Interpretative Meaning of Symbolic Color on Costumes and Artifacts

Jaran Kepang Temanggung, Indonesia

Suprayitno

, Abdul Aziz

New Media Program, Visual Communication Design Department, School of Design, Bina Nusantara University, Jakarta,

Indonesia 11480

Keywords: Interpretative, Symbolic, Jaran Kepang

Abstract: The traditional art of Jaran Kepang is one of the hallmarks of Indonesian art and culture. Jaran Kepang is a

cultural art that is actually supported and interpreted all the process, which is presented in various rituals of

salvation related to the life cycle events of the local community, including birth and death. The focus of the

main research problem that is interesting to study is about the symbolic meaning of colors in the Jaran

Kepang costumes and artifacts. The purpose of this study is to describe how the interpretative meaning of

denotative and connotative colors, and how the meaning of the values of the colors if analyzed by Roland

Barthes semiotics theory. Basically, these colors have symbolic meanings, which can help to create their

own meaning, besides color also has the ability to convey the message connotatively with symbolic values

according to local culture. This research uses qualitative interpretative approach. The results of this study

indicate that interpretatively found the values of denotative meanings and connotative meanings on costume

colors and artifacts Jaran Kepang Temanggung, Indonesia.

1 INTRODUCTION

Jaran Kepang is one type of traditional art that lives

and thrives in rural communities. Jaran Kepang art

has the character of easy to recognize and socialize.

The art of Jaran Kepang is a traditional Javanese

dance featuring a group of warriors who are riding a

horse. This dance uses an artificial horse made of

bamboo that is woven and cut like a horse shape.

This horse woven is decorated with colorful paint

and fabrics. But in some appearances, Jaran Kepang

also presenting attractions possession, immunity,

and magical powers. (Radhia, H. A., 2016)

Traditional art, in various shades and expressions, is

the creativity of citizens who support a particular

culture. Art is present and is needed by the

community. As the result of creativity that supports

a culture, then art is actually an expression of

creativity from the culture itself. (Kayam, U., 1981)

Understanding the value of a work in society must

have meaning, that the work of art can provide

benefits for the community around him, either

directly or indirectly. The word 'value' itself, now

means very complex not only oriented to economic

problems but can also be related to moral, religious

and aesthetic issues. (Prasetyo, J., 1986) This

traditional Jaran Kepang dance is born, grown, and

developed in a society which is then passed down to

be passed from generation to generation, and

developed in society today. Jaran Kepang became

the performing arts tradition that is actually

supported and understood all the process.

Performing arts of Jaran Kepang are presented in

various rituals of salvation related to the life cycle

events of society which include birth, death,

ruwatan. In fact, the Jaran Kepang, which is

performed in a village clean ritual, appears as a

positive symbol to guard against distress (Trisakti,

2013).

1.1 Colors Semiotics

Color can be defined as the nature of transmitted

light, from the experience of the psychic sense of

vision. Color becomes very important in everyday

life because colour evokes a spontaneous feeling to

the person who sees it. The human mind is

programmed involuntarily by colour as if seeing a

red light on, then the motorist will stop. Color also

unknowingly affects human emotions, such as anger,

sadness, or imagination (Monica, L., L., C., 2011).

Suprayitno, . and Aziz, A.

Interpretative Meaning of Symbolic Color on Costumes and Artifacts Jaran Kepang Temanggung, Indonesia.

DOI: 10.5220/0010023300002917

In Proceedings of the 3rd International Conference on Social Sciences, Laws, Arts and Humanities (BINUS-JIC 2018), pages 529-533

ISBN: 978-989-758-515-9

529

Basically, the human capture of the color

reaction is almost the same, but the human self-has

different interpretations of the meaning of color.

Most of the properties of color can be understood

when associated with the environment, where they

can be interpreted through observation and use of

color, but some colors contain the same meaning in

different cultures (Purbasari, M., 2014; Luzar, L., C.,

2014; Farhia, Y., 2014). That meaning is not

something possessed by a sign because of itself;

rather, meaning comes from the interaction, from the

context in which the sign in question is obtained.

According to Keith Allan, the meaning of

connotation is a semantic effect that arises from a

broad insight into something and comes from

experience, belief, and prejudice about the contents

of the context (Allan, K., 2001). In many traditions

and in cultured life, certain societies express

themselves in various ways. One of them is the use

of color as a symbol in culture (Diputra, G., D.,

2017).

A Color can help to create meaning, compared to

other visual elements, color has the ability to make a

person aware of what is seen. The color can also be

used to convey an atmosphere, feelings, and

connotations have cultural-specific symbolic value.

