THE ROLE OF DAMAR KURUNG LANTERN AS A TIME SIGNAL OF GRESIK SOCIETY

Damar Kurung Craft is one of the typical Gresik cultural products that have been widely recorded the civilization and life of Gresik people through its handiwork. The existence of Damar Kurung has been around since the Hindu-Buddhist era. It is a lantern that made of bamboo paper with painting embedded that become Javanese's symbol of life. This research is qualitative research with descriptive approach. The object of this research is on the use of visual metaphor that described by Masmundari about Damar Kurung. The purpose of this research is to understand the meaning of symbols that embedded on Damar Kurung by Masmundari. At the same time, this writing is  made to understand the environmental context where decoration of Damar Kurung is made, in order to establish the identity and identification of Javanese people

Javanese Women Hybridity: Postcolonial Study of Nyonya Muluk in Damar Kurung Paintings

ABSTRACTDamar Kurung is a typical lantern of Gresik, made in the 16th century. In 2017 Damar Kurung was declared an intangible cultural heritage by the Indonesian Ministry of Education and Culture. Masmundari (1904-2005) was a female artist who painted Damar Kurung based on skills learned from her ancestors. Among Masmundari's many paintings, Nyonya Muluk is the most frequently painted. Nyonya Muluk is described as a big woman wearing a dress and wings. Many people say that Nyonya Muluk is a picture of Queen Wilhemina that Masmundari has seen directly. To uncover Nyonya Muluk's identity, it is necessary to explain the image and meaning of this traditional art, the author uses Bahasa Rupa method (Tabrani, 2012), which analyzes the contents of the wimba, cara wimba, tata ungkapan and how to read wimba. Then, analyzed using postcolonial theory, specifically using the concepts of hybridity and mimicry to find out the identity of Nyonya Muluk. Finally, this research is to produce (1) A description of the relationship between the two cultures (East and West/invaders and colonized) which is manifested in the figure of Nyonya Muluk. (2) Nyonya Muluk is a representation of Javanese women's hybridity that illustrates the hopes and dreams of Masmundari (as an East representative) to be similar to the West.Hibriditas Perempuan Jawa: Studi Poskolonial Figur Nyonya Muluk Di Lukisan Damar KurungABSTRAKDamar Kurung adalah lentera khas Gresik, dibuat pada abad ke-16. Pada 2017 Damar Kurung dinyatakan sebagai warisan budaya tak bendawi oleh Kementerian Pendidikan dan Kebudayaan Indonesia. Masmundari (1904-2005) adalah seniman perempuan yang melukis Damar Kurung berdasarkan keterampilan yang diperolehnya secara turun temurun. Di antara banyak lukisan Masmundari, Nyonya Muluk adalah yang paling sering dilukis. Nyonya Muluk digambarkan sebagai perempuan berukuran besar yang mengenakan gaun dan memiliki sepasang sayap. Banyak orang mengatakan bahwa Nyonya Muluk adalah gambaran Ratu Wilhemina yang langsung dilihat Masmundari. Untuk mengungkap identitas Nyonya Muluk, perlu menjelaskan gambar dan makna seni lukis tradisi ini, penulis menggunakan metode Bahasa Rupa (Tabrani, 2012), yang menganalisis isi wimba, cara wimba, tata cara dan cara membaca wimba. Kemudian, dianalisis menggunakan teori postkolonial, khususnya menggunakan konsep hibriditas dan mimikri untuk mengetahui identitas Nyonya Muluk. Akhirnya, penelitian menghasilkan (1) Deskripsi hubungan antara dua budaya (Timur dan Barat/penjajah dan terjajah) yang dimanifestasikan dalam sosok Nyonya Muluk. (2) Nyonya Muluk adalah representasi dari hibriditas perempuan Jawa yang menggambarkan harapan dan impian Masmundari (sebagai perwakilan Timur) untuk menjadi serupa dengan Barat

