Gorga : Jurnal Seni Rupa最新文献

{"title":"STUDI WARNA DAN GAYA PADA KARYA YAZID","authors":"M. Miswar, Rica Rian, Yunis Muler, Rajudin Rajudin","doi":"10.24114/gr.v11i2.38384","DOIUrl":"https://doi.org/10.24114/gr.v11i2.38384","url":null,"abstract":"This study reveals the characteristics of color and style in Yazid's work. The method used in this study refers to a qualitative research methodology that includes observations, interviews, and the use of documents in the field. In addition, this study uses qualitative methods, which include interviews, field notes, photos, videos, personal documents, and others. Yazid's painting takes the theme of the exotic nature of West Sumatra, which leads to Mooi Indie's work. Yazid's paintings are exciting in terms of the colors presented. The colors in Yazid's work are soft and light, and rarely in his work are their colors that are too dark. The brightness of his paintings is also low; some of his works use bright colors. The color composition in the work is very well made. No colors can damage each other, so a harmonious and mutually supportive color arrangement is achieved. In tracing Yazid's paintings, they are classified into four styles according to Feldman, the first is the objective accuracy style, the second is formal arrangement style, the third is expressive style, and the fourth is the fantasy style. The presence of Yazid's work greatly influenced the development of naturalist-style painting in West Sumatra, considering that Yazid is a senior artist who devoted his life to painting. Keywords: Yazid's painting, color, style. AbstrakPenelitian ini mengungkap karakteristik warna dan gaya pada karya Yazid. Dalam konteks penelitian ini, istilah \"metode\" mengacu pada metodologi penelitian kualitatif, yang melibatkan kegiatan seperti observasi lapangan, wawancara partisipan, dan pemanfaatan dokumen yang relevan. Selain itu penelitian ini menggunakan metode kualitatif yang meliputi wawancara, catatan lapangan, foto, video, dokumen pribadi dan lain-lain. Karya lukis Yazid mengangkat tema tentang alam Sumatera Barat yang eksotis yang mengarah kepada karya Mooi Indie. Karya lukis yang dibuat Yazid sangat menarik dari segi warna yang dihadirkan. Warna pada karya Yazid adalah warna lembut dan terang. Jarang pada karyanya terdapat warna yang terlalu gelap. Kecerahan warna lukisannya juga rendah, sedikit dari karyanya yang menggunakan warna cemerlang. Komposisi warna dalam karya dibuat sangat baik tidak ada warna yang merusak satu sama lain sehingga tercapai susunan warna yang harmonis dan saling mendukung. Dalam menelusuri karya lukis Yazid digolongkan dalam empat macam gaya menurut Feldman, yang pertama gaya ketepatan objektif, kedua gaya susunan formal, ketiga gaya emosi, dan yang keempat gaya fantasi. Kehadiran karya Yazid sangat berpengaruh kepada perkembangan seni lukis yang bergaya naturalis di Sumatera Barat, mengingat Yazid merupakan seniman yang senior yang mencurahkan hidupnya pada seni lukis. Kata Kunci: karya lukis Yazid, warna, gaya.Authors:Miswar : Institut Seni Indonesia PadangpanjangRica Rian : Institut Seni Indonesia PadangpanjangYunis Muler : Institut Seni Indonesia PadangpanjangRajudin : Institut Seni Indonesia Padangpanjang References:Ad","PeriodicalId":405999,"journal":{"name":"Gorga : Jurnal Seni Rupa","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127626617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BÈRBUDI BAWA LEKSANA BUSANA ADAT BALI KE KANTOR YANG MODIS, TERJANGKAU, DAN BERKELANJUTAN","authors":"Ni Putu Darmara Pradnya Paramita, Made Tiartini Mudarahayu, Ni Kadek Yuni Diantari","doi":"10.24114/gr.v11i2.39328","DOIUrl":"https://doi.org/10.24114/gr.v11i2.39328","url":null,"abstract":"The Balinese people's disobedience to the Bali Governor's Regulation Number 79 of 2018 which can be seen through violations by not using traditional clothes on a predetermined day, gave rise to the idea of creating Balinese traditional clothing by carrying out the concept of being fashionable, affordable and sustainable. Fashionable means in accordance with ethics, looks attractive and raises the personal character of the wearer. Affordable is defined as a price that is not expensive because it uses materials produced by local weavers from Nusa Penida and Sidemen Karangasem. Sustainable means creating synergies in the industrial cycle, by prioritizing traditional Balinese textiles produced by local weaver and is expected to lead to the preservation of textiles, both tangible and intangible. This concept is implemented in Bèrbudi Bawa Leksana's fashion collection consisting of 6 clothes created by referring to Frangipani's method. The research and creation of the Bèrbudi Bawa Leksana collection is expected to be a means of education for the Balinese people and a form of academic and professional contribution in supporting government regulations for mutual progress.   