Nilai Estetis Pada Kemasan Makanan Tradisional Yogyakarta

This research is focused on investigating the aesthetical and philosophical values of traditional food packaging in Yogyakarta, whereas much of traditional values are still applied and existed in the daily life. It is thought that the philosophical value of traditional food packaging is related to its use in the traditional ceremonies of the Yogyakarta Palace, such as Garebeg Mulud (Sekaten), Garebeg Syawal, Garebeg Idhul Adha, Tumplak Wajik, and Labuhan. Although some of traditional food packaging are also used in the people's ceremony, such as birth, wedding, and funeral ceremonies. Accordingly, traditional food packagings are mostly used to represent symbols that link to the life of the people of Yogyakarta. The aesthetical value of traditional food packaging can be identified from its visual elements, such as shapes, lines, textures, colors, masses (volumes), spaces, and the composition of those elements using natural materials such banana leaf and young coconut leaf. The intertwined of each element carry on meanings and therefore when modern materials (papers and plastics) are applied, most of traditional food packaging degrades their actual and symbolical meanings

Kontribusi Inovatif Seni Dan Budaya Pada Masyarakat Urban

Seni dan budaya tidak diragukan lagi memberikan kontribusi yang positif bagi masyarakat di lingkungan terdekat, khususnya masyarakat urban yang mempunyai masalah yang lebih kompleks daripada masyarakat pedesaan. Kontribusi tersebut bisa berupa solusi inovatif yang mampu menjadi solusi atas masalah yang ada, mulai dari masalah sampah yang merusak lingkungan serta bagaimana mengangkat harkat hidup kaum marjinal dan lebih memberdayakannya. Tujuan penelitian ini adalah untuk memaparkan bagaimana kontribusi inovatif dari seni dan budaya mampu menjawab permasalahan yang dihadapi masyarakat urban dan bagaimana para pelaku dan penggiat seni beserta masyarakat dapat berpartisipasi aktif dalam kegiatan seni itu sebagai bagian dari pemecahan masalah yang ada. Metode yang digunakan adalah metode sosiologi seni dan teori perubahan. Teori perubahan digunakan untuk menangkap perubahan sosio-kultural pada komunitas masyarakat yang sangat dinamis seperti masyarakat perkotaan

Urban Screen pada Ruang Publik: Media Interaksi Kreatif dalam Meningkatkan Makna Tempat

Urban screen is a new media screen that performs on the public space. Its existence isnot only enriches the visual landscape of public space, it also indirectly creating public participation both passive and active. If properly created, urban screens can produce relational space that useful to increase the meaning of place. The emergence of relation between physical space and virtual space, material and immaterial, dynamic and static, and between public and private interests will produce the augmented place. The Augmented place will continually create a new different place from we have known. The existences of new media screen may inspire the public to interact among people and people with the place and in the end creates engagement with the place. This paper contributes to inspire the urban planners to increase the meaning of the place in the city of space which have decreased in space quality and provide motivation for the artists to build interaction between art work and public sphere. This paper will focuses on the emergence of relational space in the form of public response to the urban screen

Representasi “Indonesia” pada Anjungan Belanda di World Expo 1889 Paris dan World Expo 1910 Brussels

Pada peristiwa World Expo anjungan dapat menjadi representasi sebuah perusahaan atau negara peserta. Anjungan merupakan media untuk menyampaikan pesan yang dapat bercerita mengenai simbol-simbol kebudayaan dan organisasi yang dimiliki atau bahkan propaganda kebangsaan sebuah negara. Penelitian dari berbagai dokumen, foto, pemberitaan di surat kabar, majalah, situs, dan tulisan di beberapa buku ini adalah untuk memperlihatkan bagaimana representasi Indonesia melalui pameran dunia pada masa pemerintahan Hindia Belanda. Penelitian ini mengungkapkan model representasi “Indonesia” yang digambarkan melalui anjungan yang dilakukan oleh pemerintah Hindia Belanda teraebut berkaitan dengan perbedaan tujuan atau propaganda dari pemerintah Hindia Belanda. Representation of Indonesian through the World Exhibition at the World Expo 1889 Paris and 1910 Brussels In the event of great proportion such as the World Expo, pavilion can become the representation of the participating corporations or countries. Pavilion is a media used to pass on messages and to tell stories about the symbols relating to culture and organization and it can also be used as a propaganda on nationhood. The research using diverse documents, photographs, news from newspapers, magazines, sites and some writings from a number of books are to see how the propaganda executed by the government of the Dutch Indies utilizing display arrangement of the pavilion at World Expo. This research finds that there are relations between the many models of Indonesian representations - that pictured through pavilion done by the Netherland Indies government - with the objective of the message to be conveyed. Keywords: World expo, pavilion, and representatio

