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All Journal E-Jurnal Kajian Budaya E-Journal Of Cultural Studies SELONDING PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Harmonia: Journal of Research and Education MUDRA Jurnal Seni Budaya Panggung Proceeding of International Conference on Art, Language, and Culture Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya International Journal of Visual and Performing Arts PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Aksara: Jurnal Ilmu Pendidikan Nonformal Visual Heritage: Jurnal Kreasi Seni dan Budaya Narada : Jurnal Desain dan Seni Melayu Arts and Performance Journal ARTISTIC : International Journal of Creation and Innovation Journal of Research in Social Science and Humanities Jurnal Kajian Seni Srawung: Journal of Social Sciences and Humanities Terob : Jurnal Pengkajian dan Penciptaan Seni Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Social Science Academic Panggung
Pande Made Sukerta
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Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Social Sciences Other

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“BE YOURSELF” (The Creation of a Music Composition) Haris, Asep Saepul; Supanggah, Rahayu; Sukerta, Pande Made; Sunarto, Bambang
PANGGUNG Vol 27, No 4 (2017): Comparison and Development in Visual Arts, Performing Arts, and Education in C
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v27i4.287

Abstract

AbstractAn artistic workmanship is a creative work process of an artist in creating artworks. Artwork meant by the writer is "Be Yourself", which is related to the establishment of his self-characters that grown up in Sundanese culture. Life journey was a dynamic process and became the will of the Almighty. Gods destiny and life journey made the writer as “urangsumando” (people related by marriage) in Minangkabau. Cross-cultural was a life journey to be (yourself) and the destiny he should do – being in two different culture positions. Such differences did not automatically make the writer soluble in integration – he existed in two conceptions. In the realization, how the concepts are able to deliver other offers which have contribution to the development of artistic creation. The discussion in this article is the artistic forms as the exploration, working material, and forms of performance.Keywords: artistic, workmanship, music work 
Fungsi dan Peran Api dalam Seni dan Kehidupan Masyarakat Bali Sudibya, I Gusti Ngurah; Sukerta, Pande Made; Kusumo, Sardono Waluyo; Supriyanto, Eko
PANGGUNG Vol 28, No 2 (2018): Dinamika Keilmuan Seni Budaya dalam Inovasi Bentuk dan Fungsi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v28i2.520

Abstract

ABSTRACTFire is made up of three elements, such as: heat, combustible materials and oxygen. Fire has heat and light. Fire is used in real life in various human life from cooking, to marriage and to burning dead bodies. Fire is available in space, on earth, and in oneself. Symbolically the fire is employed as a symbol of spirit, a sanctification, a destruction, enlightenment, heating temperatures, fire of romance, and fire of revenge. Overheated is possible when one ignores norms, ethics, and rules. Library studies, interviews, observations, and experiments are the methods used in this compilation. Fire both as symbol and text, functioned according to the capacity / role of each, both in and outside themselves, the use of it must be controlled for the harmony of the macrocosms and microcosms, when is the right time is to use small, medium and large fire, because all of them is important.Keywords: function, fire, symbol, harmonic.ABSTRAKApi terbentuk dari tiga elemen yakni, panas, bahan mudah terbakar dan oksigen. Api memiliki panas dan cahaya. Api digunakan dalam kehidupan manusia dari memasak, penerangan, perkawinan sampai pembakaran jenazah. Api terletak di angkasa, di bumi, dalam diri. Api dijadikan simbol semangat, penyucian, peleburan, pencerahan, api asmara, api dendam. Terjadi over heated/panas berlebih yang tidak lagi mengindahkan norma, etika, aturan. Studi kepustakaan, wawancara, observasi, dan percobaan merupakan metode yang digunakan dalam penyusunan ini. Seyogyanya api baik sebagai simbol maupun teks, difungsikan sesuai kapasitas/perannya masing-masing, baik dalam diri maupun diluar diri, semua itu harus dikendalikan penggunaannya, agar keharmonisan bhuana alit dan bhuana agung dapat terwujud, kapan menggunakan api kecil, sedang maupun besar, karena semuanya penting.Kata kunci : fungsi, api, simbol, harmonis.
TRANSFORMATION OF TRADITION OF BARONG NGELAWANG IN TOURISM AREA OF UBUD, GIANYAR, BALI Sukerna, I Nyoman; Wirawan, Anak Agung Bagus; Kumbara, Anak Agung Ngurah Anom; Sukerta, Pande Made
E-Jurnal Kajian Budaya (Online Journal of Cultural Studies) Vol 9, No 1 (2016): February 2016
Publisher : E-Jurnal Kajian Budaya (Online Journal of Cultural Studies)