Keywords: traditional clothing, balinese, fashionable, affordable. AbstrakKetidakpatuhan masyarakat Bali terhadap Peraturan Gubernur Bali Nomor 79 Tahun 2018 yang dapat dilihat melalui pelanggaran dengan tidak menggunakan pakaian adat pada hari yang telah ditentukan, memunculkan gagasan penciptaan busana adat Bali dengan mengusung konsep modis, terjangkau dan berkelanjutan. Modis berarti sesuai dengan etika, tampak menarik dan memunculkan karakter pribadi si pengguna busana. Terjangkau dimaknai dengan Harga yang tidak mahal karena menggunakan bahan produksi penenun lokal asal Nusa Penida dan Sidemen Karangasem. Berkelanjutan berarti memunculkan sinergi dalam siklus industri, dengan mengutamakan tekstil tradisional Bali yang diproduksi pengrajin lokal dan diharapkan dapat bermuara pada pelestarian tekstil baik secara tangible maupun intangible. Konsep tersebut diimplementasikan dalam koleksi busana Bèrbudi Bawa Leksana terdiri atas 6 busana yang diciptakan dengan mengacu pada metode penciptaan Frangipani. Penelitian dan penciptaan koleksi Bèrbudi Bawa Leksana diharapkan dapat menjadi sarana edukasi bagi masyarakat Bali dan salah satu bentuk kontribusi akademisi dan professional dalam mendukung peraturan pemerintah demi kemajuan bersama.Kata Kunci: busana adat, bali, modis, terjangkau. Authors:Ni Putu Darmara Pradnya Paramita: Institut Seni Indonesia DenpasarMade Tiartini Mudarahayu: Institut Seni Indonesia DenpasarNi Kadek Yuni Diantari : Institut Seni Indonesia Denpasar References:Agung, L., Kartasudjana, T., Permana, A. W. (2021). Estetika Nusantara dalam Karakter Gim Lokapala. Gorga Jurnal Seni Rupa, 10 (2), 473-477. http://dx.doi.org/10.24114/gr.v10i2.28556.Andriyanti, S., Sinaga, R., Lubis, R. (2022). Aplikasi Ornamen Sumatera Utara Kreasi Kekinian pada Desain Busana Ready-To-Wear","PeriodicalId":405999,"journal":{"name":"Gorga : Jurnal Seni Rupa","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130239339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PERKEMBANGAN DAN PERUBAHAN TARI ZAPIN BENGKALIS DALAM BERBAGAI KRITERIA","authors":"Syofia Nora, N. Nofrizal, Agusti Evi","doi":"10.24114/gr.v11i2.34530","DOIUrl":"https://doi.org/10.24114/gr.v11i2.34530","url":null,"abstract":"Art is a skill performed by humans that produces a good attraction such as painting, carving and dance. Art in the form of dance is very popular in Indonesia, one of which is Zapin Dance with Islamic nuances originating from Malay, Bengkalis Regency, Riau Province. The purpose of this study is to provide an understanding to the reader regarding the developments that occur in Zapin Bengkalis Dance in various criteria by using qualitative descriptive methods and purposive sampling as sampling. At this time very many people think Zapin is a dance that comes from the country of Malaisya, so with the results of this study it is explained that Zapin Dance is a dance from Indonesia originating from Riau. For this reason, it is very necessary to describe the history and development of Zapin Dance so that readers understand the history and development of Zapin Dance. Keywords: arts, zapin dance, zapin development. AbstrakKesenian adalah suatu keahlian yang dilakukan oleh manusia yang menghasilkan daya tarik yang bagis seperti lukisan, ukiran dan tari. Kesenian dalam bentuk tarian sangat populer di Indonesia salah satunya yaitu Tari Zapin yang bernuansa islam berasal dari Melayu Kabupaten Bengkalis Provinsi Riau . Tujuan penelitian ini adalah untuk memberikan pemahaman kepada pembaca terkait perkembangan yng terjadi pada Tari Zapin Bengkalis dalam berbagai kriteria dengan menggunakan Metode Deskriptif Kualitatif dan Purposive Sampling sebagai penarikan