Structuralism and Post-structuralism in case studies of wayang kulit purwa and Eblek interactive wayang performances

This paper explores two wayang performances: the purwa shadow puppet show and the Eblek interactive wayang show. The research compares the concepts behind the two performances. The Wayang Eblek Interactive show was developed based on inspiration taken from wayang kulit purwa. This qualitative research method applies the Levi-Strauss structural analysis approach. Behind human work is not just wishful thinking but the form of values or meanings that subconsciously form individual thought ideas. In the early stages of the research, it was used to analyze the structure of the wayang kulit purwa and wayang Eblek performances with a performance concept inspired by post-structuralism pioneered by Jaques Derrida. At the end of the research by using this method, several exciting findings emerged which revealed a contradiction in the staging structure of the two performances are looked very different. Although the development of wayang in Indonesia needs to follow the SENAWANGI (Indonesian Wayang National Secretariat) guidelines for preserving traditional wayang, the development of wayang performances in the current format is also a priority in its development to accommodate the tastes of the younger generation of audiences

The Graphic Structure of Wayang Purwa Pandawa as a Reference for the Development of Contemporary Wayang Illustrations

Traditional shadow puppets are a real and symbolic form of art that appears as a spectacle, guidance, and order that can entertain and convey the teachings as a reference to life. Even UNESCO has proclaimed the arts of wayang purwa as "a Masterpiece of Oral and Intangible Heritage of Humanity." Despite its increasingly eroded by the times, it is undeniable that the protagonist of wayang puppets such as the Pandawa family has always been an inspiration in the development of the art world and the current design in the beauty of carving and graphic art that makes it a pre-modern art that is praiseworthy. According to the history of the origin of wayang, until now always undergoing an endless transformation of form. Since the time of Majapahit, the visual of wayang puppet that is still realistic until the era of the entry of Islam has been stilted and development until now. Shadow puppets Surakarta style is one type of wayang puppets are still often played and a reference to the form of graphics because of the beauty of carvings and graphic art. Shadow puppets are currently entering the postmodern period which is a postindustrial society that experienced a change in the assessment of aesthetics, especially for the younger generation. This phenomenon is a challenge for Pandawa Lima figures as a protagonist to remain present to become an idol and make it a choice of spectacle and guidance. This research uses qualitative research method through interview, literature study and field observation in Surakarta and Wonogiri area and supported by the postmodern theory of deconstruction. The results of this study show the graphic structure of Pandawa Lima collected can be a reference to the development of wayang in a new illustration work for the young generation of today who has the hybrid and liquid identity. In the end, experimental design of contemporary wayang illustration with a case study of Bima and Arjuna is expected to attract young generation. Keywords: Wayang, Surakarta style, Pandawa, graphic structure, illustration DOI: 10.7176/ADS/78-06 Publication date: November 30th 201

PERANCANGAN KOMUNIKASI VISUAL UNTUK MENDUKUNG PROMOSI EVENT INDONESIA ISLAMIC FASHION FAIR 2012

PERANCANGAN KOMUNIKASI VISUAL UNTUK MENDUKUNG PROMOSI EVENT INDONESIA ISLAMIC FASHION FAIR 2012

Perbandingan Struktur dalam Studi Kasus Pertunjukan Wayang Kulit Purwa dan Wayang Kontemporer Hip-Hop Jogjakarta

Tulisan ini berisi kajian dua pertunjukan wayang yaitu pertunjukan wayang kulit purwa dengan pertunjukan wayang kontemporer Hip-Hop. Kajian ini cukup menarik karena memperbandingkan konsep pertunjukan diantara keduanya, dimana wayang kulit purwa sebagai sumber inspirasi dalam pengembangan pertunjukan wayang kontemporer Hip-Hop. Dengan menggunakan sejarah perkembangan wayang kulit purwa sebagai pendekatan, selanjutnya akan dianalisis menggunakan aliran strukturalisme Ferdinand de Saussure dan aliran post-strukturalisme yang dipelopori Jaques Derrida. Dalam kajian dengan metode tersebut akan didapatkan temuan menarik, dimana diantara kedua pertunjukan wayang tersebut dapat menunjukkan struktur dan sistem pertunjukan yang menunjukkan sebuah kontradiksi struktur sistem yang berbeda. Perbedaan tersebut pada akhirnya harus disesuaikan dengan tekad SENAWANGI (Sekretariat Nasional Pewayangan Indonesia) yaitu kesatuan tekad dalam melestarikan semua unsur dalam seni tradisi wayang juga segala upaya dalam pengembangannya mengakomodasi pengembangan wayang kontemporer yang terus bertumbuh mengikuti selera Perubahan jaman

