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All Journal Humaniora Bumi Lestari Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Panggung Berkala Arkeologi Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya Berkala Arkeologi Panggung
Timbul Haryono
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KARAKTER DALAM TARI GAYA SURAKARTA Silvester Pamardi; Timbul Haryono; R.M. Soedarsono; AM. Hermien Kusmayati
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (336.366 KB) | DOI: 10.33153/glr.v12i2.1533

Abstract

This writing is aimed at explaining characters in Surakarta style dance rooted at the palace. In Indonesiandance knowledge it is known as classic dance. Surakarta style dance has developed so long that has builtsystematized patterns of move and been fully fledged based on pakem beksa containing with many rules andtechniques of movements of palace dance. Javanese society believes that palace dance is a cultural heritagecontaining both values of guidance and entertainment as well. The concept of beauty of palace dance hasthree norms. Those are Hastakawaca, Kawaca, and Hastakawaca Gendhing. The norms show that the dancehas soul and movement such as container and content unified in inner and outer life. The masters (empu) ofJavanese dance believe that dance movement expressed through the body of dancer will produce innerattitude. Some people are able to find its philosophy at the time of dance appreciation. This paradigm can bedefined as an implementation of functional values of palace dance giving characters guidance and good soul.Identified through dance forms perspective, palace dance is a collective soul expression. In relation tomovement, palace dance expresses the soul of Javanese personality. In the sense of being a collective expression related to customary structures, the movement of palace dances covering the whole body meansbuilding up good soul. The character of palace dances is constructed with typology, temperament, and dispositionderived from or transformation of the forms of shadow play. The forms of shadow play have physical size(typology), motion puppet play (temperament), and wanda (character) in different visual appearance for eachcharacter or role. The characters structured in the forms of dance movement serves as the values of guidancethrough appreciation towards the values of nature and the roles of motion expressing bad and good teaching.Keywords: dance, character, philosophy, aesthetic, Surakarta style
Mainan Tradisional Di Daerah lstimewa Yogyakarta Dalam Konteks Perkembangan Kreativitas Anak Bagus lndrayana; R.M. Soedarsono; Djoko Suryo; Timbul Haryono
Ornamen Vol 7, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (815.957 KB) | DOI: 10.33153/ornamen.v7i2.987

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Every art and culture development in Indonesia always relatedwith social, politics, ecomonic and cultural, including in religious andbelieved life of the entire society. That conditions push the change anddevelopment so that was evident there is pra-Hinduism, Islam, andWestern culture. Culture product that being produced in various forms,making techniques, and philosophy that influence behavior in a holistic,including the child's play activities life. Play activities help child to createexperience, acknowledge, and skill, so that in next developmentsteps child can be brave, spontaneous, creative, imaginative, and responsive.Those activities used as a relaxation media to release stressand a/so intrinsic complex value transformation field and examinationin light have a meaningful to the formation of the child's personal. Thecomplexity of that value gives a chance to the different creativities ofchild, so that end of a toy that being made in beach environment differentwith a toy that developed in the rural place. This fact also can beseen in a toy in countryside that different from the downtown.Key Words : Toys, Transformation, Creativity
Spiritualitas Budaya Jawa dalam Seni Tari Klasik Gaya Surakarta Silvester Pamardi; Timbul Haryono; R.M. Soedarsono -; A.M. Hermien Kusmayati
PANGGUNG Vol 24, No 2 (2014): Modifikasi, Rekonstruksi, Revitalisasi, dan Visualisasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (214.161 KB) | DOI: 10.26742/panggung.v24i2.118

