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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 10 Documents
 1 
Search results for , issue "Vol. 17 No. 1 (2025)" : 10 Documents clear
THE CULTURAL MEANING IN THE PREGNANCY TRADITIONS IN KEBUMEN: ANTHROPOLINGUISTIC STUDY Saadiah, Nur Khofifah
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.6735

Abstract

The Javanese are one of the ethnic groups with many traditions. In the tradition they practice, there is a specific meaning and purpose. One of them is the slametan tradition, which aims to pray to God for the smooth running of the event that will be held. A tradition that is still deeply ingrained and rich in language that can be studied is the pregnancy tradition, which includes several special rituals such as mitoni, mapati, and muputi. This research begins the discussion of tradition with primary data consisting of linguistic data collected in Kebumen, Central Java. This research uses an anthropological linguistics approach. Then, to obtain data, the researcher conducted interviews with a woman who had just completed a series of pregnancy traditions and an elderly woman who understood the cultural significance of pregnancy traditions. The research results show that there is a categorization in pregnancy traditions, namely: two prohibitions, eight beliefs, and five conditions. The overall categorization has a deep meaning in terms of language.
RESI LARAS GAMELAN CRAFTSMEN IN PHOTOGRAPHIC ESSAY Fatoni, Azizul Karim; Prakoso, Priaji Iman
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7051

Abstract

The work titled “Gamelan Craftsmen of Resi Laras in a Photography Essay” aims to visualize the gamelan-making process in Karanganyar Regency through a photographic essay and to explore appropriate lighting arrangements for this process. The subject of this work includes gamelan craftsmen in the process of gamelan-making, from intial to the final stages. The creative method involved several stages: data collection, exploration, experimentation, producting, editing, and presentation. The resulting work consist of 20 photographs measuring 60x90cm. This work is expected to serve as a visual archive for preserving gamelan crafts and provide insight to the public about Gamelan Resi Laras-making process and provide references for essay photography.
CLASSROOM ACTION RESEARCH THROUGH THE CREATION OF THE "BABAD ALAS KALUMPRING" DANCE AT SMP NEGERI 59 SURABAYA Nuriyanto, Fani Dwi; Wijaya, Rosy Prischila; Yudha, Septian Brahmatya; Dewi, Shinta Krisiana; Tyapuspita, Sisnanda; Patria, Asidigisianti Surya; Arif, Andy Rahman
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7126

Abstract

This class action research aims to determine the improvement of the learning outcomes of Cultural Arts students in grade VII of SMP Negeri 59 Surabaya through the creation of a literary work entitled "Babad Alas Kalumpring". This research is motivated by the low involvement and learning outcomes of students in art learning, especially performing arts. Cultural Arts as a subject in junior high school has an important role in shaping creative, appreciative, and expressive characters in students. However, the reality at SMP Negeri 59 Surabaya shows that the learning outcomes of Cultural Arts are still low, especially in the aspect of appreciation and creation of performing arts. Many students lack a holistic understanding of the concept of performing arts and tend to be passive in the learning process. The method used in this study is the Kemmis and McTaggart model class action research which consists of planning, action, observation, and reflection in two cycles. Data was collected through observation, tests, documentation, and interviews. The results of the study showed a significant increase in material understanding, active participation, and students' skills in creating and displaying artworks. In conclusion, the creation of sendratari based on local stories can be an effective strategy to improve the learning outcomes of Cultural Arts. This study shows that the creation of the "Babad Alas Kalumpring" dance is effective in improving the learning outcomes of Cultural Arts at SMP Negeri 59 Surabaya. Through this project-based creative approach, grade VII A students become more active, creative, and able to work together optimally. The drama creation project encourages an increase in student participation from 70% in Cycle I to 90% in Cycle II, as well as increasing the completeness of cognitive learning outcomes from 68% to 87% of students who achieve grades above KKM.
HABITUS AS A SOCIAL FRAMEWORK IN DAUL MUSIC:BOURDIEU'S PERSPECTIVE jamila, roro; Sabri, Indar
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7136