MOTIF BATIK BETAWI DALAM PUSARAN INDUSTRI KREATIF

AbstractBetawi Batik Motif in Creative Industry Center. Betawi batik is a batik that developed on the island of Java, especially around Jakarta, and experienced visual changes from classical symbols to contemporary. In Indonesia, traditional businesses such as batik are often promoted as creative industries. However, traditional and creative businesseshave different characteristics and potentially different results. In this case, each requires a different policy strategy. The central government’s decentralization policy has caused a uniformity of products resulting from creative economic policies in Indonesia.This encouraged the Betawi batik industry to develop with an order that prioritized contemporary and commercial elements to meet the demands of decentralization and uniformity of the creative industries. The meaning of the symbol of classical and contemporary batik will be separated according to the symbols in it and analyzed using semiotics Ferdinand de Saussure and Jaques Derrida. This study uses qualitative methods with ethnographic analysis and grounded theory. This method is aim to formnamely identifying and categorizing elements and tracing the  nterrelationships with one another, as well as observing patterns. The results of this study are intended to give understanding of the meaning in the scope of the study of visual semiotics that can be practiced in the study of visual communication design courses that are loaded withvisualization of signs.Abstrak Motif Batik Betawi dalam Pusaran Industri Kreatif. Batik betawi merupakan batik yang berkembang di pulau Jawa khususnya di sekitar Jakarta dan mengalami perubahan visual dari simbol-simbol klasik menjadi kontemporer. Di Indonesia, bisnis tradisional seperti batik sering dipromosikan sebagai industri kreatif. Bisnis tradisional dan kreatifmemiliki karakteristik yang berbeda dan hasil berpotensi berbeda. Dalam hal ini, masingmasing membutuhkan strategi kebijakan berbeda. Kebijakan desentralisasi pemerintah pusat menyebabkan penyeragaman dari produk yang dihasilkan dari kebijakan ekonomi kreatif di Indonesia. Hal ini mendorong industri batik Betawi juga berkembang dengantatanan yang lebih mengedepankan unsur-unsur kontemporer dan komersial untuk memenuhi tuntutan desentralisasi dan penyeragaman dari industri kreatif. Makna simbol batik klasik dan kontemporer ini akan dipisahkan menurut simbol-simbol di dalamnya dan dianalisis menggunakan semiotika Ferdinand de Saussure dan JaquesDerrida. Penelitian ini menggunakan metode kualitatif dengan analisis etnografi dan teori lapangan (grounded theory). Metode ini bertujuan untuk pencarian bentuk atau penemuan keteraturan yaitu pengidentifikasian dan pengkategorian unsur-unsur dan penelusuran keterkaitan satu sama lain, serta pengamatan pola-pola. Hasil penelitian ini dimanfaatkan untuk belajar membuat pemahaman tentang makna dalam lingkup kajian semiotika visual yang dapat dipraktekkan dalam kajian mata kuliah desain komunikasi visual yang sarat dengan visualisasi tanda

PERANCANGAN PUBLIKASI BUKU ILUSTRASI LEGENDA ASAL MULA DANAU TOBA

PERANCANGAN PUBLIKASI BUKU ILUSTRASI LEGENDA ASAL MULA DANAU TOBA

PERANCANGAN KOMUNIKASI VISUAL BENTUK PUBLIKASI BOX-OFFICE INDONESIA 2000 - 2012

PERANCANGAN KOMUNIKASI VISUAL BENTUK PUBLIKASI BOX-OFFICE INDONESIA 2000 - 2012

PERANCANGAN ULANG IDENTITAS VISUAL MINISTRY OF VOPE INDONESIA

PERANCANGAN ULANG IDENTITAS VISUAL MINISTRY OF VOPE INDONESIA

PERANCANGAN ULANG IDENTITAS VISUAL POP N GO

PERANCANGAN ULANG IDENTITAS VISUAL POP N GO

PERANCANGAN IDENTITAS VISUAL ENSO HOTEL

PERANCANGAN IDENTITAS VISUAL ENSO HOTEL