Abstract

ABSTRACT Javanese classical dance has grown dynamically in line with the history of the palaces in Central Java, especially after the fifteenth century that began in the era of the kingdom of Demak. It has lived and thrived in the court of Mataram Islam since the period of Panembahan Senapati at Kotagede, the time of Sultan Agung in the palace Plered, until the moving of the palace of Mataram to Kartasura.This research methods is focused on the use of qualitative data with the questions of ‘why’ and ‘how’ to unravel the mystery behind of the phenomenon. This actions are carried out with approach of multi- disciplinary such as science of history, social science, and choreography.The events of Gianti agreement in 1755 did not give only influence and impact on the power of the king of Mataram to had to be split into two regions, namely the region of Surakarta and Yogyakarta Sul- tanate region, but also had implications to the life of Javanese culture. The culture of Javanese which was originally derived from the one kingdom, namely  Mataram Kasunanan, then divided into two styles, namely Javanese culture of Surakarta and Yogyakarta. Fortunately, in the palace of Kasunanan Surakarta as well as in the Kasultanan Yogyakarta palace is still being developed classical Javanese arts based on cultural and adiluhung values; respectivelly developed in the different patterns or styles. The values of spiritual ‘Javanese’ is remained as a source of reference. Keywords: the art of dance, classical, spirituality of Javanese  ABSTRAK Seni tari klasik Jawa telah berkembang secara dinamis seiring dengan sejarah perkembang- an keraton-keraton di Jawa Tengah, terutama setelah abad XV yang dimulai pada era kerajaan Demak. Seni tari klasik Jawa hidup dan berkembang di lingkungan istana Mataram Islam sejak periode Panembahan Senapati di Kotagede, atau jaman Sultan Agung di keraton Plered sampai dengan berpindahnya keraton Mataram ke Kartasura.Metode penelitian ini konsentrasi utamanya pada penggunaan data kualitatif dengan per- tanyaan-pertanyaan ’mengapa’ dan ’bagaimana’ untuk mengungkap misteri yang berada di belakang fenomena yang ada. Tindakannya dilakukan dengan pendekatan multi disiplin dari ilmu-ilmu sejarah, sosial, dan koreografi.Peristiwa perjanjian Gianti pada tahun 1755 tidak saja berpengaruh dan berdampak pada kekuasaan raja Mataram yang harus membagi menjadi dua wilayah, yaitu wilayah Kasunanan Surakarta dan wilayah Kasultanan Yogyakarta, tetapi juga berimplikasi pada kehidupan ke- budayaan Jawa. Kebudayaan Jawa yang semula bersumber dari satu kerajaan, yaitu Mataram Kasunanan, kemudian menjadi dua corak, yaitu kebudayaan Jawa Surakarta dan Yogyakarta. Namun demikian, baik di istana Kasunanan Surakarta maupun istana Kasultanan Yogyakarta tetap mengembangkan kesenian klasik Jawa berdasarkan nilai-nilai budaya adiluhung walau- pun dalam corak atau gaya yang berbeda. Nilai-nilai spiritualitas ‘kejawen’ tetap menjadi sum- ber acuannya. Kata kunci: seni tari, klasik, spiritualitas Jawa
Laras dan Rumpaka dalam Garap Karawitan Jaipongan Jugala Ismet Ruchimat; R.M. Soedarsono -; Timbul Haryono; Tati Narawati
PANGGUNG Vol 23, No 4 (2013): Membaca Tradisi Kreatif, Menelisik Ruang Transendental
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (192.081 KB) | DOI: 10.26742/panggung.v23i4.155

Abstract

ABSTRACT   This paper analyzes characteristic and musical identity of garap karawitan Jaipongan which is focused on the identity of laras and rumpaka. The identity of karawitan Jaipongan is a genre of today’s Sundanese karawitan which developes without any acculturation influence. Most verbal form of rumpaka on garap karawitan Jaipongan Jugala represents a dialogue or text that requires comprehension of the content. The characteristic of laras and rumpaka which are verbal and musical in garap karawitan Jaipongan show a multidimensional artistic expression. Keywords: characteristic, laras, rumpaka, Jaipongan, and jugala    ABSTRAK Tulisan ini menguraikan ciri-ciri atau identitas musikal garap karawitan Jaipongan Ju- gala yang dititikberatkan pada identitas laras dan rumpaka. Identitas karawitan Jaipongan merupakan suatu genre karawitan Sunda kiwari yang berkembang tanpa pengaruh besar akulturasi. Bentuk verbal rumpaka pada garap karawitan Jaipongan Jugala sebagian besar merepresentasikan suatu pembicaraan atau teks yang menuntut pemahaman isi. Karakter- istik laras dan rumpaka yang bersifat verbal dan musikal dalam garap karawitan Jaipongan menunjukkan ekspresi artistik yang multidimensional. Kata kunci: karakteristik, laras, rumpaka, Jaipongan, dan jugala  
Tinjauan Perkembangan Keris Tangguh Ngentha-Entha Yogyakarta 1975-2015 Supriaswoto Supriaswoto Supriaswoto; SP. Gustami SP. Gustami SP. Gustami; Timbul Haryono; R.M. Soedarsono R.M. Soedarsono R.M. Soedarsono
PANGGUNG Vol 25, No 4 (2015): Representasi, Transformasi, Identitas dan Tanda Dalam Karya Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (543.057 KB) | DOI: 10.26742/panggung.v25i4.48