To understand a communication in the proper

context one must understand the meaning in

communication (Keraf, G., 2007). The color in a

connotative way has more implicit meaning, so it

has to think more deeply, to achieve its true meaning

(Trisakti, 2013).

1.2 Semiotic Analysis of Roland

Barthes

Semiotics is basically a science that studies the

relationship between signs, in analyzing the visual

meaning through the semiotic approach. The first

tier in Roland Barthes semiotics is the denotation

level. The denotation mark is the real meaning,

which is socially agreed upon, its reference to

reality. At the second level referred to in the

semiotics of Roland Barthes is the level of

connotation. The connotative sign is a sign whose

markers have the openness of meaning or meaning

implicit, indirect and uncertain, meaning open to

new interpretations (Vera, N., 2014).

In analyzing the visual meaning through the

semiotics approach, there needs to be more review

and determine the visual which is considered as a

sign contained in costume objects and Jaran Kepang

artifacts. Aesthetic value in costume and artifacts

Jaran Kepang, festivity, thickness, and striking

colors in the use of makeup, thus bringing the

character of Jaran Kepang dancer.

1 Costume used Jaran Kepang is a vest and

shorts suit, black and then plaid checkered

cloth as covering the dancer's body. The

costume is a clothing and black pants that

show the color of the symbol of power and

toughness. The black philosophy contains a

positive meaning among others: 1. reflects

courage, 2. becomes the center of attention,

3. Strength and toughness. Clothing or

costume and make-up is a form of

artifactual communication. Being able to

deliver non-verbal messages (Ibrahim, I.,

S., 2007).

2 METHOD

The form used in this study is qualitative

interpretative which is a method related to the socio-

cultural environment. Where researchers try to

understand the meaning of an object based on the

facts obtained from the results of research. The

reason for using a qualitative interpretive form in

this research is able to describe the meaning of

colors in costume and artifact Jaran Kepang

Temanggung, Indonesia. The descriptive-analytic

method that is by describing and analyzing (Ratna,

N., 2010).

Using the semiotics interpretative approach,

related to all things that can be interpreted as signs.

Signs related to its existence have a causal

relationship, because of the convention ties with

these signs. More descriptive methods are concerned

with outlining the findings and interpreting.

3 RESULT AND DISCUSSIONS

As in Temanggung Regency, the people culture

agrarian, village resilience and stability between life

environment with other creatures is realized through

the form of ritual. In the rural areas of Central Java,

people still adhere to the ritual of salvation, as a

ceremony that overshadows all forms of human life

cycle events. These events include birth, maturity to

death. The ultimate salvation, the clean village

salvation held once a year, is aimed at the spirit of

the village guardian, who always presents the arts,

among them Jaran Kepang performing arts (Radhia,

H. A., 2016).

BINUS-JIC 2018 - BINUS Joint International Conference

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3.1 Interpretative Meaning

To study the interpretative meaning of symbolic

values on costume colors and artifacts of Jaran

Kepang, this study will use Barthes's thinking.

Roland Barthes is one of the famous semiotic figures,

in his concept, the connotative sign does not merely

have additional meanings but also contains both the

denotative meanings underlying its existence. The

reference used is to conduct research based on

denotative and connotative. Where will be divided

into the meaning of which parts, which is denotative

and the meaning of the connotative of the

interpretation of the color display costume and Jaran

Kepang. The signs convey an information, so that is

communicative. He is able to replace something else

that can be thought of or imagined. This branch of

science all evolved in the field of language and then

developed also in the field of visual arts and visual

communication design (Tinarbuko, S., 2008).

Connotative meaning can be subjective in the sense

that there is a shift from the general meaning of

denotative. Therefore, Berger in Tinarbuko, trying to

compare between denotation and connotation as

follows:

Table 1. Chart of Denotation and Connotation

Comparison, Source: Tinarbuko.

DENOTATION

CONNOTATION

Literature

Use of form / fi

ure

Bookmarks

Markers

Clear

Conclusion

Describe

Give the impression of

meanin

A 'sign' is said to have connotative meaning

when the 'sign' has a ‘taste value’, either positive or

negative. If it has no taste value it is said to have no

connotation, but it can also be called a neutral

connotation. The positive and negative sense of a

'sign' often also occurs as a result of the use of the

'sign' referent as a symbol. If used as a symbol of

something positive it will be worth a positive taste,

and if used as a symbol of something negative it will

be worth a negative taste.

YellowGold BlackWhiteRedBlue YellowGold

Figure 1. Photo of Costume and Artefact Jaran Kepang &

Colours Scheme.

Source: Abdul Aziz.

In this analysis take sample images of costumes and

examples of Jaran Kepang artifacts above, which

will then be analyzed using Barthes' semiotics. The

focus of analysis starts from the denotation-

connotation level to the search for myths.

