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Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni
Published by Institut Seni Indonesia Surakarta
ISSN : 14124181     EISSN : 2685287X     DOI : 10.33153
Core Subject : Education, Art,
Arts Education Languange, Linguistic, Communication & Media Other
International Journal of Visual and Performing Arts draws its contributions from academics and practitioner-researchers at the interface of new visual and performing arts. It acts as a forum for critical scholarship, innovative practice, and creative pedagogy, addressing themes that may be domain-specific (e.g. theatre, dance, music, live art, visual arts) or situated at the convergence of two or more disciplines. The journal invites original, significant, and rigorous inquiry into all subjects within or across disciplines related to visual and performing arts. It encourages debate and cross-disciplinary exchange across a broad range of approaches. The spectrum of topics includes Ethnomusicology, Karawitanology, Music Education, Dance Theatre, Movie and Television, Interior Design, Industrial Design, Media Arts, Fine Arts, Photography. These topics are addressed in full-length academic articles, critical statements on current issues, developmental practice, and reviews of books and live/media-based visual and performing arts. The journal presents an innovative platform for researchers, students, practitioners and educators to both learn from and contribute to the field. All articles are subject to initial Editor screening and then a rigorous double-blind peer-review process before publication.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 6 Documents
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Search results for , issue "Vol 15, No 1 (2020)" : 6 Documents clear
Perubahan Struktur Organisasi Kepanitiaan dalam Festival Film Mahasiswa UCIFEST Natalia Depita
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 1 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i1.2524

Abstract

Festival film berkontribusi besar dalam menyelesaikan masalah distribusi bagi film-film alternatif seperti film-film karya mahasiswa yang ada di Indonesia. Film –film mahasiswa yang tidak dapat masuk ke jalur komersil, membutuhkan ruang atau etalase untuk menunjukkan karya mereka. Kebutuhan akan memiliki ruang eksebisi dan distribusi bagi film-film alternatif, menjadi faktor terbentuknya festival-festival film kampus. Sebagai festival film yang berada dibawah institusi dan dibentuk dengan semangat independen dari mahasiswa, festival film dapat bertahan dalam berbagai kondisi. Jaringan yang diciptakan oleh mahasiswa antar universitas juga menjadi kekuatan berlangsungnya festival film. Struktur organisasi kepanitiaan dibuat menyesuaikan kebutuhan festival film. Struktur organisasi yang dibentuk harus berjalan secara efektif dan efisien demi tercapainya kesuksesan festival film. Changes in the Organizational Structure of the Committee in the UCIFEST Student Film Festival  Abstract: Film festivals contribute to solving distribution for alternative films. A short film created by students cannot enter the commercial path or screen in the movie theatre. The need to have exhibition and distribution spaces for the alternative film is a factor that the students make short film festivals on the campus. As a film festival under the university or institution, a film festival can survive in various conditions. This is because of the festival formed with the spirit of independence by students. Besides that, the network created by students between the communities or universities is also the strength of the short film festival. Another essential factor for the film festival is the organizational structure. The organizational structure must run effectively and efficiently to achieve the success of the film festival.
Ga·ʼahʹ: Ekspresi Musikal Kisah Menara Babel dalam Kitab Kejadian Zwingli Tarigan; Bambang Sunarto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 1 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i1.2847

