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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 512 Documents
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PEMASARAN SENI PERTUNJUKAN RAKYAT DI INDONESIA MELALUI PLATFORM DIGITAL SENIPEDIA.COM Novianto, Wahyu; Murtono, Taufik; Hudha, Tafsir
Acintya Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i2.4575

Abstract

The rapid pace of technology in the 4.0 era constructs conventional transaction models into digital transactions with the growth of various digital startups. The use of digitalization for folk performing arts is still not maximally accommodated, even though the internet has spread to villages. Although various conceptions and discourses on the digitization of folk performing arts continue to roll out, they are only carried out by academics and only a small part of the performing arts community is able to utilize the internet and gadgets for means of communication and interaction with a wide audience. This study shows the utilization of digital internet technology that has changed the pattern of face to face interaction to screen to face through the digital application Senipedia.com as one of the start-ups engaged in the realm of folk performing arts development in Indonesia. The various benefits of marketing through the Senipedia.com digital application are becoming a meeting place for all groups to form the habit of assessing and being judged virtually, preserving cultural heritage and historical values that are useful in the future, and becoming an archive that can be reused as educational material that contains values of mutual cooperation, a sense of independence, freedom of expression, and the formation of mutual appreciation of folk performing arts through the digital-virtual world.
TARI JARANSARI DALAM UPACARA RITUAL BERSIH DESA LENCOH KECAMATAN SELA BOYOLALI Setyoasih, Sri; Setiyastuti, Budi; Nuryanto, Nuryanto; Samsuri, Samsuri; Daryono, Daryono
Acintya Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i2.4603

Abstract

ABSTRACT Jaransari dance to cleanse the village of Lencoh, Sela, Boyolali is an art with a ritual function. There is a relationship between dance and local cultural customs. The research objective is to explore the art of dance with local cultural traditions.This research uses an anthropological approach to dance that is qualitative and descriptive. The methods used include observation, interviews, documentation, and literature.The result that the Jaransari dance desired to achieve is a folk dance performed in village cleansing ritual activities. Dance activities are closely related to the lifestyle of the community to deal with critical situations from the influence of the power of the village guardian spirits. Through the activities of the Jaransari dance, the community is considered to have fulfilled the wishes of the village's spirit, so that it will not interfere with community activities. After the cleansing ritual ceremony of the village, the community calmed down, worked hard and the harvest was bountiful.Key Words: jaransari, folk dance, ritual, village cleansing  ABSTRAKTari Jaransari dalam rangka  bersih desa Lencoh, Sela, Boyolali merupakan seni yang berfungsi ritual. Terdapat hubungan antara seni tari dengan adat budaya setempat. Tujuan penelitian adalah untuk menggali seni tari dengan adat budaya setempat.Penelitian menggunakan pendekatan antropologi tari yang bersifat desktiptif kualitatif.  Metode yang digunakan meliputi observasi, wawancara, dokumentasi dan kepustakaan. Hasil yang ingin dicapai tari Jaransari merupakan tari rakyat yang dipertunjukan pada kegiatan ritual bersih desa.  Kegiatan  tari  berkaitan erat dengan pola hidup masyarakat untuk menghadapi situasi gawat dari pengaruh kekuatan goib penunggu rokh desa.  Melalui kegiatan tari Jaransari masyarakat dianggap telah memenuhi keingginan penunggu rokh desa sehingga tidak mengganggu aktivitas masyarakat. Setelah upacara ritual bersih desa masyarakat menjadi tenang, giat bekerja dan panen melimpah.Kata Kunci: jaransari, tari rakyat, ritual,  bersih desa.
TARI SEBAGAI MEDIA KOMUNIKASI AKTUAL SENIMAN DI MASYARAKAT Maryono, Maryono
Acintya Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i2.4665

