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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 18 Documents
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Search results for , issue "Vol. 7 No. 2 (2015)" : 18 Documents clear
PERSILANGAN GAYA KARAWITAN KARATON KASUNANAN DAN PURA MANGKUNEGARAN Sosodoro, Bambang
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i2.2007

Abstract

This research is a field study that examines the karawitan (Javanese music) of Karaton and Mangkunegaran. The selection is based on the material objects of historical reality and the fact of music. It is that they have enough problems as interesting and actual scientific studies to increase the repertoire of Karawitan. Surakarta palace compound and Mangkunegaran are two important pillarssupporting musical identity of Surakarta style. The issue of the Palace and Mangkunegaran Karawitan is an interesting topic to be studied from the various viewpoints. This is because the two kingdoms are at Surakarta style musical territory, but producethe different musical works. Idioms and vocabulariesare working on covering the game Ricikan and gending repertoire.The work of gending between the two are the same but the result of musical taste shows differences. The second issue of the royal musicians is increasingly attractive when the marriage is bond between the Mangkunegaran and Yogyakarta Sultanate.The physical and aesthetic (musical) characteristics are identic between the two. The marriage eventually leds to the musical dance of Yogyakarta style of Mangkunegaran. Although it is said to be identic but on the other hand it is also flowing style of Surakarta. This study aims to reveal the differences and similarities between the music and the dance of KaratonMangkunegaran. The discussionsof the two are limited to the Dance Srimpi. To uncover this needs the use of textual and contextual approaches. Textual studies focus on the shape, form, and elements inherent in the study of arts subjects. The musicians sit as a text to be read and interpreted,and thecontextual approach is used to reveal the factors behind the development and the difference between the two. This topic is important to be examined because the study that focuses on the comparison of dance music between the Palace and Mangkunegaran has never been done.Keywords: Cross culture, karawitan, dance Srimpi, palace, differences and similarities.
PENYAJIAN WAYANG ORANG LAKON KADHARMANING KUNTHI Subono, Blacius
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i2.2009

Abstract

The presentation of wayang orang (man puppet) refers to the characterization existed in wayang kulit (leather puppet). The difference lies in the media of expression (man as three dimensions and puppets as two dimensions). The improvement of wayang orang movements is all forms of treatment changes done by the dalang or the lakon (story) composer. However, it is still closed to the previous story repertoire. This work raises the issue of how the creative process in arranging the script and text form of wayang orang lakon Kadharmaning Kunthi is. The thinking base of creativity is used to solve the problem. Creativity is not marked by imitation, adjustment, or binding on the existed pattern. Creativity involves ideas and imaginative action including: sensing, feeling, imaging, as well as searching and explanation of truth. Sensing means the absorption of sense which represents the starting point of artist to actualize creativity. Creativity is also based on feeling and emotion. Feelingalso occurs because of the mutual relationship between man and man, man and nature, man and things, and all events that happen in man life.Keywords: art works, wayang orang, creativity, Kunthi.
PENCIPTAAN KARYA SENI INSTALASI BERBASIS EKSPERIMEN KREATIF DENGAN MEDIUM GEMBRENG Cholis, Henri
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i2.2011

Abstract

This research is a study on an installation work of art based on an experimentation exploring new possibilities of the product of gembreng (zinc) handicrafts in Kabangan market, Laweyan, Surakarta. The product is used as one of the aesthetic elements of the installation art in a ready made shape or anew one which can be developed using a technique craftsmen in Kabangan market have. This research aims at studying to create an installation work of art with zinc as the main medium. This research is designed as an explorative developing research. Therefore, it tends to be experimentative to find possible innovation in shape, technique, medium, and material exploration. The data were collected through in-depth interview and an observation in the zinc industrial centre in Kabangan market, Laweyan, Surakarta. The subjects of this research were the craftmen of zinc to find out the technique they usually used and the technical achievement which could be explored to create an installationwork of art. The object observed in this research was the product produced and the technique used to create the handicraft in Kabangan market. It is important to do this to find out various possibilities of developing shapes as an aesthetic element of an installation work of art.To enhance the validity andquality of the work of art in this research, “trial and see” or the controlled trying out by an adaptive strategy is used. The data were analyzed using SWOT analysis and the result of the analysis was used as the principle to make an installation work of art. The idea of shape in this installation work of artis based on Garuda and Jatayu, a kind of birds thought to be sacred in Javanese myth. The stages in creating this work of fine art are as follows: exploration, improvisation, and shaping. The result of this research is an installation work of art of which the main material is zinc and its shape, colour and ornament originate in Javanese culture.Keywords: Javanese myth, handicraft made of zinc, installation work of art.
MEBEL KAYU BERUKIR SEBAGAI SALAH SATU PERWUJUDAN PELESTARIAN KARYA BERNUANSA LOKAL Kusmadi, K.,
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i2.2013

