Timbul Haryono

Prinsip Estetika Pakaian Cosplay Yogyakarta: Fantasi dan Ekspresi Desain Masa Kini

ABSTRACT Costume, dress code, animation, comics, legends, and manga, are inseparable parts of the cosplay costume. Those parts give fantasy and digital world discourse through costume style. Its spiritual domain stands on Japanese culture by being cultured through clothing. One of them, cosplay ideo- logy, reflects the self-imaging through social communities, as an e?ort for group and self-existence. Cosplay entity bridges fantasy and real world, presents designers’ expressions through the costume designs to show. This writing will be analyzed by using the main theories based on Dewitt H. Parker point of view, in The Principles of Aesthetics, which divides principles of aesthetics into three, they are: Principle of Organic Unity, Principle of Dominant Element, and Principle of Balance. Principle of organic unity indicates that cosplay clothing is an accumulation of design elements, to refer and mark a figure. Principle of dominant element, is accentuation, or the center of interest of a cosplay clothing design. Principle of balance, see placement and setting ornamentation applied to cosplay clothing. Keywords: cosplay clothing, principles of aesthetics, costume style, Yogyakarta ABSTRAK Pakaian, dress code, animasi, dan manga, merupakan unsur yang tidak terpisahkan dalam pakaian cosplay. Unsur-unsur tersebut merupakan wacana dunia digital dan fantasi pada dunia pakaian. Ranah spiritualnya berp?ak pada kebudayaan Jepang yang dibudayakan melalui pakaian. Ideologi cosplay salah satunya menggambarkan pencitraan diri komuni- tas sosial, sebagai usaha untuk aktualisasi diri. Entitas cosplay mampu menjembatani du- nia fantasi dan realita, yang membelenggu keinginan manusia untuk bergaya. Tulisan ini akan dianalisis dengan teori pokok berdasarkan pandangan Dewitt H. Parker, dalam The Principles of Aesthetics, yang membagi prinsip estetika menjadi tiga, yaitu: prinsip kesatu- an organik, prinsip unsur dominan, dan prinsip keseimbangan. Prinsip kesatuan organik menunjukkan, bahwa pakaian cosplay merupakan akumulasi dari unsur-unsur desain, un- tuk merujuk dan menandai tokoh. Prinsip unsur dominan, merupakan aksentuasi, atau pusat perhatian dari sebuah desain pakaian cosplay. Prinsip keseimbangan, melihat penem- patan dan pengaturan ornamentasi yang diaplikasikan pada pakaian cosplay. Kata kunci: pakaian cosplay, prinsip estetika, gaya pakaian, Yogyakarta

Kerajaan Majapahit: Masa Sri Rajasanagara sampai Girindrawarddhana

Kerajaan majapahit atau sering disebut juga dengan nama Wimatikta merupakan kerajaan besar di Nusantara. Sejak pemerintahan Sri Kertarajasa Jayawarddhana tahun 1293, kerajaan Majapahit mengalami pasang surut. Peristiwa-peristiwa sejarah yang dialami kerajaan Majapahit sangat bermanfaat untuk diambil hikmahnya dalam membangun dan menjaga kelangsungan Negara Republik Indonesia tercinta. Makalah ini berisi uraian singkat tentang sejarah timbul-tenggelamnya Majapahit sejak pemerintahan Sri Rajasanegara sampai runtuhnya Majapahit

Legenda Penciptaan Teater Boneka Tiongkok dan Persebarannya di Nusantara

Wayang Cina berkembang pesat di Indonesia. Beberapa legenda Cina berkembang mengikuti berkembangnya wayang tersebut, misalnya: Legenda Madame Li, legenda Chen Ping, dan legenda Yan. Beberapa lagenda tersebut dibawa oleh imigran Cina ke wilayah Indonesia, seperti Marionette, yang dikenal sebagai wayang gantung , yang dikembangkan di sekitar Pontianak dan Singkawang. Marionette disajikan dalam dialek Hakka dan menyajikan legenda Cina. Sementara boneka sarung tangan yang dikenal adalah wayang Potehi, tumbuh di Jawa berasal dari Fujian, awalnya dalam dialek Hokkian. Dalam perjalanannya, Potehi menggunakan bahasa Melayu Rendah yang menjadi bahasa Indonesia. Potehi dan Boneka Gantung ( wayang gantung) telah menjadi bagian dari kebudayaan Indonesia. Mereka layak mendapat perhatian lebih dari pemerintah dan masyarakat, terutama pelaku dan pengamat seni. Kata kunci : Wayang Potehi, legenda Cina, marionette, wayang gantung. ABSTRACT The Chinese Puppet Theatre Legend and Its Spreading in Nusantara. Chinese Puppet Theatre is growing rapidly. Some legends followed to rise Chinese Puppet, for example: Legend of Madame Li, legend of Chen Ping, and legend of Yan. Some of them were brought by Chinese immigrants into Indonesian territory, such as Marionette, known as hanging puppet (Wayang gantung), which is developed around Pontianak and Singkawang , West Kalimantan Province. Marionette was performed in Hakka dialects and performed Chinese legend. While the glove puppet known is wayang Potehi, grown in Java, originated from Fujian, was originally in Hokkian dialect. In its journey, Potehi used Low Malay language which became bahasa Indonesia. Potehi and Hanging Puppets( wayang gantung) have become parts of our culture. They deserve more attention from the goverment and public, especially the actors and art observers. Key words: Chinese Puppet theatre, legend, marionette), Glove Puppet ( Potehi / 布袋戲))

Kèjhungan: Gaya Nyanyian Madura dalam Pemaknaan Masyarakat Madura Barat pada Penyelenggaraan Tradisi Rèmoh

Kejhungan in Remoh Tradition on West Madura. Kejhungan or singing style comes from the activity of peoplesinging about their everyday lives in Madura’s society. When the kejhungan has become an “established” singing style,therefore the meaning of the kejhungan includes the ownership meaning that is inherited through oral traditions andlegitimized in the culture of the people of Madura. The research’s assumption explains that the existence of the kejhunganbecomes an important conscious for the whole singing culture of the Madura people. Even, in the elite village life for examplein the “gathering tradtion” of blater community, kejhungan has become their identity of existence. This research is a studyon the representation of values when the kejhungan is made as a symbol or legitimate image for the blater communityin the Madura society. The fi ndings of this research explains that kejhungan has become the object of consumption thatis advanced to the blater community in achieving their respect. With their power, the blater can construct traditionalkejhungan values into outstanding symbols in strengthening their existence in Madura’s society.