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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 9 Documents
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Search results for , issue "Vol 6, No 1 (2009)" : 9 Documents clear
REVITALISASI RAGAM HIAS TRADISIONAL GAYA MATARAM DALAM PENGEMBANGAN DESAIN FURNITUR Bagus Indrayana; Guntur -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1110.074 KB) | DOI: 10.33153/dewaruci.v6i1.841

Abstract

Among Indonesian original artworks, there are many of them which are claimed by foreign entrepreneurs or countries. Batik (Malaysia), decorative motifs of metalic handicraft (Cina), and carving furniture design from Jepara (England) were the examples. Keris and Wayang Kulit Purwa are officially validated by UNESCO as great creation from Indonesia. This fact leaded the anticipation to identify Indonesian traditional decorative patterns to avoid foreign claim. Cultural products from various suburban areas in Indonesia such as traditional decorative patterns in Mataram style in various kinds of technique and material that was an aesthetic element of daily need products in its era. Understanding the insights of motif, structure, function, application method, and also style and the symbolic meaning within, the techniques and the materials used in the creating process are essential to be explored using aesthetic approach. To make the traditional decorative pattern of Mataram style appropriate in the present and the future era, it needed to be revitalized by applying it as aesthetic element of creative and innovative furniture design within creative process of Indonesian craftsmen, so that it would possible competing among global culture era. Besides, such study needed to be supported by reference from relevant source, empirical observation and interview with relevant experts, such as culture observer, chief of deperindagkop (Official department of industry, trading and co-operation), entrepreneurs, craftsmen, and also practitioner of Usaha Kecil Menengah (UKM)-Lower-Middle Class Industry. As the result, beside to be treated as the basic idea in obtaining HAKI, this research would identify traditional Mataram style decorative pattern to provide innovative and creative furniture designs those reflecting Indonesian local wisdom. Besides reserving the intellectual rights for Indonesian craftsmen, collecting this decorative patterns were also claim-protected from other country. It would also increase and rearrange the values of national culture in the present and the future.Keywords: revitalized, traditional decorative patterns, furniture designs
PENATAAN ZONING INTERIOR RUMAH PAJANG UPAYA MENGOPTIMALKAN OMSET HASIL KERAJINAN LOGAM DI TUMANG, BOYOLALI Sunarmi -; Dharsono -; Ahmad Fajar Ariyanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (746.524 KB) | DOI: 10.33153/dewaruci.v6i1.861

Abstract

This research is entitled “Interior Zoning Layout of Pajang House An Attempt of Optimizing the Sale of Metal Craft Result in Tumang-Boyolali Central Java”. The objective of research is to find the solution of interior design offer as residence and as the display. The attempt of supporting the tourism area in the village Tumang, Boyolali. This research is using descriptive qualitative methods The approach employed was phenomenological one supported by the psychological, ergonomic, social and cultural approaches, based on the purposive sampling. The data source employed includes: the source, place and event, metal works, craftsmen’s personal note. Technique of collecting data employed was interview, observation and library study. The data accuracy and validity employed was source triangulation technique. The analysis model borrowed the interactive one. Tumang society live in the Javanese traditional concept. They are attached in the close relationship and the environment establishes the strong sense of brotherhood that affects their taste and view on the house shape. The residence layout prioritizes more the society’s interest rather than their business. There are two factors affecting the craftsmen who do not display their works properly. The internal factor: the less skill about the display house design. The external factor: the less number of visitors visiting routinely the village Tumang. To cope with the problem the craftsmen,need an activity in the form of workshop for an environment as the model, leads to the attempt of expanding the information about the existence of a metal craftsmen group in Tumang to the public, through the shape processing in several strategic places. The house physical imaging uses the consumer profession behavior theme approach strategy that will become the attraction in the design solution. The display house physical imaging was done by processing the display shape of crafting product through the wall display playing.Keywords: Zoning, display house, profession behavior
KREATIVITAS GUGUM GUMBIRA DALAM PENCIPTAAN JAIPONGAN Edy Mulyana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1771.773 KB) | DOI: 10.33153/dewaruci.v6i1.843