sampel. Pada saat sekarang ini sangat banyak masyarakat yang menganggap Zapin adalah tarian yang berasal dari negara Malaisya, sehingga dengan hasil penelitian ini dijelskan bahwa Tari Zapin merupakan tarian dari Indonesia yang berasal dari Riau. Untuk itu sangat perlu dilakukan pendeskripsian terkait sejarah dan perkembangan Tari Zapin agar para pembaca paham terkait sejarah dan perkembangan Tari Zapin.Kata Kunci:kesenian, tari zapin, perkembangan zapin. Authors: Syofia Nora: Universitas Negeri PadangNofrizal: Universitas Negeri PadangAgusti Efi: Universitas Negeri Padang References: Moleong, A. L .J. (1989). Metodologi Penelitian Kualitatif. Bandung: Remaja Rosda Karya.Augina, M. A. (2020). Teknik Pemeriksaan Keabsahan Data pada Penelitian Kualitatif di Bidang Kesehatan Masyarakat. Jurnal Ilmiah Kesehatan Masyaraka, 13(3), 145-151.  https://doi.org/10.52022/jikm.v12i3.102Evadila, E, Y., & Astri, N. Y. (2019). Perkembangan Tari Tradisi Zapin Bengkalis ke Zapin Meranti di Sanggar Zapin Tradisi Hangtuah Desa Perumbi Kecamatan Tebing Tinggi Kabupaten Kepulauan Meranti. Jurnal Pendidikan Seni Drama, 6(1), 34-4. https://doi.org/10.31004/basicedu.v6i3.2858Suparno, M., & Rin, R. (2020). Upaya Pelestarian Tarian Zapin Dalam Rangka Memperkuat Nilai Karakter Sebagai Pemersatu Bangsa Pada Masyarakat Melayu Pesisir Melawi Di Desa Pagar Lebata Kecamatan Serawai Kabupaten Sintang. Jurnal Pendidikan Kewarganegaraan, 5(2), 223-234.  https://doi.org/10.31932/jpk.v5i2.941Suryani, N., & Fitriah, L. (2019). Seni Pertunjukan Ta","PeriodicalId":405999,"journal":{"name":"Gorga : Jurnal Seni Rupa","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125097842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"STUDI TENTANG SULAMAN BENANG EMAS MEMAKAI KACA DAN CERMIN PADA PELAMINAN DI DESA NARAS I KOTA PARIAMAN","authors":"Azka Hayati, Weni Nelmira","doi":"10.24114/gr.v11i2.37683","DOIUrl":"https://doi.org/10.24114/gr.v11i2.37683","url":null,"abstract":"Gold thread embroidery using glass and mirrors is a cultural heritage that has been passed down from generation to generation, this craft can be found in the Naras I area (Kota Pariaman) which is the main producing area for aisles with superior quality gold thread and is in great demand by consumers in West Sumatra to other countries. neighbor. The purpose of the study was to describe the design of motifs, embroidery techniques and the meanings contained in gold thread embroidery using glass and mirrors on the aisle of Naras I. The method used was descriptive qualitative, with the types of primary data and secondary data used, data collection techniques through observation, questions and main problems, analysis technique is an interactive model related to the main problem, through data reduction, data presentation, and conclusion drawing. The results of the research are gold thread embroidery motifs found in several aisle products that use glass and mirrors such as tirai langik-langik, Dalamak, banta gadang and tabir, generally use naturalist plant motifs, namely (a) diamond flower, (b) sunflower (c) cornflower (d) kaluak paku and (e) kaluak randai, while the animal naturalist motif (a) peacock (b) butterfly, and geometric motifs in the form of monks. The technique of embroidery gold thread embroidery using glass and mirrors at Naras I started by using a special technique, namely the rajuik technique by attaching to the material by tying the glass in the form of a square tie and tying it diagonally and then arranging the gold thread with a balut glass stitch, the sewing thread that knitted the glass until the thread Sewing is invisible and neat. As well as the meaning that comes from the life of the people in Minangkabau in accordance with previous customs. The meaning of glass and mirror has the meaning of \"illuminator\", namely ninik mamak is a light bulb in the nagari, and the motifs found on the aisle apparatus that use glass and mirrors have moral meanings that are good to follow and bad ones to be avoided. Keywords: gold thread embroidery, glass, mirror. AbstrakSulaman benang emas memakai kaca dan cermin merupakan warisan budaya yang diwarisi secara turun temurun yang dapat dijumpai di daerah Naras I (Kota Pariaman). Tujuan penelitian untuk mendeskripsikan desain motif, teknik menyulam dan