Robin Esa Yulianto, 0204516004 (2020) BENTUK DAN PEMAKNAAN MOTIF BATIK BANYUMASAN: KAJIAN DALAM KONTEKS PENEMUAN IDENTITAS BUDAYA. Masters thesis, UNNES.

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Abstract

The existence of Batik art in almost every region as a form of cultural diversity as well as a community identity. Banyumas Regency also produces batik crafts which are generally the same as other regions, but have special motifs typical of the Banyumas area. The problems studied in this research are: (1) What is the aesthetic form of Banyumasan batik ?; (2) How do the perpetrators of batik interpret the Banyumasan batik motif? (3) What is the potential of the batik motif so that it can be constructed into one of the identities of the Banyumas people? Qualitative methods are used in this study, with data collection through observation, recording, interviews and documents, data validation techniques using triangulation of sources, art data analysis with aesthetic aid theory, cultural anthropological meaning, and construction of cultural identity. The research results show the following. First, the aesthetic form of the Banyumasan batik motif has varied forms according to the creativity of craftsmen and aesthetic values with a source of inspiration for the natural, physical and cultural environment of Banyumas. The form of ornament is in the type of straight lines, curves and circles with several geometric areas, angular faces and organic features. Second, batik actors interpret Banyumasan batik as iconic and symbolic. Iconic is the relationship between the embodiment and formation of the natural environment, physical and cultural products of Banyumas (art, traditional weapons and traditional food), while symbolic is the relationship between manasuka / agreement of embodiment and meaning related to the character of the Banyumas people, namely cablaka / what it is, thokmelong. / easy going, simple, and ready to serve. Third, the potential of the Banyumasan batik motif to be constructed into one of the identities of the Banyumas community can be seen through the relationship between the results of the analysis of the aesthetic form and the meaning of the Banyumasan batik motif which describes individual or community resources, natural environmental resources, physical environmental resources, and the manifestation of practices cultural practices. Suggestions are recommended: (1) batik as a cultural identity should be preserved and appreciated by the community; (2) the potential for the Banyumasan batik motif to be developed by batik craftsmen so as to produce a variety of new batik motifs; (3) the results of this study regarding the aesthetic form of Banyumasan batik, the meaning of the Banyumasan batik motif, and the construction of the Banyumas community's cultural identity can be used as a source and media for learning cultural arts formally and informally, namely in schools and communities

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