Abstract

Kisah mengenai menara Babel merupakan salah satu kisah yang telah banyak diceritakan dalam berbagai kalangan masyarakat. Di dalam umat Kristiani, kisah menara Babel ditulis dalam kitab Kejadian 11:1-9. Peristiwa menara Babel menceritakan bagaimana umat manusia mencari tempat di mana mereka bisa hidup bersama selamanya dan tidak tercerai berai lagi. Selain itu, pembangunan menara Babel juga bertujuan untuk memberikan tempat yang aman bagi segala musibah yang akan datang. Tetapi di atas semuanya itu, tujuan akhir manusia dan yang pada akhirya mendatangkan dosa dan murka Allah bagi manusia itu sendiri ialah keinginan manusia yang hendak menyamai dan mendatangi tempat Allah yang mereka yakini berada di langit. Kisah menara Babel menjadi obyek dalam penyusunan karya ga·ʼahʹ ini. Kata ga·ʼahʹ sendiri diambil dari bahasa Ibrani yang berarti ‘menjadi lebih tinggi’. Bentuk karya musik ga·ʼahʹ disusun dengan menggunakan media paduan suara teatrikal yang digabungkan dengan ansambel musik. Bentuk paduan suara teatrikal digunakan untuk memberikan ruang terhadap kemungkinan adanya eksplorasi dalam beberapa hal yang dapat mendukung terwujudnya suasana maupun simbolisasi yang ingin dibangun. Sedangkan bentuk instrumen ansambel digunakan sebagai media musik yang menguatkan suasana yang dibangun dari paduan suara teatrikal. Selain paduan suara teatrikal maupun ansambel musik, karya ga·ʼahʹ ini juga melibatkan beberapa hal untuk mendukung terwujudnya karya ini. Penyesuaian kostum, penataan panggung, penggunaan sound maupun lighting menjadi beberapa hal yang digunakan untuk membangun suasana yang diinginkan. Ga· ʼahʹ: Musical Expressions of the Tower of Babel in Genesis  Abstract: The story of the tower of Babel is one that has been told in various circles of society. In Christians, the development of the tower of Babel is written in the book of Genesis 11: 1-9. The Tower of Babel incident tells how humankind looks for a place where they can live together forever and not be separated anymore. Besides, the construction of the Tower of Babel also aims to provide a safe place for all future calamities. But above all that, the ultimate goal of a man and what ultimately brings sin and God's wrath to the man himself is the desire of humans to emulate and come to the place of God which they believe to be in the sky. The story of the tower of Babel is the object of the preparation of this ga·ʼahʹ work. The word ga·ʼahʹ itself is taken from the Hebrew which means 'to become higher'. The form of ga·ʼahʹ musical works is composed using a theatrical choir combined with a musical ensemble. The theatrical choir form is used to provide space for the possibility of exploration in several ways that can support the realization of the atmosphere and symbolization to be built. Meanwhile, the form of the ensemble instrument is used as a musical medium that reinforces the atmosphere built from the theatrical choir. Apart from the theatrical choir and musical ensemble, this ga·ahʹ work also involves several things to support the realization of this work. Adjustment of costumes, stage arrangement, use of sound, and lighting are some of the things that are used to build the desired atmosphere.
The Aesthetics of Surakarta Palace’s Karawitan According to Serat Sri Karongron Joko Daryanto; Rustopo Rustopo; Bambang Sunarto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 1 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i1.2766

Abstract

Aesthetics is an observation of beauty, values, and judgments that view human works from the perspective of whether they are beautiful and not—Serat Sri Karongron by R. Ng. Purbadipura was written during the reign of Paku Buwana X, releasing a pulse of musical life in the Surakarta Palace, which implies the artistic content of the Surakarta Palace’s karawitan. Serat Sri Karongron explicitly mentions the atmosphere of the Seger sumyah karawitan feeling. The phrase Seger sumyah can be interpreted as something that can make someone feel happy because Seger sumyah refers to an excellent or delicious taste. Purbadipura notes that Seger sumyah refers to the gobyog karawitan presentation at the Surakarta Palace. On the other hand, Purbadipura reported that the gobyog karawitan presentation still refers to the karawitan presentation with three parameters of tan sora swaranira, rampak-rempeg, and sajanturing ringgit. The aesthetics of the Seger sumyah karawitan, which refers to karawitan composition with the nuances of gobyog, had a chance to live and develop during the reign of Paku Buwana X.
Karakteristik Seni Kerajinan Eceng Gondok Gorontalo I Wayan - Sudana; Isnawati Mohamad
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 1 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i1.3171