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Abstract

Globalization carries new values and touches all aspects of life, one of which is  the tradition of barong ngelawang. This present study is intended to discuss the pattern of transformation, ideology and meaning of the tradition of barong ngelawang in the tourism area of Ubud, Gianyar, Bali. The study views the tradition of barong ngelawang as a text of which the context, why and how it is performed should be understood. The theory of social practice, the theory of ideology, and the theory of semiotics were used to analyze the data. The descriptive and interpretative method was employed. The result of the study shows that the tradition of barong ngelawang in Ubud was transformed from being a scared performance into a secular performance, and from a secular performance into a sacred performance. The transformation also took place in the space dimension. The ideologies which led to the activity of barong ngelawang were the religious ideology and solidarity ideology. The secular activity of barong ngelawang was dominated by the ideology of creativity and the economic ideology. From the ideological context, the meanings which could be revealed from the activity of barong ngelawang were the religious meaning and artistic meaning. From the superstructure context, the meanings that could be revealed were the social stratification meaning, the job description meaning, and the educational meaning. From the infrastructure context, the meaning which could be revealed was the economic meaning.
TRANSFORMATION OF TRADITION OF BARONG NGELAWANG IN TOURISM AREA OF UBUD, GIANYAR, BALI Sukerna, I Nyoman; Wirawan, A.A Bagus; Kumbara, A.A. Ngurah Anom; Sukerta, Pande Made
E-Journal of Cultural Studies Vol 9 No 1 (2016): Volume 9, Number 1, February 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Globalization carries new values and touches all aspects of life, one of which is  the tradition of barong ngelawang. This present study is intended to discuss the pattern of transformation, ideology and meaning of the tradition of barong ngelawang in the tourism area of Ubud, Gianyar, Bali. The study views the tradition of barong ngelawang as a text of which the context, why and how it is performed should be understood. The theory of social practice, the theory of ideology, and the theory of semiotics were used to analyze the data. The descriptive and interpretative method was employed. The result of the study shows that the tradition of barong ngelawang in Ubud was transformed from being a scared performance into a secular performance, and from a secular performance into a sacred performance. The transformation also took place in the space dimension. The ideologies which led to the activity of barong ngelawang were the religious ideology and solidarity ideology. The secular activity of barong ngelawang was dominated by the ideology of creativity and the economic ideology. From the ideological context, the meanings which could be revealed from the activity of barong ngelawang were the religious meaning and artistic meaning. From the superstructure context, the meanings that could be revealed were the social stratification meaning, the job description meaning, and the educational meaning. From the infrastructure context, the meaning which could be revealed was the economic meaning.
Mixed Choir and Instruments in the Composition of the Worship Music of the Stations of the Cross Hananto, Paulus Dwi; Sukerta, Pande Made
Harmonia: Journal of Arts Research and Education Vol 20, No 2 (2020): December 2020
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v20i2.24843

Abstract

The station of the cross is an event of the Passion story of Jesus Christ carrying the cross from the Pilate’s palace to the hill of Golgotha. On that journey, Jesus endured torture and humiliation, both from Roman soldiers and Jews. Based on this story, the objective of the research is to describe the process of developing a new compositional composition based on the story of the journey in the format of a choir and a musical ensemble. The research method used in this research is descriptive qualitative. Data collection was carried out through observation, interviews, and documents. After all data has been collected, the next process is to determine the use of scales, instrumentation, and composition based on rhythmic and melodic motifs, time signature, key signature, tempo, and composition of song texts. The choice of musical signs is adjusted to the meaning of the lyrics used. The composition of the Song of the Station of the Cross which is composed is a combination of a mixed choir consisting of soprano, alto, tenor, and bass with a musical ensemble. The novelty of the composition of the Song of the Station the Cross lies in the use of the style of baroque passions (1600-1750), aria, and recitative combined with modern harmonies, namely the use of the seventh tone, the ninth tone, and the thirteenth tone of a chord, and the use of Indonesian as the whole text of the composition
Continuity of resistance: indigenous participatory concepts in Purbalingga rural cinema culture Syamsul Barry; Pande Made Sukerta; Martinus Dwi Marianto; T Slamet Suparno
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.658