Abstract

The carved wood furniture is a three dimension visual art work that generally uses wood material to be shaped in such a way that become a tools to support human activities. Although the furniture art work has developed for a long time, in Central Java, it only developed rapidly in the certain area as Jepara, SerenanSukoharjo, and recently, in Kalijambe, Sragen. For the reason, it becomes a chance for the writer to pay close attention to the works of the businessmen and artists in developing themselves to fulfill the consumer’sdemand. Surakarta is one of the Javanese cultural cities as well as the market area of the various product of carved wood furniture in Southern Central Java. From the shape of design produced, it can be seen that the quality is increasing in various aspects including the forms, making, ornamentation, finishing, etc. The carved wood furniture represents a support ofinterior and exterior elements and also as evaporationof the local culture identity.This research is designed to be a research that stresses on library study supported by observation on the last development of carved wood furniture forms sold in Surakarta.The result shows that the dynamic of the localcarved wood furniture is inspired by the dynamic of the wood furniture development generally. The result also becomes a material for journal writing. The result is also hoped to be an understanding base of carved wood furniture product as one effort to evaporate the local culture identity.Keywords: wood furniture, carved, local nuance.
TARI JARAN GOYANG: SIMBOL PEMIKAT ASMARA Suharti, Mamik
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i2.2015

Abstract

A genre of dance Jaran Goyang is one of the traditional dance genres in Banyuwangi initiated by Suparman which is composed in 1960s. The treatment developing is executed by SumitroHadi, a very productive dance expert in Banyuwangi. The dance Jaran Goyang represents a form of traditionaldance with love theme. The vocabularies of dance movements, dance music as well as ricikanthat are used refer to the existing traditional dance. The dance name is taken from the name of a love spell called “jaran goyang”. Jaran Goyang choreography shows about love refusal of a woman but finally and suddenly she falls in love due to the supernatural power of the spell jaran goyang.Keywords: dance, rarely, symbol, attractive trick, amour.
MENGEMBANGKAN KREATIVITAS ANAK MELALUI KEGIATAN MENGGAMBAR Shokiyah, Nunuk Nur
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i2.2017

Abstract

This research aims to determine how to develop children’s creativitiesthrough drawing. This type of research is qualitative. The source of data in this study includes the children’s works, many literatures related to the research, documents, data collection techniques used in the study of literature,observation, and documentation. Results of the study are several ways to develop the children’s creativitiesthrough drawing. They include enriching children’s abilities in drawing, drawing freely, coloring by mixing a variety of medium, providing various facilities to draw, being creative every day,drawing while playing, drawing while storytelling, creative holidays, parental involvement. Some of the techniques describe efforts to develop the children’s creativitiesthrough drawing. This study emphasizes on the development of children’s creativities rather than emphasizing on the skill in drawing. Drawing activity gives more attention to the process than the results. It is important to make the children relaxwithout coercion from others when theyare drawing,so that the resulted image is very unique and naturally suitable to their expressive soul.Keywords: drawing, developing creativity
GARAP KEBAR DALAM KARAWITAN JAWA Sugimin, S.,
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i2.2019

Abstract

Garap kebar is one of the treatment on the musical offerings of Javanese musical by using a kebar’s drum pattern presented irama tanggung and dados responsibility to fulfill the musical expression by considering a variety of needs. The emergence of garap kebar on the musical offerings are caused byvarious factors, among which are interpretation of treatment, creativity of artists, and serving functions. There are several options kebar drum pattern that each has a different character, that kebar gambyong, kebar golek, kebar matut, and kebar gecul. Various aspects of forming the musical sense in garap kebar include: musical pattern instrument, rhythm, tempo or laya, and serving functions. Gending who worked kebar containing musical taste sigrak, berag, prenes, and gecul.Keywords: interpretation of treatment, creativity, and offering functionality.
KAJIAN STRUKTUR KOLONG DAN PERGESERAN FUNGSI GARDU POS RONDA STUDI KASUS PADA GARDU POS RONDA RW 29 MOJOSONGO, JEBRES, SURAKARTA Sumarno, S.,
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i2.2021

Abstract

Night watch guardhouse (gardu pos ronda) is one of Indonesian cultural uniqueness forms compared with other states remaining to exist up to now. In such the condition, guardhouse is also a witness of historical course from several eras accompanying. The uniqueness of guardhouse lies, among otherthings, at its form and the system accompanying it. The structure of guardhouse is as same as other architecture construction consisting of floor, wall and roof. Several guardhouses, by its floor structure, consist of kolong (space underneath main construction) floor and guardhouse exactly on the land. Amid the architectural culture abandoning kolong structure particularly in Java, the structure of guardhouse kolong is an interesting topic to study. It is because the kolong structure is the reflection of Javanese floor construction structure in the past. The objective of research is to find out: (a) what the structure of guardhouse construction is as the interior element; (b) in the present context, how the change of the development of guardhouse function is and what activities it serves in addition to guard security. In order to achieve the objective, the research method employed was a qualitative research.The research was taken place in Surakarta city. The sampling technique used was purposive sampling one taking all of guardhouses with kolong structure existing in RW 19, Kelurahan Mojosongo, Jebres Subdistrict, Surakarta City. Techniques of collecting data used include interview, recording, librarystudy, measurement, and documentation. The data validation is conducted using data triangulation, while the data analysis is done by using Miles and Huberman’s interactive model of analysis.Keywords: guardhouse, kolong structure, function.

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