APPLICATION OF CERAMIC TO KINETIC OBJECTS AS AN ALTERNATIVE MEANS OF COMPANION TO TIMUN MASâS STORYTELLING
The development of culture towards modernity often ignores essential and fundamental traditions. One of the important traditions to be preserved is the oral tradition in the form of fairy tales and children's folklore. This folklore value inheritance can be actualized through various media,...
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id-itb.:544252021-03-16T16:34:50ZAPPLICATION OF CERAMIC TO KINETIC OBJECTS AS AN ALTERNATIVE MEANS OF COMPANION TO TIMUN MASâS STORYTELLING Cahyo Jadmiko, Singgih Indonesia Final Project folklore, Timun Mas, bloom taxonomy, ceramics INSTITUT TEKNOLOGI BANDUNG https://digilib.itb.ac.id/gdl/view/54425 The development of culture towards modernity often ignores essential and fundamental traditions. One of the important traditions to be preserved is the oral tradition in the form of fairy tales and children's folklore. This folklore value inheritance can be actualized through various media, especially ceramics. Through this media, it is in accordance with Bejamin S. Bloom's taxonomy where in the process various cognitive, motor and psychomotor aspects can be fulfilled. The writer also wants to see how the children's folklore can be passed down using alternative media in the form of ceramics. The folklore that was tried to be raised in this research is Timun Mas. In an effort to understand and interpret the folklore, the writer uses a qualitative descriptive method. Data obtained through literature studies and exploratory studies. The writer pays attention to the analysis of the intrinsic elements in the story as the basis for the creation of ceramic works. Semiotic analysis is also considered to interpret signs in the story line. Furthermore, Bloom's taxonomy analysis was also tried to be applied to see the stage of the development of Timun Mas' folklore. The results obtained several character identifications, physical, and character that accompany the central figures in the story, such as Timun Mas, Mbok Randha, and Buto Ijo. In the story, Timun Mas and Mbok Randa appear as protagonists, while Buta Ijo is an antagonist who has magical powers and wants to eat Timun Mas. The advanced storyline has made it easier for the writer to visualize the story in a sequential manner. In creating works, after the character visual processing stage, the writer goes to the storyboard stage, which is to simplify the story line. Finally, the writer adds visual references to bring the story to life. These processes are formed to obtain a comprehensive meaning and create works as an effective and efficient storytelling medium. text |
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The development of culture towards modernity often ignores essential and fundamental
traditions. One of the important traditions to be preserved is the oral tradition in the form of
fairy tales and children's folklore. This folklore value inheritance can be actualized through
various media, especially ceramics. Through this media, it is in accordance with Bejamin S.
Bloom's taxonomy where in the process various cognitive, motor and psychomotor aspects
can be fulfilled. The writer also wants to see how the children's folklore can be passed down
using alternative media in the form of ceramics. The folklore that was tried to be raised in
this research is Timun Mas. In an effort to understand and interpret the folklore, the writer
uses a qualitative descriptive method. Data obtained through literature studies and
exploratory studies. The writer pays attention to the analysis of the intrinsic elements in the
story as the basis for the creation of ceramic works. Semiotic analysis is also considered to
interpret signs in the story line. Furthermore, Bloom's taxonomy analysis was also tried to be
applied to see the stage of the development of Timun Mas' folklore. The results obtained
several character identifications, physical, and character that accompany the central figures
in the story, such as Timun Mas, Mbok Randha, and Buto Ijo. In the story, Timun Mas and
Mbok Randa appear as protagonists, while Buta Ijo is an antagonist who has magical powers
and wants to eat Timun Mas. The advanced storyline has made it easier for the writer to
visualize the story in a sequential manner. In creating works, after the character visual
processing stage, the writer goes to the storyboard stage, which is to simplify the story line.
Finally, the writer adds visual references to bring the story to life. These processes are
formed to obtain a comprehensive meaning and create works as an effective and efficient
storytelling medium.
|
format |
Final Project |
author |
Cahyo Jadmiko, Singgih |
spellingShingle |
Cahyo Jadmiko, Singgih APPLICATION OF CERAMIC TO KINETIC OBJECTS AS AN ALTERNATIVE MEANS OF COMPANION TO TIMUN MASâS STORYTELLING |
author_facet |
Cahyo Jadmiko, Singgih |
author_sort |
Cahyo Jadmiko, Singgih |
title |
APPLICATION OF CERAMIC TO KINETIC OBJECTS AS AN ALTERNATIVE MEANS OF COMPANION TO TIMUN MASâS STORYTELLING |
title_short |
APPLICATION OF CERAMIC TO KINETIC OBJECTS AS AN ALTERNATIVE MEANS OF COMPANION TO TIMUN MASâS STORYTELLING |
title_full |
APPLICATION OF CERAMIC TO KINETIC OBJECTS AS AN ALTERNATIVE MEANS OF COMPANION TO TIMUN MASâS STORYTELLING |
title_fullStr |
APPLICATION OF CERAMIC TO KINETIC OBJECTS AS AN ALTERNATIVE MEANS OF COMPANION TO TIMUN MASâS STORYTELLING |
title_full_unstemmed |
APPLICATION OF CERAMIC TO KINETIC OBJECTS AS AN ALTERNATIVE MEANS OF COMPANION TO TIMUN MASâS STORYTELLING |
title_sort |
application of ceramic to kinetic objects as an alternative means of companion to timun masâs storytelling |
url |
https://digilib.itb.ac.id/gdl/view/54425 |
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1822929605630099456 |