Articles
<![CDATA[Governance of flagship events in Surakarta City case studies of Solo International Performing Arts (SIPA), Solo Batik Carnival (SBC), and Solo Keroncong Festival (SKF) ]]>
<![CDATA[Irawati Kusumorasri]]>;
<![CDATA[Nanik Sri Prihatini]]>;
<![CDATA[Bambang Sunarto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 21, No 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v21i1.4348
<![CDATA[The implementation of cultural events or festivals is part of efforts to revitalize the tourism sector in Surakarta City. The cultural event has succeeded in becoming a means of tourism development. The possibilities are present and have given birth to a performance program. The most significant event activities include Solo International Performing Arts (SIPA), Solo Batik Carnival (SBC), and Solo Keroncong Festival (SKF). This research aims to know the governance principles for organizing a good festival or cultural event. Hopefully, understanding the principles of governance to make SIPA, SBC, and SKF become the flagship event in Surakarta city will serve as managerial knowledge useful in developing festivals and cultural events. It is important to study the management of SIPA, SBC, and SKF to find out the characteristics of leading event management so that they are included in the leading criteria. Research produces theoretical solutions, so that festival management has an adaptive and applicable management system for organizing events. The findings will be useful as a reference for other cultural events in the city of Solo. The research uses explanatory methods to find and create concepts that clarify SIPA, SBC, and SKF into three flagship events. Implementing this event is successful because it uses the combined governance between modern management and traditional management. For this reason, the results of this study have significant meaning because they can at least serve as a model in the organization of festivals and cultural events in other places]]>
<![CDATA[Kelong in the context of the gandrang bulo dance in Makassar ]]>
<![CDATA[Ade Kurniawan Suhardi]]>;
<![CDATA[Bambang Sunarto]]>
<![CDATA[ International Journal of Visual and Performing Arts Vol 5, No 1 (2023) ]]>
Publisher : <![CDATA[ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE) ]]>
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DOI: 10.31763/viperarts.v5i1.960
<![CDATA[Kelong is a Makassar term meaning 'song,' which is one of the main elements in the Gandrang Bulo dance. Kelong, in this case, is presented simultaneously with elements of Pakakkala' (funny) dance and satirical drama or acting. Kelong is meant to educate, while pakakkala' and satire are humorous to entertain. So far, most appreciators are more interested in entertaining humor than curiosity about the meaning of kelong. This paper aims to reveal the description of the portion of the presentation of kelong in the phenomenon of the Gandrang Bulo dance. This article also tries to articulate the meaning of education and motivation to raise awareness that teaches that life is not in vain. Using a descriptive qualitative methodology, this study. Textual and musical data were specially extracted from poetry using the kelong method, including audio and visual perception. One of the achievements of this research is to provide information that there is an educational meaning tucked into the kelong. The research implementation used a descriptive qualitative method by prioritizing the collection of music data and verbal data as the unit of analysis. The finding of this research is to get the educational value tucked inside the kelong behind disproportionately contrasting elements. The significance of this research is that it really contributes as a driving force for the enthusiasm of artists in educating through the arts, especially kelong.]]>
<![CDATA[Lampah: expression canvas of Java’s spirituality in the new media art ]]>
<![CDATA[Ario Wibisono]]>;
<![CDATA[Bambang Sunarto]]>;
<![CDATA[Santosa Soewarlan]]>
<![CDATA[ International Journal of Visual and Performing Arts Vol 4, No 2 (2022) ]]>
Publisher : <![CDATA[ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE) ]]>
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DOI: 10.31763/viperarts.v4i2.795
<![CDATA[Malioboro is an integral part of the architectural artwork of the city of Yogyakarta, which is full of meaning, philosophy, and noble values of Javanese culture. Currently, Malioboro has developed into a tourist area and a quite existing public cultural space. However, along with the times, the philosophical meaning and noble values embedded in the architecture of the city of Yogyakarta by HB I as the founder of Ngayogyakarta Hadiningrat seem to be unclear and increasingly difficult to read. The video art installation Lampah is a form of creative response to the existence of contemporary Malioboro as a public space as well as a meaningful piece of architectural art. By using interpretative-subjective approaches and artistic methods, the creator reads this phenomenon and represents it in the form of Lampah artwork. As a contemplative space, 'Lampah' also offers an alternative way to transform Javanese noble values and spirituality by using idioms and ways of speaking in Javanese culture. Models in architecture are used to complete the design of this work. It is hoped that this concept can provide new insights and discourses in art, especially new media art]]>