Abstract

This research aims to analyze Ul-daul music from the perspective of Pierre Bourdieu's sociological theory, with a focus on the concepts of habitus and capitals, including economic, social, cultural, and symbolic capitals. Ul-daul music in Madura functions not only as entertainment but also as a means to build social spaces and cultural identities. This study addresses the following questions: How does Ul-daul music shape social interactions and community dynamics in Madura? And how does habitus influence behavior patterns in the practice of Ul-daul music? This study employs a qualitative approach, collecting data through interviews, observations, and documentation. This approach allows researchers to gain a deeper understanding of Ul-daul music's role in Madurese society. The main concepts used are Bourdieu's theories of habitus and capital, which include economic, social, cultural, and symbolic aspects. Habitus explains the habits and patterns of behavior that develop in the Ul-daul community. The capitals reveal how factors such as the economy, social status, and cultural symbols play a role in strengthening and preserving this musical tradition. The results demonstrate that Ul-daul music serves as more than just entertainment; it is also a social symbol that strengthens Madurese cultural identity. Ul-daul music also plays an important role in shaping the social structure and culture of Madura.
SYMBOLS AND POWER IN THE MASCOT DESIGN OF FTPM MAN: A ROLAND BARTHES SEMIOTIC ANALYSIS IN THE CONTEXT OF THE ‘SHOW YOUR ART EXPRESSION UNDER THE SEA’ FESTIVAL Qadar Basri, Syaiful; Sabri, Indar
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7145

Abstract

This paper aims to analyze the icon design of Festival Teater Pelajar dan Mahasiswa Nasional (FTPMN) 2024 with the title “Show Your Art Expression Under the Sea” through Roland Barthes' semiotic approach. The focus of the paper is to reveal the denotation, connotation, and mythical meanings contained in the icon design, as well as how this icon strengthens the festival's identity as a forum for student artistic expression. The research method used is qualitative with descriptive analysis of the visual elements of the icon, including colors, shapes, and symbols. The results showed that the 2024 (FTPMN) icon design not only represented the theme of the sea, but also implied the values of freedom of expression, collaboration, and cultural diversity. The conclusion of this research confirms that icon design acts as an effective visual communication tool in building the image and spirit of the festival.
ANALYSIS OF PUJA DANCE MUSIC Kusumo, mauritius tamdaru; Utomo, Budi
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7252

Abstract

This study aims to examine textually and contextually the Puja Dance Music presented in the ritual of the Puja Bakti Agung Asadha. This research was carried out qualitatively with data collection methods such as document studies, observation of performance recordings and interviews. The analysis in this study relies on a formal aesthetic understanding for multi-layered analysis and the drawing of conclusions presented descriptively. The results obtained from the results of the analysis are that Puja Dance Music textually functions as a dance accompaniment that frames the dramatic presentation of the Puja Dance performance in a liturgical context. Contextually, the music works of the Puja Dance are arranged as a form of contribution to the development of religious performance arts in the country.
FILM DRAMATURGY OF THE MONOLOGUE "PENYAMUN": PERSPECTIVES ON MUSIC, SEMIOTICS, AND ACTING Tri Laksono, Yunanto; Pramono, Koko Hari; Sabri, Indar
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7422

Abstract

Monologue based cinema presents distinct challenges in building narrative and dramatic tension, especially in the absence of verbal interaction between characters often the primary force driving a story. Penyamun serves as a compelling case study of how a complete and emotionally resonant cinematic narrative can emerge despite such limitations. The film centers on the existential struggle of a solitary individual in isolation, where internal conflict becomes the core of the drama. Through symbolic and atmospheric techniques, the film replaces conventional dialogue with layered visual metaphors and sonic textures. This study uses a descriptive qualitative method to analyze how music, visual/verbal signs, and acting strategies collaborate to construct meaning. Music functions as an emotional conduit, expressing the protagonist’s psychological shifts and inner turmoil. Visual and verbal signs are examined through a semiotic lens to reveal how layered meanings are constructed and communicated. The actor’s internal and physical performance becomes essential in generating dramatic dynamics and evoking empathy. Findings show that music, semiotic elements, and performance interact synergistically, forming a cohesive dramaturgical structure. These elements do not operate in isolation but reinforce each other to create emotional depth and narrative clarity. Penyamun thus exemplifies a new aesthetic in monologic cinema, demonstrating that powerful cinematic expression can emerge not through dialogue, but through the symbolic and emotional intensity of carefully orchestrated artistic components.
ETHNOMUSICOLOGY OF TUAK SONG IN HELEBEIK VILLAGE, LOBALAIN DISTRICT, ROTE NDAO DISTRICT Huka, Relin Yosi; Selan, Dominggus Y.; Ndolu, Welsi Susana; Bana, Albert Josua
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7548

