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Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni

dewaruci
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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

Search results for , issue "Vol 7, No 1 (2011)" : 9 Documents clear

PUPUH KEKENDANGAN SEBAGAI IDENTITAS SEMAR PAGULINGAN SAIH LIMA PELIATAN I Gde Made Indra Sadguna
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Semar Pagulingan Saih Lima (SPSL) is one kind of Balinese gamelan ensamble that still exist until now. In the village of Peliatan, there are three SPSL ensembles owned by Banjar Teges Kanginan, Tirta Sari group, and by individual. The SPSL repertoires in Peliatan were taught by three well-known artists such as I Nyoman Lotring, I Made Lebah, and I Made Gerindem. The gamelan SPSL in Peliatan is well-known because of internal and external factors. The internal factors are the gamelan itself, the tuning system, musical techniques, the members musical ability, and the music repertoars. The external factor is caused by the strong and wide networking in the local, national, and international areas. From this research, there are 11 kinds of pupuh kekendangan and seven angsels that are found. The 11 kinds of pupuh kekendangan are: pupuh kendang wangsit, kekilitan, sesimbaran, Asta Windu, ecet-ecetan, ngunda, ngelog, gemulung, ngetog malpal, dan pupuh kekendangan pekaad. Meanwhile the seven angsels which are found are: angsel genep, angsel numpuk, angsel penyalit, angsel ngantet, angsel ngetog, angsel narik, dan angsel kado. The pupuh kekendangan and angsels are used within the petegak and dance of the SPSL repertoires and becomes an important factor as the idenity within the SPSL in Peliatan. Â Keywords: Semar Pagulingan Saih Lima, style, pupuh kekendangan, angselÂ

SIMBOL DAN PEMAKNAAN GERGA PADA RUMAH ADAT BATAK KARO DI SUMATRA UTARA Fuad Erdansyah
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

This research belongs to a field study, taken place in villages Lingga and Dokan Regency Karo. Generally, this research reveals the traditional values based on social-cultural background of Karo people, while particularly it reveals the meaning of ornament style in Batak Karo custom house called gerga. For that reason, the objectives of research are: (1) to describe the belief and kinship sistem underlying the gerga establishment in Karo custom house; (2) to describe the architectural components in Karo custom house consisting of: kitchen or floor crossbar, room, wall, facade, and roof platform; and (3) to reveal the symbolic meaning in gerga (ornament style). In order to achieve those objectives, the research method or procedure is required to determine the data source, both from the informant and custom house artifact completed with its style ornament. Techniques of collecting data used were from library study, observation, interview and documentation. The data was then analyzed based on the qualitative method using analytical interpretation with semiotic approach and batak karo rakut sitelu. Furthermore, the result of research shows that: (1) the belief and kinship sistem underlies the conception in establishing custom house and gerga; (2) the presence of custom house is the symbol of Karo peopleâ€™s cosmology, as well as the birth place of kinship system called rakut sitelu; and (3) the symbolic meaning of gerga has denotative and connotative meaning orientation based on its pattern and motive containing the message both as the adoration and as the tenet for batak Karo people. From the result of research, it can be concluded that gerga contains the meaning relevant to the original belief influenceas well as indicates the megalithic culture development containing religious (sacred) values, norms or customs or tenets(semi-sacred) as well as containing aesthetical and ornamental (profane) values. However, Karo custom house has lost its sacred religious values because it starts to be abandoned by its people, and its existence is just as the past monument, while the gerga motive that was sacred and semi-sacred previously becomes now profane. This research is expected to enrich the cultural information and actualization through the messages obtained from symbol and sign system.Keywords: Gerga, symbol, sitelu rakut and custom house.

PROSES KREATIF A.T. MAHMUD DALAM PENCIPTAAN LAGU ANAK-ANAK Karsono -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Proses kreatif merupakan salah satu aspek penting dari kreativitas. Oleh karena itu, untuk melihat kreativitas seseorang maka perlu melihat juga proses kreatifnya. Pentingnya proses kreatif untuk diamati, karena dari proses inilah muncul karya-karya baru dengan segala permasalahan penciptaannya. Sejalan dengan pandangan tersebut, untuk melihat kreativitas A.T. Mahmud, maka penting juga untuk melihat proses kreatif terkait bagaimana lagu-lagu anak-anak tersebut diciptakan. Kajian terhadap proses kreatif A.T. Mahmud ini menggunakan kerangka teoritik Wallas mengenai proses kreatif, dan dipadukan dengan pemikiran Anna Craft mengenai lingkaran proses kreatif. Hasil kajian menunjukkan bahwa proses kreatif A.T. Mahmud dalam menciptakan lagu anak-anak adalah proses yang melewati beberapa tahapan. Tahapantahapan tersebut yaitu tahap persiapan mencipta, tahap mengendapkan ide, tahap menyusun materi karya lagu, dan tahap menilai karya lagu. Dalam proses kreatifnya, A.T. Mahmud selalu menyusun lagu anak-anak dengan ide yang bersumber dari kenangan masa kecilnya, dan pengamatan terhadap perilaku serta kehidupan anak-anak. Artinya, proses kreatif mencipta lagu anak-anak yang dilakukan A.T. Mahmud dapat dilihat sebagai penciptaan karya yang berbasis pada riset.Kata kunci: proses kreatif, penciptaan, lagu anak-anak.

