Minggu, 21 Desember 2008

Narasasi ( Inggris )


This article presents a preliminary study on narration in fine arts. In this article, a brief explanation on what is meant by narration is discussed. The explanation is based on the traditions used in the literature domain. Unlike the narration in the literature, the literature in fine arts has its own specific characteristics, among others, sinecdoce part pro toto, symbolic, incomplete narrative elements, present as well as absent, and formed by other visual element relation. In this study, however, the analysis on the structure of the narration was focused by using various literature theories.

One issue that often does not thoroughly discussed in the disciplinary sciences and arts, especially human sciences in general terms is a problem. This is then often cause some parties do not have discipline in the use of the term concerned. The word culture, for example, how often is used in various contexts and ranah without understanding the meaning of the word itself. Similarly with the word paradigm, discourse, modern, modernity, and others are often used without understanding and reference ajeg. Chaos worsened more with this kind of license that ranah in the arts and culture, especially in general does not have a definition on something that is associated with

which can be used as a reference standard. Similarly with the terms in referring to the art-understood understand a certain kind of impressionism, expressionism, kubisme, realism, and so often do not get a thorough discussion. Understanding on the terms of the whole vocabulary of the West and then discuss when to become more technically applied to the phenomenon of art in this country. In the frame of only a matter of modernism, for example, to this day we have no information that mencerahkan what is the context of modernism in the arts of Indonesia. It also occurred in similar terms in the level of simple, like figurative painting, decorative, narrative, and so on. If people say that there is a figurative painting, for example, we often feel quite

in the head with the understanding that the painting is a painting of the figure or figures. Likewise narrative painting is quite understandable with the assumption that the paper was told. When asked what and how and why narrative paintings he called the narrative, the answers are often not found convincing. A friend of art critics say that if we discuss the problem is we will be more far behind by the progress of the other nations. Shoptalk such technical located on the digits on the back forty.

Opinion is perhaps not wrong, but also not entirely correct. How the world of art (the practice and thought) can be fertile ground to grow and advance with a hit if shoptalk rudimentary not well understood. Instead of the paper can complement the achievement of Western thought and, in some cases we even hang art in the atmosphere: not up to the heavens is also not stand in the earth. I frequent to find any posts of thinkers and critics in the world of art we are, especially fine art, a very luxurious use Western theories, but the spin intricate and never touch a subject that can dikajinya. He lost in the wilderness like the luxury of thinking of the trust with the West so that it never again be able to identify himself who on the one hand and never become a thinker of the Western world dikiblatinya on the other. Now how hard we can find critics who think like Sanento Juliman clear.

Therefore, in this paper I will try to untangle a topic that is very rudimentary in the art, which is about narrative. Related to this is one we often mention the term in art, or art that is more popular narrative paintings. Why a paper form called a narrative, what characteristics, characteristics, and how to read are some basic questions that would be.

The terms of narrative

Jim Supangkat through his writings, entitled "narrative in the Visual Arts Indonesia" modernity in Indonesia Representation in Visual Arts (Exhibition Catalog, 1999: 79-81) defines the art of narrative provides several features, which is predominantly imagination and feelings rather than rational perception of reality, the order of elements that always look busy, and a tendency to take the story from mythology. In analyzing the works of I Gusti Nyoman Lempad, for example, Jim wrote, "I Gusti Nyoman Karya Lempad for example, relate the two women ask kesaktian Bali potion of Betari Durga. Space in this image does not show the boundaries imaginary space is a very telling stories. "

Limitations and sample analysis conducted by Jim in such a weak and abstract. Top restrictions that we can ask some questions, among others, whether the works of abstract also dominated by the imagination and feelings can be called the narrative? What and how is the

elements of the form of a busy and also how it is to build the story? Whether the papers that do not have a relationship with the mythology can not be called a narrative, or whether all the work related to the story in mythology can be narrative? We did not find the answers to these questions in any posts is Jim.

Save me, the word narrative or clause in the narrative form of narrative is not derived from ranah art, but it is borrowing from other disciplines, namely literary. Therefore, to whether the restrictions are a form of narrative or not, we must first restore it to a word in the ranah origin. An explanation of the various issues concerning the term this will only be found in this initial ranah.

In literary, narrative, or narrative (United Kingdom) are on the subranah prose or fiction. Subranah consists of novel, novel, novelet, serial, and short stories. Can be distinguished from the prose poems. Pembeda most important is the fact that dikandungnya. The fact is the prose, there is no story if there are no events. While poetry is the fact the libretto so that classical theories of poetry is also synonymous with poetic lyrics or-but in the poems of contemporary proximity between them is often difficult to track. Differences with other prose is: if flatten prose, poetry stuff. Therefore, diksi become an important part in the rhythm. Said to be one of the main be carried out as Chairil Anwar and Sutardzi Calzoum Bachri.

Furthermore, in terms of the structure of the prose consists of two parts, namely the structure of the physical and thematic structure. Physical structure of the story consists of several aspects, namely the events, figures and penokohan, setting (background), and flow (plot). The fact the story, as has been disinggung, is the events and figures in the events has always been central. Thus, the events and figures into the main physical aspects of the story. However, this does not mean that the other aspect is not important. All aspects of the story must be present in the story. Antarunsur relationships that form the structure and unity and stories. No less important in the physical aspects of the story is the point of view (point of view), style (style), said the pattern, and metaphorical (Culler in Gennette, 1995: 25). Meanwhile, the story ekstrinsik awakened on thematic aspects. Basic theme is the idea that the author would like to be in the story. In the thematic aspects are the message, the mandate, critics, and the values that the author was. Marjorie Boulton as an intrinsic aspect of his physical form and thematic aspects of mental form.

