Lono Lastoro Simatupang
Program Studi Pengkajian Seni Pertunjukan dan Seni Rupa-UGM, Gedung Lengkung, Jalan Teknika Utara, Pugung, Yogyakarta

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Legenda Penciptaan Teater Boneka Tiongkok dan Persebarannya di Nusantara Kuardhani, Hirwan; Soemanto, C. Bakdi; Simatupang, Lono Lastoro; Haryono, Timbul
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 1 (2011): Juni 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i1.451

Abstract

Wayang Cina berkembang pesat di Indonesia. Beberapa legenda Cina berkembang mengikuti berkembangnyawayang tersebut, misalnya: Legenda Madame Li, legenda Chen Ping, dan legenda Yan. Beberapa lagenda tersebutdibawa oleh imigran Cina ke wilayah Indonesia, seperti Marionette, yang dikenal sebagai wayang gantung , yangdikembangkan di sekitar Pontianak dan Singkawang. Marionette disajikan dalam dialek Hakka dan menyajikanlegenda Cina. Sementara boneka sarung tangan yang dikenal adalah wayang Potehi, tumbuh di Jawa berasal dariFujian, awalnya dalam dialek Hokkian. Dalam perjalanannya, Potehi menggunakan bahasa Melayu Rendah yangmenjadi bahasa Indonesia. Potehi dan Boneka Gantung ( wayang gantung) telah menjadi bagian dari kebudayaanIndonesia. Mereka layak mendapat perhatian lebih dari pemerintah dan masyarakat, terutama pelaku dan pengamatseni.Kata kunci: Wayang Potehi, legenda Cina, marionette, wayang gantung.ABSTRACTThe Chinese Puppet Theatre Legend and Its Spreading in Nusantara. Chinese Puppet Theatre is growingrapidly. Some legends followed to rise Chinese Puppet, for example: Legend of Madame Li, legend of Chen Ping, andlegend of Yan. Some of them were brought by Chinese immigrants into Indonesian territory, such as Marionette, known ashanging 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 wayangPotehi, grown in Java, originated from Fujian, was originally in Hokkian dialect. In its journey, Potehi used Low Malaylanguage which became bahasa Indonesia. Potehi and Hanging Puppets( wayang gantung) have become parts of ourculture. 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))
Makna ‘Seneng lan Kemringet’ dalam Festival Lima Gunung Aswoyo, Joko; Rustopo, Rustopo; Simatupang, Lono Lastoro; Kartono, Drajat Tri
PANGGUNG Vol 28, No 1 (2018): Kontestasi Tradisi: Seni dalam Visualisasi Estetik, Naskah, dan Pertunjukan
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v28i1.500

Abstract

ABSTRACTThis article aims to discover the meaning of the expression ‘seneng lan kemringet’ at FLG (Festival Lima Gunung) in Magelang. The expression ‘seneng lan kemringet’ gives an opportunity to anybody who involved to reveal his existence and to speak about the essence of himself. By building a sense of familiarity, direct involvement in art activities, and dialogue with the farmers about circumstances in the field, it will be possible to reveal the meaning behind the expression ‘seneng lan kemringet. The research results showed that within the expression seneng lan kemringet, there is vitality as a fundamental asset for the FLG sustainability. ‘Seneng lan kemringet’ can also be understood as an autonomy and self-actualization. Additionally, seneng lan kemringet is a part of a game with the goal of displaying self-existence. Finally, ‘seneng lan kemringet’ is an embodiment of self-esteem. Keywords: ‘seneng lan kemringet’, vitality, and game ABSTRAKArtikel ini bertujuan untuk mengetahui makna ungkapan ‘seneng lan kemringet’ pada Festival Lima Gunung (FLG) di Magelang. Ungkapan ‘seneng lan kemringet’ memberi kesempatan bagi yang terlibat untuk mengungkapkan keberadaannya dan berbicara tentang hakikat dirinya. Dengan keakraban, keterlibatan langsung dalam aktivitas kesenian, dan berdialog dengan petani atas kenyataan-kenyataan di lapangan, akan dapat disingkap makna di balik ungkapan ‘seneng lan kemringet’ tersebut. Hasil dari penelitian kami menunjukkan bahwa di dalam ungkapan ‘seneng lan kemringet’ tersimpan daya hidup sebagai modal dasar keberlanjutan FLG. ‘Seneng lan kemringet’ juga dimaknai sebagai otonomi dan aktualisasidiri. Selain itu, ‘seneng lan kemringet’ adalah bagian dari permainan dengan tujuan untuk memperlihatkan eksistensi diri. Pada akhirnya, ‘seneng lan kemringet’ merupakan kebanggaan diri.Kata kunci: ‘seneng lan kemringet’, daya hidup, dan permainan 
Praktik Identitas dalam Desain Kemasan Makanan UKM Hidayat, Moch. Junaidi; -, Faruk HT; Simatupang, Lono Lastoro; Pialang, Yasraf Amir
PANGGUNG Vol 24, No 4 (2014): Dinamika Seni Tari, Rupa dan Desain
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v24i4.135

