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<![CDATA[KRITIK SOSIAL TEATER EPIK DALAM STRUKTUR LAKON TUK KARYA BAMBANG WIDOYO SP ]]>
<![CDATA[Hudha, Tafsir]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.21
<![CDATA[A study of epic theory and its aplication (social realism) is an attempt to search a set and several epic methods which invented through the Tuk’s plays of Bambang Widoyo SP creation. This article will begin from a study of epic theater and its existence generally and its point of view related to social condition which inspires and pointed its audience either. This article traces and focuss on both the relation and its impacts among social realities and theater expression, and its relation to validity of the social realism’s theories (epic theories) in the theater. According to this article, the Tuk’s play of Bambang Widoyo’s creation will be analyzed from its structure of Tuk’s plays itself and its texture. By the end of this article, the Tuk’s plays of Bambang Widoyo’s creation may inspires the audiences through its tracing’s attemption of epic theory in the plays itself.Keyword : epic theory, theater, social criticism, structure, texture]]>
<![CDATA[BATIK OEY SOE TJOEN KONSISTENSI TRADISI DAN KUALITAS BATIK ENCIM DI PEKALONGAN ]]>
<![CDATA[Purnomo, Muh. Arif Jati]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.11
<![CDATA[The research is conducted to answer various problems about how batik encim style in Pekalongan in generally is and especially batik “Oey Soe Tjoenâ€. Beside it is also conducted to answer the question about what the tradition and quality that wanted to be maintained from batik “Oey Soe Tjoen†products. The purposes of the research are to describe and document batik encim style or batik style getting influence from China culture in Pekalongan, especially batik Oey Soe Tjoen. The research will use aesthetic approach by using E.B. Feldman theory to answer the various problems. The credibility of data is secured by the application of method and source of triangulation. The research concludes that batik Oey Soe Tjoen style, which is one sample of batik encim in Pekalongan has different characteristics with batik encim style occurred outside Pekalongan, especially on the process of flower, leaves, and soil form done in the detail and perfect quality of making. The consistency or the steadiness in keeping the quality of tradition that has been thought by their parents, related with technique, equipment, material, and pattern is still strongly maintained. Based on that condition , it is possible to become one of reasons why batik Oey Soe Tjoen can survive in facing market competition which ]]>
<![CDATA[Identitas Lokal Dan Global Dalam Iklan ]]>
<![CDATA[Murtono, Taufik]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.1
<![CDATA[This article incorporate globalization issue in advertising industry in Indonesia, particulary in discussing the presence of dultural identity in global world context. The finding abaout the modus of advertising strategy gives comprehension on how commercial advertisement communicate the identitiy they were offered. Identitiy works in many patterns those used product figure, verbal language and visual symbol. The existence of mixed identity as it appears in global products those try to use local element in their advertising while some local products do the contrary-show that identities srocc reference had happened in advertising world.Keyword : identity, globalization, advertisement]]>
<![CDATA[Mulat Sarira Karya Komposisi Karawitan ]]>
<![CDATA[Saba, I Ketut]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.3
<![CDATA[Mulat Sarira(Bali language) literally means self instropection. This term is often used in dialogue or monologue in lakon for dance drama, wayang, or other performing arts. Mulat Sarira is also used as a title of Karawitan Composition. It started from the idea of the writer’s anxiety towards social phenomena which tends to be unnatural. This work tries to reflect human attitude which do not obey the rule, which is not afraid, ashamed, and sinful when they do unrespectable deed. Instropection becomes a realizing expression through oral tradition approach (it is dominant in Hindu spiritual practices) and that is a purpose of this work. Vocal becomes an important and dominant element in this work for it is placed as a medium for religious advice giving which is hoped to affect the spiritual and physical harmony in social life.Keyword : social phenomena, realizing, treatment(garap), vocal vocabulary.]]>
<![CDATA[Estetika Tari Gambyong Solo Minulya Karya S. Maridi ]]>
<![CDATA[Sumargono, Sumargono]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.5
<![CDATA[This writing will disclose and identify the aesthetics of Gambyong Solominulya dance by applying a special attention to the analysis of dance’s elements and the ralations of one element to the others. The notation patterns of the music dance were described in detail so that it was possible to identify the tempo, laya, rhyme, musical tate and the pattern of kendangan mungkus / mlaku. The result is that we know the choreography of Gambyong Solominulya dance has a harmonious impression. This aesthetic analysis was based on the aesthetic concept of Javanese traditional dancing of Surakarta style, both the technique and its taste. The concept covers pacak, pancat,lulut, luwes, ulat, wiled, rhyme and gendhing which are known as hastha sawanda. This writing at least can make a contribution to the aesthetic analysis on dance of Surakarta style and possibly other style.Keyword : Gambyong, aesthetic, gendhing, dance movement, dramatic design]]>
<![CDATA[Strategi Komparatif Iklan Televisi Produk Shampoo Wanita ]]>
<![CDATA[Herry P, Basnendar]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.9