His narration in the Arts

Starting from the basic understanding is we are able to structure a new narrative form in the paper. Ideally, a paper form can be spelled out if the narrative elements in the story before you can met. But, of course, it is not nearly as possible. Paper form, however, is a genre that is different from the works of literature. The paper form does not tell the narrative verbal as well as literature. Hence, the reference for the paper form a specific narrative, with reference to the different narrative in literature.

Through the dissertation research at the Graduate Visual Arts ITB symbolic narrative titled Contemporary Art in Indonesia, I have found some elements of the form that allows a paper form can be called the narrative. Essentially, these elements together with elements of the narrative in literature such as has been mentioned. Only difference, in the form of the elements do not have to attend all. A paper form can be called if the teller, for example, there are elements of figure and space berelasi building events. If such relations awakened, other elements of the story and will be awakened in absentia (inplisit). Stories that are awakened in absentia is a story that is imaginative apresiator awakened in the mind after viewing the image (after image).

In the paper form, complete any elements of the stories appear explicitly, story will be awakened in absentia. Take the example of Dede Eri Supria bejudul Balada a drawer cart as appears below.

All elements of the story in the paper are met, namely the events, characters, setting, time, perspective, and vokalisasi. Details, visually this paper presents a figure drawer cart dipose that some scenes in the serial. The first scene is the image drawer cart that runs gerobaknya interesting. The two hands holding the wooden cart. Seuntai also appear around the mine at the stomach and is associated with the cart. Mine is probably easier to work bebab the tertumpu on hand. In the second scene drawer cart that stood as italics would fall. Mine is a little circle in the stomach to move up. At the scene of the third drawer cart and founder and mine pengikatnya now neck noose. In the fourth scene of the car carrier with a mine cart tergilas remain neck noose. Finally, in the fifth scene that appears only gerobaknya, body drawer cart is visible at a glance behind the cart.

Visual description of these can be concluded that a painting Balada drawer cart is a paper that tells about the tragic fate of a cart puller who live in the middle of the crush of city life. Silhuet building high melatari the scene of the car indicates that the carrier eventless going on in a big city. Meanwhile, the image that consists of several scenes (sequences) shows that the events occurred from time to time. Scenes in the show the position of the drawer cart that shows that the more terpuruk their fate in the drawer cart more days the more tragic, not vice versa. However, long story is not all we can catch in the picture. Events in the picture comes as part sinekdoce pro toto. That is, he only shows to represent the core parts of the other as a whole. With the function of the image then appears so many associations in the mind so that apresiator and awakened a story in its entirety. This story is also supported by the title of which is directly in the events deiksis narrative. Acts that in mind the present apresiator after seeing pictures that I used as narration in absentia.

Such a short discussion of the characteristics of the narratives contained in the fine arts. The discussion is still able to proceed and dielaborasi in the narrative in a broader understanding, as the narrative core pengetahun. However, as the introduction or the beginning of the study, I am close to the description here. In short narrative structures and patterns in paper form can be concluded as follows:

  1. Current narrative is part sinekdoce pro toto, ie, is an essential part of the overall events that awakened the implicit (inabsentia) in mind apresiator (after image).
  2. Element-forming elements of the visual narrative does not always have to be present all at the same time (at least two elements of each other berelasi)
  3. In addition to the two visual elements that are present inpraesentia, other elements can appear in absentia).
  4. Title deiksis function as a direct or instructions that can be mengindetifikasi events, figures, space, and time. However, the title does not always have to have.
  5. point of view and work vokalisasi direct apresiator of the thematic paper.
  6. narrative diniscayakan by visual relations antarelemen above. In other words, the narration does not form if the visual elements are not mutually berelasi.
  7. Element-visual elements are generally symbolic.

Referral Source

Adams, L. 1996. The Methodologies of Art. New York: Harper Collins Publisher,Inc.

Budiman, K. 2004. Semiotika Visual. Yogyakarta: Penerbit Buku Baik

Dermawan T, A. 1999. Dede: Elegi Kota Besar. Jakarta: Yayasan Seni Rupa AIA

Genette, G. 1995 (sixth printing). Narrative Discourse. Cornell University Press.

Langer, S.K. 2006. Problematika Seni. Bandung: Sunan Ambu Press.

Ricoeur, P. 1981. Hermeneutics and The Human Sciences, Essays on language, action and Interpretation. Cambridge: Cambridge University Press.

------------. 2002. The Interpretation Theory, Filsafat Wacana Membelah Makna dalam Anatomi Bahasa (terjemahan Musnur Hery). Yogyakarta: IRCiSOD

Schiller, F. 2004. On The Aesthetic Education Of Man. New York: Dover Publications Inc.

Supangkat, J. 1996. Indonesian Modern Art and Beyond. Jakarta: Yayasan Seni Rupa Indonesia.

Tabrani, P. 2005. Bahasa Rupa. Bandung: Kelir

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