Abstract

ABSTRACT Small-Medium Scale Business continues to make creative process especially by making serious effort to change the Small-Medium Scale Business image that during this time as the subcultural eco- nomic movement to be the great economic power. One of the efforts is through packaging design. The objective of this research is: a) to know the identity practice of Small – Medium Scale business through packaging design, b) to describe the reposition effort of Small – Medium Scale Business through packag- ing design in economic political practice of packaging design.Through cultural studies approach, this article is the result of research revealing the practice of identity made by Small-Medium Scale Business especially Small-Medium Scale Business of snack as the typical souvenir of Malang Regency, East Java, namely fruit snack. The finding shows practice of identity of Small-Medium Scale Business through packaging design, namely visualization, material up to production pattern of packaging design. Other findings of this research is the effort of Small Medium Scale Business in improving packaging image of its products as the part of reposition of Small-Me- dium Scale Business to win the market competition. In this case, it is realized as the point in economic political practice. Therefore, this research is capable of providing the result of practice of identity made by Small Medium Scale Business through packaging design by means of critical analysis of cultural studies. Keywords: design, packaging, practice of Identity    ABSTRAK UKM terus melakukan proses kreatif khususnya berupaya merubah citra UKM yang se- lama ini sebagai gerakan ekonomi subkultur menjadi kekuatan ekonomi yang besar. Salah satu upaya itu dilakukan melalui desain kemasan. Penelitian ini memiliki tujuan: a) mengetahui praktek identitas UKM melalui desain kemasan, b) mendeskripsikan upaya reposisi UKM me- lalui desain kemasan dalam praktek politik ekonomi desain kemasan.Melalui pendekatan etnografi, tulisan ini merupakan hasil penelitian yang mengungkap tentang praktek identitas yang dilakukan oleh UKM khususnya UKM makanan ringan sebagai oleh-oleh khas dari Kabupaten Malang, Jawa Timur yakni keripik buah. Hasil yang sudah di dapatkan adalah praktek identitas UKM melalui desain kemasan yakni visualisasi, material, hingga pola produksi desain kemasan. Penemuan lain dari penelitian ini adalah upaya UKM guna menaikkan citra kemasan hasil produksinya sebagai bagian reposisi UKM sebagai bagian guna memenangkan persaingan pasar. Dimana hal ini disadari sebagai sebuah ujung dalam praktek politik ekonomi. Sehingga, penelitian ini mampu memberikan hasil bagaimana praktek identitas yang dilakukan UKM melalui desain kemasan dengan analisis kritis cultural studies.   Kata kunci: desain, kemasan, praktek identitas
Makna ‘Seneng lan Kemringet’ dalam Festival Lima Gunung Aswoyo, Joko; Rustopo, Rustopo; Simatupang, Lono Lastoro; Kartono, Drajat Tri
PANGGUNG Vol 28, No 1 (2018): Kontestasi Tradisi: Seni dalam Visualisasi Estetik, Naskah, dan Pertunjukan
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (185.749 KB) | DOI: 10.26742/panggung.v28i1.500

