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Spiritualitas Budaya Jawa dalam Seni Tari Klasik Gaya Surakarta Pamardi, Silvester; Haryono, Timbul; -, R.M. Soedarsono; Kusmayati, A.M. Hermien
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 | 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
SUNDEL: REINTERPRETASI BUNGA SEDAP MALAM DALAM MOTIF BORDIR DAN SULAM Hidayati, Nurul; Sukerta, Pande Made; Supriyanto, Eko; Pamardi, Silvester
Narada : Jurnal Desain dan Seni Vol 10, No 1 (2023)
Publisher : Universitas Mercu Buana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22441/narada.2023.v10.i1.006

Abstract

The making of embroidery and needlework motifs on art-wear that inspired from Sedap Malam (Sedap Malam) is the attempt to create an exclusive embroidery and needlework motifs as the identity of Pasuruan Regency, East Java. The creation of this motifs is the response from the need to develop, enrich, and design an embroidery and needlework motifs belongs to Pasuruan that would boost the sustainability of embroidery and needlework industry that is lately decreasing. Therefore, an experiment method in the form of innovative re-production is required to create an art-work with re-interpretation concept. The method in art creation used in this study is artistic research where the artist undergo several practices or creating process in the field study with emic approach, In this case, the process are developing the local potential in Pasuruan Regency (Sedap Malam) and identify what and how meaning inside it. The creation sages consist of data collection from various resources like field data and direct observation on Sedap Malam, literary study, and extensive interview with Tourism and Culture Department of Pasuruan Regency. The next stage is experimenting tuberose motif using reinterpretation concept. The motifs created during the experiment are stillation of Sedap Malam as the main motif, as well as complementary motifs generated from flora in the surrounding such as pandan leaves and rose balsam flower as the flower commodity in Pasuruan Regency. The inspiration in using Sedap Malam in creating embroidery and needlework motif on ready to wear results to ready to wear design with Sedap Malam motif that is made using embroidery and needlework technique, where Sedap Malam is presented as the main motif in the ready to wear.
New Site-Specific Dance: a New Style of Intelligent Bodies Hauna, Miftakhul; Pamardi, Silvester
Journal of Social Research Vol. 2 No. 8 (2023): Journal of Social Research
Publisher : International Journal Labs

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55324/josr.v2i8.1365

Abstract

The development of works of art born by extraordinary people is increasingly here, giving birth to new styles born from the corner of space outside conventional stage spaces. This phenomenon began to arise starting with the ideas of art criticism of conventional stages, after which several works were born that began to be performed outside conventional stages. Dance is one of the objects explored in artists' creative spaces, including academic spaces, so that the process of the creative space is born dance works with a new identity based on the development of science and technology. Dance that was born in the context of a special space is called Site Specific Dance, which is a dance work born from the journey of the process to a special location. Where this process targets the dancer's knowledge of space, time, and audience. Architecture, atmosphere, or others from one region that if inspired by the creator of the work, then will be explored how the intelligences of the body are in a special scope that has been chosen. This research uses the 3R method by Eko Supriyanto, Re-Invitating, Re-Questioning, Re-Interpretating, then the results of the research will be processed using the Site Specific Dance method, after which it is presented in a place that has been engineered with special decorations and contradictions to the previous area or location which is used as a process with the Site Specific Dance method. The target of this study is a kind of new presentation style of the Site Specific Dance process.