Preservation of Damar Kurung through jewelry design

Revolusi industri 4.0 diperkirakan akan mengancam keberadaan manusia dalam dunia kerja. Ketika ancamannya semakin besar, manusia sebagai makhluk kreatif seharusnya menyadari bahwa mereka harus beradaptasi. Tantangan-tantangan ini dapat dijawab jika manusia sebagai sumber daya utama dapat memanfaatkan informasi yang ada untuk meningkatkan kapasitas, kreativitas, dan keterampilan diri. Kreativitas membuat manusia mampu menghasilkan karya seni yang belum tentu teknologi dan mesin mampu lakukan. Meskipun beberapa mesin dikatakan mampu melakukannya, manusia tetap adalah entitas yang memiliki rasa dan emosi, yang hingga kini belum dimiliki oleh teknologi. Menjelang kepunahan Damar Kurung sebagai tradisi cahaya khas derah pesisir Pulau Jawa, pada 4 Oktober 2017, Departemen Pendidikan dan Kebudayaan Republik Indonesia menetapkan Damar Kurung sebagai Warisan Budaya Takbenda Nasional. Ini adalah berita baik bagi individu/komunitas yang telah secara aktif melestarikan Damar Kurung, sehingga keberadaannya sebagai warisan kearifan lokal dapat ditemurunkan kepada generasi muda. Namun pertanyaannya adalah: apakah di era Revolusi Industri 4.0 pelestarian warisan budaya masih relevan? Berdasarkan uraian latar belakang, tim penulis mengimplementasikan alternatif pengembangan kreativitas yang terinspirasi oleh ragam hias Damar Kurung menjadi perhiasan yang bernilai jual dan terbuka untuk pangsa pasar yang lebih luas. Sejauh ini, ada banyak produk kreatif yang terinspirasi oleh Damar Kurung, tetapi hanya terbatas pada segmen ekonomi menengah (dan bawah). Berbagai lapisan masyarakat perlu mengapresiasi Damar Kurung sebagai warisan budaya tak bendawi. Dengan demikian, warisan masa lalu dapat dikenali dan dihargai oleh orang-orang dengan menyesuaikan kebutuhan masa kini. Pada akhirnya, upaya ini mendukung pengembangan industri kreatif berbasis kearifan lokal.Kata kunci: Damar Kurung, Perhiasan, Kreatif Industri, Revolusi Industri 4.0, dan Kreativita

JAVANESE WOMEN HIBRIDITY: POSTCOLONIAL STUDY OF NYONYA MULUK IN DAMAR KURUNG PAINTINGS

Damar Kurung is a typical lantern of Gresik, made in the 16th century. In 2017 Damar Kurung was declared an intangible cultural heritage by the Indonesian Ministry of Education and Culture. Masmundari (1904-2005) was a female artist who painted Damar Kurung based on skills learned from her ancestors. Among Masmundaris many paintings, Nyonya Muluk is the most frequently painted. Nyonya Muluk is described as a big woman wearing a dress and wings. Many people say that Nyonya Muluk is a picture of Queen Wilhemina that Masmundari has seen directly. To uncover Nyonya Muluks identity, it is necessary to explain the image and meaning of this traditional art, the author uses Bahasa Rupa method (Tabrani, 2012), which analyzes the contents of the wimba, cara wimba, tata ungkapan and how to read wimba. Then, analyzed using postcolonial theory, specifically using the concepts of hybridity and mimicry to find out the identity of Nyonya Muluk. Finally, this research is to produce (1) A description of the relationship between the two cultures (East and West/invaders and colonized) which is manifested in the figure of Nyonya Muluk. (2) Nyonya Muluk is a representation of Javanese womens hibridity that illustrates the hopes and dreams of Masmundari (as an the East representative) to be similar to the West

YANG KUNO PUN (HARUS) BISA KEKINIAN

Adalah keniscayaan bahwa strategi dan inovasi pembelajaran mata kuliah sejarah budaya Indonesia tersebut tak lagi relevan di masa mendatang, mengingat jurang materi perkuliahan yang �kuno� semakin meregang menjauh dengan generasi muda yang terus melesat maju. Apalagi kondisi pandemi COVID-19 ini yang semakin menggeser proses pembelajaran �kuno� tatap muka, satu arah, dan terpusat pada dosen. Kondisi pandemi ini justru menjadi kesempatan yang sangat baik bagi dosen dan mahasiswa untuk melakukan percepatan eskplorasi dan inovasi bahan belajar dari berbagai sumber dan mendiskusikannya secara kristis di ruang kelas virtual, sehingga belajar sejarah tak lagi terkesan usang dan berjarak dengan generasi muda