makna yang terkandung dalam sulaman benang emas memakai kaca/cermin pada pelaminan Naras I. Metode yang digunakan yaitu deskriptif kualitatif, dengan jenis data primer dan sekunder, Teknik pengumpulan data melalui observasi, wawancara serta permasalahan pokok, Teknik analisa yaitu model interaktif yang berkaitan dengan masalah pokok, melalui reduksi data, penyajian data, serta pengambilan kesimpulan. Hasil penelitian yaitu motif sulaman benang emas yang terdapat pada beberapa produk pelaminan yang memakai kaca/cermin yaitu pada tirai langik-langik, dalamak, banta gadang dan tabir yang menggunakan motif naturalis tumbuhan (a) bunga intan, (b) bunga matahari","PeriodicalId":405999,"journal":{"name":"Gorga : Jurnal Seni Rupa","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124142312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PROSES PEWARNAAN BATIK DI KECAMATAN LUNANG PESISIR SELATAN (STUDI KASUS DI RUMAH BATIK DEWI BUSANAA LUNANG)","authors":"Yola Suhaini, Adriani Adriani","doi":"10.24114/gr.v11i1.31245","DOIUrl":"https://doi.org/10.24114/gr.v11i1.31245","url":null,"abstract":"This research is about coloring batik which do at the batik house Dewi Busana Lunang located in the district Lunang  districts Pesisir Selatan using synthetic dyes indigosol and remazol in batik staining technique. Synthetic dyes are used because they are fast and practical so that coloring is easier to do, and has good fastness. This research aims to describe dyestuffs recipes and batik coloring techniques at house Dewi Busana Lunang in the district Lunang districts Pesisir Selatan. metod uses a type of qualitative descriptive method is This research. Data collection was carried out whit observation techniques, interviews, and documentation. In this research the informants are leaders and batik craftsmen tho know about batik coloring techniques at the House Batik Dewi Busana Lunang. The instrument in this study is the researcher himself, the type of data used is primary and secondary data. Next, the data is studied and analyzed by stage of data reduction, data presentation, and conclusion drawing. The legality data is do by triangulation of the leadership.The results of the study can be seen: the dye used at House Batik Dewi Busana Lunang is using synthetic dyes in the form of indigosol and remazol. For the coloring recipe, use a vlot 1:5, 5 grams of  dye mixed with 1 liter water. Because, coloring agents prepared for brushes and dabs are not for dyeing. The coloring technique used is a brush technique for two times of coloring.Keywords: dyestuffs, recipes, coloring techniques. AbstrakPenelitian ini mengenai pewarnaan batik yang dikerjakan di Rumah Batik Dewi Busana Lunang yang beralamat di Kecamatan Lunang Pesisir Selatan yang menggunakan pewarna sintetis indigosol dan remazol pada teknik pewarnaan batik. Zat warna sintetis digunakan karena penggunaannya yang cepat dan praktis sehingga pewarnaan lebih mudah dilakukan, serta memiliki ketahanan luntur yang baik. Penelitian ini bermaksud untuk menjelaskan zat warna, resep dan teknik pewarnaan batik di Rumah Dewi Busana Lunang di Kecamatan Lunang Kabupaten Pesisir Selatan. Metode deskriptif kualitatif merupakan teknik penelitian ini, pengumpulan data dimulai dengan memanfaatkan teknik observasi, wawancara, dan dokumentasi. Untuk penelitian ini informannya ialah pemilik dan orang pengerajin batik yang memahami mengenai teknik pewarnaan batik di Rumah Batik Dewi Busana Lunang. Instrument untuk penelitian ini yaitu peneliti sendiri, jenis data yang digunakan berupa data primer dan sekunder. kemudian, data dikaji dan dianalisis dengan tahap reduksi data, penyajian data, penarikan kesimpulan. Keabsahan data dilaksanakan dengan triangulasi terhadap pemilik. Hasil penelitian ini dapat dilihat: zat warna yang digunakan di Rumah Batik Dewi Busana Lunang yakni memakai pewarna sintetis berupa indigosol dan remazol. Untuk resep pewarnaan menggunakan vlot 1:5, 5gr zat pewarna dicampur dengan 1 liter air. Karena zat pewarna yang dipersiapkan untuk kuas dan colet bukan untuk pencelupan. Teknik pewarnaan yang digu","PeriodicalId":405999,"journal":{"name":"Gorga : Jurnal Seni Rupa","volume":"176 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121882350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ANALISIS