Abstract

Upaya pengembangan kerajinan eceng gondok di Gorontalo sebagai sektor unggulan harus dilandasi oleh karakteristik yang meliputi potensi dan permasalahan. Namun, data tentang karakteristik kerajinan belum tersedia secara komprehensif. Penelitian ini bertujuan untuk menggali unsur-unsur kerajinan eceng gondok Gorontalo untuk mengungkap potensi dan permasalahan yang ada. Penelitian menggunakan metode kualitatif model studi kasus. Pengumpulan data dilakukan melalui observasi, wawancara, tes, dan studi pustaka. Data dianalisis secara interaktif melalui seleksi dan pengkodean, kategorisasi, penyajian data dan diskusi, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa kerajinan eceng gondok Gorontalo memiliki karakteristik aspek: pengrajin, teknologi produksi, produk, dan distribusi yang mencerminkan potensi dan permasalahan yang ada. Karakteristik pengrajin adalah ahli dalam keterampilan produksi tetapi lemah dalam inovasi desain. Ciri khas teknologi produksi adalah potensi ketersediaan bahan baku dan cara kerja yang sistematis. Tetap saja, ini bermasalah dalam modernisasi peralatan produksi dan pembagian kerja. Karakteristik dari segi produk adalah potensinya dalam keragaman produk tetapi masalah dalam standarisasi ukuran dan ergonomis. Ciri-ciri dari aspek distribusi meliputi potensi dalam memasarkan produk dengan berbagai cara tetapi terdapat masalah dalam promosi dan peningkatan citra sosial produk. Temuan ini bisa dijadikan acuan untuk merumuskan konsep pengembangan kerajinan eceng gondok Gorontalo secara tepat atau sejenisnya. Characteristics of Gorontalo Water Hyacinth Craft Art  Abstract: Efforts to develop water hyacinth craft in Gorontalo as a leading sector must be based on characteristics that include potential and problems. However, data on the characteristics of crafts are not yet available comprehensively. This study aims to explore the characteristics of Gorontalo water hyacinth craft to uncover the potential and problems. The study used qualitative methods of case study models. The data were collected through observation, interviews, testing, and literature study. Data were analyzed interactively through selection and coding, categorization, data display and discussion, and conclusions. The results showed that Gorontalo water hyacinth craft has characteristics in aspects: crafters, production technology, products, and distribution that reflect the potential and problems. The characteristics of the crafters are experts in production skills but weak in design innovation. The characteristic of production technology is the potential in the availability of raw materials and systematic work methods. However, it is problematic in the modernization of production equipment and the division of labor. A characteristic in terms of products is its potential in product diversity but problems in standardizing size and ergonomics. The characteristics of the distribution aspect include the potential in marketing products in various ways but problems in the promotion and improvement of the social image of the product. This finding can be used as a reference to formulating the concept of developing Gorontalo water hyacinth craft appropriately or other similar crafts.
Politik dan Situasi Sosial dalam Sejarah Keroncong di Indonesia Rully Aprilia Zandra; Rustopo Rustopo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 1 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i1.2804

