Praktik Sosial Komunitas Street Art Sukoharjo Art Crew (SAC) di Sukoharjo

摘要

ABSTRACT Muh Tisna Alfandi, 2015, D0308046, SOCIAL PRACTICE OF ART STREET COMMUNITY SUKOHARJO ART CREW (SAC) IN SUKOHARJO. Thesis, Sociology Department, Social and Political Sciences Faculty, Surakarta Sebelas Maret University. Street Art is one of social critique media and symbol of existenc. Sukoharjo Art Crew (SAC) group uses to deliver street art work in Sukoharjo. This research aimed to represent actor habitus, capital, and field in social practice of SAC group through Pierre Bourdieu’s Social Practice Theory. The research constituting a qualitative research with case study approach. Thus, in this research, the author represent and elaborate precisely certain social or collective phenomena, because case study was a research design with question “how” and serving to elaborate, so that it was interesting if used in representing other important things that was explanatory (descriptive) in nature limited to habitus, capital, field and practice only in this research. In addition, it could represent the condition of SAC Street Art community group as the research object existing merely in Sukoharjo Sub District of Sukoharjo Regency, according to its movement. Data was analyzed using an interactive model analysis employing three main components: data reduction, data display, and conclusion drawing and verification. Data validation was carried out using source triangulation technique. The result of research showed that the actor in mural practice of Sukoharjo Art Crew Community was divided into three: Muralist, Gravity, Vandalist groups. The three actors in their art movement established various habitus and capitals. The capital was divided into capital typification including economic, symbolic, cultural, and social capitals. There were various field in Sukoharjo Art Crew Community: mural, gravity and vandalist art field. Mural art social practice of SAC community was carried out through cultural reproduction in art field. The art reproduction of mural and gravity groups was as follows. Firstly, name as identity serves as an identity later resulting in the change of name SKET into SAC. Secondly, the work signifier was accent of SAC abbreviation, and then the accent of work creator name was also featured as the existence of SAC members. Thirdly, network technique was used with mature concept, social capital and actor’s enthusiasm in their art movement serving as the basis or capital of reproduction to build network and better working than the previous one. Different from vandalist group, their art reproduction involved work design and technique, with the work in the form of spray accent resulting from airbrush paint, and now paint sprinkle was created forming the same accent and hidden technique and working quickly without detection also presumably adopted provocation action in its development. Keywords: Mural, Gravity, Vandal Arts, Habitus, Capital, Field, Practice