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Acintya
Published by Institut Seni Indonesia Surakarta
ISSN : 20852444     EISSN : 26555247     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Arjuna Subject : -
Articles 20 Documents
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Search results for , issue "Vol. 15 No. 2 (2023)" : 20 Documents clear
BENTUK PERTUNJUKKAN TARI GONG CIK DALAM ACARA SEDEKAH BUMI DI DESA LAHAR KECAMATAN TLOGOWUNGU KABUPATEN PATI Ermawati, Ermawati; Karyono, Karyono
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.4756

Abstract

Tari Gong Cik merupakan salah satu kesenian tradisional di Kabupaten Pati. Tari Gong Cik menggunakan ilmu bela diri pencak silat dalam gerak tariannya. Tari Gong Cik kapan ada masih belum diketahui secara pasti, namun beberapa sumber mengatakan bahwa Tari Gong Cik sudah ada sejak jaman penjajahan Belanda. Tari Gong Cik ikut serta dalam acara sedekah bumi di Desa Lahar Kecamatan Tlogowungu Kabupaten Pati yang dilaksanakan setiap tahunnya pada bulan Apit (penanggalan bulan jawa) hari Kamis Pahing. Ilmu bela diri pencak silat yang disajikan dalam tari Gong Cik tidak lagi untuk menyerang musuh namun sudah menjadi tontonan bagi khalayak umum. Penelitian ini menggunakan metode penelitian kualitatif. Untuk membahas tentang bentuk menggunakan konsep dari Suzanne K. Langer yang membahas unsur-unsur pembentuk tari yang meliputi gerak, musik atau iringan, rias dan busana, properti, penari, pola lantai, dan tempat dan waktu pertunjukkan. Membahas permasalahan fungsi menggunakan pendapat dari Soedarsono yang mengemukakan fungsi seni sebagai pertunjukkan, sarana upacara, sarana hiburan pribadi dan sebagai tontonan. Hasil penelitian menunjukkan bahwa bentuk pertunjukkan Tari Gong Cik dalam sedekah bumi terlingkup atau terikat dalam upacara sedekah bumi sehingga bentuk gerak, musik atau iringan, rias dan busana, properti, penari, pola lantai, dan tempat dan waktu pertunjukkan memiliki kekhususan yang membedakan bentuk pertunjukkan tari Gong Cik diluar sedekah bumi. Hal ini menunjukkan fungsi tari Gong Cik sebagai hiburan yang terpola dari upacara sedekah bumi.
WUWUNGAN SEBAGAI SUMBER IDE PENCIPTAAN LAMPU DUDUK KERAMIK Yustana, Prima
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5054

Abstract

Wuwungan which was originally functioned as part of the roof of a building will be transformed into another form, namely a sitting lamp. The transformation of the wuwungan into a sitting lamp raises several problem formulations related to how the process is made, how the technical completion of the innovation of roof decoration products into functional objects in the form of a sitting lamp, and whether the character of the sitting lamp inspired by the shape of the wuwungan can increase the atmosphere of beauty of a room.The purpose of this research itself is to find out how the difficulty level of making a sitting lamp is by taking ideas from wuwungan, knowing the process of creating functional works of art in detail step by step, knowing how to innovate sitting lamp products by deforming the real shape of the wuwungan, and creating works of art that are pleasing to the eye. innovative sourced from the strength of local genius.The expected benefits can be a guide for craftsmen or artists who will make innovative ceramic works, provide development in the form and type of product, in order to stimulate the creativity of artists and craftsmen in responding to traditional culture so that they can become innovative and interesting works. The research method used is the method of creating works of art by SP Gustami, namely three stages and six steps in the creation of craft works including exploration, design and embodiment.  Keywords: Wuwungan, Ceramics, Sitting lamp
KAJIAN ESTETIKA DESAIN UANG KERTAS SERIBU RUPIAH TAHUN 1980 KARYA SUDIRNO DEL Sucihati, Wiwin Trisning Kasih
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5089

Abstract

This study aims to find out the idea of creation, to describe the symbolic meaning, and to find out the aesthetics of the visual form of the RP.1,000 banknote by Sudirno Del. This study uses a qualitative descriptive. The sampling technique using purposive sampling and snowball sampling. Research data collection was carried out by interview, observation, and documentation techniques. This study uses a Flow Model of Analysis. The results of the study are as follows, (1) The idea of creating a design for the banknotes began with a process of contemplating the identity of the cultural history of the Indonesian nation. Sudirno Del was inspired to choose ideas about the natural beauty that exists in Indonesia. Influenced by the psychological factor of longing for his hometown, and also a sense of admiration for the beauty of the Canyon Cliffs Sianok which is felt to represent the beauty of Indonesia. The chosen hero Dr. Soetomo, related Sudirno's personal experience. Related to the services of the movement's figures, Dr. Soetomo is a figure engaged in organizations for people's welfare in the fields of education, health and agriculture. (2) The design of the banknotes functions as a medium that accompanies messages through icons, indexes, and symbols to remember and honor the services of heroes, as well as displaying the beauty of the natural landscape in Indonesia so that it can be seen by the people of Indonesia and the world. (3) The design on the banknotes contain aesthetic value based on the successful fulfillme
Karya Tari Dewaruci Sebagai Tari Sesaji Dalam Rangka Dies Natalis Isi Surakarta Nuryanto, Nuryanto
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5099