Abstract

ABSTRACTEvery keris possesses its own chracteristic called tangguh. There is a keris with a characteristic called tangguhngéntha-éntha which was created within the Ngéntha-ÉnthaVillage community, lo- cated to the west of Godean District, in the Sleman Regency, Yogyakarta. The prominent figure behind the establishment of that forge (besalèn) was Empu (Ironsmith) Wayang, that one day moved from Mataram Kingdom at Kartasuro to that village. In 1963, Empu Supowinangun, the heir of Empu Wayang, passed away. As a result, since that time the process of making the keris with ngéntha-énthacharacteristic was no longer conducted. In 1975 there was an effort to revitalize it and succeded. This research was conducted to investigate this revitalization by using historical method. The result of this research demonstrates that this revitalization has been conducted succesfully by two master keris-makers (empu) named Yosopangarso and Jeno Harumbrojo, after received mental endorsement and financial support from two foreigners named Garrett Solyom and Dietrick Dreschler. The two master keris-makers already passed away and today the process of making the keris with tangguh ngéntha-éntha characteristic is taken over by Empu Sungkowo, Jeno Harumbrojo’s former adopted child. It is not clear who is supposed to be Sungkowo’s heir. It generates a lot of worry among people of the possibility that this style of keris will decline like what happened in 1963.Key words : keris with tangguhngéntha-énthacharacteristic, revitalization, Master Keris-makersYosopangarso, Jeno Harumbrojo, Sungkowo. ABSTRAKSetiap keris memiliki ciri tersendiri yang disebut tangguh, seperti tangguhngéntha- énthayang diciptakan di lingkungan masyarakat Desa Ngéntha-Éntha. Tokoh penting yang membuat keris dengan tangguh ini adalah Empu Wayang. Pada tahun 1963, Empu Supowinangun, pewaris Empu Wayang, meninggal dunia. Akibatnya, sejak saat itu pembuatan keris dengan gaya ngéntha-éntha tidak lagi dilakukan. Pada tahun 1975 ada upaya untuk merevitalisasinya dan berhasil. Penelitian ini bermaksud meneliti revitalisasi keberadaan keris Tangguh Ngenta-entha tersebut dengan menggunakan metode historis. Hasil penelitian ini menunjukkan bahwa revitalisasi ini telah diakukan oleh dua empu keris bernama Yosopangarso dan Jeno Harumbrojo. Dewasa ini, dua orang empu keris t e r s e b ut t e l a h m e n i n g g a l d un i a d a n pr o s e s pe m b ua t a n k e r i s d e n g a n c i r i - c i r i tangguhngéntha-énthadiambil alih oleh Empu Sungkowo, anak angkat Empu JenoHarumbrojo dengan metode rekonstruksi pola-pola pewarisan yang tetap dan tidak meninggalkan pakem-pakem tradisi yang ada.Kata kunci: revitalisasi, keris, gaya ngéntha-éntha
Empat Koreografer Tari Kontemporer Indonesia Periode 1990-2008 Eko Supriyanto; Timbul Haryono; R.M. Sudarsono -; Sal Murgiyanto
PANGGUNG Vol 24, No 4 (2014): Dinamika Seni Tari, Rupa dan Desain
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (220.035 KB) | DOI: 10.26742/panggung.v24i4.130