STATUS DAN IDENTITAS SOSIAL SAUDAGAR BATIK LAWEYAN DALAM INTERIOR DALEM INDIS DI AWAL ABAD KE-20 Dhian Lestari Hastuti
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

The article is the research result dealing with the bearing process and interior visual structure of internal house (dalem) in the house of the Laweyan Batik merchant in Surakarta-Central Java at the early of 20th century. In this time, the interior of internal house (dalem) for Laweyan society is a status symbol and social identity because they are part of the marginal society in social life. The success in managing the business of printing batik does not move up their social class from lowerclass to upper class (priyayi). Their profession as seller places them in lower-class (kawula). The internal house (dalem) context as part of heritage building in order to get social status and identity is toughened by historical and cultural approaches. Those approaches able to explain how the cultural system forms a social system, then, it actualizes in the form of culture: artefact of internal house (dalem) in the house of batikâ€™s merchant. The conclusion of the research is the Laweyan Batik merchants have experienced metamorphosis from the lawe market society into an exclusive Batik Village. The sharing system of social class which has done by Dutch government, empire, or urban development based on the ethnicity has a role in parallelizing the Laweyan Batik merchant with priyayi belonging to upper class. The merchants place the internal house (dalem) as sacred area as the form of their fighting in creating the self identity. The transformation is influenced by a blueprint measurement which refers to loji building design. The sacredness of the area is kept even though it is without mancapat pattern. The function displacement happens because of need adjustment of places of the merchants. The interior design of internal house (dalem) supported by symbolism in Javanese culture and modern Europe style, Art Nouveau, and Art Deco is as the form of acculturation of visual design giving solution in shaping the social identity of the merchants. Keywords: Internal house, marginal, identity, merchants of batik Laweyan-Surakarta

HUBUNGAN INTERTEKS LAKON BANJARAN KUNTHI KARYA PURBO ASMORO DENGAN SUMBER CERITA WAYANG Sugeng Nugroho; Timbul Haryono; R.M. Soedarsono -; Soetarno -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

This paper aims to discover the intertextual relationship between the story Banjaran Kunthi and other basic stories which already existed beforehand, and also with a number of classical shadow puppet (wayang purwa) story sources, based on an intertextual theory in a literary study. The results of the research show that banjaran is a form of wayang story which tells about the life of a particular character in a single performance. The ideas, events, characterization, and composition of scenes which make up a banjaran story are the result of a transformation of a series of particular wayang stories, either directly or through a basic story which already existed beforehand. To a certain extent, the scenes in a banjaran story show no coherence with a number of the basic stories which are adopted and the various episodes contained in the series of wayang stories.Keywords: Banjaran Kunthi, story, intertextual relationship.

SEMIOTIKA FILM LASKAR PELANGI Dwi Haryanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Â This article is results of research about of the text of film Laskar Pelangi by Riri Riza. â€œ Issues of concern to this research are: (1) how the shape of the film Laskar Pelangi; (2) how the flow of dramatic film Laskar Pelangi; (3) How does the meaning of the messages contained in the film Laskar Pelangi by Riri Rieza? The purpose of this study is to describe the shape and dramatic plot and interpret the messages contained in the film Laskar Pelangi. Concrete steps to address the problem of research is to describe the shape, dramatic plot and analyze the message conveyed by the scenes at the Rainbow Warriors. In the revealed message conveyed in a movie, it takes an appropriate research methodology to reveal the meaning of the visible and hidden meanings behind the symbols that exist in the film. So the researchers used a qualitative research methodology is interpretive and semiotic approach. This study uses Roland Barthesâ€™s semiotic approach by approaching with five code of the object under study in this movie. Five of them code hermenuitik code, code proaretik, cultural code, code semik and symbolic codes. Semiotic approach is not only researching on the marker and the marker, but also the relationships that bind them as a whole. The results of this study include: movie Laskar Pelangi formed by the elements of narrative and cinematic elements, dramatic plot consisted movie opening phase, middle and closing stages. Film Laskar Pelangi through scenes-scenes convey the message content includes moral messages, the message of leadership, religious messages and social messages. The series of events in a story the film is just a stimulant, it is more important is the messages contained useful to guide the human form of mind and good manners, so that it becomes an adult human being the noble and virtuous character.Keywords: movie Laskar Pelangi, text analysis, the message of education

