Produk karya sebagai produksi kultural yang membawa simbol-simbol sebagai bagian dari ekspresi pemikiran agen pemroduksi dapat mendekonstruksi kultur budaya masyarakatnya. Karya yang hadir tidak dari kekosongan budaya juga akan mengisi nilai-nilai yang hidup di tengah masyarakatnya. Salah satu nilai yang dapat turut berkembang adalah nilai-nilai ketuhanan di tengah masyarakat religius. Hal ini dibidik oleh Hompimpa Sinema Nusantara dalam karyanya Yang Maha Luwes. Dengan mengkaji tema karya sebagai bagian dari produksi karya serta menafsirkan nilai-nilai yang dapat digali, nilai-nilai ketuhanan yang ada di tengah masyarakat Indonesia yang religius dapat terdekonstruksi. Oleh karena itu, digunakan pendekatan konstruktivisme sosial yang berkaitan dengan metode production activity yang direlasikan dengan metode hermenutika radikal untuk menafsirkan karya dengan pijakan dekonstruksi Derrida sehingga dapat digunakan untuk melihat nilai-nilai ketuhanan dan menghubungkannya dengan nilai-nilai yang berkembang di masyarakat. Produksi komsit tersebut selain bertujuan untuk menunjukkan eksistensi berkarya, juga memberikan hiburan parodi sederhana kepada masyarakat. Tema terdekat yang diangkat adalah nilai-nilai ketuhanan dengan membentuk konsep parodi sederhana melalui penokohan tuhan dengan sifat-sifat manusia. Pemahaman konstruksi berpikir penikmat atas Tuhan menjadi kontras ketika diperankan dengan sifat-sifat dan kebiasaan manusia. Sekalipun masyarakat Indonesia dikatakan masyarakat religius dengan keberadaan enam agama dan berbagai aliran kepercayaan, tetapi pemahaman awam seolah menempatkan Tuhan berjarak dengan manusia sebagai hamba-Nya. Komsit ini mendekonstruksi pemahaman tersebut dengan menanggalkan dikotomi jauh – dekat, langit – bumi antara Tuhan dan manusia. Tuhan berada di mana pun hamba-Nya berada.

Islam is often referred as being a radical movement or activity. Sabyan Gambus, through their song cover, responses to the situation in their song “Deen Assalam”. This song was created as an effort to minimize and reduce the society’s misthinking on the concept and implementation of Islamic teaching. Thus, a study of values implied in the song becomes essential to view such a perception shift within the society as a legitimation upon the work as well as the positioning of Islam in the structural world of Indonesian people. An analysis of the song lyrics is, accordingly, essentially needed.The theory of Riffaterre is applied to study the song lyric. Meanwhile, a theory of Bourdieu is employed to review the legitimation achievement of the work production practices. The behaviorism method is used in analyzing the agents’ behaviors during the production process to reach a legitimation that can be considered as shifting of position and perception of the society.The legitimation of Sabyan Gambus’ works by analyzing the response from the society can be considered as some possibilities of the emergence of a more moderate Islam in Indonesia. The analysis of internal meaning may also create some possibilities to audience to gain the power of value that affects the power relation and other external factors. Therefore, both internal and external work analyses are necessary to show the influence of work production and its legitimation achievement on its position and perception of the society.

The musical poem of “Hatiku Selembar Daun”. Music and poetry have a signifi cant relationship; they bothhave an element of sound. This study discusses the relation of the transformation of poetry to musical poem in“Hatiku Selembar Daun” by Djoko Damono Sapardi. The study was conducted by means of the form of music andharmony through musicological studies, as well as the relationship between music and poetry in a musical poemitself. Based on the analysis we concluded that the dominant harmonious relationship between music and the meaningof the poem “Hatiku Selembar Daun” deals with the creative elements in it.

The creation of works employing transforming media becomes an exciting breakthrough in the art industry to study. Using the concept of changing the media, the meeting of the two different media, such as art and music, provides opportunities for the emergence of a broader range of creative work. The design of musical works based on the inspiration and philosophy from the media of batik has complexity and beauty and high value as the great works from the Indonesian ancestors. Sekar Jagad is a title for the composition of musical design, taken from the name of a batik motif that is very familiar in Javanese culture. By understanding the basic batik motifs such as gringsing, kawung, machete, nitik, cement and poleng, the elements of vocal melodies performed in two different voices gave an overview of the concept of the Sekar Jagad batik motif. It indeed required knowledge of the shape, function and character of the batik motif itself as the basis for gending in musical arts. The melody arrangement was made entirely with two tunings or pelog and slendro scales. It was intended to find the characters that best suits the characteristics and philosophy of batik. The elements of batik motifs that were put together into one Sekar Jagad batik motif were then applied through vocal melodies and supported by lyrics that described some of these batik elements.