Abstract

ABSTRACT This research will elaborate four Indonesian contemporary choreographers, which lead to open the significant of embodiment process on Indonesian dancers. With a focus on four choreographers, Mar- tinus Miroto, Mugiyono Kasido, Hartati, and Jecko Siompo. A case study of body of those four choreo- graphers has reached its “institutional” level, so choosing those four characters, as a representation of Indonesian dancer is the right thing to do. With the complexity discipline and body work training, the four dancers and choreographer strengthening on how procession to achieve and advancing body work is located in some important process: exercise, training, and performance. This is different from the pro- cess of body works quality and the achievement of most dancers and choreographer outside of Indonesia. Usually the dancers outside of Indonesia only stress on two things: Training and performance. The four dancers in the work have had a typical body works each of them, but it is undeniable that there is a role in the respective Sardono as the maestro. Sardono’s strong influence thus again took place in forming a model to the body or body-dance attitude of dancers who then the outcome was, in fact, different from Sardono’s works. Keywords: contemporary, embodied, training, rehearsal, performance  ABSTRAK Penelitian ini membahas empat koreografer, dalam membuka wacana proses ketubuhan penari di Indonesia. Empat koreografer tersebut, Martinus Miroto, Mugiyono Kasido, Hartati, dan Jecko Siompo, memperlihatkan betapa kompleksitas proses ketubuhan mereka berbeda dengan penari dan koreografer pada umumnya, terutama dari luar Indonesia. Mereka mem- berikan pengalaman yang detail tentang pendisiplinan tubuh mereka untuk mencapai sebuah capaian dan keunggulan. Dengan kompleksitas disiplin dan training ketubuhan, keempat penari dan koreografer ini menggukuhkan betapa proses pencapaian dan kemuktahiran tubuh terletak pada beberapa proses penting: Training, Latihan, dan Pementasan. Jika ditilik secara ke- seluruhan, keempat penari ini mempunyai pengalaman belajar, atau setidaknya pernah men- galami proses menari bersama Sardono W. Kusumo. Ketubuhan yang yang dieksplorasi adalah ciri khas dari Sardono yang dikenal dengan laku dalam bahasa Jawa. Walaupun belajar dari Sar- dono, keempat koreografer tersebut mengembangkan tarian yang berbeda dengan Sardono. Kata kunci: kontemporer, ketubuhan, training, latihan, pementasan
IN SEARCH OF POLYNESIAN ORIGINS: WITH SPECIAL REFERENCE TO LAPITA CULTURE Timbul Haryono
Berkala Arkeologi Vol 7 No 2 (1986)
Publisher : Balai Arkeologi Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2611.632 KB) | DOI: 10.30883/jba.v7i2.460

Abstract

The islands of Polynesia make up the largest group among the islands in the Pacific ocean. This group, in fact, consist of many islands forming a triangle. The main groups in the west are the Tongan, and Samoan and Ellice groups. The Cook, Society and Tuamotus lie in the east, with Easter Island as a far-off isolate, while the Hawaiian Islands and New Zealand are separated to the north and south respectively of the main west-east belt. The location of these islands between Asia in the west, Australia in the south and South America continent in the east is of considerable significance to the peopling and cultural development of the region. Many scholars have therefore been led to postulate the route of human movement into these scattered islands. Archaeological and anthropological researches have been carried out within the area to determine where the Polynesians originally come from. Various hypotheses have been proposed thereafter.
Kumpulan Artefak Emas Dari Situs Wonoboyo Timbul Haryono
Berkala Arkeologi Vol 13 No 3 (1993): Edisi Khusus
Publisher : Balai Arkeologi Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (871.431 KB) | DOI: 10.30883/jba.v13i3.614

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Barangkali antara penemuan barang-barang purbakala yang tergolong terbesar saat ini adalah temuan artefak-artefak emas di situs Wonoboyo, Klaten, Jawa Tengah. Temuan yang berjumlah sekitar 30 kg tersebut sungguh menakjubkan karena bukan saja oleh banyaknya barang akan tetapi juga oleh terungkapnya informasi baru akan beberapa aspek budaya masyarakat Jawa Kuna yaltu aspek-aspek teknologi dan aspek-aspek sosiologl dalam pengertian khusus. Pertanyaan-pertanyaan yang diajukan oleh masyarakat secara umum berkenaan dengan temuan tersebut adalah berkisar tentang fungsi, milik siapa, dan berasal dari tahun berapa. Makalah ini akan mengungkap beberapa aspek budaya dan menjawab pertanyaan-pertanyaan tersebut.
Arkeologi Kawasan Dan Kawasan Arkeologis: Asas Keseimbangan Dalam Pemanfataan Timbul Haryono
Berkala Arkeologi Vol 15 No 3 (1995): Edisi Khusus
Publisher : Balai Arkeologi Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (441.49 KB) | DOI: 10.30883/jba.v15i3.686