Graffiti Exists as both an Art and a Tool of Education

Graffiti are created from the creator aspirations towards a specific social issue surrounding the community and it has become an integral visual aspect of a city. As a phenomenon, aside from being accepted or not, graffiti can be deemed as an artwork when its viewers understand its message, using the surrounding as a frame, creating a living gallery. One of this gallery can be observed at Kampung Babakan, Tanggerang, Indonesia. Kampung Babakan is situated side by side with a modern residential complex with modern infrastructure. The social divide however prevents residents of Kampung Babakan to enjoy these modern infrastructures. Kampung Babakan residents have a very low education rate which in turn prevents the residents to acquire higher quality living standards and they realized that education is the pathway to a better future. The main research topic is how graffiti as an artwork can be optimized as an educational tool and motivates children to study by utilizing the available spaces on vacant walls, and other flat media available in the immediate area. The research will be done through phenomenological approach, participation method, direct observation, field visit, reference studies, and study case analysis. The graffiti artwork revolved around educational theme, spanned into several topics, consisting mainly of math and language. With them being placed on strategic location, graffiti can become a tool to build positive social interaction. Not only it is an outlet for youth aspirations and creativity, graffiti can be beneficial to its viewers. In the end, graffiti is accepted as a beneficial artwork, by introducing basic education, while motivating the resident's children to go to school, and beautifies the environment at the same time. Key words: graffiti, education, social interaction

Galeri Tiga Hari: Action of Participatory Art

A city as a physical entity and symbolic construct uses advertising to expand its presence amongst its inhabitants. Meanwhile in some spaces, the city is enriched with various forms of expression such as graffiti, which has become urban symbols. However, the city government banned graffiti presence all around the city. Which leads to the question, how do graffiti artists, and its audience respond if presented with a blank canvas in a gallery environment? A work is a process which involves the cooperation of several parties and therefore, the methodological approach used in this study is phenomenological paradigm approach. Gallery Tiga Hari which is a gallery within a gallery provides a blank canvas like the walls of the city to facilitate messages that can be conveyed to its citizens and in effect provides a participatory art which engages the artist and the viewers in one space. The exhibition managed to engage visitors by visualizing the artist’s work in a participatory manner, by participating in the graffiti act themselves. The gallery is no longer the exclusive property of established artists, but as a means to reclaim the city spaces for residents of the city itself. Key word: Graffiti, space, expression and townspeople.

Sundanese Colors

The aim of this work is to find out how the colors are understood and used by the Sundanese. Color is an important element in human life. Colors not only complement the life, but can be used as knowledge and communication tools. The color is an element of art and design, including the design of visual communication. The art itself is one of the seven elements of culture. Colors in Sundanese culture have a unique and distinct. Sundanese culture in this case meant not only limited to the culture grow and develop in the area of West Java province. Researches about color in Sundanese culture are hard to find, so knowledge of the colors in the Sundanese culture is still limited. The approach using descriptive-analytical. Data obtained from the publications of the previous studies. Sundanese Color names who found by a researcher, generally, are not accompanied by color code so that causing the reader difficult to imagine it's colors, especially for readers with mother tongue is not Sundanese. The results showed there are three dimensions of color in Sundanese culture, i.e. meaning, naming, and use of color. Color's preference in Sundanese culture is divided into two categories: black and white and unlimited colors. The color preference of clothing for the Baduy Dalam is black and white. The color preference of clothes for Baduy panamping and dangka is colorful. The fact that research on the special topic on Sundanese colors very slightly means this topic still widely open to execute

