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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 8 Documents
 1 
Search results for , issue "Vol 5, No 2 (2008)" : 8 Documents clear
HUBUNGAN SENI DAN SEJARAH MENURUT MELVIN RADER DAN BERTRAM JESSUP Johnny Prasetyo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (973.455 KB) | DOI: 10.33153/dewaruci.v5i2.769

Abstract

History can mean either the past actions of human beings or the narrative of such actions based upon inquiry and interpretation.  Taking history in the second mean- ing, we can say that art and history are akin.  Art has a relatively close relation to history.  That is why, this article will give further attention to the artist as historian, art and cultural history, the historian as artist and, the last but not least, art and history allied but distinguishable. Key words: art, history.
BOOMING SENI LUKIS INDONESIA, SIAPA YANG DIUNTUNGKAN? Satriana Didiek Isnanta
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (828.412 KB) | DOI: 10.33153/dewaruci.v5i2.787

Abstract

In the development of fine art in Indonesia there was once an interesting phenom- enon, namely, “painting boom.”  It first happened in 1987, then in 1991-1992, in1999-2000, and the last in 2007.  Painting was booming for the first time in coinci- dence  with the economic crisis in 1997 and this phenomenon grew stronger.   The economic crisis which was indicated by the collapse of private banks, the deprecia- tion of rupiah against dollar, and the stoppage of wheel of real sectors which led to unemployment in  cities, caused capital flight and transfer of investment to other sectors, especially to artistic objects.  Painting was suddenly believed as an object of investment which could  give a big advantage in short time.   Then a business community of painting emerged  and most of the businesspersons were Chinese. And the paradigm changed from painting as a work of art which had philosophical- aesthetic value to a commodity which was  subject to commerce law.   In other words, painting had become a commodity and entered the global capitalist indus- try.  And then the question is why painting could change into a special object which people were willing to collect and invest in.   This writing is  trying to answer the above question using an economic-politic approach and discuss who  took part in making painting enjoy a boom and who was the most powerful and took an advan- tage.
PEMBERDAYAAN MASYARAKAT LOKAL DALAM AKTIVITAS PARIWISATA BUDAYA BALI I Nyoman Murtana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (917.973 KB) | DOI: 10.33153/dewaruci.v5i2.771

Abstract

In social life, art considerably can help to perfect human and their society in physi- cal, spiritual and psychological side.  Based on their belief the role and function of art, like mentioned above, resulting many kinds of art which goes to manifestation of artist creativity and their society.  No exception happens in Bali, too.  There are lots of various arts which are as the hairs of an old agricultural-feudalism society that people today of  desperately reborn and developed them.   In case of one of preservation conceptions, it  is made such as classification of art; sacred art and profane.  The classification is significantly made to anticipation tourism organizer to not harmfully perform that sacred art to be sold by tourist.  Unfortunately, this classification has no cultural power to be obeyed, so till today it is consequently still be a conflict.  What is all about happens due to that tourism such as has a big power to screw up that classifications of sacred art and profane.  It will be more ridiculous when there is an art work which previously become a sacred art must be sold for the sake tourists satisfaction.  It seems that tourism activities is identical to market. Bali, actually, is merely the market.  In “small” part it goes to art market such as art performance, handy craft, painting, sculpture, and other else, then natural tourism object on the other side.   Based on the facts show that art reproduction only be done by a small society which has skill to create work of arts.  Meanwhile, the small society has no evenly big chance due to the local government indicated less atten- tion to empowering them.  Today, there are some people who has desperately kept the  maintaining the image of Balinese cultural identity by undergoing traditional and religion  ritual ceremony hugely and attractively, but it comes to unpleasantly that the lesson just to be anjoyed by as a merely profane performance. Key words: local society, tourism, empowering.
SIMBOLISME PATUNG LORO BLONYO Edy Tri Sulistyo; Jamal Wiwoho
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (486.175 KB) | DOI: 10.33153/dewaruci.v5i2.791

Abstract

The objectives of research are to find out: (1) the cosmology form of loro blonyo sculpture in Javanese cultural context, (2) placement system of loro blonyo sculp- ture in  “joglo” house structure relating to the concept of Javanese social-cultural environment  balance, (3) loro blonyo sculpture as the most important element in its position in  “pasrèn” room in Javanese custom house, and (4) the symbolic- philosophical meaning of loro blonyo sculpture art in Javanese cultural cosmology. Based on the result of  research and discussion, it can be concluded: (1) The cos- mology form of loro blonyo  sculpture in the Javanese cultural context relating to the Javanese society particularly the one with rice planting as the earning; (2) The placement system of loro blonyo sculture in the “joglo” house structure relating to the concept of Javanese social-cultural environment balance; (3) Loro blonyo sculp- ture is the most important element in its position in the “pasrèn” room in Javanese custom house;.   (4) The symbolic-philosophical meaning of  loro blonyo sculpture art in Javanese cultural cosmology is as the symbol of fertility (Dewi Sri) and pros- perity (Sadana).Key words: loro blonyo, krobongan, pasrèn or petanèn, joglo, Dewi Sri, Sadana.
SENI PERTUNJUKAN TRADISIONAL (JAWA) ERA REFORMASI T. Slamet Suparno
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1324.657 KB) | DOI: 10.33153/dewaruci.v5i2.773

