Article Per Year (5 Year)
p-Index From 2020 - 2025
1.376
P-Index
This Author published in this journals
All Journal MUDRA Jurnal Seni Budaya Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya Jurnal Desain PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Jurnal Pendidikan dan Kebudayaan Jurnal Cahaya Mandalika Panggung
Sunardi
Institut Seni Indonesia Surakarta
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

Published : 15 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 15 Documents
Search

 1   2 
Visual Elements of Semar Calligraphy on Cirebon Glass Painting of Kusdono’s Work Yayah Rukiah; Sarwanto Sarwanto; Sutarno Sutarno; Sunardi Sunardi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 2 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i2.3161

Abstract

This research is focused on visual elements contained in Kusdono's Cirebon glass painting. To examine the meaning of visual elements, the writer uses the aesthetic approach and Erwin Panofsky's iconographic approach through 3 stages: the description of pro-iconography, iconography, and finally, iconology. The methodology used is a descriptive qualitative research method, with data collection techniques from books and journals related to the research object. The purpose of this study is to examine and uncover the meaning of Cirebon glass paintings. These research results are Semar as the principal figure in the clown who always do good, keep the truth, and obey His teachings closely related to Islam. Arabic calligraphy reinforces Semar's figure. Many use mega cloudy and wadasan ornaments in the Cirebon glass painting, which are Cirebon batik motifs. Also, the colors used are coastal colors due to the City of Cirebon's geographical location close to the beach.
Visual Adaptation: From Comics to Superhero Creation of Wayang Taufiq Akbar; Dendi Pratama; Sarwanto Sarwanto; Sunardi Sunardi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 1 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i1.3163

Abstract

This article discusses the fusion and blending of the concept of wayang as a traditional culture with comics and films as products of contemporary culture that gave birth to new wayang creations with sources adapted from “Avenger” superhero characters. The making of wayang avenger is to maintain the art of craftsmanship in wayang kulit, namely considering the existence of attributes in traditional wayang with the necessary adjustments to the Avenger superhero outfit. Revealing the results of research on the Avenger Creation Wayang is very important because it can explain the process of changing the shape, appearance and addition of wayang attributes as a manifestation of adaptation to traditional wayang puppets, namely wayang kulit purwa. This article attempts to provide descriptive and interpretive explanations of the visual adaptation process by the creator in the formation of wayang avenger. The approach in this study uses Erwin Panofsky’s iconographic approach with the support of art structure theory and vehicle transfer. The result is the presence of Wayang Kreasi Avenger as a form of fusion between traditional culture and contemporary culture. This development shows the love of the community for the potential of influencing traditional cultural heritage and the interaction with the potential of contemporary culture which is very strong, giving rise to the idea of adaptation as a reflection of the environment and its social structure.    
PELESTARIAN DAN PENGEMBANGAN WAYANG GEDOG Sunardi Sunardi; Bambang Suwarno; Bagong Pujiono
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (320.304 KB) | DOI: 10.33153/glr.v11i2.1481

Abstract

Wayang gedog categorized as rare puppet that has uniqueness in the play genre, the puppets’forms, gending, sulukan, or form of the show. Wayang gedog had experienced glorious days inSurakarta Paku Buwana X Era, but today has suffered a setback. This is caused by the difficultyin dalang’s generation knowledge transfer; performance techniques is perceived difficult for newdalangs, the lack of public interest and the lack of administration elite’s support in developingwayang gedog. The attempts to revive can be done by revitalize the wayang gedog. How are takenby holding the conservation and development gedog puppet. The preservation and developmentof wayang gedog can be done by documenting the design and the show, as well as constructingwayang gedog’s performance development models.
Model Pertunjukan Wayang Sinema Lakon Dewa Ruci sebagai Wahana Pengembangan Wayang Indonesia Sunardi Sunardi
Gelar : Jurnal Seni Budaya Vol 17, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v17i2.2748

Abstract

Artikel ini bertujuan mendeskripsikan model pertunjukan wayang sinema lakon Dewa Ruci sebagai wahana pengembangan wayang Indonesia. Model pertunjukan wayang sinema dikreasi untuk menjawab berbagai persoalan dunia pedalangan, yaitu minat generasi muda terhadap wayang menurun dan bahaya kepunahan seni pertunjukan wayang di Indonesia. Ada tiga permasalahan yang dikaji, yaitu: (1) bagaimana konsep dasar inovasi pertunjukan wayang sinema; (2) bagaimana struktur pertunjukan wayang sinema lakon Dewa Ruci; dan (3) mengapa model pertunjukan wayang sinema menjadi wahana pengembangan wayang Indonesia. Metode kajian yang digunakan adalah wawancara, studi pustaka, observasi, dan proses inovasi model pertunjukan wayang sinema. Hasil kajian menunjukkan bahwa: (1) model pertunjukan wayang sinema didasarkan pada konsep bentuk, lakon, narasi, sabet, dan musik yang disusun dengan paradigma sinematografi; (2) bentuk pertunjukan wayang sinema merupakan perpaduan antara wayang kulit purwa yang dikemas dengan disiplin sinematografi sehingga berujud film wayang sinema; dan (3) model pertunjukan wayang sinema lakon Dewa Ruci menjadi model pengembangan wayang Indonesia dengan kandungan nilai budi pekerti dan kebaharuan bentuk pertunjukan sesuai perkembangan zaman.
SILANG GAYA PEDALANGAN DALAM PERSPEKTIF PERUBAHAN BUDAYA Sunardi Sunardi
Gelar : Jurnal Seni Budaya Vol 10, No 2 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3329.153 KB) | DOI: 10.33153/glr.v10i2.1425