The Supremacy of Lighting in Hanung Bramantyo’s Film: The Cultural Studies of Chiaroscuro in Sang Pencerah and Perempuan Berkalung Sorban Film

This paper will present the significant role of lighting in film. The word ‘supremacy’ that became the focus of this research was not interpreted as the King’s entity that illuminates his followers (from the one who holds control into the one who is controlled). Instead, it was understood as an entity that emerged naturally in each individual and would be emitted in many forms. In this context, resistance could also be stated as the expressive supremacy. Chiaroscuro is a lighting technique in film that can produce a dramatic aspect in the scene’s visualisation. The study of lighting is not only limited on technical aspect but also focused on other lighting aspects. As example, the light’s darkness-brightness correlated with the expressive supremacy that was emitted by specific character in the film’s scene. To overcome that issue, this research applied cultural studies and interdisciplinary as its methods. Through this method, the issue of supremacy would be faced as a cultural daily issue. Thus, the issue of supremacy could not be positioned as an individual issue but more as an issue that related with its external aspects. Based on this research, there are some interesting findings. Firstly, the supremacy light that was emitted from the film’s chiaroscuro held significant relation with traditional and cultural values of Javanese societies who became the main focus of the film’s narrative. Secondly, the interpretation of supremacy held a linear comparison with spiritual-religious values, especially in Islamic perspective as the main theme of both films. Thirdly, in some aspects, there were some relations between the meaning of supremacy and righteousness, both in traditional and spiritual-religious values. Lastly, chiaroscuro in the film was not merely a technical issue of brightness-darkness, but more thematic since light is a source of supremacy. Keywords: chiaroscuro, film, supremacy, culture, Javanese

Building Creativity Training: Drawing with Left Hand to Stimulate Left Brain in Children age 5-7 years old

Researcher and professionals that started researching  about brains since 1930 believe that left brain is a rational brain, which is tightly related with the IO, rational thinking, arithmetic thinking, verbal, segmental, focus, serial (linier), finding the differences, and time management, Meanwhile right brain is the part of brain that controlled emotional thinking, which is tightly related to EQ, intuitive character, spatial thinking, visual, holistic, diffuse, parallel thinking (lateral), finding the similarities and not depending on the time.  Reputedly our brain dualism are the one who make human think really binary. Even though like that, both of the brains work together and support each other. Which one is more important? The left brain or the right brain?Drawing is one of the activity that can activate our right brain hemispheres, but then our education system in school is build that way, where creativity and imagination are put inside the box and only demand one right answer. And our children is more and more leaning towards the “left world”, when the school extend the hours until nearly evening and they added more homework loads, even sometimes the school cancel the art subject in school. So when is the time for our children to play and hang out?And drawing for children is mostly restricted with the tools, themes, ways to do it, times, places, etc. so they can’t really explore what they had been imagined to be creative. Keywords: Hemispheres, Right brain hemispheres, Drawing.Children age 4-8 years old, Creativit

The Nature of Ismail Zain’s Art: A Different Vision in Malaysian Contemporary Art

This study is an exploration of Ismail Zain’s art, one of the pioneers in new media art in Malaysia. It will focus on his outstanding display in Digital Collage exhibition, an exhibition was notable by art critics from Malaysia and Asia Pacific as the touchstones of a new approach in art which was a non-personalized medium that specifically depended on highly mechanized consideration. The purpose of this study is to explore Ismail’s art in terms of the process itself. In order to understand the nature Ismail’s art, there are three important questions: What are the idea and concept in his art? What are the medium and technique that were used in his art? How was the artwork itself? These questions are addressed by data gathered in Malaysia through collection of the artifacts, documents regarding interviews, and some institutional historical resources. The data have been divided and presented into the following themes: (a) conception, (b) operations and (c) synthesis