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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
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Search results for , issue "Vol 6, No 2 (2010)" : 8 Documents clear
ORNAMEN MASJID MANTINGAN JEPARA JAWA TENGAH Agus Setiawan
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1414.063 KB) | DOI: 10.33153/dewaruci.v6i2.921

Abstract

The research focuses on a study of how the ornaments on the Mantingan Mosque came to exist, what is the characteristic Islamic of the ornaments on the Mantingan Mosque, why the ornaments presents Hindu, Chinese, and local genius elements, and what is the symbolic meaning of the ornamental motifs it. The aim of the research was to discover and explain the existence of the ornaments, the facts behind the characteristic Islamic, why the ornaments presents Hindu, Chinese, and local genius elements, and the symbolic meaning of the ornamental motifs. The method used for the study was a qualitative research method. The location of the research was the site of the mosque and grave of Pangeran Hadiri and Ratu Kalinyamat in the village of Mantingan in Jepara. The data was collected through observation, interviews, a bibliographical study, and from documents and archives. The data was analysed using an interaction and interpretation analysis which was structured to cover a historical study, Islamic forms, symbolic meanings, and a conclusion. The results of the research showed that the existence of the ornaments are originated as decorations and teachings related to the figure of Pangeran Hadiri, Ratu Kalinyamat, and Sungging Badarduwung. The role of these three figures influenced the combination of artistic styles found in the ornaments of the Mantingan Mosque, namely Hindu, Chinese, and Islamic influences, together with the influence of a local genius. The characteristic Islamic of the ornaments developed through a process of acculturation in which art and cultural forms from outside were combined with art with an Islamic nuance. The symbolic meaning of the ornamental motifs on the Mantingan Mosque is the connection between the microcosm and macrocosm, depicted through motifs of plants, animals, imaginary creatures, interwoven patterns, buildings, and other inanimate objects.Keywords: ornaments, Mantingan Mosque, the symbolic meaning
PERAN STRATEGIS TELEVISI KOMUNITAS DALAM PEMBERDAYAAN MASYARAKAT Hartanto -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1288.915 KB) | DOI: 10.33153/dewaruci.v6i2.943

Abstract

“Grabag TV, one of the few active community television stations in Indonesia. Grabag TV was founded in 2005 by Hartanto, a lecturer from the Jakarta Institute of the Arts and native of Grabag. At the time, Grabag residents could only receive the commercial television channel RCTI, relayed from Jakarta by antenna because of the village’s mountainous surroundings. Grabag TV has a small studio, provided basic equipment, and organised training sessions on script-writing, filming and editing. Using the existing antenna, villagers began broadcasting programs written and produced by their fellow citizens. Grabag TV, has two-hour broadcasts every Monday, Wednesday and Friday afternoon. Any villager with an idea for a program or a general interest in broadcasting is welcome to make a contribution. Farmers and traders go on air to talk about their professional problems, plans and strategies. Programs have featured students from primary and secondary schools discussing the positive and negative effects of television on education, part of Grabag TV’s efforts to raise the media literacy of Grabag’s citizens. The art and culture programs often contain popular Javanese dance and music performances. Grabag TV also organised live coverage of elections for the village head, thus providing a new mechanism for monitoring local political processes”. Keywords: television, community, media literacy.
EKSISTENSI KRITIK TEATER DI MEDIA CETAK: SEBUAH TINJAUAN KRITIS Nur Sahid
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (869.875 KB) | DOI: 10.33153/dewaruci.v6i2.925

