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All Journal Gelar : Jurnal Seni Budaya Amarasi : Jurnal Desain Komunikasi Visual
In Diana Sari, Ni Luh Desi
Unknown Affiliation
Arts Humanities

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Perancangan Konten Media Sosial Sebagai Media Informasi dan Media Promosi di Graha Kita 18 Elyanto, Yefta Novfensia; In Diana Sari, Ni Luh Desi; Larry Julianto, I Nyoman
AMARASI: JURNAL DESAIN KOMUNIKASI VISUAL Vol 5 No 01 (2024): Amarasi: Jurnal Desain Komunikasi Visual
Publisher : Program Studi Desain Komunikasi Visual

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Abstract

Technology which always growing in the digital era has given people the ability to connect more easily through social media. Social media opens up opportunities for companies to communicate and promote their business through it to other people/audiences. One of the companies in Bali called Graha Kita 18, is a company engaged in home building needs, has utilized social media as their main promotional media to communicate and promote its products and services. The design of social media content at Graha Kita 18 is done through Instagram and Graha Kita 18 has a strategy where social media content is planned and published on a monthly basis. The social media content designed in Graha Kita 18 is based on two pillars of content, which is educational content and product knowledge to achieve audience and potentional customers reach out and awareness of Graha Kita 18 through social media.
Social solidarity and cultural preservation: the role of female sekaa gong in Ubud Suharta, I Wayan; In Diana Sari, Ni Luh Desi; Sadguna , I Gde Made Indra
Gelar : Jurnal Seni Budaya Vol. 22 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v22i1.5913

Abstract

Female Sekaa Gong is a collective of women in Ubud Village who unite to perform Balinese music, transforming individual ideas into a collective vision. This group fosters social relationships and a sense of togetherness among its members. This article explores the intricacies of the Female Sekaa Gong, highlighting its role in preserving traditional Balinese music (Karawitan) and providing feminine aesthetic nuances. The research, conducted through a qualitative interpretive method within a cultural studies paradigm, examines the positionality of the Female Sekaa Gong in social and touristic contexts. Findings indicate a rise in the number of Female Sekaa Gong in Ubud Village, motivated by five key factors: religious emotion, a sense of humiliation, status improvement, actualization of beauty, and the desire to create tourist performances. The Female Sekaa Gong plays several roles in ritual and social activities, including: (1) serving as a ritual complement; (2) building social solidarity; (3) expanding traditional roles; and (4) preserving cultural values. Its presence marks a shift in the social paradigm regarding gender norms in gamelan performance, reflecting a dynamic interplay between tradition and modernity and adapting to contemporary circumstances.
Social solidarity and cultural preservation: the role of female sekaa gong in Ubud Suharta, I Wayan; In Diana Sari, Ni Luh Desi; Sadguna , I Gde Made Indra
Gelar: Jurnal Seni Budaya Vol. 22 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v22i1.5913

Abstract

Female Sekaa Gong is a collective of women in Ubud Village who unite to perform Balinese music, transforming individual ideas into a collective vision. This group fosters social relationships and a sense of togetherness among its members. This article explores the intricacies of the Female Sekaa Gong, highlighting its role in preserving traditional Balinese music (Karawitan) and providing feminine aesthetic nuances. The research, conducted through a qualitative interpretive method within a cultural studies paradigm, examines the positionality of the Female Sekaa Gong in social and touristic contexts. Findings indicate a rise in the number of Female Sekaa Gong in Ubud Village, motivated by five key factors: religious emotion, a sense of humiliation, status improvement, actualization of beauty, and the desire to create tourist performances. The Female Sekaa Gong plays several roles in ritual and social activities, including: (1) serving as a ritual complement; (2) building social solidarity; (3) expanding traditional roles; and (4) preserving cultural values. Its presence marks a shift in the social paradigm regarding gender norms in gamelan performance, reflecting a dynamic interplay between tradition and modernity and adapting to contemporary circumstances.
Co-Authors Elyanto, Yefta Novfensia I Wayan Suharta, I Wayan Larry Julianto, I Nyoman Sadguna , I Gde Made Indra