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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 Kasta: Jurnal Ilmu Sosial, Agama, Budaya dan Terapan Blantika : Multidisciplinary Journal Panggung INJECT Interdisciplinary Journal of Communication
Sunardi
Institut Seni Indonesia Surakarta
Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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Karya Cipta Pertunjukan Wayang Perjuangan Sebagai Penguatan Pendidikan Bela Negara . Sunardi; . Kuwato; . Sudarsono
Mudra Jurnal Seni Budaya Vol 33 No 2 (2018): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i2.363

Abstract

Tulisan ini mengungkap tentang pertunjukan wayang perjuangan sebagai penguatan pendidikan bela negara bagi masyarakat Indonesia. Dua persoalan penting yang dibahas yakni: (1) bentuk karya cipta pertunjukan wayang perjuangan; dan (2) fungsi pertunjukan wayang perjuangan bagi masyarakat Indonesia. Bentuk karya cipta pertunjukan wayang perjuangan dikaji dengan konsep estetika wayang, adapun fungsi pertunjukan dikupas dengan teori fungsi kesenian. Hasil pembahasan menunjukkan bahwa karya cipta pertunjukan wayang perjuangan dibangun berdasarkan beberapa unsur, di antaranya seniman, garap lakon wayang, dan boneka wayang. Pada sisi lain, pertunjukan wayang perjuangan memiliki fungsi sebagai penguatan pendidikan bela negara bagi masyarakat Indonesia.This paper reveals the wayang perjuangan performances as the strengthening of state defense education for the people of Indonesia. Two important issues are discussed, namely: (1) the form of wayang perjuangan performance; and (2) the function of wayang perjuangan for the Indonesian people. The form of wayang perjuangan studied with the aesthetic concept of wayang, while the performance function is analyzed with the theory of art function. The results of the discussion show that the works of wayang perjuangan are built based on several elements, among them artists, working on wayang plays, and puppets. On the other hand, the wayang perjuangan performance has a function as the strengthening of state defense education for the people of Indonesia. 
The aesthetics of virtual wayang performances during the covid-19 pandemic Sunardi Sunardi; Jaka Rianto; Katarina Indah Sulastuti; Tatik Harpawati; Purbo Asmoro; Ranang Agung Sugihartono
Gelar : Jurnal Seni Budaya Vol 21, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i1.4571

Abstract

This paper discusses the aesthetics of virtual wayang performances by puppeteers. The problems studied are: (1) why puppeteers have a new tendency to perform virtual wayang; and (2) the aesthetic style of the virtual wayang performances. Data collection methods by interviews with puppeteers, literature studies about virtual wayang, and observations of wayang virtual performances by puppeteers were analyzed by aesthetic theory. The study results showed that puppeteers used digital platforms to maintain their profession's continuity and economic living conditions. The tendency of virtual wayang to give rise to an aesthetic style of digital puppets is known as aesthetics of taste, with the orientation of wayang performance to meet public tastes. The conclusion results state that the aesthetic style of the virtual wayang performance: (1) the camera as a representation of the audience's eyes; (2) puppeteers are required to be creative, innovative, and productive; (3) the audience has the freedom to determine their tastes; and (4) the importance of collaboration that must be carried out by the puppeteer.
Relevansi Ajaran Hastha Brata dalam Pertunjukan Wayang Terhadap Kepemimpinan Zaman Sekarang Suyanto; Sunardi
PANGGUNG Vol 34 No 3 (2024): Kreativitas, Seni Kontemporer, dan Pariwisata Berkelanjutan
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v34i3.3557