Abstract

This research aim to as follows: a) wish to know the writing format criticize theatre in mass media print; b) wish to know the elementary difference among or between criticism masterpiece writed by critic of have background to of actor of theatre with have background to of have background to of journalist. The result of research got by some conclusion of following. Writer of critic of theatre from journalist more emphasizing of aspect of event of show of theatre fulfilling journalistic standard which concept 5W+1H (what, where, when, who, why and how). Nuance differ very felt at critics of theatre of masterpiece of all observer of theatre which is non journalist of like Putu Wijaya, Afrizal Malna and Syu’ bah Asa. In their analisys theatre staging can lay open most of all theatre aspect. Every aspect laid open by detail.Keywords: theatre of criticism, theatre, journalist, artistic, art
NYI BEI MARDUSARI DALAM LANGENDRIYAN MANGKUNEGARAN: SEBUAH TINJAUAN MENGENAI KUALITAS KEPENARIAN SILANG KARAKTER Darmasti -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1817.475 KB) | DOI: 10.33153/dewaruci.v6i2.945

Abstract

This biography of Nyi Tumenggung Mardusari aims to discover her role as an all round artist within the environment of the Mangkunegaran. It is important to do so as her works and ability as an artist have made her a role model for subsequent generations. Her life spanned numerous events and a variety of situations of the era. A multidimensional approach was used, with concepts borrowed from the social sciences, beginning with Mardusari’s background from childhood until she entered the Mangkunegaran, covering her various cultural influences from the palace, methods of study, work experience, creative experience, and the award she received. Her success as an artist was closely connected with her hard work in developing her talent, and the encouragement and opportunities given to her by Mangkunegara VII, who gave her guidance. Other direction was provided by her art teacher, who helped mould her into a revered artist. Nyi Tumenggung Mardusari’s presence as an artist showed her artistic ability in numerous fields, in each of which she excelled: as a dancer, a pesindhen, a batik worker, and a makeup specialist for Surakarta style wedding. Her ability was recognized by many people, both inside and outside the palace and even abroad. As we know, langendriyan have become a very famous show in Mangkunegaran palace. Mardusari’s dance role as Menak Jingga become an example of a crossed gender phenomenon on dance tradition. Its role have comprehended conditions which must be done by and to be a good dancer.Keywords: biography, langendriyan, crossed-gender role
SIMBOLISME ORNAMEN KUMUDAWATI PADA SINGUP PENDHAPA AGENG MANGKUNEGARAN KARYA MANGKUNEGARA VII Wisnu Adisukma
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1735.86 KB) | DOI: 10.33153/dewaruci.v6i2.929

Abstract

The contents of this thesis concern the existence of ornament Kumudawati at singup Pendhapa Ageng Mangkunegaran, Surakarta. This thesis attempts to identify, comprehend, and explain: Firtsly, life influence of Mangkunegaran palace before all to concepts think Mangkunegara VII; second, about concepts think Mangkunegara VII in initiative making of ornament kumudawati at singup Pendhapa Ageng Mangkungaran; and third about symbolic meaning consisting barbed in ornament kumudawati with Java culture order. Bearing in mind that culture is an element which influences the existence of ornament kumudawati, an overall understanding of the form, role, and meaning of ornament kumudawati is based on a cultural approach, that is a way of looking at culture as a system. Within this framework, culture is construed as aconcept which is used for analysis and at the same time as a model for study. The problems posed in the research for this thesis placed more emphasis on discovering the process and meaning, and for this reason, the paradigm of approach and strategy of reseach used was qualitative descriptive research. A phenomenological perspective with ethnographical dimensions was used. As such, this research is of an emic nature, as it is based on a means of emphatic understanding or verstehen within the framework of indigenous knowledge which is expressed in the from of “thick description”.Keywords: simbolism, ornament kumudawati, Mangkunegaran
AKTUALISASI IDENTITAS KAUM WARIA DALAM PERTUNJUKAN LUDRUK Agus Sukamto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1388.661 KB) | DOI: 10.33153/dewaruci.v6i2.947