Abstract

The dance work Dewaruci is a new work inspired by Bima's attitude and character in wayang so that it is danced in the dashing male dance of the Surakarta style. The make-up and fashion design refer to the wayang orang characters in the Surakarta style. The purpose of the research entitled Dewaruci Dance Work is to describe the dashing Surakarta style dance used as offering dance at the Surakarta Indonesian Institute of the Arts (ISI) Anniversary ceremony in 2015. The research method of the Surakarta Style Dewaruci Dance Work is a type of qualitative research. Narrative data sources. Data analysis techniques use form and content. Data obtained from observation studies, interviews and documentation. The results of the research, the Dewaruci Dance Work is a themed group dance danced by seven dashing male dancers, as a symbol of the attitude and behavior of the academic community who have reached the age of 51. The gallant movements reflect valor, perseverance, honesty, firmness in studying and practice knowledge so that it is beneficial to society. The movement begins with offerings accompanied by Yogyan Pelog Nem Sieve.Keywords: dashing, dance, offerings, anniversary
PERFORMATIVITAS RITUAL MANGULOSI DALAM PERKAWINAN ADAT MASYARAKAT BATAK TOBA Tama, Krisna; Lephen, Purwanto
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5117

Abstract

ABSTRACTThe mangulosi ritual is part of the ulaon unjuk ritual ceremony in Toba Batak marriages. This research analyzes the performativity of the mangulosi ritual based on an "is" performance perspective. The method used is qualitative with a theater anthropology approach. The results showed that the mangulosi ritual is a spectacle that allows active interaction between the presenter and the audience. The historical condition of the culture of the Toba Batak people who do not have performing arts performances outside of traditional ceremonies, so traditional ceremonies become one of the places to watch performances. As a performance continuum, the mangulosi ritual has some basic similarities with theater. These similarities are that it has a specific time, gives symbolic value to objects, is non-productive, has certain rules, and is often held in special places. It can be a limitation of the mangulosi ritual event ("is") a performance that has similarities with theater referring to the cultural context of the Toba Batak community. Keyword: Mangulosi, Performativity, Theater Anthropology, Performance ABSTRAKRitual mangulosi merupakan bagian dari upacara ritual ulaon unjuk dalam perkawinan masyarakat Batak Toba. Penelitian ini menganalisis performativitas ritual mangulosi berdasarkan perspektif “adalah” pertunjukan (“is” performance). Metode yang digunakan adalah kualitatif dengan pendekatan antropologi teater. Hasil penelitian menunjukkan bahwa ritual mangulosi merupakan sebuah tontonan yang memungkinkan interaksi aktif antara penyaji dan penonton. Hal tersebut didukung oleh kondisi historis budaya masyarakat Batak Toba yang tidak memiliki seni pertunjukan yang dipergelarkan di luar upacara adat, sehingga upacara adat menjadi salah satu tempat untuk menyaksikan pertunjukan. Sebagai salah satu kontinum dari performance, ritual mangulosi memiliki beberapa persamaan dasar dengan teater. Beberapa persamaan tersebut adalah memiliki waktu tertentu, pemberian nilai simbolik pada objek, bersifat non produktif, memiliki aturan tertentu, dan kerap diselenggarakan di tempat-tempat khusus. Hal tersebut dapat menjadi pembatas peristiwa ritual mangulosi adalah pertunjukan (“is”) performance yang memiliki persamaan dengan teater mengacu pada konteks kebudayaan masyarakat Batak Toba. Kata kunci: Mangulosi, Performativitas, Antropologi Teater, Pertunjukan
PERBANDINGAN SAJIAN MAKANAN DALAM UPACARA BESAR SUKU TENGGER: ANALISIS NILAI BUDAYA Lestari, Dwi Indah
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5143

Abstract

The Tengger tribe is one of the majority Hindus, the sect they profess is mostly Mahayana Hinduism, but not a few are also Muslims. The spread of the Tengger tribe community has expanded not only in the Lumajang argosari area, but also to the Malang area. The Tengger tribe is the tribe best known for the least criminal acts in Indonesia, not only that the Tengger tribe is famous for a tribe that has a very strong tolerance value both in religious life and in community life. This research uses research methods of literature studies or literature reviews, data taken from various references ranging from articles, websites, journals, theses and theses. From the various data that the author has collected, the author can provide conclusions about the differences in presentation in each traditional ceremony. Because the Tengger people beieve that with the dishes they give every time there is a major religious event they do, they always have special dishes as a thanksgiving, the Tengger tribe people believe that by giving symbolic food offerings to the spirits that have left, making them more docile and not disturbing living creatures. The dishes given do not have to be luxurious food but complete according to the provisions of each traditional event.  Keywords: tolerance, serving, custom
GARAP TARI CAKIL GAYA SURAKARTA Wahyudi, Didik Bambang
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5367