PEMAKNAAN DAN TANDA PADA DESAIN LOGO GP MANDALIKA SERIES","authors":"Sasih Gunalan, H. Haryono, I. N. Yasa","doi":"10.24114/gr.v11i1.34285","DOIUrl":"https://doi.org/10.24114/gr.v11i1.34285","url":null,"abstract":"The existence of the GP Mandalika series logo design is very important to do to brand existing activities. In this paper, the author will specifically make a study of the meanings and signs implied in the GP Mandalika logo. This paper aims to make a study and analysis of the meanings and signs contained in the GP Mandalika series logo design. The type of research method used in this paper is qualitative research, with the analytical method using Charles Sander Peirce's semiotic triadic theory. In this theory there are three important points as a sub-study. Such as object, interpretant and representamen. These three points in Peirce's triadic theory are known as the semiosis process, which is also a study process in analyzing the meanings and signs of the GP Mandalika series logo design. Some of the results of the studies found in this study, are that there are several elements of visual communication design in the GP Mandalika series logo. The logo elements are in the form of monograms and wordmarks which are also a trademark for racing events at the Mandalika GP series. The monogram is an abstract form consisting of a mosaic of constituent letters in the abbreviation GP Mandalika. The wordmark on the GP Mandalika series logo uses the Arial typeface which has been modified in several parts. The combination of letters and the use of the right colors strengthens the identity of the logo. Overall, the design of the GP Madalika series logo can represent the cultural identity of Indonesia, especially Lombok and the competitive sport of racing through the shape of the existing logo. It is hoped that the existence and business of cultural branding and activities will continue to be carried out as an effort to preserve the locality values they have. Keywords: analysis, signs, GP Mandalika Series. AbstrakKeberadaan desain logo GP Mandalika series, sangat penting dilakukan untuk membranding kegiatan yang ada.  Pada tulisan ini, penulis akan secara khusus membuat kajian tentang makna dan tanda yang tersirat pada logo GP Mandalika. Tulisan ini bertujuan untuk membuat kajian dan analisis makna dan tanda yang terdapat pada desain logo GP Mandalika series. Jenis metode penelitian yang digunakan dalam tulisan ini ialah penelitian kualitatif, dengan metode analisis menggunakan teori triadik semiotik Charles Sander Peirce. Dalam teori ini terdapat tiga point penting sebagai subkajian. Seperti objek, interpretan dan representamen. Ketiga poin dalam teori triadik Peirce ini dikenal sebagai proses semiosis, yang sekaligus sebagai proses kajian dalam menganalisis makna dan tanda pada desain logo GP Mandalika series. Beberapa hasil kajian yang ditemukan dalam penelitian ini, ialah terdapat beberapa elemen desain komunikasi visual pada logo GP Mandalika series. Elemen logo tersebut berupa monogram dan wordmark yang sekaligus menjadi trademark event balap di GP Mandalika series. Monogram berupa bentuk abstrak yang terdiri mozaik huruf penyusun dalam singkatan GP Mandalik","PeriodicalId":405999,"journal":{"name":"Gorga : Jurnal Seni Rupa","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125280707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"DESKRIPSI DAN INTERPRETASI TEKNIK PERMAINAN INSTRUMENT MARIMBA CONCERTO IN G MAJOR RV DAN A WHOLE NEW WORLD","authors":"Ade Febri Yulfita, Ferry Herdianto","doi":"10.24114/gr.v11i1.34428","DOIUrl":"https://doi.org/10.24114/gr.v11i1.34428","url":null,"abstract":"This research is motivated by a marimba instrument soloist in performing his repertoire must be able to become a reliable music player and make a positive contribution to music lovers. This study aims to describe the solo playing technique by interpreting the Concerto in G Major RV 310 repertoire through the two mallet technique with string quartet accompaniment and realizing the solo play by interpreting the A Whole New World repertoire through the four mallet technique with the Marimba Instrument according to the needs of today's performances. The repertoire presented is the repertoire of Concerto in G Major Rv 310 and A