Abstract

The world of Sunda’s dance show on the decade of 1980th was startled by the appearance of Jaipongan. Its appearance became subject of story in various group of community from elite beurocrate, cultural experts and artists. The appearance of Jaipongan was not separated from the name of Gugum Gumbira, because this figure who has created it. This research aimed to reveal the matter of its creativity: Why did he create Jaipongan? How was the process in creating the Jaipongan and its socialization? Why does Jaipongan still exist up to now? Those were the questions which will be answered, while method which used is qualitative method with phenomenology approach. The result of the research showed that the birth of Jaipongan began from the desire of Gugum Gumbira for lifting people‘s art anymore, where at that moment its existence was marginalized. Its working concept started from female gender of the singer which called sinden or Ronggeng who had been attractive, except of that in realizing his creation start from people‘s character (vulgar, improvisators, and erotic). The existence of Jaipongan had great influence on tradition art of life, such as: Wayang Golek (puppet show), Degung, Kliningan, Calung, Topeng Banjet (Banjet Mask), Tarling ect, and even the pattern of strike and rhitmic pattern was mostly used by pop art, such as Dangdut, Jazz, Campur Sari and other pop art . In spreading of the work, there were supports from all media (printed and electronic) until Jaipongan became famous largely by the whole of element of the community, not only in local level but also in global level.Keywords: Jaipongan (Sundanese dance), creativity
KEHIDUPAN WAYANG GOLEK MENAK KEBUMEN PADA MASA KI SINDHU JOTARYONO (1955-1980) Sunarto Sindhu
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (963.875 KB) | DOI: 10.33153/dewaruci.v6i1.869

Abstract

An article entitled the life of wayang golèk ménak Kebumen on the age of Ki Sindhu Jotaryono from 1955 to 1980 discussed about the existence of Ki Sindhu Jotaryono in developing and improving the wayang golèk ménak Kebumen play. The problems which will be investigated were: How was the history of puppeteer in Kebumen? How was the life of wayang golèk ménak Kebumen on the age of Ki Sindhu Jotaryono? Why did the play of wayang golèk ménak Kebumen decrease and what methods used to preserve and to make the ply of wayang golek Kebumen stay alive. The purpose of the investigation was to describe the history of the puppeteer of wayang golèk ménak Kebumen, the life of wayang golèk ménak Kebumen on the age of Ki Sindhu Jotaryono, the reason why the play of wayang golèk ménak Kebumen decreased, and the methods used to preserve the life of wayang golèk ménak Kebumen. Based on the analysis, the result was that on the age of Ki Sindhu Jotaryono, the play of wayang golèk ménak Kebumen improved significantly. Ki Sindhu Jotaryono created many marionettes and new characters. The decrease of the play of wayang golèk ménak Kebumen was caused by many things. It was caused by the process of globalization and the internal factor, the puppeteers. The preservation effort was conducted by improving the self of the puppeteers and of the related institutions to concern more on the life of wayang golèk ménak Kebumen. Keywords: dalang, wayang golèk ménak Kebumen, preservation
MEREPRESENTASIKAN SENI PERTUNJUKAN TRADISI MELALUI PENDEKATAN ETNODOKUMENTER Gerzon R. Ayawaila
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1131.325 KB) | DOI: 10.33153/dewaruci.v6i1.845

Abstract

To perform the representation of an art tradition is not simple. We need approachment method because the rites have sense of spirit and myth. This is the same as we record the sense of life from local genuine people with the way of life in their culture system. Therefore we must be very careful when we recorded and represented the whole spirit of local tradition culture of their social life. This note was trying to analyze how we could represent the performing of an art tradition through film or video, from two point of views, in two different disciplines: Visual Anthropology and Documentary Film. Camera or audiovisual is a research tool for Anthropology. Sinematography is a process of an abstract observation but it is quite different from the fieldworker’s inscribe notebook where the information is preserved in literate code. Sinematography could gather selected and specific information, recorded the realism of time and motion or the psychological reality from varieties of interpersonal relations. With the camera we can analyze the way of action of an art tradition was performed, where so many elements are in motion together. In this situation human memory and notebook records become wholly inadequate. This note was written with the purpose of not to some normative answer about where the ideal point of view between anthropology and documentary approachment method. Between two distinguished approachment point of view, maybe we could have another creative approachment in same reason with comparative perspective, to records and to represent the performing of an art tradition in their own reality.Key word: documentary, tradition art performing, visual language
KEBERADAAN BATIK KLIWONAN DI KABUPATEN SRAGEN Tiwi Bina Affanti
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1516.136 KB) | DOI: 10.33153/dewaruci.v6i1.873

