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Menakjubkan!!! Sejarah Afrika Membuka Conspiracy dibalik Cerita Mesir Kuno

Menakjubkan!!! Sejarah Afrika Membuka Conspiracy dibalik Cerita Mesir Kuno

BALI

Balibatiku - Bali batik, bali sarong and accessories

History of Batik

Batik is generally thought of as the original Indonesian textile. Motifs of batik are close to nature such as flowers, twinning plants, leaves buds, flowers, birds, butterflies, fish, insects and geometric forms are rich in symbolic association and variety.

It would be impossible to visit or live in Indonesia with out to be exposed to batik. In a batik store or factory you will undoubtedly experience an overwhelming stimulation of the senses - due to the many colors, patterns and the actual smell of batik. The word batik is come from the word 'ambatik' which means 'a cloth with little dots'. The suffix 'tik' means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik' or 'titik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques.

The patterns to be dyed into the clothe are drawn with a canting, a wooden 'pen' fitted with a reservoir for hot, liquid wax. In batik workshops, circles of women sit working at clothes draped over frames, and periodically replenish their supply of wax by dipping their canting into a central vat. Some draw directly on the cloth from memory; others wax over faint charcoal lines.

This method of drawing patterns in wax on fine machine-woven cotton was practiced as a form of meditation by the female courtiers of Central Java; traditionally, batik tulis (tulis means 'write' in Indonesian) is produced by women.

But as a time goes and economics' reason, the application of waxed patterns with a large copper stamp or cap appeared in the batik industry to answer competition with cheap printed European cloth.

Batik has its own prestige in Bali. Using high class batik, like hand made (batik tulis) can show social status. Its beautiful designs, inspired by religious mythologies to everyday encounters, spread throughout the world. Originally stimulated by Javanese motifs, dominated by nature and other mythological characters. Modern batik artists express themselves through various subjects.

Today batik is not limit for traditional or ritual wearing in Bali. Some designers promote Bali Batik as elegant fabric that can be used to make casual or formal cloth. And its motif become richer then before from objects of nature such as birds or fish to daily activities such as cremation (ngaben) procession or tourist attractions as well as religious and mythological stories, accompanied by modern interpretation.

ARTISTIK

Tata Artistik Teater

A. PENGERTIAN TATA ARTISTIK TEATER
       Pengertian tata artistik adalah penampakan visual yang dibuat oleh tim ahli dalam teater, tv, film, tari, dan musik tujuannya untuk membantu menkomunikasikanpertunjukan tersebut ke penonton.

B. TUGAS PENATA ARTISTIK
        Penata artistik bertanggung jawab pada keseluruhan penampakan visual dan bagaimana komunikasi visual dilakukan, membentuk mood tertentu, unsur-unsur kontras, dan daya tarik psikologis pada audiens. Penata artistik membuat keputusan mengenai elemen visual yang dipergunakan, gaya artistik yang dipakai, dan kapan gerakan dipergunakan.

C. LUANG LINGKUP TATA ARTISTIK TEATER
       Tata artistik teater memiliki pengertian yg sangat luas karena semua pekerjaan teater yang berkaitan dengan aspek kerupaan adalah wilayah kerja penataan artistik teater.

1. Penataan artistik pentas
       Tata pentas bisa juga disebut dengan scenery atau pemandangan latar belakang tempat memainkan lakon, pada pengertian ini yang dianggap pentas dalam seni pertunjukan kontemporer tidak saja berupa panggung yang biasa terdapat pada sebuah gedung tetapi keseluruhan gedung itulah yang dinamakan pentas. Tugas seorang penata pentas hendaklah merencanakan set-nya sedemikian rupa sehingga setting yg dibuat nya:

  a. Dapat memberi ruang kepada gerak laku.
  b. Dapat memberi pernyataan suasana lakon.
  c. Dapat memberi pandangan yang menarik.
  d. Dapat dilihat dan dimengerti oleh penonton.

oleh karena itu secara singkat seorang Penata Setting harus memiliki tujuan yaitu:

• Lokatif
• Ekspresif
• Aktraktif
• Jelas
• Sederhana
• Bermanfaat
• Praktis dan
• Organis

2. Penataan busana
       Tata busana sangat berpengaruh pada penonton, karena sebelum seorang pemeran didengar dialognya terlebih dahulu diperhatikan penampakan fisiknya oleh penonton. Maka dari itu segala sandangan dan perlengkapan yang dikenakan di dalam pentas disebut sengan tata pakaian penta.
Secara garis besar kostum dapat dibedakan menjadi lima kelompok yaitu:

a. Busana dasarb. Busana kaki
c. Busana tubuh
d. Busana kepala
e. Perlengkapan-perlengkapan/accesoris

selain accesoris ada juga yg dsebut dengan propertis yaitu benda atau pakaian yang berguna utk membantu akting pemain.