PERANCANGAN MODUL POP-UP DAN VIDEO TUTORIAL SEBAGAI MEDIA PEMBELAJARAN BAHASA RUPA DAMAR KURUNG

Damar Kurung merupakan lampion dari Gresik, Jawa Timur, Indonesia, yang dihiasi dengan lukisan di keempat sisinya. Lukisan pada Damar Kurung digambarkan secara 2 dimensi, namun lukisan tersebut juga memiliki makna kedalaman ruang. Sehingga diperlukan media yang tepat untuk dapat menjelaskan konsep ruang tersebut dalam pembelajaran bahasa rupa Damar Kurung kepada anak usia sekolah dasar sebagai salah satu upaya dalam pelestarian warisan budaya nasional sejak usia dini. Penelitian ini menggunakan paper engineering brief dan juga menerapkan metode perancangan karya desain yang terdiri dari 4 tahap: discovery, planning, creative, dan application. Hasil penelitian ini berupa modul pop-up beserta video tutorialnya yang telah diuji coba kepada anak-anak sekolah dasar sebagai pendukung mata pelajaran seni budaya dan kerajinan. Untuk mendukung proses pembelajaran jarak jauh selama masa pandemi ini, video tutorial diunggah di kanal YouTube dan modul pop-up di Google Drive bebas akses

THE AESTHETIC OF DAMAR KURUNG PAINTING

Damar Kurung is one of the unique Gresik cultural products, has recorded civilization of Gresik people through its painting since the 16th century. It is influenced by Hindu-Buddhist and Islamic cultures. Masmundari was the last female artist who consistently conserved Damar Kurung. After her death, neither the family nor the community has the same expertise to continue the preservation of Damar Kurung. However, the good news has come from the Ministry of Education and Culture of Indonesia on October 4th, 2017, Damar Kurung has been specified as a intangible national heritage. This research is qualitative research. Data were found by field observation methods, visual documentation, literature study, and interviews. The data findings were analyzed by visual methodology in interpreting visual material (color, line, shape, field) to explain the characteristics of painting along with its historical background. The findings of this study are that (1) Damar Kurungs paintings have no perspective, this is due to Hindu-Buddhist influences, such as in the temple reliefs. Although painted without perspective, Damar Kurung has a special technique to describe the dimensions of space (front-back / far-near). (2) Humans are painted in varying sizes, not to describe age, but to distinguish their social status. (3) The selection of colors in Damar Kurungs paintings is also very selective. Without using black or dark blue, Damar Kurung paintings have a special technique to explain the time dimension (day / night). (4) Damar Kurungs paintings also have special techniques to describe abstract things such as noise and air circulation. Although it is only a two-dimensional painting that looks static, it turns out that Damar Kurungs paintings have a variety of technical and philosophical complexities that make this painting very dynamic and beautiful

MENEBAR BENIH KEBENCIAN MELALUI VISUALISASI ‘BANCI’ KARTUN BENNY DAN MICE

Cartoon with its concise, simple and attractive characteristic allows the reader to digest the ideas of the cartoonist. As one of the products of mass media, a cartoon is never neutral and value-free, it oftenly carries an ideology. Culture and the domination of an ideology contribute to the production process of the symbols that are articulated in a cartoon. This qualitative research used a methodology of critical study based on image-based research, which reveals the visual image as a research foundation. In the process of interpretation, the researchers are conducting a dialect with the text as an object. Then analyze it so that it becomes cohesive. After that, it could obtaine a relative reality. Benny and Mice cartoon implicitly states that heterosexuals are the normal sex relationships. Beyond that, is a deviation. Deserves to be blamed, humiliated even ridiculed. Benny and Mice cartoon show that transsexual / transvestite / transgender as a source of fear. The package of it pictorial and verbal language wrapped in hyperbole and joke, and becomes the seeds of homophobia amid the hegemony of heterosexual community. Keywords: Gender, Cartoons, and Homophobi