Abstract

AbstractThis article aims to discover the meaning of the expression ‘seneng lan kemringet’ at FLG (Festival Lima Gunung) in Magelang. The expression ‘seneng lan kemringet’ gives an opportunity to anybody who involved to reveal his existence and to speak about the essence of himself. By building a sense of familiarity, direct involvement in art activities, and dialogue with the farmers about circumstances in the field, it will be possible to reveal the meaning behind the expression ‘seneng lan kemringet'. The research results showed that within the expression 'seneng lan kemringet', there is vitality as a fundamental asset for the FLG sustainability. ‘Seneng lan kemringet’ can also be understood as an autonomy and self-actualization. Additionally, 'seneng lan kemringet' is a part of a game with the goal of displaying self-existence. Finally, ‘seneng lan kemringet’ is an embodiment of self-esteem. Keywords: ‘seneng lan kemringet’, vitality, and game AbstrakArtikel ini bertujuan untuk mengetahui makna ungkapan ‘seneng lan kemringet’ pada Festival Lima Gunung (FLG) di Magelang. Ungkapan ‘seneng lan kemringet’ memberi kesempatan bagi yang terlibat untuk mengungkapkan keberadaannya dan berbicara tentang hakikat dirinya. Dengan keakraban, keterlibatan langsung dalam aktivitas kesenian, dan berdialog dengan petani atas kenyataan-kenyataan di lapangan, akan dapat disingkap makna di balik ungkapan ‘seneng lan kemringet’ tersebut. Hasil dari penelitian kami menunjukkan bahwa di dalam ungkapan ‘seneng lan kemringet’ tersimpan daya hidup sebagai modal dasar keberlanjutan FLG. ‘Seneng lan kemringet’ juga dimaknai sebagai otonomi dan aktualisasi diri. Selain itu, ‘seneng lan kemringet’ adalah bagian dari permainan dengan tujuan untuk memperlihatkan eksistensi diri. Pada akhirnya, ‘seneng lan kemringet’ merupakan kebanggaan diri.Kata kunci: ‘seneng lan kemringet’, daya hidup, dan permainan
TIGA PELUKIS POTRET WAJAH KEPALA NEGARA PASCA PRESIDEN SUKARNO DI ISTANA KEPRESIDENAN REPUBLIK INDONESIA Susanto, Mikke; Simatupang, Lono Lastoro; Haryono, Timbul
Patrawidya: Seri Penerbitan Penelitian Sejarah dan Budaya Vol 19, No 1 (2018)
Publisher : Balai Pelestarian nilai budaya Daerah Istimewa Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1499.815 KB)

Abstract

Kepala negara adalah representasi bangsa. Wajah presiden adalah wajah yang dianggap mewakili segenap masyarakatnya. Oleh karena itulah, setiap presiden memiliki keistimewaan untuk diabadikan, baik pada sebidang kanvas maupun selembar foto secara resmi. Lukisan potret akhirnya menjadi pilihan yang menarik. Lukisan potret tidak hanya berfungsi sebagai penghias dinding istana, tetapi juga memiliki fungsi lainnya, baik yang bersifat sosial maupun personal. Setelah era Presiden Sukarno, terdapat tiga pelukis potret yang sering diminta untuk melukis kepala negara: yakni IB Said, Soetarjo dan Warso Susilo. Ketiganya mengalami masa kerja dari dekade 1960-an hingga dekade pertama 2000. Selama masa tersebut ketiganya telah membuat puluhan lukisan kepala negara. Mereka tidak saja melukis wajah presiden RI, namun juga kepala negara lain. Artikel ini ingin mengupas mereka melalui pendekatan sejarah. Di samping itu tulisan ini juga ingin mengetahui sejauh mana nilai-nilai karya yang dihasilkannya. Kesimpulannya cukup mengejutkan, mereka melukis dan mendudukan lukisan potret bukan sebagai karya pribadi. Inilah potret presiden pesanan, dimana pelukis hanya menjalani tugas sebagai instrumen mimetik atas realitas, bukan interpretator.____________________________________________________________Head of state is a nation’s representation. Therefore, every president has the privilege of being immortalized, both on a canvas and photography. Portrait painting becomes an interesting option, not only serves as a decoration, but also have social and personal functions. President Sukarno had three court painters. After that era, this tradition no longer exists. The Palace ordered portraits on three portrait painters: IB Said, Soetarjo, and Warso Susilo. Research about the history of the court painters have been written in a number of books and articles, but not with these three painters, though they painted from the 1960s to the first decade of 2000. This article wants to discuss their existence and creative process through historical approach. In addition, this paper also wants to know the extent to which the value of the work it produces. The conclusion, they paint and portrait paintings portraiture not as a personal work. The painter only serves as a mimetic instrument of reality, not an interpreter. His artwork, although a formal or state portrait, also has significance for discourse of political and power.
Praktik Identitas dalam Desain Kemasan Makanan UKM Hidayat, Moch. Junaidi; -, Faruk HT; Simatupang, Lono Lastoro; Pialang, Yasraf Amir
PANGGUNG Vol 24, No 4 (2014): Dinamika Seni Tari, Rupa dan Desain
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (293.108 KB) | DOI: 10.26742/panggung.v24i4.135

