ARTic

The Evolution of Tegal's Wayang Cepak: Historical Perspectives and Contemporary Transformations

Lutfi Firmansyah — 2023-12-18

Wayang Cepak Tegal is a traditional performing art that has strong historical roots in Tegal City, Central Java, Indonesia. Over time, Wayang Cepak Tegal has undergone significant changes. Wayang Cepak Tegal experienced changes in form due to the influence of changes in human culture caused by technological advances that encourage contemporary transformation in the Tegal Cepak puppet show, these changes can be seen especially in terms of changes in characters, dimensions of form and duration of the show as well as the use of technology in the Tegal Cepak puppet show. Based on this, the research was conducted to examine the changes in Tegal Cepak puppetry from a historical perspective and see the contemporary transformation that occurred in the Tegal Cepak puppetry performance art, limited to changes in characterization, dimensions of form and duration of the Tegal Cepak puppetry performance. The research methods used included literature study, observation and interviews with the puppeteers of Wayang Cepak Tegal. The results of the study found that Tegal Cepak puppet experienced changes in characterization, shape dimensions, especially in proportion, the size changed from large to smaller and the duration of the performance was shorter. It is hoped that the results of this study can provide scientific contributions about changes in Tegal Cepak puppet, can also be a reference for academics and practitioners, and as a preservation effort through documentation of Tegal Cepak puppet as an important part of the cultural heritage of Tegal City in particular and Indonesia in general.

Keywords: Evolution, Traditional Performing Arts, Contemporary Transformation, Wayang Cepak Tegal

Sign Reading of the Meaning of Shape and Color in the Lion Dance

Muammar Irsyadi — 2023-12-21

One of the foreign artistic and cultural heritages that has become part of Indonesian culture, namely the lunar New Year celebration where there is a tradition of Barongsai dance performances. Barongsai is an animal found in Chinese mythology that resembles a lion and has two forms, the Northern Lion and the Southern Lion. Each form has a different meaning based on its visual elements. This research on the lion dance raises the issue of how to read the visual elements in the lion dance, both in terms of the shape and color of the lion dance. The purpose of this research is to identify the meaning content in the visual elements of the lion dance, namely through shape and color so that the meaning of the lion dance can be known. Qualitative methods are used in this research and in color analysis using the Chairunnisak and Choirul color sign study method in analyzing color meaning. Observation, interviews, and literature were used to obtain data. The results of the analysis of the meaning of shape and color in Barongsai, found the same meaning, namely stability, courage, excellence, strength, leadership, wisdom, justice, knowledge, enthusiasm, longevity, women, charm, welfare, luck, cheerfulness, happiness, health, black and white colors also have the meaning of death. the results of the study are expected to be useful for other researchers in researching Barongsai in the future.

Keywords: Barongsai; Culture; Imlek; Visual; Color; Lunar year

Symbolic Content of Exterior and Interior Al-A'zhom Grand Mosque Tangerang

Arini Mustika Ajie — 2023-12-21

Al-A'zhom Grand Mosque is one of the historical and iconic mosques in Tangerang City. Its architecture is unique and full of important symbols for Muslims, because these symbols contain meanings that can provide a deeper understanding of Islam, as well as the values it contains. This makes it an interesting object of study in the field of interior design. This study aims to reveal the meaning in the symbols contained in the exterior and interior of the Al-A'zhom Grand Mosque, especially in the architectural elements found on the exterior and interior such as on the exterior (mosque shape, dome, cantilever, minaret) and interior (dome, calligraphy). The research method used in this study is descriptive qualitative method. Data collection uses literature study, observation and interviews. The results of the study show that the symbols on the exterior and interior elements mean the unity of Muslims in divinity, peace, strength, defense, beauty, perfection and piety of Muslims towards the oneness and majesty of God. It is hoped that this research can be a scientific contribution regarding the symbolic meaning of the Al-A'zhom Grand Mosque architecture, especially in the field of interior design.

Keywords: Meaning; Grand Mosque Al-A’zhom; Symbolic; Tangerang

A Comparison of the 1940 Animated Pinocchio Movie and Walt Disney Studios' 2022 Live-action Version of Pinocchio Movie

Dzulfiqar Fickri Rosyid — 2023-12-27

Pinocchio is one of the popular classics of the Walt Disney animation industry released in 1940, the popularity of the Pinocchio series also prompted the animated film Pinocchio to be adapted into a live-action version in 2022. The movie is based on the classic novel by Carlo Collodi that tells the story of a wooden puppet named Pinocchio who wants to become a human child. There are different scenes from the 1940 version of Pinocchio and the 2022 version of Pinocchio. This adaptation process does bring changes in the meaning content when the story is adapted from animation to live-action. Based on this, this study aims to analyze changes in meaning in the 1940 animated version of Pinocchio and the 2022 live-action version of Pinocchio with a comparative method, data obtained from observation. The results of the study are that there are significant differences, in the 1940 animated version of Pinocchio scenes prioritize Pinocchio's self-transformation into a real boy through moral struggle and sacrifice, while the 2022 live-action version of Pinocchio adaptation emphasizes the emotional relationship between Pinocchio and Gepetto. The results of this research are expected to provide additional knowledge and new knowledge about film adaptation and the importance of considering changes that occur in both films and their impact on the content of meaning.

Keywords: Animation, Live-action, Movie, Pinocchio Scene

Participation Practice in Screenplay Making of "Sapa Ndisit Oh" by Marjo Klengkam Sulam

Wicaksono Wisnu Legowo — 2023-12-28

Sapa Ndisist Oh is the first film made by the people of Kepunduhan Village, Kramat Subdistrict, Tegal Regency, Central Java Province, with filmmaker Marjo Klengkam Sulam as the director. The film received appreciation from the Village Innovation Exchange at the Central Java Provincial Level, organized by the Ministry of Villages, Development of Disadvantaged Regions and Transmigration. Kepunduhan villagers were involved in the making of the film as crew and actors, collaborative work between professionals and the involvement of residents in the filmmaking process industry is a practice of Participation methods. Residents who are unfamiliar with filmmaking techniques are involved in filmmaking directly. Based on this, the research conducted aims to find out the role and form of participation of the Kepunduhan Village community in the process of making the film Sapa Ndisit Oh. The method used is descriptive. The process carried out by researchers is an interview with the director of the film Sapa Ndisit Oh and observation of the film Sapa Ndisit Oh as the object of research. Data analysis techniques in this study go through several stages, data collection, data reduction, data analysis, and conclusions. The results of the research obtained are the initial idea of filmmaking, the role of the Kepunduhan Village Community, and the form of Kepunduhan Village Community Participation in making the film Sapa Ndisit Oh. Participation practices produce films that are more relevant to the context of local communities, which are the result of discussions and interviews with the community. Participation practices can produce films that are more relevant to the context of the local community. The results of the research can be an additional knowledge for academics and professionals in the field of cinema.

Keywords: Film; Forms of participation; kepunduhan village; screenwriting