Abstract

Keroncong merupakan musik, instrumen musik, dan genre yang diklaim sebagai warisan budaya indonesia. Keroncong sebagai warisan budaya tentunya memiliki sejarah yang panjang.sejarah yang panjang juga tidak akan luput dari pasang surut dan perkembangan. Pasang surut dan perkembangan umumnya dipengaruhi politik dan situasi sosial. Untuk memetakan sejarah keroncong di Indonesia yang diwarnai politik dan situasi sosial, data dikumpulkan melalui dokumentasi, telaah pustaka, dan wawancara. Data valid dikonfirmasi dan dipaparkan secara kronologis berdasar periodesasinya. Hasil penelitian ini menunjukkan bahwa keroncong bermula dari diseminasi instrumen musik bangsa Portugis yang menjalin hubungan dengan Majapahit. Diseminasi instrumen fado di nusantara mengalami perubahan morfologi dan teknik perlakuan alatnya. Perubahan morfologi dan perlakuan alat ini melahirkan instrumen keroncong atau cukulele. Gaya lirik dibangun oleh kearifan lokal nusantara sesuai demografi dan situasi sosial di masing-masing lokasi penciptaannya. Gaya lirik dan pasang surut popularitas keroncong sebagai kelompok musik didorong dan dihentikan oleh naik turunnya kekuatan politik Portugis, Majapahit, Belanda, Jepang, dan Orde Lama dan Orde Baru. Political and Social Situations in the History of Keroncong in IndonesiaAbstract:Keroncong is music, musical instrument, and the genre that is claimed to be Indonesia's cultural heritage. Keroncong, as a cultural heritage, certainly has a long history. A long history will not escape its ups and downs and developments. Political and social situations generally influence the ups and downs and developments. In order to map the history of keroncong in Indonesia, which is colored by politics and social situations, data is collected through documentation, literature review, and interviews. Valid data are confirmed and presented chronologically based on the periodization. The results of this study indicate that keroncong originated from the dissemination of Portuguese musical instruments, which had a relationship with Majapahit. The dissemination of fado instruments in the archipelago has changed the morphology and treatment techniques of the tools. Changes in the morphology and treatment of this tool gave birth to the keroncong or Cukulele instrument. The local wisdom of the archipelago builds the lyric style according to the demographics and social situations in each location of its creation. The lyric style and the ebb and flow of keroncong's popularity as a musical group was driven and stopped by the ups and downs of the political power of the Portuguese, Majapahit, Dutch, Japanese, and the Old and New Order.
Bentuk dan Gaya Kesenian Barongan Blora Muhammad Jazuli; Slamet MD; Lesa Paranti
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 1 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i1.2892

Abstract

Seni Barongan merupakan cerminan kreativitas seni dan budaya Blora di Jawa Tengah yang bersifat kerakyatan dan syarat makna, seperti spontan, sederhana, kekeluargaan, kasar, menantang, dan berani karena memang benar. Sifat kerakyatan membuat masyarakat Blora memiliki kekuatan yang luar biasa dalam menjalani kehidupannya. Topeng singa dalam kesenian Barongan merupakan simbol kekuatan dan kekuatan. Simbol ini merupakan nilai yang sangat penting untuk digunakan dalam mendukung pendidikan karakter anak bangsa. Penelitian ini bertujuan untuk mengkaji bentuk dan corak seni Barongan (kearifan lokal) serta nilai-nilai yang terkandung di dalamnya sehingga dapat dimanfaatkan untuk kepentingan pendidikan karakter. Urgensi penelitian ini karena beberapa acara budaya tradisional di Blora memerlukan keterlibatan kesenian Barongan di dalamnya, seperti tradisi sedekah bumi, tradisi bersih kampung, dan tradisi lamporan. Hasil penelitian menginformasikan bentuk pertunjukan Barongan di Blora dibedakan menjadi dua yaitu bentuk arak-arakan dan drama. Gaya penampilan Barongan ditentukan oleh pola karyanya dan ragam gerak yang unik. Form and Art Style of Barongan BloraAbstract: Barongan art is a reflection of the artistic and cultural creativity of Blora in Central Java, which has populist nature and conditions of meaning, such as spontaneous, simplicity, kinship, rough, challenging, and brave because it is true. The populist nature means that the Blora people have tremendous power in living their lives. The lion mask in Barongan art is a symbol of strength and might. This symbol is a significant value to be used in supporting the character education of the nation's children. This study aimed to examine the form and style of Barongan art (local wisdom) and the values contained therein so that it can be utilized for the benefit of character education. The urgency of this study is because some regular cultural events in Blora require the involvement of the Barongan art in them, such as the earth alms tradition, the clean village tradition, and the lamporan tradition. The results of the study inform the form of Barongan performances in Blora can be divided into two, namely the form of procession and drama. Barongan performance style is determined by the pattern of his work and a unique range of motion.

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