Abstract

This writing aims at describing the factors causing differences of styles in puppetry.  There are two differences of styles in puppetry, namely: (1) the difference of style in garap elements in puppetry, and (2) the difference of style between the wayang performance and other performing art. The difference of style in puppetry is influenced by global cultural changes, mass media, the authoritative repression, and other social cultural aspects. The tendency of differences in style in wayang performance is influenced by (a)   the waning of locality and the local identity of puppeteers and of wayang audience because of the openness of tradition, (b) the effort made extraordinarily by puppeteers for legitimacy because they are capable of conducting a variety of styles in a major style, (c) for the reason of creativity and innovation, a puppeteer combines various styles and adopts other performing arts in wayang performance. Key words : difference of styles, wayang performance, cultural changes, puppeteer, local identity
SITUS PURBAKALA SANGIRAN SEBAGAI SUMBER IDE PENGEMBANGAN MOTIF BATIK DALAM UPAYA PENINGKATAN PEREKONOMIAN DAN MEDIA PENGUATAN KEARIFAN MUATAN LOKAL DI KABUPATEN SRAGEN M., Maryono; S., Sunardi; Veronika Kristanti Putri Laksmi; Basnendar Herry Prilosadoso
Ornamen Vol 12, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1224.308 KB) | DOI: 10.33153/ornamen.v12i1.1619

Abstract

Penelitian yang berjudul “Situs Purbakala Sangiran Sebagai Sumber Ide Pengembangan Motif Batik DalamUpaya Peningkatan Perekonomian Dan Media Penguatan Kearifan Muatan Lokal Di Kabupaten Sragen”merupakan usaha untuk memberikan penguatan terhadap norma kearifan lokal yang terkandung pada situspurbakala Sangiran sebagai sumber ide pengembangan motif batik ciri khas Sragen. Saat ini industrikerajinan batik tulis mulai berkembang dan dipusatkan di desa Kliwonan dan Pilang Kecamatan Masaran,Kabupaten Sragen. Potensi industri kerajinan batik tulis perlu dikembangkan secara maksimalproduktivitasnya, baik yang mencakup kualitas maupun kuantitas, sehingga mampu mendorong peningkatanperekonomian masyarakat Sragen. Penelitian ini bersifat kualitatif dengan menggunakan teori ActionResearch. Terdapat empat tahapan penelitian, yaitu: select a focus, collect data, analyze and interpret data,dan take action. Bentuk aplikasinya dengan metode: pengkajian, perancangan, sosialisasi, pendampingandan pelatihan, produksi dan tahap akhir launching. Hasil dari penelitian ini bertujuan untuk peningkatanproduktivitas dan pengembangan batik yang dilakukan dengan mengembangkan desain motif batik yangbersumber pada situs purbakala Sangiran sebagai ciri khas batik Sragen. Selain itu perlu dipadukan denganekowisata Kampung Batik yang telah dirancang Pemerintah Daerah serta beragam potensi wisata, baikwisata Alam, Budaya dan Religi, wisata Buatan, wisata Minat Khusus dan wisata Kuliner, sehingga mampumeningkatkan perekonomian dan kesejahteraan masyarakat Kabupaten Sragen.Kata Kunci: Sangiran, batik, ekonomi
Konsep Rasa dalam Pertunjukan Wayang Kulit Purwa Sunardi --
Jurnal Pendidikan dan Kebudayaan Vol. 18 No. 2 (2012)
Publisher : Badan Standar, Kurikulum, dan Asesmen Pendidikan, Kemendikbudristek