<![CDATA[The advertisement is an important element in culture because it reflects and attempts to change our life style. Advertisment does not only offer commodity, but it also offers sexuality, beauty, facilitation, modernity, happiness, success, and status. Talking about television advertisement through cultural perpective is an unfailing topic to discuss because it is related to the broad and crucial question. The advertisement intens to give stimulation to the target audience in order to create buying and selling condition. So does television advertisement to reach a wider target, it will be more effective to the advertisers if they use this media. The research takes the category of body treatment advertised in television electronic media. The advertisement of shampoo products to be compared in this research are : Pantene Pro-V Shampoo advertisement and CLEAR Shampoo advertisement, where both advertisement contain comparative stategy. The research finds that the three advertisements of the shampoo product, the comparative of the way to use the product, and the comparative from the product itself so it can be categorized that comparative strategy from both shampoo products burn into monotonous and tend to be cliché.Keyword : television advertisement, comparative strategy, shampoo product]]>
<![CDATA[BATIK OEY SOE TJOEN KONSISTENSI TRADISI DAN KUALITAS BATIK ENCIM DI PEKALONGAN ]]>
<![CDATA[Purnomo, Muh. Arif Jati]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.11
<![CDATA[The research is conducted to answer various problems about how batik encim style in Pekalongan in generally is and especially batik “Oey Soe Tjoenâ€. Beside it is also conducted to answer the question about what the tradition and quality that wanted to be maintained from batik “Oey Soe Tjoen†products. The purposes of the research are to describe and document batik encim style or batik style getting influence from China culture in Pekalongan, especially batik Oey Soe Tjoen. The research will use aesthetic approach by using E.B. Feldman theory to answer the various problems. The credibility of data is secured by the application of method and source of triangulation. The research concludes that batik Oey Soe Tjoen style, which is one sample of batik encim in Pekalongan has different characteristics with batik encim style occurred outside Pekalongan, especially on the process of flower, leaves, and soil form done in the detail and perfect quality of making. The consistency or the steadiness in keeping the quality of tradition that has been thought by their parents, related with technique, equipment, material, and pattern is still strongly maintained. Based on that condition , it is possible to become one of reasons why batik Oey Soe Tjoen can survive in facing market competition which ]]>
<![CDATA[KEUNIKAN, KEARTISTIKAN, DAN KENYAMANAN INTERIOR WARUNG MAKAN LESEHAN PADA MODEL BANGUNAN RUMAH BAMBU DI WILAYAH KABUPATEN SUKOHARJO JAWA TENGAH ]]>
<![CDATA[Moedjisoewasti, Moedjisoewasti]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.15
<![CDATA[Bamboo house as a subject matter of this research will be examined in a whole sphare which is reach design interior aspecst in about its uniqueness, its artistic, and its convenience. This article is also will strives what kind of study of bamboo house applied in the interior design of restaurants especially on those previous aspects above. Because of an effective propose it will be limited to the sample population among restaurants in around Sukoharjo district, Central Java. Through this article description, I would like to expose the bamboo materials had not only useful functionally but it had been a uniqueness, artictic, and convenience for the user who stay and enjoyablein all thing related to its interior design of the bamboo, besides it can be searched all thing of the construction included in the materials entirely.Keyword : bamboo construction, interior design, uniqueness, artistic, convinience]]>
<![CDATA[TELEVISI LOKAL SEBAGAI MEDIUM PENCITRAAN LOKALIAS DAERAH ]]>
<![CDATA[Sugihartono, Ranang Agung]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.17
<![CDATA[Local television as a imaginary media in a localities exist as a phenomena in order to expressed reality. This article will examine a what kind of contribution need a specific perspective regarding to local identity entirely. According to the main contribution of local television, this article attempt to local materials appearance as well as social educative impacts gained from their program itself. At least the local materials supposed to be news program competence, program production’s competence, local imaginary competence, and Actualization of local competence. Through this article what I would like to strives can not be separated from relationship among existence of media television and imaginary of local product. Based on a mainstream of indigenous localityand imaginary approaches, so that local television has a specific contribution upon social educative’s roles in their own phenomena.Keyword : media television, locality, imaginary approach, social educative.]]>
<![CDATA[KEAKTORAN NANIK SETYARINI DALAM PERTUNJUKAN WAYANG ORANG SRIWEDARI SURAKARTA ]]>
<![CDATA[Widyastuti, Mamik]]>
<![CDATA[ Acintya Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v1i1.19
<![CDATA[This article will strives a field of Nanik Setyarini as an dance-actrees on the wayang orang performance of Sri Wedari, Surakarta. Nanik Setyarini’s acting process has been built since her childhood while she get along by watching wayang performance. Her sensitive abilities to the wayang performance had examined her to start her dancing practice and brought her to join the wayang groups of Sri Wedari, from her role as a supporting dancer to her role as a main dance-actrees as a wayang Srikandi, at least she become a director of wayang performance of Sri Wedari. Nanik’s dedication of her dancer-actrees’s entities to the wayang performance of Sri Wedari at Surakarta seems her role as a wayang Srikandi presently. Nanik Setyarini has her gandar excellence, dance movement expression, dialogues, tembang singing, musical sensibility, and her excellence of acting dedication on a wayang’s she taken role entirely.Keyword : acting dedication, Nanik Setyarini, excellence, wayang orang]]>