Abstract

Although archaeological studies study the human past based on the objects left behind, in its implementation, archaeological studies are not sufficient to only orientate toward artifacts. Human artifacts from the past cannot be separated from the spatial context, both on a micro and macro scale.
Prinsip Estetika Pakaian Cosplay Yogyakarta: Fantasi dan Ekspresi Desain Masa Kini Deni Setiawan; Timbul Haryono; M. Agus Burhan
PANGGUNG Vol 24, No 1 (2014): Fenomena dan Estetika Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (197.631 KB) | DOI: 10.26742/panggung.v24i1.103

Abstract

ABSTRACTCostume, dress code, animation, comics, legends, and manga, are inseparable parts of the cosplay costume. Those parts give fantasy and digital world discourse through costume style. Its spiritual domain stands on Japanese culture by being cultured through clothing. One of them, cosplay ideo- logy, reflects the self-imaging through social communities, as an e?ort for group and self-existence. Cosplay entity bridges fantasy and real world, presents designers’ expressions through the costume designs to show. This writing will be analyzed by using the main theories based on Dewitt H. Parker point of view, in The Principles of Aesthetics, which divides principles of aesthetics into three, they are: Principle of Organic Unity, Principle of Dominant Element, and Principle of Balance. Principle of organic unity indicates that cosplay clothing is an accumulation of design elements, to refer and mark a figure. Principle of dominant element, is accentuation, or the center of interest of a cosplay clothing design. Principle of balance, see placement and setting ornamentation applied to cosplay clothing.Keywords: cosplay clothing, principles of aesthetics, costume style, YogyakartaABSTRAKPakaian, dress code, animasi, dan manga, merupakan unsur yang tidak terpisahkan dalam pakaian cosplay. Unsur-unsur tersebut merupakan wacana dunia digital dan fantasi pada dunia pakaian. Ranah spiritualnya berp?ak pada kebudayaan Jepang yang dibudayakan melalui pakaian. Ideologi cosplay salah satunya menggambarkan pencitraan diri komuni- tas sosial, sebagai usaha untuk aktualisasi diri. Entitas cosplay mampu menjembatani du- nia fantasi dan realita, yang membelenggu keinginan manusia untuk bergaya. Tulisan ini akan dianalisis dengan teori pokok berdasarkan pandangan Dewitt H. Parker, dalam The Principles of Aesthetics, yang membagi prinsip estetika menjadi tiga, yaitu: prinsip kesatu- an organik, prinsip unsur dominan, dan prinsip keseimbangan. Prinsip kesatuan organik menunjukkan, bahwa pakaian cosplay merupakan akumulasi dari unsur-unsur desain, un- tuk merujuk dan menandai tokoh. Prinsip unsur dominan, merupakan aksentuasi, atau pusat perhatian dari sebuah desain pakaian cosplay. Prinsip keseimbangan, melihat penem- patan dan pengaturan ornamentasi yang diaplikasikan pada pakaian cosplay.Kata kunci: pakaian cosplay, prinsip estetika, gaya pakaian, Yogyakarta
Co-Authors A.M. Hermien Kusmayati AM. Hermien Kusmayati Bagus Indrayana Bagus lndrayana Bambang Suwarno Cahya Cahya DENI SETIAWAN Deni Setiawan Djoko Suryo Eko Supriyanto G.R. Lono Lastono Simatupang GR. Lono Lastoro Simatupang Ismet Ruchimat M Agus Burhan Niken Wirasanti R.M. Soedarsono R.M. Soedarsono - R.M. Soedarsono R.M. Soedarsono R.M. Soedarsono R.M. Soedarsono R.M. Soedarsono R.M. Sudarsono - Rosmegawaty Tindaon S Soetarno S. Soetarno Sal Murgiyanto Silvester Pamardi Silvester Pamardi Soetarno Soetarno SP. Gustami SP. Gustami SP. Gustami Supriaswoto Supriaswoto Supriaswoto Sutikno Sutikno Tati Narawati Victor Ganap Wadiyo Wadiyo