Whole New World. This repertoire has been considered to be played according to the great or achievement of the percussion instrument. The research approach used in this study is a qualitative approach that is useful for analyzing phenomena and for interpreting data. Based on the repertoire analysis of Concerto in G Major Rv 310, several obstacles were found in playing it, namely there was a double stroke technique played in an allegro tempo. The repertoire of the Concerto in G Major Rv 310 baroque era, there is a lot of ornamentation on the melody, and the phrases of songs that have a clear theme. While the repertoire of A Whole New World is classified as modern music (popular) which is a simple choral composition that is logical and easy to digest. Keywords: description, interpretation, instrument, marimba. AbstrakPenelitian ini dilatarbelakangi oleh seorang solis instrumen marimba dalam mempertunjukkan repertoarnya harus mampu  menjadi pemain musik yang handal dan memberikan konstribusi positif kepada penikmat musik. Penelitian ini bertujuan mendeskripsikan teknik permainan solis dengan cara menginterpretasikan repertoar Concerto in G Major RV 310 melalui teknik dua mallet dengan iringan kwartet string dan mewujudkan permainan solis dengan cara menginterpretasikan repertoar A Whole New World melalui teknik empat mallet dengan instrumen marimba sesuai dengan kebutuhan pertunjukan saat ini. Repertoar yang disajikan yaitu repertoar Concerto in G Major Rv 310 dan A Whole New World. Repertoar ini telah dipertimbangkan untuk dimainkan sesuai dengan great atau capaian instrument perkusi. Pendekatan penelitian yang digunakan dalam penelitian ini adalah pendekatan kualitatif yang berguna untuk menganalisis fenomena dan untuk menginterpretasikan data. Berdasarkan analisis repertoar Concerto in G Major Rv 310, ditemukan beberapa kendala dalam memainkannya, yaitu terdapat teknik double stroke yang dimainkan dalam tempo allegro. Repertoar Concerto in G Major Rv 310 zaman barok, banyak terdapat ornamentasi pada melodi, dan frase lagu-lagu yang memiliki tema yang jelas. Sedangkan repertoar A Whole New World tergolong musik modern (popular) yang mudah dipahami.Kata Kunci: deskripsi, interpretasi, instrumen, marimba. Authors:Ade Febri Yulfita : Institut Seni Indonesia PadangpanjangFerry Herdianto : Institut Seni Indonesia Padangpanjang Refere","PeriodicalId":405999,"journal":{"name":"Gorga : Jurnal Seni Rupa","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129839940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"KAJIAN ESTETIKA LUKISAN REALIS KONTEMPORER Drs. Irwan, M.Sn. YANG BERJUDUL DI UJUNG TANDUK","authors":"Asra Ilal Khairi, Abdul Hafiz","doi":"10.24114/gr.v11i1.34129","DOIUrl":"https://doi.org/10.24114/gr.v11i1.34129","url":null,"abstract":"Aesthetics was a science that studies things related to beauty, the perspective of beautifulness cannot be the same, some people may be seen something beautiful but not for the others, something that was unstable depends on conditions and situations, therefore beauty is a theory of relativity in which it relates to subjects, objects and value. Talking about aesthetics, it would be related to various disciplines, one of these disciplines was fine arts, in which there were various fields such as painting, graphics, crafts and many other fields of art. Various expressions about the culture began to be expressed by artists in the archipelago, this thing related to the erosion of culture and traditions inherent in society, one of which is through the painting \"on the edge of the horn\" which talks about Minangkabau culture. The purpose of this paper was as an educational medium for students and the Minangkabau community about the culture in the Minangkabau realm which was increasingly disappearing in the face of foreign times and cultures. This research used a qualitative approach with a descriptive type of research. The subject of this research was the painting of Drs, Irwan, M.Sn. entitled \"On the Edge of the Horn\". Data collection techniques used observation techniques, interviews and documentation. The research instruments used were observation guidelines and interview guidelines. The data analysis technique used is an analytical technique which includes data reduction, data