Abstract

ABSTRAK Tulisan ini bertujuan untuk mengkaji relevansi ajaran Hastha Brata dalam pertunjukan wayang terhadap kepemimpinan zaman sekarang. Ajaran Hastha Brata bersumber dari berbagai kitab yang dipresentasikan melalui pertunjukan wayang lakon Wahyu Makutharama. Metode pengumpulan data dilakukan dengan studi pustaka dan telusur internet. Hasil analisis menunjukkan bahwa: (a) kosmologi Jawa sebagai sumber pengetahuan tentang hakikat kehidupan manusia; (b) ajaran Hastha Brata dalam pertunjukan wayang lakon Wahyu Makutharama merupakan intisari ajaran kepemimpinan; dan (c) ajaran Hastha Brata memberikan landasan bagi kepemimpinan ideal di zaman sekarang. Temuan dari tulisan ini mengungkapkan bahwa ajaran Hastha Brata dalam pertunjukan wayang dapat dijadikan sebagai pondasi kepemimpinan yang kompleks untuk mewujudkan sosok pemimpin yang ideal di masa sekarang.Kata kunci: kosmologi Jawa, Hastha Brata, pertunjukan wayang, kepemimpinan
Figur Semar sebagai simbol budaya dalam pandangan masyarakat Jawa Yayah Rukiah; Ranang Agung Sugihartono; Sarwanto Sarwanto; Sunardi Sunardi
Jurnal Desain Vol 12, No 1 (2024): Jurnal Desain
Publisher : Universitas Indraprasta PGRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30998/jd.v12i1.23060

Abstract

Artikel ini membahas figur Semar sebagai simbol budaya yang memiliki makna mendalam dalam pandangan masyarakat Jawa. Semar, yang dikenal sebagai tokoh bijaksana dalam dunia pewayangan, tidak hanya berperan sebagai penasihat tetapi juga menjadi lambang spiritualitas, kesederhanaan, dan kedamaian. Dalam kehidupan masyarakat Jawa, Semar dipandang sebagai representasi nilai-nilai luhur yang mengajarkan kearifan lokal, penghormatan terhadap tradisi, serta panduan moral dalam menjalani kehidupan. Kajian ini mengungkap bagaimana simbol Semar terus relevan sebagai inspirasi dan panduan, meskipun mengalami transformasi makna seiring dengan perkembangan zaman. Tujuan dari penelitian ini untuk menjelaskan figur Semar dalam rupa wayang kulit purwa gaya Surakarta, dan juga untuk menjelaskan figur Semar sebagai ajaran budaya masyarakat Jawa. Metodologi yang digunakan untuk mengkaji tokoh Semar menggunakan metode kualitatif dengan interaksi analitis. Data primer dalam hal ini bentuk dari wayang kulit Semar dari koleksi Kerayon Kasunanan dan Ki Bambang Suwarno, dengan dielaborasi dengan hasil wawancara juga studi literatur yang relevan. Hasil dari penelitian ini menegaskan pentingnya peran Semar dalam membentuk identitas dan jatidiri masyarakat Jawa.
Commodification Of Cultural Identity: A Qualitative Visual Analysis Of The Semar Figure In Trademark Logos Yayah Rukiah; Ranang Agung Sugihartono; Sarwanto; Sunardi
INJECT (Interdisciplinary Journal of Communication) Vol. 11 No. 1 (2026)
Publisher : FAKULTAS DAKWAH UIN SALATIGA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18326/inject.v11i1.6523

Abstract

Logos are important identity markers in a trademark. This becomes interesting when many local trademarks originating from Central Java use the figure of Semar in their logos. Through observation on trademark registration sites, there are 208 trademarks that use the figure of Semar in their logos, with 108 of them officially registered. This study examines how the mythological figure of Semar is transformed and interpreted as a modern visual identity through the approach of Stuart Hall's theory of representation and identity, as well as Gillian Rose's visual methodology in the realm of the site of audiencing. The research analyzed several logos taken based on purposive sampling, then discussed in detail the visuals of the logos that contain deep historical and social significance. The results of the analysis show that the shift in medium from shadow puppets to logos changes the mechanism of audience meaning, from a narrative-pedagogical approach to instant and associative visual recognition. The use of the figure of Semar in trademark logos is not merely an aesthetic strategy, but a representational practice that negotiates Javanese cultural identity in the contemporary public space. This article concludes that the cultural identity represented by Semar is not static, but is continuously reconstructed by the audience to build emotional bonds and cultural legitimacy amid the dynamics of modernization, one of which is through cultural commodification in the form of trademark logos.
Uncovering Visual Expression Driver on the Back of the Truck Anthony Yudhie Mahendra Tumimomor; Ranang Agung Sugihartono; Pande Made Sukerta; Sunardi Sunardi
Blantika: Multidisciplinary Journal Vol. 4 No. 6 (2026): Special Issue
Publisher : PT. Publikasiku Academic Solution