Abstract

This research raises the theme of art in culture. Art and culture are an important part of traditional community life. People consider art and culture to be part of their lives. The people of Rote Ndao, especially in Helebeik village, Lobalain subdistrict, generally have unique artistic characteristics related to the process of tapping Nira water. This is related to the singing that is done before the tapping process begins. This song is usually referred to as a lament or request to the authority so that the wiretapping can be carried out well and get maximum results. This song is also an expression of gratitude for the blessings that the people of Rote Ndao always enjoy. This research is a form of Ethnomusicology research.
LOCAL AESTHETICS AND COMMODIFICATION: EFFORTS TO SELF-ACTUALIZE AND EXISTENCE IN THE GEDRUK DANCE ART OF THE SALEHO GROUP Paimin; Lokanantasari, Ryndhu Puspita; Sendanatasa Kunthi Febiyani
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7554

Abstract

The development of folk arts has generated diverse modes of performance and increasing complexity. This article examines the dynamics of aesthetics and commodification in tari Gedruk, a folk dance performed by the Saleho group in Boyolali, Central Java. Employing an ethnographic approach, the study explores how this community-based art group integrates local aesthetic values—particularly the concept of gayeng, which emphasizes festivity, spontaneity, and emotional engagement—with commercial strategies as a means of self-actualization and sustaining cultural presence. Gayeng serves as a primary aesthetic parameter, replacing classical standards and reflecting the ways in which aesthetics are experienced and interpreted by local audiences. What kind of aesthetics emerge in such a context? And how do they function within the logic of popular performance? In this framework, tari Gedruk becomes not only a form of cultural expression but also a commodified creative product that aligns with contemporary entertainment demands while preserving its indigenous values. Using the Saleho group as a case study, this article argues that local aesthetics and commodification are not necessarily oppositional, but can instead coexist and inform each other within the evolving landscape of folk performance. Ultimately, commodification here is not solely about generating material profit, but also a strategic response to ensure the continuity and vitality of the art itself. This reflects how traditional arts survive outside palace walls and institutional cultural systems.
THE DEVELOPMENT OF WARAK DANCE PRESENTATION FORMS IN SEMARANG CITY Kaeksi, Maharani Hares
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7666

Abstract

The Warak Dhugdhèr dance is a form of creation dance in Semarang city. In its performance, the dance brings the property of warak ngêndhog, a mythological creatures in the dhugdhèran tradition symbolizing the unity of Javanese, Chinese, and Arabic cultures. This dance was created by Didik Nini Thowok and Yoyok Bambang Priyambodo and first performed was in 2006. In its development, innovations emerged in new Warak dance forms that were performed at the Warak Dance Festival and also in the community environment. This study aims to analyze the development of Warak dance presentation forms that have grown and developed in Semarang. This study uses a qualitative research method with an ethnochoreology approach in its application. The methods applied in this study consist of the stages of problem identification, data collection, data analysis, and conclusions. The findings reveal that adaptation and innovation are manifested in structural changes, such as choreography, music, makeup and costume, and the form of warak itself. Three main directions of development: the preservation of Warak ngêndhog iconography as properties, adaptation to the socio-cultural context, and the emergence of several new forms of Warak Dance such as the Manggar Warak dance, Ronggeng Warak dance, and Semarak Warak dance. These developments are driven by the creative reinterpretation of the artists who created it, government policies regarding culture, and community participation. This study concludes that new forms of Warak Dance have grown dynamically through processes of adaptation and innovation. Innovation and development efforts are also continuously carried out in order to adapt to the socio-cultural conditions in Semarang city.

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