presentation, and conclusion drawing and verification. The results of this study found the reality of the message conveyed by the artist regarding the condition of Minangkabau culture which is increasingly on the brink of extinction through the study of aesthetics of subjects, objects and values. Keywords: aesthetics, painting, Minangkabau culture. AbstrakEstetika merupakan ilmu yang mempelajari mengenai hal-hal yang berkaitan dengan keindahan, indah bagi seseorang belum tentu indah pula bagi orang lain, sesuatu yang labil ini bergantung kepada kondisi dan situasi, oleh karena itu keindahan merupakan teori relativitas yang di dalamnya berkaitan dengan subjek, objek dan nilai. Berbicara estetika maka akan menyangkut dengan berbagai disiplin ilmu, salah satu disiplin ilmu tersebut adalah seni rupa yang di dalamnya terdapat berbagai bidang seperti lukis, grafis, kriya dan masih banyak lagi bidang seni rupa lainnya. Berbagai ungkapan mengenai kebudayaan mulai diungkapkan oleh seniman di nusantara, hal ini berkaitan dengan terkikisnya kebudayaan dan tradisi yang melekat pada masyarakat, salah satu adalah melalui lukisan “di ujung tanduk” yang berbicara mengenai kebudayaan Minangkabau. Tujuan tulisan ini sebagai media edukasi bagi mahasiswa dan masyarakat Minangkabau mengenai kebudayaan di Ranah Minang yang semakin hari semakin menghilang di makan zaman dan kebudayaan asing. Penelitian ini menggunakan pendekatan kualitatif dengan jenis penelitian deskriptif. Subjek dalam penelitian i","PeriodicalId":405999,"journal":{"name":"Gorga : Jurnal Seni Rupa","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132741874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PENGARUH SCIENTIFIC APPROACH TERHADAP AKTIVITAS BELAJAR SISWA DALAM PEMBELAJARAN SENI RUPA DI SMP NEGERI 2 GUNUNG TALANG","authors":"Siti Aisyah, Eliya Pebriyeni, Ferdian Ondira Asa","doi":"10.24114/gr.v11i1.33170","DOIUrl":"https://doi.org/10.24114/gr.v11i1.33170","url":null,"abstract":"The purpose of this study was to determine the application of the scientific approach to student learning activities and student responses after being applied in learning fine arts at SMP Negeri 2 Gunung Talang, Solok Regency, West Sumatra. This study used a quasi-experimental method, while the population were all students of class VII. The sampling technique used simple random sampling with a sample size of 50 students. Data was collected using interviews, documentation, questionnaires and observations. The technique of data analysis on student activities was calculating the percentage, the questionnaire carried out descriptively. There were 3 research results, namely student activities during the learning process, student learning outcomes and student responses to the scientific approach. Student activity shows that the first trial class was 89.97% and the second trial class was 87.99%, thus, it can be concluded that the two classes with scientific approach learning were not much different and make learning activities with a high or good percentage. The results of the experimental class students' responses in general obtained positive results, namely 88.29% and negative 58.5%, and the second experimental class response was 83% positive and 61.62% negative. Based on the percentage of student responses, it showed the implementation of learning with the scientific approach was successful. Student learning outcomes showed an increase in learning outcomes before (pretest) and after (posttest) with the application of the scientific approach. So the final target with the application of the scientific approach to art learning was the formation of high learning activity.Keywords: scientific approach, learning activities.AbstrakTujuan dari penelitian ini yakni untuk mengetahui penerapan scientific approach terhadap aktivitas belajar siswa dan  respon  siswa setelah diterapkan dalam pembelajaran seni rupa di SMP Negeri 2 Gunung Talang Kabupaten Solok Sumatera Barat. Penelitian ini menggunakan metode quasi eksperimen, adapun populasinya yaitu seluruh siswa kelas VII. Teknik pengambilan sampel menggunakan simple random sampling dengan jumlah sampel sebanyak 50 siswa. Pengumpulan data dilakukan menggunakan wawancara, dokumentasi, angket dan observasi. Teknik analisis data terhadap aktivitas siswa melakukan