<![CDATA[Representasi Takwa dalam Banner Dakwah Ramadhan ]]>
<![CDATA[Ahmad Faiz Muntazori]]>;
<![CDATA[Bambang Sunarto]]>;
<![CDATA[Tommy Christomy]]>
<![CDATA[ Human Narratives Vol 2, No 2 (2021): Human Narratives ]]>
Publisher : <![CDATA[Universitas Indraprasta PGRI ]]>
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DOI: 10.30998/hnr.v2i2.944
<![CDATA[Berdakwah melalui media visual adalah metode baru dalam berdakwah yang berkembang saat ini. Penelitian ini mengkaji media dakwah visual yang dibuat oleh Muslim Designer Community (MDC), yaitu Banner Dakwah Ramadhan (BANDARA) yang dibuat khusus untuk konten Ramadan. Fokus bahasan pada artikel ini adalah BANDARA 1441. Metode yang digunakan adalah penelitian kualitatif dengan pendekatan semiotika Charles Sanders Peirce. Analisis data diawali dengan melakukan identifikasi setiap elemen desain, kemudian membangun konstuksi pemaknaannya dengan menggunakan relasi antar-elemen desain yang menjadi pembentuk makna utama pada gambar. Hasil analisis menunjukkan bahwa secara semiosis proposisi yang dibentuk oleh tanda visual mengacu pada objeknya secara indeksikal, mengikuti pola induksi proposisi -> indeksikal -> legisign]]>
<![CDATA[The representation of qurban in muslim designer community da’wah posters eid-al-adha theme ]]>
<![CDATA[Ahmad Faiz Muntazori]]>;
<![CDATA[Bambang Sunarto]]>;
<![CDATA[Tommy Christomy]]>
<![CDATA[ International Journal of Visual and Performing Arts Vol 6, No 1 (2024) ]]>
Publisher : <![CDATA[ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE) ]]>
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DOI: 10.31763/viperarts.v6i1.1267
<![CDATA[Muslim Designer Community (MDC) is a forum for Muslim designers to actively conduct da’wah activities through visual media, especially in the form of posters. In this article, however, the theme that was chosen to be discussed is da’wah posters on Eid al-Adha. Eid al-Adha has an important value in Muslims because it concerns many things in Muslim life, both the vertical relationship between servants and their God, and the horizontal relationship between humans and humans and the social environment. This research focuses on the initial step in understanding MDC's da'wah posters, especially the posters related to Eid-Al-Adha as a multifaceted ritual in Islamic celebratory holy day, by dissecting the structure of da'wah posters posted by MDC through their social media account. This research uses a qualitative method. Data analysis was carried out using Roland Barthes' semiotics, namely by revealing visual markers as signifiers in da'wah posters. The result shows that the Eid al-Adha theme posters discussed above represent Qurban as the main message conveyed in the da'wah media using design elements in the form of artwork, visualizing the commands in the Qur'an and Hadith. Title and Image have a dominant role in conveying the message in the da'wah poster. The implication of this study shows that Da'wah posters are the implementation of religious values into the field of visual communication design, resulting in a new strategy of preaching using visual media. The combination of visual communication design and religious ideology has an important role in providing stimulus about religious messages to the audience.]]>
<![CDATA[Collective memory in traditional bèsèk packaging: impact on buyer perception at Omah Jenang Blitar ]]>
<![CDATA[Andika Agung Sutrisno]]>;
<![CDATA[Bambang Sunarto]]>;
<![CDATA[Pujiyanto Pujiyanto]]>
<![CDATA[ International Journal of Visual and Performing Arts Vol 6, No 1 (2024) ]]>
Publisher : <![CDATA[ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE) ]]>
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DOI: 10.31763/viperarts.v6i1.922
<![CDATA[This research examines the design of basic packaging for traditional culinary products at Omah Jênang Kêtan Kelapa Sari Blitar, using it as a case study. It critically evaluates the relationship between traditional culinary products, effective packaging, and labels. Bèsèk packaging not only protects culinary products from damage but also enhances their appeal with a natural and traditional look. The packaging label provides essential information about the product, including composition, expiration date, and storage instructions. The aim is to evaluate how traditional packaging influences consumer perceptions and to understand the relationship between traditional culinary products and their packaging and labels. This study offers insights into the significance of preserving traditional elements in packaging design and how these elements can inform more effective marketing strategies. A qualitative data analysis method is employed to assess the packaging