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24832/jpnk.v18i2.81

Abstract

This article aims to discuss the concept of rasa in a wayang performance. The concept of rasa is used as the main basis in presenting and appreciating a wayang performance. Rasa is presented by the puppeteer (dalang) through the expression of the wayang performance elements, such as language, movement, and music in the unity of puppet story. There are four dominant rasa, which always emerge in every wayang performance, that is rasa regu (exalted), sedhih (sad), greget (enthusiasm), and prenes (love and humor). In a wayang performance, these rasa present in a various patterns, such as coupled opposition and cycle. The rasa has become the key concept in understanding a wayang performance. ABSTRAK Tulisan ini bertujuan membahas konsep rasa dalam pertunjukan wayang kulit purwa. Konsep rasa dipergunakan sebagai landasan utama dalam menyajikan da mengapresiasi pertunjukan wayang. Rasa dihadirkan dalang melalui ekspresi unsur-unsur pertunjukan wayang, yaitu bahasa, gerak, dan musik dalam kesatuan lakon wayang. Ada empat rasa dominan yang selalu muncul dalam pertunjukan wayang, yaitu rasa regu (agung), sedhih (sedih), dan greget (semangat), serta prenès (asmara dan humor). Dalam pertunjukan wayang, rasa hadir dalam berbagai pola, seperti: oposisi berpasangan dan siklus. Rasa menjadi konsep kunci untuk memahami pertunjukan wayang.
GARAP PERTUNJUKAN WAYANG KULIT JAWA TIMURAN sugeng Nugroho; Sunardi Sunardi; I Nyoman Murtana
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT No 2 (2017): Seni, Teknologi, dan Masyarakat #2
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This research is meant to prove the result of aesthetic aspect in wayang kulit performance of Jawa Timur style categorized as ‘kerakyatan (folk)’ pakeliran. The problem is analyzed based on the concept of ‘garap pakeliran’ offered by Sugeng Nugroho (2012) and the theory belongs to Umar Kayam (1981) concerning arts categoriza-tion. The method used is qualitative method with descriptive analysis. The data is collected through library study, documentation studies, interview, and field observation. The research finding shows that the current wayang kulit performance of Jawa Timur style cannot be categorized as folk art but rather to be kitsch. It represents a performing art that always change and move on along the time. It is attempted to be more interesting supposed to be survived and to earn money.
PROSES KREASI PERTUNJUKAN WAYANG PERJUANGAN LAKON GERILYA JENDERAL SOEDIRMAN Sunardi; Kuwato; Sudarsono
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT No 2 (2017): Seni, Teknologi, dan Masyarakat #2
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Tulisan ini bermaksud mengungkapkan proses kreasi pertunjukan wayang perjuangan lakon Gerilya Jenderal Soedirman. Ada dua persoalan yang dibahas, yaitu (1) seperti apa konsep estetika pertunjukan wayang perjuangan; dan (2) bagaimana proses penciptaan pertunjukan wayang perjuangan lakon Gerilya Jenderal Soedirman. Persoalan pertama dipaparkan konsep estetika yang menjadi dasar pijakan proses kreasi pertunjukan wayang perjuangan. Adapun persoalan kedua membahas proses kreasi yang dilakukan pada berbagai unsur pertunjukan wayang perjuangan. Hasil pembahasan menunjukkan bahwa proses kreasi pertunjukan wayang perjuangan lakon Gerilya Jenderal Soedirman dimulai dari penentuan ide lakon, penyusunan boneka wayang, penyusunan naskah lakon wayang, dan pementasan pertunjukan wayang perjuangan
Sunardi KONSEP DASAR PERTUNJUKAN WAYANG SINEMA LAKON DEWA RUCI Sunardi; I Nyoman Murtana; Sudarsono
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.102

Abstract

This paper aims to describe the basic concepts of wayang cinema performance Dewa Ruci play as an alternativeto the development of Indonesian puppets. Wayang Cinema is an innovative wayang performance in awide-screen film. The problems examined are: (1) what lies behind the creation of wayang cinema Dewa Ruciplay; and (2) what is the basic concept and structure of wayang cinema performance Dewa Ruci play. Thestudy was conducted by applying the methods of art creation, namely exploration, design, creation, andpresentation. The results showed that: first, the creation of wayang cinema Dewa Ruci play was motivated bythe decreasing of younger generation’s interest in wayang. The wayang life is marginalized, responding to thechallenges of the era namely the industrial era 4.0., And as a continuation of puppet show experiments.Secondly, the basic concept of wayang cinema Dewa Ruci play is to emphasize the work on the play and thepresence of the song as a driver of plot, characterization, and strengthening the atmosphere, in addition tobeing packaged in the form of widescreen films. Third, the structure of wayang cinema Dewa Ruci playemphasizes the portrayal of the Bima figure in achieving tirta pawitra with a new style.
Co-Authors . Kuwato . Sudarsono Bambang Suwarno Basnendar Herry Prilosadoso Dendi Pratama I Nyoman Murtana Jaka Rianto Katarina Indah Sulastuti Kuwato Maryono - - Pujiono, Bagong Purbo Asmoro Ranang Agung Sugihartono Rukiah, Yayah Sarwanto Sarwanto Sarwanto, Sarwanto Sudarsono sugeng Nugroho Sugihartono, Ranang Agung Sutarno Sutarno Suyanto Tatik Harpawati Taufiq Akbar Veronika Kristanti Putri Laksmi Yayah Rukiah