Abstract

ABSTRAKTujuan penelitian ini adalah untuk mengungkap tari sebagai media komunikasi yang paling aktual bagi seniman. Beragam jenis garap tari tradisi yang bersumber tarian istana Surakarta salah satu wahana bagi seniman untuk mampu berkomunikasi dengan masyarakat. Kehadiran tari sebagai ungkapan ekspresi jiwa manusia merupakan media komunikasi seorang seniman (koreografer) terhadap penghayat. Sebagai media komunikasi, tari mempunyai muatan-muatan pesan dari koreografer yang hendak dikomunikasikan dengan masyarakat penonton atau penghayat. Metode dalam penelitian ini bersifat kualitatif dengan teknik pengumpulan data: studi pustaka, studi lapangan dan partisipan penuh yang terlibat langsung sebagai seniman. Teori yang digunakan sebagai dasar analisisnya adalah teori komunikasi menurut Cangara bahwa dalam peristiwa komunikasi terdapat unsur-unsur yang utama: sumber/ komunikator, media, pesan, penerima, lingkungan, efek dan umpan balik. Hasil penelitian bahwa aktualisasi seniman dalam masyarakat merupakan perwujudan fungsionalisasinya dari subsistem kebudayaan yakni untuk menjalin dan menjaga keseimbangan dari kebutuhan hidup akan rasa estetik dan pemenuhan kebutuhan yang berhubungan dengan beragam tuntutan sosial. Tari sebagai media komunikasi yang aktual bagi seniman di masyarakat rupanya sangat tepat, mengingat seniman dalam hal ini koreografer menyiratkan pesan-pesan yang berupa moral, spiritual, dan hiburan sebagai sumbangan dan pemenuhan kebutuhan hidup masyarakat yang bersifat immateriil. Kata kunci: seniman, tari, masyarakat.
Estetika Garap Tubuh dan Properti dalam Karya Tari Gandhewa Raga Wibowo, Anggono Kusumo; samsuri, samsuri
Acintya Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i2.4675

Abstract

ABSTRACTThe dance entitled Gandhewa Raga is a group dance of men and women. This dance is worked on with the beauty of the body and operatives. The body functions as a medium to express the contents of dance and property, as one of the media, said the complement. Disclosure of the beauty of the body worked with property media, namely gandhewa. The motion displayed is the exploration motion of the gandhewa form. The movement of Gandhewa Raga dance is a movement of the Surakarta stout and princess style traditions. This work process aims to explore, find out the meaning of property, and understand the aesthetic values of the body and property. The results of this study are explorations and disclosures of body and property values. The method used is creating dance work with the process of investigation, improvisation, and composition. The aesthetic of the Gendhewa Raga dance will emerge after carrying out the stages of the method. The aesthetic value of body and property can be seen from the form of dance composition that has been arranged and can be enjoyed. This beauty can be enjoyed by aspects of dance movements, namely energy, space, and time, dance accompaniment, fashion make-up, dance performers, staging venues, and property processing. Keyword: Gandhewa Raga, Aesthetic, Phsycal dance, body and property ABSTRAKTari Gandhewa Raga merupakan tari kelompok putra dan putri. Tarian ini merupakan tari yang digarap dengan keindahan tubuh dan poperti. Tubuh yang berfungsi sebagai media untuk mengungkapkan isi tari da propertisebagai salah satu media ungkap pelengkapnya. Pengungkapan keindahan tubuh digarap dengan media propert yaitu Gandhewa. Gerak yang ditampilkan adalah gerak eksplorasi dari bentuk Gandhewa. Gerak karya tari Gandhewa raga adalah gerak tradisi gaya Surakarta gagah dan putri. Proses kekaryaan ini bertujuan untuk bereksplorasi, mengetahui makna properti, dan memahami nilai-nilai estetis tubuh dan property. Hasil penelitian ini merupakan eksplorasi dan pengungkapan nilai tubuh dan properti. Metode yang digunakan adalah metode menciptakan karya tari dengan proses eksplorasi, improvisasi dan komposisi. Estetika ketubuhan tari Gandhewa Raga akan muncul setelah melaksanakan tahapan metode tersebut. Nilai estetis ketubuhan dan propertidapat dlihat dari bentuk koposisi tari yang sudah tersusun dan sapat dinikmati. Penikmatan keindahan tersebut dapat dilihat dengan aspek gerak tari yaitu tenaga, ruang dan waktu, serta iringan tari, tata rias busana, pelaku tari, tempat pementasan dan pengolahan properti Kata kunci: Gandhewa Raga, Estetika, Tari Fisik, Tubuh dan Properti 
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.
Proses Kreativitas dalam Penciptaan Tari Srimpi Pudyastuti Utami, Hadawiyah Endah
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.4857