Table 2. Semiotics Chart Roland Barthes (Vera, N., 2014).

1. (signifier)

2. (signified)

3. Sign (Denotative)

I. Signifier (Connotative)

II. Signifier

(Connotative)

III. Sign (Connotative)

Semiotics Roland Barthes is a derivative of

Saussure's semiology, adapting a signifier-signified

theory developed into a connotative sign. Saussure

focuses on denotative denominations, while Roland

Barthes develops them on a connotative level. In

addition, another aspect that Barthes developed in

tagging is a myth (Vera, N., 2014).

Each message in a sign consists of two levels of

meaning expressed explicitly on the surface and the

implicitly articulated meaning behind the surface of

the Jaran Kepang costume and artifact. Thus,

semiotics becomes an appropriate method to find out

the meaning constructions that occur in these Jaran

Kepang costumes and artifacts, emphasizing the role

of the sign system with the construction of reality,

then through the semiotics, the values behind the

artifact can be dismantled (Feralina, N., 2013).

3.2 Object of Denotative and

Connotative Colours

Black color found on the artifact Jaran Kepang part

of the tail up on the face, as a denotative meaning

that shows as a black horse. The connotative

meaning of black on Jaran Kepang here is a symbol

of strength, toughness and elegance. The myth of

black in the artifact can also be interpreted again into

mysterious, mystical forms, such as a trance scene.

The white color denotatively in the Jaran

Kepang artifact is used as the underlying color of the

entire artifact. The meaning of white in connotative

is a symbol of the purity of the soul, the purity of the

self. The myth of the white color in the position for

the artifacts of Jaran Kepang in the arts became the

main thing where the character at the end of the

values of honesty, and the holiness of the self-

appeared.

Interpretative Meaning of Symbolic Color on Costumes and Artifacts Jaran Kepang Temanggung, Indonesia

531

In red, denotatively as a color on the details of

the ornaments that decorate every part of the Jaran

Kepang artifact. This red color becomes the most

eye-catching color. Hence, the impression of red is

synonymous with strength, adrenaline, passion, and

spirit. Often also associated with energy, joy, love,

energetic, luxury, lust and warning. In addition, red

is also synonymous with violence, anxiety, and even

aggressiveness. The myth of red is a force in life.

The blood is red and becomes a major part of living

things.

In denotative use of blue color is not too

dominant, just as an accent sweetener only. Blue

impression shows a stable, intelligence, confidence,

even a symbol of strength. While the myth of the

blue is the forms of breadth and something that cools

the atmosphere. Then this cool color is believed to

unite from the colors are hot.

The use of the yellow color in denotative is

almost the same as the red color, which is an aspect

that reinforces the outline of the ornament. The

impression from yellow usually is cheerful, happy,

energetic and optimistic. The yellow color is also

believed to stimulate mental and mental activity.

The myth of the yellow color is to show the

impression of greatness and warmth.

The use of gold in the artifact' rare braid' is no

more as an accent of a series of existing ornaments.

The impression is to show achievement, success,

luxury, victory, and prosperity. The myth of gold is

a manifestation of grandeur, eternity. Thus, it is

believed to be applied to objects that can support

splendor, as well as immortality.

4 CONCLUSION

Dance Jaran Kepang is a famous folk art and fertile

life among the people in Temanggung District. The

Jaran Kepang player costume character is brave,

tough and strong. Jaran Kepang dance contains the

value of life that basically adheres to religious

values and social life. Symbolic meanings contained

in the artifacts Jaran Kepang is a color, as well as

elements of motive that exists. Then the

meaningscontained in the costume Jaran Kepang is

not only a mere fashion dance, but it makes a

distinctive feature of the local community culture

that has symbolic values.

Colour can help to create meaning, besides color

also has the ability to convey messages

connotatively with symbolic values according to

local culture.

In conclusion that the colors in costumes and

artifacts Jaran Kepang has a symbolic meaning. As

the color black as a symbol of power and toughness.

white as a symbol of purity. red has a symbol of

courage, blue color as a form of patience, peace of

mind, and yellow color has a meaning of wisdom,

and the color of gold as a form of grandeur, and

immortality. Each message in a sign consists of two

levels of meaning expressed explicitly on the surface

and the meaning implicitly expressed beneath the

surface. The color as a sign can be a medium for

conveying a message and the color itself can replace

something else that can be thought of or imagined.

ACKNOWLEDGMENTS

The authors are very grateful because this research

was supported by the Binus University Research

Technological Transfer Office (RTTO), to Danendro

Adi, S.Sn., M.Arts. as Dean of the Binus University

School of Design and also the SoD Research

Coordinator, Dra. Mita Purbasari Wahidiyat, M.F.A.

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