Abstract

The aim of this study is to obtain a more in-depth explanation regarding the prob- lems in the life of classical Javanese performance from a sociological-artistic angle, in the face of changes that have occurred in the environment during the post Orde Baru era.   Nevertheless, in order to gain a clear picture about the changes during each era, this study also covers the life of classical Javanese performance during the two previous era, namely the era preceding the Orde Baru and the Orde Baru era itself.  This problem includes a general picture of the life of classical Javanese performance during these three periods, in particular at the time of this research. The next problem is concerned with the possibility of change occurring in the pat- tern of classical Javanese performances during the same period, and the nature of these new patterns, including which aspects, and with  what substance.   Likewise, to what extent are the aspects related to social change and  social phenomena re- flected in classical Javanese performance a response from the artist, in connection with preserving his existence.In accordance with its goal, this study uses a sociological-artistic approach, from the  result of Arnold Hauser’s ideas in his book The Sociology of Art.   This ap- proach principally looks at the relation between a community and its art.  Classical Javanese performance is made up of a number of different elements, including its group, equipment, and audience.  Arnold Hauser explains that social changes in a given area will result in a unique artistic style, in accordance with the form of the community at that particular time.  An art form which in a certain period may be considered as a ritual art,  may have the potential to be used as a tool of propa- ganda by the authority or even emerge as a form of popular art.Based on the results of the research, classical Javanese performance has a ten- dency  to  stand alone in each of the three eras, according to the changes in its environment.   During the era prior to the Orde Baru, classical Javanese was en- joyed mainly by the  agrarian community, who were influenced by arts from the court.   During the Orde  Baru era, performances were not only enjoyed by the agrarian community but also by the urban community as it spread to towns outside the court territory. At the present time, classical Javanese performances are coloured by government development policies and for  this reason are often used as a gov- ernment tool for conveying messages about  development.   In addition, during the Orde Baru era, other art forms began to penetrate and influence the form of clas- sical Javanese performance.  In the postOrde Baru era, its form has become moreopen, as a result of the euphoria created by an excess of reformation, and it has become difficult to identify.  Furthermore, it is evident that audiences can no longer respond to the  moral messages conveyed in a classical Javanese performance. Key words: classical Javanese performance, group, audience.
NGAYAH: TRANSFORMASI NILAI SOSIAL Ni Nyoman Wati
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (576.601 KB) | DOI: 10.33153/dewaruci.v5i2.797

Abstract

This paper describes a performance entitled ngayah, that is an important activities in Balinese society.  The activities which do not aimed to gain material advantages is  assumed  consist of high value in society.   Based on experience through her whole life  and research held on three cases, the writer transformed those social activities to the  performing art.   The performance means to aware and actualize the value of ngayah in  contemporary era. Key words: ngayah, social activities, value, performance.
TUBUH, HABITUS, DAN NGENG DALANG DAN PENGRAWIT WAYANG St. Hanggar Budi Prasetya
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (988.784 KB) | DOI: 10.33153/dewaruci.v5i2.777

Abstract

Body, Habitus, and Bourdieu’s theory have long been a topic of research in sociol- ogy of art.  Pierre Bourdieu’s work is widely viewed as a fruitful approach to both theory and  research on the body as Bourdieu links agency with structure through the process of habitus.  Bourdieu’s concept of habitus illuminates the circular pro- cess whereby practices are incorporated within the body, only then to be regener- ated through the embodied  work and competence of the body.   This research explores the process embodiment on puppet master and gamelan musicians.  Ngeng is the most important concept for gamelan musician to play and appreciate gamelan music.   The disciplined and rehearsed body of  the puppet master and gamelan musician is one of the most significant resources in the conduct of gamelan music. In this paper I explore some of these issues to make sense of  embodied work or ngeng of gamelan music performance drawing on my ethnography of  the shadow puppet theatre. Key words: ngeng, habitus, mlèsèd, nggandhul.
MACO MAULUD: TRADISI MASYARAKAT INDONESIA KETURUNAN ARAB DI PALEMBANG Sungkowo Soetopo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (745.904 KB) | DOI: 10.33153/dewaruci.v5i2.783

Abstract

This article contains the description of Maco Maulud, the tradition of Indonesian society  of Arab clan in Palembang.   Maco Maulud comes from the word maco‘reading’ and maulud.   Maulud means “being born.”   Maco-maulud in this case, means reading the history of the Prophet Mohammed existing inMajemuk-Maulid written in Arabic and red like poetry reading or singing.   There are four maulid scripts in Majemuk-Maulid, maulid of Syarafal anam, maulid of al Barzanji, maulid of Diba, and maulid of Azab.  Maco maulud, made as routine activity for Indone- sian societies of Arab clan.  It is used as a tradition which almost resembles ritual activities.   A party, e.g.  wedding party, and circumcision, are not perfect (afdal) without maco-maulud  ceremonies. Key words: maco, maca, maulud, maulid.

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