Romantisisme pada Karya-Karya Raden Saleh: Suatu Tinjauan Kritik Seni

Raden Saleh is a 19th century Indonesian painter who had the opportunity to master the European paintings in his time. He was born in Terbaya, Semarang on 1807 from a noble family. He then studied painting under the Belgian painter A.A.J. Payen who was assigned by Dutch colonial ruler to capture Indonesian scenery. After studied for some times in Indonesia, he began to travel to Netherlands, Germany, France, and several other European countries and chiseled his name as a famous Romantic painter both in Europe and in Indonesia. This research began from a predicament on how far Romanticism has its influence on Raden Saleh"Ÿs paintings. Romanticism in Raden Saleh"Ÿs works not only characterized by the visual and themes, but also embedded in Raden Saleh"Ÿs ideas and attitude. Raden Saleh, at that time, developed a distinctive style and themes under the Romantic spirit which is mostly a depiction about hunting scenes, allegorical landscape, and dramatic scenes that involves human"Ÿs emotion. Nevertheless the influence of Romanticism is to be found more on Raden Saleh"Ÿs ideas and attitude, such as the idea about the grandeur of nature, exoticism, orientalism, individual freedom, and struggle for liberty

Kajian Karya-Karya I Nyoman Erawan, antara Tradisi dan Modernitas

I Nyoman Erawan is an artist who develops abstraction shape manner by fusing formal aspects (line, area, color and texture), with the symbols in the Balinese culture tradition which is absorbed by his own religious experience as a part of Hinduism Balinese Community. The experience exists and gives deep influence to his works, when he took art study at Indonesian Art Institute of Yogyakarta in the year of 1980 and then was introduced to modern art included to its' technique and concept. The Nyoman Erawan's works development in presenting the values of the tradition and modernity can be seen from three aspects, which includes; technique, medium and theme. The exploration of Nyoman Erawan's technique and medium was begun from two dimension artworks in1982, painting technique and assemblage, collage various materials was fused for his works and then it developed become installation work in 1993-1994, and has become performance work since 1996. The tradition values in his work are presented in west modern art manner. He uses the modernity spirit to preserve the tradition value. He represents the development of modernity in different way than modernity in West context. This is a development of his work

Romantisisme pada Karya-Karya Raden Saleh: Suatu Tinjauan Kritik Seni

Raden Saleh is a 19th century Indonesian painter who had the opportunity to master the European paintings in his time. He was born in Terbaya, Semarang on 1807 from a noble family. He then studied painting under the Belgian painter A.A.J. Payen who was assigned by Dutch colonial ruler to capture Indonesian scenery. After studied for some times in Indonesia, he began to travel to Netherlands, Germany, France, and several other European countries and chiseled his name as a famous Romantic painter both in Europe and in Indonesia. This research began from a predicament on how far Romanticism has its influence on Raden Saleh"Ÿs paintings. Romanticism in Raden Saleh"Ÿs works not only characterized by the visual and themes, but also embedded in Raden Saleh"Ÿs ideas and attitude. Raden Saleh, at that time, developed a distinctive style and themes under the Romantic spirit which is mostly a depiction about hunting scenes, allegorical landscape, and dramatic scenes that involves human"Ÿs emotion. Nevertheless the influence of Romanticism is to be found more on Raden Saleh"Ÿs ideas and attitude, such as the idea about the grandeur of nature, exoticism, orientalism, individual freedom, and struggle for liberty