design used by Omah Jênang Kêtan Kelapa Sari Blitar, focusing on visual stimuli and their impact on consumer memory. The research found that good packaging design fosters emotional bonds between traders and buyers, rooted in traditional collective memories, which enhances the durability and sustainability of the packaging. Additionally, Bèsèk's packaging design connects with collective memory, associated with romance and stories of past events, increasing consumer interest in recalling these experiences. The findings provide insights into how various packaging designs influence consumer perceptions and feelings toward traditional culinary products. This research underscores the importance of visual attributes in packaging design, highlighting their ability to stimulate consumer perceptions of collective memory and create meaningful, memorable packaging experiences.]]>
<![CDATA[BENTUK PERAHU NELAYAN TRADISIONAL CILACAP PRAFIBERISASI ]]>
<![CDATA[Rochyat, Indra Gunara]]>;
<![CDATA[Widyastutieningrum, Sri Rochana]]>;
<![CDATA[Sunarto, Bambang]]>;
<![CDATA[Sunarmi, Sunarmi]]>
<![CDATA[ Sejarah dan Budaya: Jurnal Sejarah, Budaya, dan Pengajarannya Vol 16, No 2 (2022): Sejarah dan Budaya: Jurnal Sejarah, Budaya, dan Pengajarannya ]]>
Publisher : <![CDATA[Universitas Negeri Malang ]]>
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DOI: 10.17977/um020v16i22022p318-343
<![CDATA[Traditional wooden fishing boats in Cilacap have a characteristic shape as a marker of their territory. The preservation of the shape of the boat until the era of fiberglass of materials became an ontological problem that was formulated. A phenomenological approach to the design of wooden boats is used in reviewing the content of values in the form at a certain time. The design element review method dissects various needs related to aspects of practicality, aesthetics, and symbols and combinations of the three, according to the geographical situation, and living conditions. The formation of the wooden fishing boat elements supported by the guiding elements is always related in a unit that influences each other. The intrinsic value in the shape of the wooden boat that was instilled by the previous fishermen was maintained by the next generation.Perahu kayu nelayan tradisional di Cilacap memiliki ciri bentuk sebagai penanda wilayahnya. Bertahannya bentuk perahu sampai pada era bahan fiberglass menjadi sebuah persoalan ontologis yang dirumuskan. Pendekatan fenomenologis pada desain perahu kayu digunakan dalam meninjau kandungan nilai-nilai pada bentuk di suatu kurun waktu tertentu. Metode tinjauan elemen desain membedah berbagai kebutuhan yang berkaitan dengan aspek kepraktisan, estetika dan simbol-simbol serta kombinasi-kombinasi dari ketiganya, sesuai dengan situasi geografis, dan kondisi-kondisi kehidupannya. Terbentuknya elemen perahu kayu nelayan ditopang oleh unsur-unsur pemandu itu senantiasa berkaitan dalam sebuah unit yang saling mempengaruhi satu sama lain. Nilai instrinsik pada bentuk perahu kayu yang ditanamkan oleh nelayan terdahulu terus dipertahankan oleh generasi sesudahnya. ]]>
<![CDATA[Gendhing, King, and Events: The Creation of Gendhing Panembrama During Pakubuwana X ]]>
<![CDATA[Daryanto, Joko]]>;
<![CDATA[Rustopo, Rustopo]]>;
<![CDATA[Sunarto, Bambang]]>
<![CDATA[ Harmonia: Journal of Arts Research and Education Vol 21, No 1 (2021): June 2021 ]]>
Publisher : <![CDATA[Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang ]]>
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DOI: 10.15294/harmonia.v21i1.29099
<![CDATA[Gendhing Panembrama was a creative and innovative product when Paku Buwana X reigned in the Negari Surakarta. Gendhing Panembrama emerged when the Dutch East Indies government imposed restrictions on political and economic activities in Karaton Surakarta. The restriction aimed to remove Paku Buwana X’s legitimacy from the political and economic side. Gendhing Panembrama became one of the symbols of Paku Buwana X’s resistance to the Dutch East Indies government policy. Resistance through the creation of Gendhing Panembrama resulted in the enforcement of the king of Surakarta’s sovereignty and legitimacy. This study aims to reveal the background of the Gendhing Panembrama creation and the events surrounding the Gendhing Panembrama creation. This study employed a historical approach and symbolic interpretation. From the study conducted, it was concluded that the creation of Gendhing Panembrama was a means for Paku Buwana X in maintaining his sovereignty and legitimacy. The intelligence of Paku Buwana X in managing the musical arts amid the political pressure of the Dutch East Indies government, in the end, could radiate his majesty, authority, and power and maintain the Javanese tradition of the Karaton Surakarta.]]>
<![CDATA[Ungkapan Estetika Karawitan Jawa pada Reproduksi Rekaman Gamelan Ageng Surakarta ]]>
<![CDATA[Santoso, Iwan Budi]]>;
<![CDATA[Sunarto, Bambang]]>;
<![CDATA[Santosa, Santosa]]>;
<![CDATA[Mistortoify, Zulkarnaen]]>