3. Penataan rias
        Yang dimaksud dengan tata rias adalah tata rias pentas yang mendukung pemeran sebuah pementasan lakon. Tugas tata rias yaitu  memberikan dandanan atau perubahan pada para pemain sehingga pendekatan kepada karakter yang ada pada naskah dapat terwujud.
Beberapa faktor yang perlu diperhatikan dalam pentaan rias:

• Rata dan halus nya base
• Kesamaan foundation
• Penggunaan garis-garis yang layak

1. Harmoni antara sinar dan bayang-bayang.
        Penataan rias untuk teater terdiri atas bermacam-macam yaitu:

• Rias jenis
• Rias bangsa
• Rias usia
• Risa tokoh
• Rias temporal
• Rias aksen
• Rias lokal

4. Penataan cahaya dan lampu
        Secara umum tata lampu atau tata cahaya berfungsi untuk membentuk situasi,menyinari gerak pemain,dan mempertajam ekspresi demi penciptaan karakter lakon dan pelaku.
Jenis- lampu yang diginakan dalam sebuah pementasan adalah;

• Lampu spot
• Lampu flood
• Lampu strip tanpa kompartemen
• Lampu strip kompartemen dan,
• Lampu foot light

Ya itu kuliah pada hari ini, semoga bermanfaat dan sekali lagi kami menerima masukan,kritik dan bisa juga sharing ;) HOHA !!

BATIK

It would be impossible to visit or live in Indonesia and not be exposed to one of the country's most highly developed art forms, batik. On your first visit to a batik store or factory you will undoubtedly experience an overwhelming stimulation of the senses - due to the many colors, patterns and the actual smell of batik. Only through repeated visits and a bit of study will the types of designs and their origins become apparent.

The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik'means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques. Another Javanese phase for the mystical experience of making batik is “mbatik manah” which means “drawing a batik design on the heart”.

A Brief History

Although experts disagree as to the precise origins of batik, samples of dye resistance patterns on cloth can be traced back 1,500 years ago to Egypt and the Middle East. Samples have also been found in Turkey, India, China, Japan and West Africa from past centuries. Although in these countries people were using the technique of dye resisting decoration, within the textile realm, none have developed batik to its present day art form as the highly developed intricate batik found on the island of Java in Indonesia.

Although there is mention of 'fabrics highly decorated' in Dutch transcripts from the 17th century, most scholars believe that the intricate Javanese batik designs would only have been possible after the importation of finely woven imported cloth, which was first imported to Indonesia from India around the 1800s and afterwards from Europe beginning in 1815. Textile patterns can be seen on stone statues that are carved on the walls of ancient Javanese temples such as Prambanan (AD 800), however there is no conclusive evidence that the cloth is batik. It could possibly be a pattern that was produced with weaving techniques and not dying. What is clear is that in the 19th century batik became highly developed and was well ingrained in Javanese cultural life.

Some experts feel that batik was originally reserved as an art form for Javanese royalty. Certainly it's royal nature was clear as certain patterns were reserved to be worn only by royalty from the Sultan's palace. Princesses and noble women may have provided the inspiration for the highly refined design sense evident in traditional patterns. It is highly unlikely though that they would be involved in any more than the first wax application. Most likely, the messy work of dyeing and subsequent waxings was left to court artisans who would work under their supervision.

Javanese royalty were known to be great patrons of the arts and provided the support necessary to develop many art forms, such as silver ornamentation, wayang kulit (leather puppets) and gamelanorchestras. In some cases the art forms overlap. The Javanese dalang (puppeteer) not only was responsible for the wayang puppets but was also an important source of batik patterns. Wayang puppets are usually made of goat skin, which is then perforated and painted to create the illusion of clothing on the puppet. Used puppets were often sold to eager ladies who used the puppets as guides for their batik patterns. They would blow charcoal through the holes that define the patterns of clothing on the puppets, in order to copy the intricate designs onto the cloth.

Other scholars disagree that batik was only reserved as an art form for royalty, as they also feel its use was prevalent with the rakyat, the people. It was regarded an important part of a young ladies accomplishment that she be capable of handling a canting (the pen-like instrument used to apply wax to the cloth) with a reasonable amount of skill, certainly as important as cookery and other housewifery arts to Central Javanese women.