Abstract

ABSTRACT Small-Medium Scale Business continues to make creative process especially by making serious effort to change the Small-Medium Scale Business image that during this time as the subcultural eco- nomic movement to be the great economic power. One of the efforts is through packaging design. The objective of this research is: a) to know the identity practice of Small – Medium Scale business through packaging design, b) to describe the reposition effort of Small – Medium Scale Business through packag- ing design in economic political practice of packaging design.Through cultural studies approach, this article is the result of research revealing the practice of identity made by Small-Medium Scale Business especially Small-Medium Scale Business of snack as the typical souvenir of Malang Regency, East Java, namely fruit snack. The finding shows practice of identity of Small-Medium Scale Business through packaging design, namely visualization, material up to production pattern of packaging design. Other findings of this research is the effort of Small Medium Scale Business in improving packaging image of its products as the part of reposition of Small-Me- dium Scale Business to win the market competition. In this case, it is realized as the point in economic political practice. Therefore, this research is capable of providing the result of practice of identity made by Small Medium Scale Business through packaging design by means of critical analysis of cultural studies. Keywords: design, packaging, practice of Identity    ABSTRAK UKM terus melakukan proses kreatif khususnya berupaya merubah citra UKM yang se- lama ini sebagai gerakan ekonomi subkultur menjadi kekuatan ekonomi yang besar. Salah satu upaya itu dilakukan melalui desain kemasan. Penelitian ini memiliki tujuan: a) mengetahui praktek identitas UKM melalui desain kemasan, b) mendeskripsikan upaya reposisi UKM me- lalui desain kemasan dalam praktek politik ekonomi desain kemasan.Melalui pendekatan etnografi, tulisan ini merupakan hasil penelitian yang mengungkap tentang praktek identitas yang dilakukan oleh UKM khususnya UKM makanan ringan sebagai oleh-oleh khas dari Kabupaten Malang, Jawa Timur yakni keripik buah. Hasil yang sudah di dapatkan adalah praktek identitas UKM melalui desain kemasan yakni visualisasi, material, hingga pola produksi desain kemasan. Penemuan lain dari penelitian ini adalah upaya UKM guna menaikkan citra kemasan hasil produksinya sebagai bagian reposisi UKM sebagai bagian guna memenangkan persaingan pasar. Dimana hal ini disadari sebagai sebuah ujung dalam praktek politik ekonomi. Sehingga, penelitian ini mampu memberikan hasil bagaimana praktek identitas yang dilakukan UKM melalui desain kemasan dengan analisis kritis cultural studies.   Kata kunci: desain, kemasan, praktek identitas
Hidden Curriculum Design of Traditional Art Community Rampak Kendang Setyaningrum, Fery; Siswantari, Heni; Simatupang, Lono Lastoro; Fitriasari, Paramitha Dyah
International Journal of Visual and Performing Arts Vol 1, No 2: December 2019
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i2.65

Abstract

The hidden curriculum is defined as the hidden curriculum imposed on system-specific education (both formal and non-formal. Discussion of the curriculum in Indonesia is interesting is related to the hidden curriculum in non-formal education is the Rampak Kendang community. The characteristics of the population and the different teaching processes from other cities can form different and exciting outputs to be studied. The purpose of this study is to find and describe curriculum designs in the traditional art community of Rampak Kendang in Patimuan Cilacap, Indonesia. This study used a qualitative descriptive method. Data collection techniques using observation, interviews, and documentation. Participation observation with the subject of scrutiny and discussions with the Rampak Kendang community, Patimuan community, the Department of Education in Patimuan. Analysis of the data used data reduction, data presentation, and data verification. The results of this study are the discovery of curriculum design in the form of a hidden curriculum prototype of the Patimuan Rampak Kendang. In the prototype, there is an art learning process through agents as trainers (community leaders) equipped with Patimuan (Sundanese Javanese) art and arts (engineering & creativity). This is then taught through training (learning processes) to other members of the Rampak Kendang community, in the long learning process influenced by the consensus (mutual agreement), and the support system form society. So that six more slices are found in the form of P, T, I (Process, Textual, Internal), K, P, I (contextual, Internal Process), T, P, E (Textual, Process, External), K, H, E (contextual, result, external), T, H, E (Textual, Result, External), K, I, H (Contextual, Internal, Result). These processes resulted in the discovery of the development of multiple intelligence members, namely kinesthetic, musical, visual-spatial, verbal, interpersonal, and intrapersonal.