Abstract

This  research  is  an  experimental  study  of  creative  process  issues  in  the  creation  of  the  Srimpi Pudyastuti dance, the aim of which is to reveal how creative practice ideas of traditional dance are developed by artists with a background in creativity in the cultural and performing arts realms. The method used is a qualitative research method with a choreographic approach. Data collection, observation, literature study  and  interviews.  The  results  of  the  study  show  that  the  Srimpi  Pudyastuti  dance,  in  its  creative process, uses a combination of the concepts of working on the dance movements of the Surakarta Style and Yogyakarta Style which have been stylized into new forms of movement. The creation was inspired by the realities of life that are happening all over the world, namely the Covid-19 pandemic and the stagnation in the development of the group dance genre, especially the srimpi dance. In the creative process, motion exploration is considered to form space and rhythm as well as the findings of the motions that characterize Srimpi Pudyastuti with her vocal movements using a lot of gliding (floating) motions.Keyword: srimpi pudyastuti, creativity, creative process
Pengembangan Sulam Gim Kebaya Pengantin Gaya Surakarta Prihatina, Yuhri Inang; Guntur, Guntur; Rizali, Nanang
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.5041

Abstract

This research was motivated by the existence of gim embroidery as a Surakarta-style bridal kebaya ornament with all limitations, such as the lack of craftsmen, the high cost of yarn materials, and competition with other ornamental techniques that are more developed. The purpose of this study is to describe the development  of  gim  embroidery  on  Surakarta-style  bridal  kebaya.  The  method  used  is  a  qualitative grounded research model. Data were collected through interviews, observations, literature studies, artifact studies, and documentation. Data analysis is conducted interactively through data reduction, presentation, discussion, and conclusions. The results showed that the development of Surakarta-style bridal kebaya gim embroidery had at least three groups, namely the development of materials and techniques that still maintain motifs and patterns according to pakem, the development of motifs and designs that combine the characteristics of Surakarta style and Yogyakarta style, and the development of kebaya forms followed by the development of motifs and patterns. The development that was found can be used as a reference in the development of game embroidery not only in bridal kebayas but also in other forms of revitalization to preserve gim embroidery.Keywords: gim embroidery, Surakarta-style bridal kebaya, development concept.
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
Kolaborasi Karya Tari Suara Hati Supendi, Eko; Sri Kuncoro, Jonet; Suroto, Suroto
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.5059

Abstract

Research on art creation entitled Suara Hati Dance Collaboration involving dancers (students) and children with visual impairments (disabilities) to answer concerns about how a dancer feels dancing in the dark. This research method is a collaboration between the potential of dancers and the artistic potential of blind children. The dancers’ explorations were inspired by the behavior of the character Gendari in the  Mahabarata story, who closed his eyes all his life only to feel the same darkness as his husband, Destrarastra. Exploring the potential of blind children is an important part of this research to determine the process and form of work. The results of this study provide an artistic experience for dancers, moving in the dark just following their auditory instincts. Providing space for expression and artistic experience for blind children, fostering self-confidence, courage, and a sense of pride in being able to work with dancers and appear in performances that are shown publicly.Keywords: voice, heart, collaboration, visual impairment, Gendari, movement, darkness.
Strategi Mempertahankan Popularitas Melalui Kegiatan Promosi Media Digital (Studi Kasus Pada Produksi Musik Hendra Kumbara) Fatima, Sephia Putri; Wrahatnala, Bondet; Manggala, Bondan Aji
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.5061

Abstract

Every year the music industry displays new musicians, and each has their characteristics in their work. Of course, there will be many contemporary artists with different characters. One of the music industry’s strategies is to increase marketing in music production. This is not only a matter of promotion, but the music industry is also thinking about stealing attention, building loyalty, encouraging action, and how to educate and entertain through the content that is presented. Hendra Kumbara is a Javanese musician who has popularity among young people in the digitalization era; Dalan Liyane’s song is one of the works that support his popularity in digital media. In addition, he also developed the music industry for creative space in the city of Semarang. This study aims to determine Hendra Kumbara’s music production strategy for maintaining its popularity through digital media promotion activities. The research used is a qualitative method with a case study approach, with data collection techniques through observation, interviews, and literature studies selected according to the topic of discussion regarding musical creativity in maintaining popularity through digital media. The survey results prove that: (1) Hendra Kumbara’s music production supports popularity through digital media promotion activities by knowing the concept of music production and marketing strategies through digital media platforms. (2) strategies carried out by knowing musical abilities and marketing musical works through digital media platforms Youtube, Instagram, TikTok, Spotify, Joox, Tunes, Apple Music, and Deezer.Keywords: strategy, popularity, musicians, digital media.

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