Selection and Preparation of the Cloth for Batik

Natural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained.

The cloth that is used for batik is washed and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be omitted. Normally men did this step in the batik process.

Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco.

Batik Design Tools

Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth.

Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas.

Wayang

Sebagai seni yang bernilai tinggi dan merupakan warisan Indonesia untuk dunia yang sangat adiluhung, wayang mestinya mendapat perhatian seluruh elemen masyarakat, terutama pekerja seni dan juga pemerintah. Bentuk perhatian itu yang konkret adalah bagaimana menjadikan nilai nilai cerita yang ada dalam pewayangan, yang mengandung nilai nilai luhur dan menjadi bekal bagi manusia dalam mengarungi kehdiuapan, bisa diimplementasikan dalam kehidupan sehari hari.

“Artinya, wayang harus dubumikan. Wayang harus akrab dan bisa menjadi contoh nyata bagaimana nilai nilai baik dan buruk bisa jadi cermin masyarakat di tengah perubahan dunia yang sangat dahsyat,” ujar Krisnina Maharani Akbar Tandjung, kepada Koran Jakarta, Jumat (8/4)

Harapan perempuan yang akrab disapa Nina Tandjung ini terkait Pegelaran Wayang Orang dengan lakon cerita “Sotya Gandhewa” yang akan dipentaskan di Teater Kutamaan, Gedung Pewayangan Kautaman Taman Mini Indonesia Indah (TMII), Minggu, (10/4).sore.

Nina yang selama ini peduli dengan sejarah, seni, dan budaya Indonesia melalui Yayasan yang dipimpinnya, Yayasan Warna Warni, lebih lanjut mengatakan, pelajaran dalam lakon tersebut adalah, bahwa nilai-nilai lama akan selalu berhadapan dengan nilai-nilai baru. “Perubahan adalah Keniscayaan. Tidak ada yang abadi dalam dunia ini, kecuali perubahan itu sendiri,” ujar istri mantan Ketua DPR dan Ketua Golkar Akbar Tandjung ini..

Menurut Nina yang ikut terlibat dalam pagelaran ini demi membantu Nyonya Surono dan Nyonya Susjarwo yang sudah sepuh 80 tahun tapi masih peduli pada seni wayang, dalam lakon tersebut di atas mengingatkan adanya nilai-nilai positif dalam bermasyarakat, antara lain; memberikan kesempatan yang sama untuk mencapai yang terbaik (oportunitas), tidak membedakan berdasarkan golongan masyarakat; kesetaraan (egalitarian), dan mudah menyesuaikan dengan perubahan jaman (Adaptif,), Dalam nilai-nilai Jawa dikenal dengan kata-kata mulur mungkret, (fleksibel, tidak kaku), ngempan papan, (tahu menempatkan diri), dan nut jaman kelakone, (menyesuaikan perubahan jaman).  sur/S1

WAYANG ok

A variety of Otop products from across the country, along with rarely-seen cultural performances will take centre stage during Songkran at Terminal 21 shopping mall, Asok Road, from April 12-18.

Held under the theme “Enjoy Songkran, Pay Respect To Our Local Wisdom”, the week-long festival will feature 50 selected shops that offer valuable products made through painstaking processes.

Highlighted items include sandstone Buddha images from Sa Kaeo; batik fabric from Samut Prakan; accessories featuring rice-grain art from Nonthaburi; earthenware from Koh Kret; Andaman pearls from Satun and Phuket; hand-woven bags from Phangnga; artificial flowers made from Thai clay from Phitsanulok; eggshell art from Samut Prakan; silverware from Chiang Mai; and jewellery and accessories from Chanthaburi.

This is also an opportunity to witness cultural and traditional shows, including a puppet show by the Thai Puppet Museum; a hun lakorn lek, or traditional Thai small-puppets show, by the Joe Louis Theatre; a hun luang, or grand puppet show, by the Thai Royal Puppet Troupe by Surat Jongda; a muay Thai boxing show by the winning teams from the Rak Chart Rak Muay Thai competition; and a khon masked dance by the Akekatan drum-dance troupe. These events will take place on Apr 13-17, at 3pm and 6pm.

There will also be local delicacies from each region, as well as daily demonstrations on how to make a khon mask and puppets, create pottery, carve a grain of rice and paint batik fabric.

Bali Documentary before 1953 History Of Bali

Batik Textile

Batik Textile