Visualisasi Tenun Baduy

Abstrak. Kegiatan menenun sudah melekat di setiap jiwa perempuan di Suku Baduy mulai dari umur tiga tahun. Rumusan permasalahan dalam penelitian ini adalah: 1) Bagaimana visualisasi tenun yang diproduksi Masyarakat Baduy? 2) Bagaimana pewarisan dalam hal membuat kain tenun ditransmisikan pada masyarakat Baduy? Penelitian ini menggunakan metodologi etnografi dengan pendekatan kualitatif. Data didapat dengan teknik observasi partisipan, tersamar, wawancara mendalam, Studi dokumentasi, dan Studi pustaka. Penelitian ini fokus pada visualisasi tenun Suku Baduy, meliputi filosofi menenun, proses pembuatan motif, teknik menenun, pola pewarisan tenun, dan faktor pendukung lestarinya tenun Suku Baduy. Filosofi dan tata cara membuat motif tenun Suku Baduy merupakan amanat dari para leluhur. Motifnya diambil dari pencerminan alam dan pikukuh Suku Baduy, dan ada juga yang merupakan kreasi sendiri. Teknik menenun berupa teknik buatan tangan yang menggunakan ATBM (Alat Tenun Bukan Mesin) atau dikenal dengan sebutan pakara tinun (peralatan tenun). Pola pewarisan dilakukan dengan cara patuh terhadap pandangan hidup atau pikukuh Suku Baduy, setiap ibu mengajarkan kepada anaknya, serta anak sendiri belajar dengan teman sebayanya di sosompang atau teras rumah. Tenun Baduy hingga sekarang masih bisa bertahan disebabkan oleh beberapa faktor, diantaranya penduduk Suku Baduy sangat taat kepada amanat para leluhurnya, untuk memenuhi kebutuhan sandang, faktor keyakinan dan filosofi Baduy, faktor geografi, keterbatasan interaksi, identitas, faktor ekonomi, dan kemitraan.Kata kunci: Baduy; perempuan; sejarah; tenun; visualisasi.Visualizing Baduy WeavingAbstract. Weaving is engraved in the soul of every Baduy woman, who start learning this skill from the age of three. The problem formulation of this study is twofold: 1) How can Baduy weaving be visualized? 2) How are the inherited weaving skills transferred by the Baduy people? The data used in this study were collected through blind participant observation, in-depth interviews, a documentation study and a literature review. This study focused on visualizing Baduy weaving, including the philosophy of weaving, the process of pattern making, weaving techniques, inherited weaving patterns, and factors supporting the preservation of Baduy weaving. The philosophy and procedure of Baduy weaving are inherited from ancestors. The patterns originate from reflection on nature and the Baduy way of life (pikukuh), and also own creations are produced. The Baduy people practice handweaving using a handloom (no machine tools), known in their language as pakara tinun. The transfer of inherited patterns happens through the adherence to the Baduy way of life. Every mother teaches her children, who then develop their skill by themselves together with their peers on a porch (sosompang). Baduy weaving until now has survived due to several factors, including the Baduy people being very obedient to the mandates of their ancestors with regards to clothing, their beliefs and philosophy, their geographical location which limits interaction with the outside world, Baduy identity, economic factors, and partnerships.Keywords: Baduy; history; visualization; weaving; women

Unsur Tasawuf dalam Perupaan Wayang Kulit Purwa Cirebon dan Surakarta

Wayang Kulit Purwa"”based on Indian epics and original Javanese myths"”is considered as the media link between the Hindi-Buddhism era (Kabudan) and the Islamic era (Kewalen) of the Indonesian traditional arts. It is assumed that wayang kulit holds a relationship role to these two eras. The effort to understand this relationship can only be explained through Sufism that was practiced by the Nine Apostles of Java (Wali Sanga) who has contributed a great deal to the Wayang Kulit Purwa adaptations. It is obvious that there are Sufistic meanings in the visualizations of the figure in Wayang Kulit Purwa as shown by differences of dimensions and intensities in its manifestations, even with the same local area (gagrak). Differences are range from visual details among different figure appearances of the similar character, called wanda, to the different figure appearances of different characters. This is particularly more obvious in the differences between the gagrak of Cirebon and Surakarta. This study focuses on the analysis of various characters figures such Bima, Mintaraga, Semar, Cakil, Rahwana, Duryudhana and Dursasana from both gagraks of wayang kulit. The Cirebon gagrak shows a Sufistic understanding which looks to the medium not in a serious matter, being more straight forward, more egalitarian and more focused. On the other hand, Surakarta gagrak shows a Javanese Sufistic understanding that put the importance of visualizing elegance and grace-ness in manners and spirituality, as a proof of harmony between the world of physique and spirituality

Evaluasi Perilaku Geser Kolom Beton Bertulang Mutu Tinggi dengan Menggunakan Metode Uniaxial Shear Flexure

Meskipun penggunaan beton mutu tinggi dan tulangan mutu tinggi dapat mengurangi dimensi kolom dari gedung bertingkat tinggi, aspek ratio dari kolom tetaplah rendah. Kolom ini cenderung mendominasi dengan kegagalan geser dibanding kegagalan lentur. Penelitian ini mendiskusikan analisi numerik dari geser kritis pada kolom beton bertulang mutu tinggi. Uniaxial Shear Flexure Method (USFM) digunakan untuk mengamati perlikau dan memeriksa dari hasil tes. Penelitian ini menunjukan bahwa metode USFM memberikan prediksi secara konservatif. Beberapa modifikasi diusulkan untuk meningkatkan metode ini ketika mengestimasi perilaku geser kolom beton bertulang mutu tinggi. ======================================================================================================================== Although the utilization of high-strength concrete and high-strength steel can reduced column dimension at high-rise building, the column aspect ratio remain low. These column were tended to dominate by shear failure than flexure failure. The research discusses the numerical analysis of shear critical of High-strength reinforced concrete columns. The Uniaxial Shear Flexure Method (USFM) was used to observe this behavior and examined on the test result. This study showed that USFM method provided conservative prediction. Some modification was proposed in order to improve this method when estimate the shear behaviour of high-strength reinforced concrete column