Abstract

Purbalingga Regency, Central Java, is one area that has a unique and unique way of developing film-making. This article aims to find the concept of a participatory community approach in developing rural cinema through training/discussion programs, film production, and film screenings/Festivals from 2006 to the present. This study uses qualitative methods that include participatory, direct observation, and interviews with a data processing interactive analysis model. The results show that rural cinema encourages the empowerment of rural communities. Rural communities' high interest and participation in film activities are because the concept of cinema development comes from local cultural values (Banyumasan/Ngapak). This concept has succeeded in forming a unique, independent, and dynamic film ecosystem that can be a model for film development elsewhere
WATER, FIRE, WIND, AND SOIL AS THE IDEAS OF CREATION OF GRAPHIC ART WORK sigit purnomo adi; Pande Made Sukerta; M. Dwi Marianto; Sri Hadi
ARTISTIC : International Journal of Creation and Innovation Vol 1, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (265.76 KB) | DOI: 10.33153/artistic.v1i2.3200

Abstract

The creation of this graphic work considers the reciprocal relationship between art and the environment as well as its preservation with an Eco Art perspective. The creation of this Eco-Graphic work uses the Artistic Creation approach which includes experimentation, reflection, and formation (art structure). This Eco Graphic work is inspired by the stimulation of creating water, fire, wind and soil in Javanese philosophy which is then processed in such a way that it becomes a graphic art work in an eco art perspective. Through inner research or inner wandering, the creator is able to visualize the work of Eco Graphic after discovering triangles, circles and lines as the main motive with the abstract expressionism model.
EARTH'S CREATION STIMULUS: CREATION OF GRAPHIC ARTS WITH USED PLYWOOD MEDIA Sigit Purnomo Adi; Pande Made Sukerta; M. Dwi Marianto; Sri Hadi
ARTISTIC : International Journal of Creation and Innovation Vol 2, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (314.355 KB) | DOI: 10.33153/artistic.v2i1.3634

Abstract

 Natural phenomena, especially climate change, are increasingly worrying lately. Graphic art can be used to express concern for the environment in response to climate change. The creation of this graphic art work uses the concept of the earth's creation stimulus. The creative methods used include: experimentation, contemplation, and formation. Abstract Expressionism was chosen as the style of personal expression in the creation of this work. The creative technique used is high printing technique with used plywood media. The results of the creation process show that the visualization of the concept of the earth's creative stimulus produces the forms of circles and lines. These forms are the main motif in the creation of graphic art with the stimulation of this earth's creativity 
ESTETIKA KARAWITAN BALI Pande Made Sukerta
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 3 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3829.493 KB) | DOI: 10.33153/dewaruci.v7i3.1067

Abstract

Estetika adalah sebagai “roh” dalam karya musik atau karawitan artinya sasaran atau obyek akhir dari sajian musik yang penilaiannya sangat subyektif dan tingkat atau kadar penilaiannya tergantung dari kemampuan maupun kepekaan penghayat. Demikian kadar atau kualitas estetika yang dihasilkan dari suatu karya karawitan tergantung dari kemampuan kesenimanan para seniman penyusun atau pencipta. Estetika dibentuk oleh berbagai faktor antara lain kemampuan individu dan karakter para seniman penciptanya termasuk lingkungan atau konteksnya. Barungan gamelan Bali jumlahnya sekitar 34 jenis barungan yang masing-masing mempunyai tungguhan, repertoar, fungsi, dan seniman pendukung serta estetika yang berbeda-beda. Ada dua sumber estetika, yaitu teks dan konteks. Teks adalah unsur-unsur yang mewujudkan karya, yaitutungguhan: bahan, jumlah, bentuk, pelarasan,  tabuhan, interpretasi,  rasa (rase), dan gaya. Konteks adalah unsur-unsur yang berada di luar teks,yaitupotensi kesenian, ungkapan seniman, nilai kehidupan masyarakat  pendukungnya. Pada artikel  ini pembahasan estetika memfokuskan pada teks yang dikaji dari aspek repertoar, tungguhan, dan teknik tabuhan.Kata Kunci: estetika, teks, konteks
“Bansi Rang Solok” music composition of (Re-interpretasi tradisi) Ronaldi Ronaldi; Pande Made Sukerta
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 12, No 1 (2017)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1060.115 KB) | DOI: 10.33153/dewaruci.v12i1.2516

