Perancangan Karakter Personifikasi Mandau Uyau Man Kan Berbasis Budaya Dayak Kalimantan Timur

This project focuses on the significant role of the gaming industry as an agent for spreading popular culture and global lifestyle from various countries, as well as its potential impact on local culture. Especially in the Indonesian market, the penetration of foreign cultures through digital platforms has become a phenomenon that has an impact on local cultural identity. However, as a successful example, Japan in promoting its traditional culture through media such as games, anime, and other products, provides inspiration for an approach that has the potential to strengthen the sustainability of local culture. This design aims to explain how character design in the game industry can be adopted as a tool to introduce and describe cultural values, myths, and philosophies of the East Kalimantan Dayak tribe. This approach will involve developing character designs that take references from the traditions and local wisdom of the Dayak tribe. The design will be a means of providing a unique and engaging visual experience, while simultaneously responding to concerns about the preservation of traditional culture. The methodology used in this research is a design thinking approach with a 5W+1H analysis approach. These design steps would result in a character called "Uyau Man Kan," which has its roots in the traditional folklore of the Dayak people of East Kalimantan. This character is not only a visual manifestation of the culture, but also a bridge for a deeper understanding of the cultural heritage of the Dayak tribe

Perancangan Film Dokumenter “Parsan” Sebagai Apresiasi terhadap Sosok Parsan, Pelukis Poster Manual Bioskop Rajawali Purwokerto: -

As technology develops rapidly from era to era, who would have thought that there would still be people who maintain the traditional style in conveying their messages. Parsan, is a traditional poster painter at the Rajawali Cinema, Purwokerto, who has been dedicating himself as a film poster painter for decades. The planning of this documentary film is an effort to appreciate the figure of Parsan. Documentary Film is a film that contains data, facts and actual events about the life and daily life of Parsan, a 57 year old man at Rajawali Cinema Purwokerto which has been established since 1980. The research method used is a qualitative method with 5W+1H data analysis to determine the point of view and perspective used in the storyline. The stages of documentary film production start from research, data collection, data analysis, creating a story synopsis, writing a treatment script, production and then the editing process for the Parsan film. This research aims to design a documentary film that depicts Parsan's life, as the figure behind the manual film poster paintings at the Rajawali Cinema, Purwokerto. The film aims to be a medium for appreciation of the figure of Parsan, who so far not many people know about his dedication. This documentary film has been screened at several film festivals, one of which was nominated at the NETPAC-Jogja Asian Film Festival and received a screening contract with BioskopOnline.id

SOCIAL REFLECTION IN THE CREATION OF MATI KONYOL VIDEO ARTWORKS

Corruption is not a culture , not a habit , but corruption is a crime . According to a survey by Transparency Internasional Indonesia (TII) in 2013, Indonesia was ranked 114 in the list of corrupt countries in the world. The artwork titled "Mati Konyol" is a response to the social phenomenon, is the phenomenon of corruption in Indonesia . Source of idea creation of "Mati Konyol" includes : (1) corruption; (2) paper puppets; (3) iluminated Cut Paper Light Box . The process of creating the artwork of "Mati Konyol" was carried out throught following steps : (1) the manufacture of paper puppets , which includes the step of : sketching drawing , cutting sketches , perangakaian partially the result of cuts , perangakaian overall results of the test piece and the light on the paper puppet; (2) the making of video art; (3) editing video and audio; (4) merging video with paper puppets that have shaped diorama . This artwork is an amalgamation of two different artistic elements into a unity that gave birth to the new work . So, This artwork “Mati Konyol” works can be categorized as new media art artworks. This Artwork aims to satirize the corruptor who now has no shame. Visual shame these corruptor visible like a actor in this video present without clothing or semi-nude

PENCIPTAAN KARYA SENI VIDEOGRAFI INSTALASI "JANGAN PERCAYA MEDIA"

Karya seni videografi instalasi "Jangan Percaya Media" adalah sebuah konsep penciptaan karya videografi sebagai ungkapan ekspresi pribadi penulis dalam menanggapi fenomena sosial yang terjadi dalam masyarakat. Berlandaskan ide dan sudut pandang kreatif, penulismencoba menyikapi dan mengeksplorasi fenomena sosial berupa perbedaan pendapat yang diperoleh dari beberapa tayangan berita politik di televisis. Karya ini menggambarkan bagaimana konflik yang terjadi di tengah-tengah masyarakat sebagai dampak dari perbedaan sudut pandang yang mereka serap dari beberapa siaran berita politik di televisis. Karya ni juga menghadrirkan berbagai proses yang dilalui sebuah berita sebelum disiarkan ke tengah-tengah masrakat, seperti proses pemilihan peristiwa, pemilihan narasumber, pemilihan statement, proses editing gambar dan dubbing narasi. Sehingga kebenaran sebuah berita politik yang disiarkan televisi tidak dapat diterima begitu saja.Karya "Jangan Percaya Media" ini mengkombinasikan seni video dan teknik instalasi dalam menyampaikan pesannya kepada penonton atau pengamat karya. Melalui seni instalasi penonton atau pengamat karya akan mendapatkan pengalaman sensorik yang lebih luas idbandingkan dengan mengamati sebiuah karya seni yang dua dimensional. Sehingga tujuan dari karya ini yaitu mengingatkan kembali bahwasannya berita yang ditayangkan di televisi tidak terlepas dari campur tangan si pembuat berita, dapat tercapai

Film Dokumenter Nguri-Uri Banyumasan sebagai Arsip Digital Kebudayaan Banyumas yang Terancam Punah

Dalam stastistik Kebudayaan Indonesia tahun 2019, memaparkan bahwa Indonesia memiliki 2.744 warisan budaya benda, 819 Warisan budaya tak benda, dan 2700 kesenian yang tersebar dalam 34 provinsi. Dari sekian banyak kebudayaan yang ada di Indonesia, dalam tulisan ini penulis akan berfokus pada kebudayaan yang terdapat di daerah Banyumas. Dinas Kepemudaan Olahraga Kebudayaan dan Pariwisata (Dinporabudpar) Banyumas meliris beberapa kesenian asli Bayumas yang terancam punah, yaitu: Gondolio, Tari Buncis, Dhalang Jemblung, Sintren, Rengkong, Cepetan, Rinding, dan Baritan. Sumber ide penciptaan dalam karya film dokumenter berjudul Nguri-uri Banyumasan ini berupa kebudayaan asli Banyumas yang terancam punah. Proses pembuatan film ini dilakukan melalui tiga tahap, yaitu pra produksi, Produksi dan Pasca Produksi. Film Dokumenter ini mendeskripsikan beberapa budaya tradisional Banyumas yang terancan punah, dengan tujuan menyediakan alternatif media informasi dalam bentuk digital. Hal ini dilakukan sebagai upaya pelestarian kebudayaan tradisional Banyumas dari kepunahan