kebudayaan Jepang yang dibudayakan melalui pakaian. Ideologi cosplay salah satunya menggambarkan pencitraan diri komuni- tas sosial, sebagai usaha untuk aktualisasi diri. Entitas cosplay mampu menjembatani du- nia fantasi dan realita, yang membelenggu keinginan manusia untuk bergaya. Tulisan ini akan dianalisis dengan teori pokok berdasarkan pandangan Dewitt H. Parker, dalam The Principles of Aesthetics, yang membagi prinsip estetika menjadi tiga, yaitu: prinsip kesatu- an organik, prinsip unsur dominan, dan prinsip keseimbangan. Prinsip kesatuan organik menunjukkan, bahwa pakaian cosplay merupakan akumulasi dari unsur-unsur desain, un- tuk merujuk dan menandai tokoh. Prinsip unsur dominan, merupakan aksentuasi, atau pusat perhatian dari sebuah desain pakaian cosplay. Prinsip keseimbangan, melihat penem- patan dan pengaturan ornamentasi yang diaplikasikan pada pakaian cosplay.Kata kunci: pakaian cosplay, prinsip estetika, gaya pakaian, Yogyakart

Ondel-ondel kekinian: boneka besar Betawi di zaman modern

Ondel-ondel is an ancient Betawi’s art work named Barongan, in simple shaped of one pair off greater puppets, complete with the music companion. At the beginning, ondel-ondel was a part of Betawinese scared rituals then become one of Jakarta’s icons. Ondel-ondel can be found until today either in performing arts and decoration element form. In its development as the decoration element form, ondel-ondel is not only the great puppet for buildings and stages decorator, but also has been positioned as a part of cultural tourism and society living needs. Moreover, ondel-ondel has been used to be an inspiration to produce souvenir to support industry. Ondel-ondel is not longer just made in big size, but also in mini size in form of 2 or 3 dimensions, so it is easy to be carried as a souvenir, which represents Jakarta and Betawi. To find out the value behind the sign changed, this qualitative research used the semiotic approach. Connection or relation between symbolic sign in ondel-ondel structure and building elements were collaborated with society condition as the background and impact of the society on that time to get the value. The changes of ondel-ondel’s meanings and functions in building elements have been produced and contracted as its user way of thinking based on its form and context. The meaning interpretation of ondel-ondel craftsman and audience in particular time would be different with government’s policies. Key words: ondel-ondel, building elements, souvenir, meaning, functio