PERBANDINGAN HASIL BELAJAR PESERTA DIDIK ANTARA METODE RECIPROCAL TEACHING DENGAN METODE CERAMAH POKOK BAHASAN KUBUS DAN BALOK KELAS VIII SMPN 4 LAMONGAN

Mata pelajaran Matematika bukan hanya memberi kemampuan dalam perhitungan-perhitungan kuantitatif, tetapi juga dalam penataan cara berfikir, terutama dalam hal pembentukan kemampuan menganalisis, membuat sintesis, melakukan evaluasi hingga kemampuan memecahkan masalah. Oleh karena itu, matematika sangatlah penting diajarkan sejak dini. Keberhasilan dalam proses pembelajaran dipengaruhi oleh beberapa faktor, salah satu diantaranya adalah pemilihan sebuah metode pembelajaran. Oleh karena itu peneliti membandingkan antara dua metode pembelajaran yang berbeda dan penelitan ini bertujuan untuk mengetahui ada atau tidaknya perbedaan hasil belajar antara peserta didik yang menggunakan metode pembelajaran reciprocal teaching dengan metode ceramah pokok bahasan kubus dan balok kelas VIII SMP Negeri 4 Lamongan. Jenis penelitian ini adalah komparatif yaitu membandingkan hasil belajar peserta didik yang menggunakan pembelajaran reciprocal teaching dengan metode ceramah pokok bahasan kubus dan balok di kelas VIII SMP Negeri 4 Lamongan. Populasi pada penelitian ini adalah seluruh peserta didik kelas VIII SMP Negeri 4 Lamongan tahun pelajaran 2011-2012 yang berjumlah 186 peserta didik dan terbagi kedalam 7 kelas. Sampel penelitian yang digunakan adalah kelas VIII D sebagai kelas metode reciprocal teaching dan kelas VIII B sebagai kelas dengan metode ceramah. Metode pengumpulan data yang digunakan adalah tes dengan instrumen penelitiannya lembar tes. Dari hasil analisa data uji homogenitas diperoleh bahwa kedua kelas tersebut berasal dari populasi yang homogen, dan dari hasil analisa data uji normalitas diperoleh bahwa kedua kelas tidak berdistribusi normal maka teknik analaisa data yang digunakan adalah uji Kruskal wallis. Berdasarkan uji kruskal wallis didapatkan bahwa nilai signifikan < 0,05, artinya ada perbedaan hasil belajar antara peserta didik yang menggunakan metode pembelajaran reciprocal teaching dengan metode ceramah pokok bahasan kubus dan balok kelas VIII SMP Negeri 4 Lamongan

IbM PEMBINAAN REMAJA DI DUSUN BU’RUNG BU’RUNG DESA PATTALASSANG, KECAMATAN PATTALASSANG, KABUPATEN GOWA

IbM PEMBINAAN REMAJA DI DUSUN BU’RUNG BU’RUNG DESA PATTALASSANG, KECAMATAN PATTALASSANG, KABUPATEN GOW

ANALISIS KONTEN INSTAGRAM @wirawirisuroboyo SEBAGAI MEDIA KOMUNIKASI DAN INFORMASI

Zaman yang serba digital menuntut Dishub Surabaya khususnya Wira-Wiri Surabaya untuk aktif menggunakan media sosial Instagram. Media Sosial saat ini menjadi salah satu sumber informasi dan komunikasi utama bagi masyarakat digital, salah satunya adalah informasi mengenai transportasi publik. Wira-Wiri Surabaya memanfaatkan media sosial Instagram dengan memproduksi konten yang menarik dan bervariatif sebagai bentuk upaya memenuhi kebutuhan informasi dan komunikasi masyarakat Surabaya dalam menggunakan transportasi publik. Penelitian ini menggunakan konsep empat pilar strategi media sosial Lon Safko dan David K. Brake dalam buku nya “The Social Media Bible: Tactics, Tools & Strategies For Business Success”, diantaranya konten kolaborasi, informasi, hiburan, edukasi. Penelitian ini bertujuan untuk mengetahui apakah karakteristik konten (tingkat kejelasan pesan) yang diunggah @wirawirisuroboyo memenuhi kebutuhan komunikasi dan informasi masyarakat Surabaya terhadap transportasi publik. Penelitian ini menggunakan metode analisis isi kualitatif, paradigma kritis. Hasil penelitian menunjukkan dalam 4 bulan, Wira - Wiri Surabaya telah mengunggah beragam jenis konten yang sesuai dengan konsep empat pilar strategi media sosial. Konten kolaborasi lebih banyak diunggah dibandingkan kategori konten lainnya. Dalam menarik minat Masyarakat, konten informasi dianggap lebih interaktif dan komunikatif. Wira-Wiri Surabaya menggunakan hastag #AyoNumpakFeeder disetiap unggahan konten sebagai upaya membentuk awareness masyarakat dalam menggunakan transportasi umum melalui Instagram @wirawirisuroboyo