Abstract

This reseach, briefly, Garap Tari Cakil in Surakarta, were understanding and explaining descriptively existence and development of Cakil dance as genres; wireng, fragmen, wireng pethilan and also as a part of traditional dance drama (wayang orang panggung). Descriptive explanation consist of 1) historical background, function and existence of cakil in shadow puppet player (pertunjukan wayang kulit; 2) Cakil development as a dance performance including form and meaning in a discussion about the dance elements become a unity in garap (totality of form and idea) of the performance. This study wanted to explain the existence of cakil dance through the times in garap of the performance. 3) the existence of people who influenced to the change and development of this dance.
PEMBERDAYAAN PEREMPUAN MELALUI KESENIAN GEJOG LESUNG PADA KOMUNITAS SANGGAR SANGIR DI KABUPATEN SRAGEN Indriani, Novita; Kiswanto, Kiswanto; Utami, Fawarti Gendra Nata
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5489

Abstract

Gejog Lesung is folk traditional music that still survives and develops in various rural agricultural areas in Java. The research aims to look at the relationship or connection between the existence of women, gejog dimples, and the Sanggar Sangir group in Sragen, as well as the role and contribution of the three in maintaining traditions passed down from ancestors for more diverse development purposes. This research uses a qualitative approach, which is carried out through data collection stages, including observation, interviews and literature study, as well as data analysis stages through descriptive and analytical interpretation methods to end with drawing conclusions. The results of this research show that the art of gejog mortar in the Sanggar Sangir group has (1) become a forum for expression and self-actualization for women to appear in public; (2) provided a forum for women, especially mothers, and teenagers, to interact with each other and exchange information that is useful in maintaining close social relations; and (3) become a means of empowering women in their participation to increase progress in the economic, social and cultural fields.
Kethoprak Reog Paguyuban Seni Reog Singo Bhirowo Lakon Suminten Edan (Kolaborasi Kesenian Rakyat sebagai Ekspresi Akulturasi Budaya) Dipoyono, Achmad; Imama, Yulela Nur
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5586

Abstract

ABSTRACT The city of Surakarta has approximately 35 groups or communities dedicated to the Reog art form. One of these groups is known as "Paguyuban Seni Reog Singo Bhirowo" which comprises 45 members spanning across different generations. This quantity reflects the high level of interest among the Banjarsari community in Reog art. Moreover, the establishment of "Paguyuban Seni Reog Singo Bhirowo" is a response from urban residents living outside Surakarta who have a background in Reog art. The group aims to create a performance format that combines Reog with the traditional Javanese art form called "Kethoprak," known as "Reog Kethoprak." The fusion of Kethoprak and Reog, both rooted in folk art, is seen as a suitable step to promote intercultural understanding, tolerance, and enrich the global heritage of the arts. This cultural amalgamation in the presentation of Kethoprak and Reog is an offering to strengthen their coexistence in society, particularly in Surakarta. The process of creating the Reog Kethoprak performance, exemplified by the Suminten Edan play, involves various stages: cultural exchange, acceptance and exploration, adoption and adaptation, integration, and transformation, resulting in the final show. In the implementation of the Suminten Edan play, contemporary conflicts related to the economic situation of the Reog community are incorporated into the narrative. The collaboration between these two folk art forms, Kethoprak and Reog, serves as a reflection of cultural tolerance and a recognition that differences can come together to produce something significant and have a positive impact on each other. This collaboration is not about division or competition but rather about unity. Keywords: Acculturation, Reog Kethoprak, Local Cultural Expression. 
Kreativitas Eka Rosy dalam Penciptaan Karya Tari Jejak Fuadah, Eka Rosydatul; Rokhim, Nur
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5618

Abstract

The Jejak dance work is a new choreography that has a background from the spirit of the Jathil Ponorogo dance. The value contained in the Jejak dance work is the value of the spirit of never giving up. The Jejak dance work is presented in the form of a group dance danced by six female dancers. This dance work isdivided into four parts, namely the intro, the first scene shows anxiety about goals and what you want to achieve, the second scene is conflict within the personal sphere, the third scene is self-confidence, which shows an atmosphere of enthusiasm or fighting spirit values. This study used a qualitative research method with a choreographic approach, to dissect the form of the choreography of the Jejak danceusing Y. Sumandiyo Hadi's theory. Meanwhile, to describe the creative process of creating Jejak dance works, it uses the theory of Rhodes, 4P (person, press, process, product). The stages in the process of creating a Jejak dance work go through several stages, namely the stage of determining ideas which are refined through several phases including the phase of selecting themes, maturation ofconcepts, observation, then the process of exploration, improvisation, and composition.This is very fundamental to creating a work that can be accounted for scientificallyacademically. The results of this research show: Eka Rosy's creativity in creating Jejak dance works is influenced by several factors (internal and external), Eka Rosy's creativity is reflected in Eka Rosy's ability to actualize ideas that are compiled through a process of exploration, improvisation, and composition then implemented in the form of works Jejak dance.Keywords: Jejak, dance work, creation process, choreography. 

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