<![CDATA[ Resital: Jurnal Seni Pertunjukan Vol 24, No 1 (2023): April 2023 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/resital.v24i1.8885
<![CDATA[ABSTRACTThe Expression of Javanese Karawitan Aesthetics in the Reproduction of Gamelan Ageng Surakarta Recordings. Sound recordings have the purpose of transferring musical offerings to the storage media. The aesthetics and sound meanings contained in musical performances of course become a mandatory when sound is recorded. The concept of Javanese karawitan recordings certainly takes into consideration of the aesthetic value of the presentation and will not leave the principles as well as the sound meanings behind. Recorded musical performances of musical instruments must present an ideal sound according to the cultural convention. Recording documents in the form of audios are felt to be highly essential in karawitan concert area because they are way of storing events. As a result, musical concerts which are already in the form of audio media have more value compared to concerts being integrated with particular event. The authors found that karawitan concert carried out by using recorded audio are more practical, economic, efficient and encourage preservation value. Practical value arises because musical concerts that are already in the form of record media can be carried anywhere. Furthermore, this also lead to improve economic value since documentation can be a product of a commodity process if properly utilized. The value is efficient as the sounds are in the form of media, musical concert records can be employed without having to use devices and human resources as in the event.ABSTRAKProduk rekaman suara mempunyai tujuan memindahkan sajian musikal ke dalam media penyimpan. Estetika dan makna bunyi yang terkandung dalam sajian musik karawitan Jawa tentunya menjadi hal wajib ketika direkam. Kemasan produk rekaman karawitan Jawa pastinya mempertimbangkan nilai estetika sajian, serta tidak akan meninggalkan norma dan makna bunyi dalam sajiannya. Penelitian ini menggunakan metode deskriptif kualitatif. Pendekatan ini mengharuskan peneliti melakukan tafsir tentang makna yang ada dibalik data, tujuan-nya untuk membantu memahami kehidupan sosial. Dokumen rekaman sajian musik karawitan wajib menghadirkan suara yang ideal sesuai konvensi budayanya. Dokumen perekaman dalam bentuk media audio dirasakan penting dalam wilayah konser karawitan karena menjadi cara penyimpanan akan peristiwanya, sehingga konser karawitan yang sudah dalam bentuk media audio lebih banyak memiliki nilai lebih dibandingkan dengan konser dalam konteks peristiwanya. Kelebihan media audio konser karawitan lebih memiliki nilai praktis, ekonomis, efisien dan pengawetan. Nilai praktis muncul karena konser karawitan yang sudah dalam bentuk media rekam bisa dibawa ke mana-mana. Nilai ekonomis karena dokumentasi bisa menjadi produk yang bisa bernilai ekonomi jika diberdayakaan sebagai barang komuditas. Nilai efisien karena dalam bentuk media rekam konser karawitan bisa dimanfaatkan tanpa harus menggunakan perangkat dan sumber daya manusia sebagaimana dalam peristiwanya.]]>
<![CDATA[Konsepsi Filosofis di Balik Musik Sholawat Campur ngaji ]]>
<![CDATA[Bambang Sunarto]]>
<![CDATA[ PANGGUNG Vol 23 No 2 (2013): Eksplorasi Gagasan, Identitas, dam Keberdayaan Seni ]]>
Publisher : <![CDATA[LP2M ISBI Bandung ]]>
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DOI: 10.26742/panggung.v23i2.92
<![CDATA[ABSTRACT The problems discussed in this study is philosophical conceptions behind the phenomenon of Cam purngaji Sholawat music. This research has been intended to reveal the ideas which is underlying the existence of the music and the spirit of the periferal Muslim community which is utilizing music as a symbol of its existence. Descriptive and analytical methods as well as interpretive methods are used to reveal and unravel the hidden conceptual thoughts. Philosophical conception in the form of practical assumption and working principle is useful as a performance benchmark of musical cre ativity. The understanding of the philosophical conception is useful to help any stakeholder to better understand the human intensity of a Muslim community through its musical culture expression. Keywords: philosophical conceptions, Campurngaji Sholawat music  ABSTRAK Permasalahan yang dibahas dalam penelitian ini adalah konsepsi filosofis di balik fenom- ena musik Sholawat Campurngaji. Penelitian ini dimaksudkan untuk mengungkap ide-ide yang mendasari eksistensi musik dan semangat komunitas muslim pinggiran yang me- manfaatkan musik sebagai simbol eksistensi. Metode deskriptif analitik disertai metode interpretif digunakan untuk mengungkap dan mengurai pemikiran-pemikiran konseptual yang tersembunyi.  Konsepsi filosofis yang berupa asumsi praktis dan prinsip berkarya bermanfaat sebagai acuan kinerja kreativitas bermusik. Pemahaman terhadap konsepsi filosofis itu berguna untuk membantu berbagai pihak untuk lebih memahami intensitas kemanusiaan suatu komunitas muslim melalui ekspresi budaya musiknya. Kata kunci: konsepsi filosofis, musik sholawat Campurngaji ]]>