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.57096/blantika.v4i6.517

Abstract

The present study seeks to elucidate the visual expressions of drivers manifested on the back of trucks. Visual expressions represent a unique phenomenon from budaya populer Indonesia's popular culture. The data in this study consists of images and sentences found on the rear of 100 trucks operating in Central Java, Indonesia. It is a common misconception that all visualizations on trucks are aesthetically pleasing; some individuals still harbor negative stereotypes toward them. The objective of this study is to ascertain the meaning and message that drivers seek to convey to the public. The present study employed an interpretive ethnographic methodology to understand the drivers' ways of thinking, their perspectives, and how they interact in their daily lives. The application of qualitative research with descriptive methods has been found to reveal visual elements, forms of expression, linguistic expressions, and the underlying meaning behind the creation of such visualizations. The results of this study illuminate the true message of these visual expressions, one of which is to showcase the conditions and outpourings of sentiment as experienced by truck drivers in reality.
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.    
Historical Romanticism Of Islamization In West Aceh Through The Si Dalupa Theatre Performance Fani Dila Sari; Sri Rochana Widyastutieningrum; Sunardi
KASTA : Jurnal Ilmu Sosial, Agama, Budaya dan Terapan Vol. 6 No. 4 (2026): October
Publisher : Lembaga Bale Literasi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58218/kasta.v6i4.4288

Abstract

This study examines historical romanticism concerning the arrival of Islam in West Aceh as represented in the Si Dalupa theatrical performance. The study addresses the problem that the performance is often understood either as historical evidence or merely as religious entertainment, while its position between local memory, oral tradition, and artistic creation remains insufficiently explained. Using a qualitative interpretive approach, data were drawn from performance observations, audiovisual documentation, the narrative document Teater Tradisional Sida Lupa Datok Rimba, an interview with Hanafiah as Chair of Sanggar Seni Datuk Rimba, and relevant literature. Data were analyzed through thematic coding, comparison between narrative and performance evidence, and source and method triangulation. The findings show that historical romanticism is constructed through the character of Datok Rimba, narratives of Islamic preaching, the Acehnese language, ca’e, rapa’i and seurune kalee music, masks, palm-fibre costumes, bodily action, and the spatial imagination of Woyla. Datok Rimba functions dramaturgically as a conflict resolver, religiously as a transmitter of Islamic values, socially as a mediator of reintegration, and culturally as a representation of ulama authority. However, the performance does not constitute a factual reconstruction of the Islamization of West Aceh. Instead, it performs reflective historical romanticism that emotionally connects contemporary communities with local memories while allowing critical reflection on violence, family responsibility, religious morality, cultural loss, and intergenerational transmission. The study concludes that Si Dalupa transforms Islamic historical memory into a living cultural practice that strengthens cultural awareness and local pride when supported by critical interpretation and community-based safeguarding.
Co-Authors . Kuwato . Sudarsono Anthony Yudhie Mahendra Tumimomor Bambang Suwarno Basnendar Herry Prilosadoso Dendi Pratama Fani Dila Sari I Nyoman Murtana Jaka Rianto Katarina Indah Sulastuti Kuwato Maryono - - Pande Made Sukerta Pujiono, Bagong Purbo Asmoro Ranang Agung Sugihartono Ranang Agung Sugihartono Sarwanto Sarwanto Sarwanto Sri Rochana Widyastutieningrum Sudarsono sugeng Nugroho Sutarno Sutarno Suyanto Tatik Harpawati Taufiq Akbar Veronika Kristanti Putri Laksmi Yayah Rukiah Yayah Rukiah Yayah Rukiah