Abstract

The object of this research is identity actualization of intersex in Ludruk Irama Budaya Surabaya show. Ludruk is one of art traditional show in east java. Ludruk and the life of all the members is a phenomenon for Surabayanese people One of the members is intersex. They are considered to be able to give any entertainment on the stage in ludruk show. Their ability to create any dancing movement and make any improvisation on the stage shows that they have their own way to actualize their identity. The strategy is done by showing the beauty in their bodies. Any ways like showing up their big breasts, wearing wigs,showing up their erotic body movements, and any accessories. For the intersex members, all of those things are the way for them to find satisfaction because the life outside the ludruk show is just as their side life. In the ludruk esthetic shows, the intersex members in any ways want to be claimed as beautiful women. It means that intersex people use ludruk shows as one of the ways to show their real identity to audience. Identity perspective through its approach will deal with all process of intersex people to get their self identity on the stage but also in social life. The life of intersex on the stage is considered to be important because for them on the stage they can show their femininity. Having tender movement does not mean to imitate any movement of dances in Javanese palaces, attitude and behaviour. It’s about how they reflect women’s attitude and behaviourand imagine to be themselves. The identity actualization of intersex will not happen without response and reaction from audience. For audience, the intersex activities on the stage is an entertainment. Audience will give any comments at the time the intersex people do any funny activities that can cause them laugh and arise their passion. The intersex movements will be considered as better movements compared with any real womwn’s movement. The intersex are still considered to be an entertaining show, not as people with admited existence. Therefore, in estetic world the intersex fight for their rights as human beings.Keywords: identity,esthetic, actualization
REPRESENTASI IDIOM BUDAYA LOKAL DALAM IKLAN ROKOK DI TELEVISI Yayan Suherlan
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1478.601 KB) | DOI: 10.33153/dewaruci.v6i2.933

Abstract

Local culture, as the cultural heritage of a nation, was originally adhered to and believed to be a set of rules and norms to be upheld in traditional community life. In a traditional community, individuals tend not to have many choices through which they can formulate their identity, and are inclined to experience difficulty in breaking free from the shackle of normative values which exist in their socio-cultural and socio-religious environment and are adhered to like a doctrine. With the onset of modernity and globalization, the values which were formally a point of reference in a traditional community become worn away until old symbols gradually become weakened and eventually replaced by new symbols provided by the global cultural market. Today, local culture is nothing more than a series of symbols which are packaged as a commodity and have a high market value. Commercial advertisements appear using local cultural idioms as a strategy for their communication. Local culture is presented through verbal and visual language with the aim of creating a positive image of the product on offer. This huge problem is the basic idea of this research. Through a case study approach, the research aims to uncover various aspects which go into the making of an advertisement, or in other words, why is an advertisement created in such an attractive way? Why is the image of an advertisement so important in building the strength of a brand name? The advertisement used as the case study for this research is a cigarette advertisement which can be seen on Indonesian television stations. The main focus of this thesis is visual communication strategy through local cultural representation. This will then show the relationship between culture, image, and the mass media as the agent which conveys the message. The research uses an interpretative method of analysis as a tool for viewing the depth of meaning of the advertisement. Keywords: local culture, advertisement, representation, television
RAJA, KARAWITAN, DAN UPACARA TRADISI KERATON SURAKARTA Joko Daryanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1217.388 KB) | DOI: 10.33153/dewaruci.v6i2.937

Abstract

Karawitan (gamelan music and singing accompanied by a gamelan) is an integral part of court activities. The very large role of karawitan makes the court karawitan an integral part of court traditional life. The large role of court karawitan is closely related to the traditional ceremonies. The importance of karawitan in the court traditional life finally makes the karawitan one of power legitimacy tools to confirm the king’s power and authority. Thus, there is a unity between the court tradition and karawitan, in other words, karawitan cannot be apart from the court tradition. In other words there is reciprocal and mutual relation between the king, karawitan and court tradition. Such relationship between king, karawitan and court tradition is called system. It is named system because there is a strong reciprocal relationship and the loss of one such element will harm the court traditional life survival.Keywords : king, karawitan, court tradition, system

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