Abstract

Kesenian Bansi Solok, adalah sebuah kesenian tradisi khas daerah Solok Sumatera Barat. Kesenian ini terdiri dari satu orang pendendang, dan satu orang peniup Bansi. Instrumen musik Bansi Solok terbuat dari bambu, hampir mirip dengan instrumen tiup recorder, namun instrumen bansi Solok hanya memiliki enam buah lobang nada saja, kesan melodi, warna bunyi, garitiak, teknik tiupan, dari permainan instrumen bansi Solok, akan menghasilkan melodi-melodi yang cenderung terkesan minor, bila diukur dengan sistim tangga nada, pada musik barat. Biasanya dalam menghasilkan melodi, teknik garitiak pada bansi Solok lebih rapat dan punya tekanan-tekanan pada nada-nada tertentu, kadang terkesan tidak sama, atau tidak se irama dengan melodi dendang yang diiringinya. Namun pada saat ini, kesenian Bansi Solok, dalam kondisi hampir punah. Di Kota Solok hanya tinggal satu orang pendendang Bansi Solok yang masih setia menggeluti dendang kesenian Bansi Solok ini, yaitu bapak Kaslan (63 tahun). Hal inilah yang menjadi alasan pengkarya menjadikan kesenian Bansi dan dendang khas Solok sebagai materi utama dalam penggarapan karya yang berjudul ”Bansi Rang Solok” (re Interpretasi tradisi). ABSTRACTThe art of Bansi Solok is the traditional musical art from Solok West Sumatera, The Bansi Solok consists of one singer and one bansi player. The Bansi is made of bamboo, it looks almost like regular Recorder, only it has six hole instead of eight. The melody that comes from bansi mostly forms a minor play, because of the colour of the sound, blowing and fingering technique, and the very characteristic of bansi it self, comparing bansi whith western musical instrument. Bansi has more pressure on certan note and more density between the notes, some times it sounds mismatched with the vocal, but it is only some part of the performance, that when we listen to the whole thing, it become a perfect siphoni “Bansi Rang Solok” (re interpretasi tradition)
Co-Authors Abizar Algifari Saiful Agung Wira Setika Cahya Anak Agung Bagus Wirawan Anak Agung Ngurah Anom Kumbara Andar Indra Sastra Ariesa Pandanwangi Asep Saepul Haris, Asep Saepul Bambang Sunarto Bani Sudardi Eko Supriyanto Eko Supriyanto Fredy, Catur Fuad Safrudin Hananto, Paulus Dwi Harahap, Rina Yanti I Nyoman Sukerna, I Nyoman I Wayan Setem, I Wayan Indra Gunara Rochyat Indrasastra, Andar Kusumo, Sardono Waluyo M. Dwi Marianto M. Yogi Riyantama Isjoni Nurul Hidayati Peni Candra Rini Rahayu Supanggah Rahayu Supanggah, Rahayu Rini, Peni Candra Ronaldi Ronaldi Rozalvino, Rozalvino Saiful, Abizar Algifari Sardono W Kusomo Sardono Waluyo Kusumo Sigit Purnomo Adi sigit purnomo adi Silvester Pamardi, Silvester Soewarlan, Santosa Sri Hadi Sri Hadi Sri Hadi Sri Hadi Sudibya, I Gusti Ngurah Sugihartono, Ranang Agung Sunarmi Sunarmi Syamsul Barry T Slamet Suparno Titis Srimuda Pitana Yandi, Adri Yanuar Danan Jaya