perhitungan persentase, angket dilakukan secara deskriptif. Terdapat 3 hasil penelitian yaitu aktivitas siswa selama proses pelaksanaan pembelajaran, hasil belajar siswa serta respon siswa terhadap scientific approach. Aktivitas siswa menunjukkan kelas uji coba pertama adalah 89,97 % dan kelas uji coba kedua 87,99 %, sehingga disimpulkan bahwa dari kedua kelas dengan pembelajaran scientific approach tidak jauh berbeda serta menjadikan aktivitas belajar dengan persentase yang tinggi atau baik. Hasil belajar siswa menunjukkan terdapat peningkatan hasil belajar sebelum (pretest) dan sesudah (postest) dengan penerapan scientific approach.  Hasil respon siswa k","PeriodicalId":405999,"journal":{"name":"Gorga : Jurnal Seni Rupa","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116878634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"STUDI TENTANG TEKNIK MENENUN SONGKET RAWANG MENGGUNAKAN ALAT TENUN BUKAN MESIN (ATBM) DI RUMAH TENUN SONGKET RAWANG KABUPATEN AGAM","authors":"Atikah Dwi Putri, Agusti Efi","doi":"10.24114/gr.v11i1.32711","DOIUrl":"https://doi.org/10.24114/gr.v11i1.32711","url":null,"abstract":"This research aims to describe the shape of the loom, the function of the loom, and the technique of weaving using a non-machine loom (ATBM) at the Songket Rawang Weaving House. The research method used is descriptive qualitative. Types of data in the form of primary and secondary data. The informants of this research are the leaders, coaches and craftsmen at the Songket Rawang Weaving House. Data collection techniques in the form of observation, interviews and documentation. Data analysis techniques by means of data collection, data reduction, data presentation, and drawing conclusions. The results showed that the Rawang songket weaving technique using ATBM can store motifs directly without having to make motifs continuously. The technique of storing motifs in ATBM uses a tool called a gun/karok motif. The motifs that have been made can be stored in the motif gun/karok so that the process of making further motifs does not need to be remade, because it is already stored in the motif karok. The process of storing this motif is first stored in the motif sungkit then the motif is temporarily stored in sticks, after all the motifs are formed, they are transferred to the motif karok to be stored. Keywords: songket rawang, weaving technique, ATBM. AbstrakPenelitian ini bertujuanuntuk mendeskripsikan bentuk alat tenun, fungsi alat tenun, dan teknik menenun dengan menggunakan alat tenun bukan mesin (ATBM) di Rumah Tenun Songket Rawang. Metode penelitian yang digunakan adalah deskriptif kualitatif. Jenis data berupa data primer dan sekunder. Informan penelitian ini adalah pimpinan, pembina dan pengrajin di Rumah Tenun Songket Rawang. Teknik pengumpulan data berupa observasi, wawancara dan dokumentasi. Teknik analisis data dengan cara pengumpulan data, reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian diketahui bahwa teknik menenun songket Rawang dengan menggunakan ATBM dapat menyimpan motif secara langsung tanpa harus membuat motif secara terus menerus. Teknik menyimpan motif pada ATBM menggunakan alat yang disebut dengan gun/karok motif. Motif yang sudah dibuat dapat disimpan pada gun/karok motif sehingga proses pembuatan motif selanjutnya tidak perlu lagi dibuat kembali, karena sudah tersimpan di karok motif. Proses penyimpanan motif ini terlebih dahulu disimpan di sungkit  motif kemudian motif tersebut di simpan sementara di lidi-lidi, setelah semua motif terbentuk baru di pindahkan ke karok motif  untuk disimpan.Kata Kunci:teknik menenun, songket rawang, ATBM.Authors:Atika Dwi Putri : Universitas Negeri PadangAgusti Efi : Universitas Negeri Padang References:Affendi, Y. (1980). Seni Tenun Silungkang dan Sekitarnya. Proyek Media Kebudayaan Jakarta. Jakarta: Direktorat Jenderal Kebudayaan, Departemen Pendidikan dan Kebudayaan.Bart, B., Utama, E., & AZwar, N. (2006). Revitalisasi Songket Lama Minangkabau. Padang: Studio Songket Erika Rianti.Hertis, Sefni. (2001). Studi Tentang Ktiya Songket Di Silungkang. Padang: Jurusan Seni Rupa ","PeriodicalId":405999,"journal":{"name":"Gorga : Jurnal Seni Rupa","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124036689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}