Abstract

Title of research: “Existence of Batik Kliwonan”. The research focused on: (1) appearance of pembatikan at rural area of Bengawan Solo (Kliwonan, Sidodadi, Pilang, Jabung, and Gedongan residence); and (2) dynamics of batik business by Batik Kliwonan communities. Cultural and historical approaches were used to solve these case that related to batik activities at rural area of Bengawan Solo (Sragen) until dynamics of Batik it self. It needs theories that related some cultures (river, farmer and aristocrat, cultural result and social-cultural) and histories to solve them. Research strategy tends to be descriptive research, with single case study. Data collected was qualitative data, which was used based on the informant, batik products, documents, also places and activities of making batik. Some technics of data collecting which were used are interview, observations and study about document. Research results were: (1) Existence of batik at rural area of Bengawan Solo–Sragen was affected by river as medium of transportation and trade, need for pembatik at urban area, water as supporter in processing batik, and Sragen society need part time job; (2) dynamics of batik begin from craftman history, from employee until be owner of batik enterpreneur called Batik Kliwonan. When Batik Kliwonan specified as tourism target, its image was built by creative and visual strategies. Keywords: Batik, Kliwonan, Sragen
MAKNA-MAKNA FIGUR NAGA DALAM SENI ARSITEKTUR BANGUNAN SUCI TRADISIONAL BALI I Nyoman Widya Paramadhyaksa
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (693.766 KB) | DOI: 10.33153/dewaruci.v6i1.849

Abstract

In Balinese traditional sacred architecture, there were many ornaments which were basically in the form of particular animals and plants. One of the many ornaments is in the figure of serpent. The serpent which was in the figure of a mythological giant snake was related to the function of the building. This study discussed about the symbolic serpent symbolizing the earth or land, water, the river flow, the clouds, the rainbow, and as one part of a chronograph. Keywords: Balinese traditional sacred architecture, serpent figure, symbol, chronograph
DIALEKTIKA ANTARA REALITAS DAN IDELITAS TEATER PAYUNG HITAM BANDUNG Kurnain -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1173.683 KB) | DOI: 10.33153/dewaruci.v6i1.877

Abstract

This Script is reflection of the trip of Payung Hitam Theater which are expressed in some manuscript, such as “ Menunggu Godot (1991), “Kaspar” (1994-2003), and “ Merah Bolong Putih Doblong Hitam” (1996-20080) constitute the result of stretching of Indonesia modern theater which develops from un-satisfaction feeling in viewing factual reality which exist in the society. Inheritance which develops on the Modern Theater according to Saini constitutes an effort to express collision or the conflict of values that is difficult to be separated from its artist. The script of dialectic between reality and ideality of the theater Payung Hitam basically starts from the change which is appeared by group through the show of “Kaspar”. “The function of drama manuscript is not dominant anymore. The stage of show doesn’t give exposition of story or describe characters of art figure fully and realistically. The Metaphoric happening and archaic emotion are mort showed trough body expressivity of the actor, while verbal language expression becomes more minimal. The expression of theater of this period can be seen as effort to refuse hegemony of verbal language, to refuse the linearity of the story, then to open the slices of the new discourse trough the appearance of boy artistic of the language and things personification”. The peak of rebellion which is done by the group of Payung Hitam Theater is laid on “Merah Bolong Putih Doblong Hitam”,that is not anymore using of main character manuscript as reference in working. Body and expression of the players then becomes language which substitutes text verbally. For stressing the happening change, in this term is chosen one of drama which is conventional, that is “Menunggu Godot”, as a measuring tool. Keywords: Dialectic, Realistic, and Idealistic.
PERUBAHAN MUSIK TRADISI GORONTALO: GAMBUS DAN POLOPALO MENJADI TIPOTUMBA Mimy Astuty Pulukadang
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1272.835 KB) | DOI: 10.33153/dewaruci.v6i1.855

Abstract

Tradition art as medium to get society’s expression had experienced a lot of change according to support the creativity of society. Based on creativity on tradition art force this has humanitarianism point in supporting society’s life. It supported tradition form medley. Tradition music usually was engaged region, society appetite, trust, tradition and style. Archipelago music history notes to mark sense changing appetite and because of function politics social change. Changing it most verily constitute influence of artistry the world and education knowledge. Its attending is that phenomena, bearing idea Gorontalo’s artist to give aesthetic touch to its tradition music because archipelago music diversity can’t divorce from artists creative job it. Gorontalo’s artist tries to poor idea to merge music Gambus is traditional and Polopalo as Tipotumba without leave traditional methods. Changed process that covers to form, function, and music meaning Tipotumba looked on can represent kawula’s distortion young of extern culture that progressively on familiar term with their life. This research utilize fenomenologi’s approaching because is seen according to study object, concerning with happening phenomenon on Gorontalo’s society. Downloading to look for a variety source which is lionized deep observational covers studi is library, observation, and interview.Music Tipotumba be not simply realization of creativity one eye but as an estetik’s opus artists that region music Gorontalo cans also be Gorontalo’s society icon at winks national and also international.Keywords: changing, Gambus and Polopalo, Tipotumba

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