PERKEMBANGAN ETIKET BATIK DI KAUMAN SURAKARTA TAHUN 1950-1970 Hermansyah Muttaqin
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Research based on "The Dynamic of Etiket Batik in Kauman Surakarta During 1950â€“1970" is done to answer a problem that based to three main questions; the reason of appearance of batik etiket in Kauman Surakarta, and how the dynamic of etiket batik is created by batik industrialist in Kauman Surakarta during 1950-1970. The aim of this research is to trace they appearance the use of batik etiket in Kauman Surakarta and the existence up the 1970's, to know the variety of etiket batik dynamic made by batik industrialist in Kauman Surakarta during 1950-1970. The appear of using batik etiket started from the appear of batik industry in Kauman Surakarta. The increase of kain batik tulis needed cause the wife of abdi dalem pamethakan in Kauman doing the double jobs as creater and batik tulis trader, that start the batik industrialist in Kauman. The chance from batik home industry to industry happen when the batik cap technology appear. In the marketing of batik cap-capan use etiket as trade mark identity. The dynamic of batik etiket in Kauman can be followed from the phonetic of the etiket, so can be classified in to two periods etiket made.Keywords: Dynamic, label, Kauman Surakarta

OPTIMALISASI PARIWISATA KAWASAN SUKUH DAN CETO KABUPATEN KARANGANYAR DENGAN MENGGALI POTENSI SENI TRADISI Santosa -; Muh. Arif Jati Purnomo; Joko Budiwiyanto; Sriharta -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

The article is the result of the research entitled â€œThe optimalization of tourism in Sukuh and Ceto areas, Kabupaten Karanganyar by increasing the potency of traditional art as a means of creative economic developmentâ€. The research aimed at making a model for developing an integrated tourism in Sukuh and Ceto areas which could be empowered as a an effort at increasing public economy and at strengthening local culture. A two-year research was carried out to attain the goal. The results of the first stage research are as follows: many kinds of art have been identified completely and comprehensively; a plan of developing art for tourism which can have an effect on economic development of the local society has been known; the model of art created is based on the approach of art for tourism with the following characteristics: an imitation of the original, compressedor short, the primary values are put aside, full of variation, attractive, and low in price. The conception of art for tourism is developed in accordance with the condition of the local society, culture, and the environment in order to create a specific art for tourism.Â The conception of art for tourism has the following characteristics. First, the art for tourism has a specific characteristic. Second, the art is specially designed considering the character of the area. Third, the art should have a contextual feature, meaning it is created by considering the natural elements, belief, customs, and local wisdom and it should not destroy the nature. Fourth, the art should pay attention to visual elements. Key words: traditional art, creative economy, art for tourism, model formulation.

GAJAH DALAM TERAKOTA MAJAPAHIT Prima Yustana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Elephantâ€™s manifestation in the shape of Majapahitâ€™s terracotta more interesting with aesthetic approach. The artifact is an discovery of archeologistsâ€™ in Trowulan which is estimated as a city center of Majapahit Kingdom. Many manifestations of the elephant are interested to be observed. Many findings, so far, will be observed especially from art. To increase the accuracy in the analysis process, data searching is conducted to the relief on Hindu and Buddha temples, so, hopefully, it can be understood the background why the animal appears in the Indonesian art and, especially, why there is also the manifestation of the animal in the shape of terracotta in Trowulan. Elephant manifestation in terracotta is considered to have many functions and symbolical meanings in religion. Terracotta has been known as an ancient human creation. The using of terracotta in Indonesia achieved its triumph in the classic period which was 13â€“15 century A.D., along with the golden age of Majapahit Kingdom. The materials in the research use the basic of aesthetics and iconography sciences because the artifact has art shape structure related to beauty and aesthetics. To find out the functions and the meanings in the relation religious activities, the discussions are focused in terracotta artifact manifested in statue and other things so iconographic science very supports to find out what meaning exist in the elephant manifestation. Elephant, in its shape, is manifested realistic and deformatif. Both manifestations have the background of the belief from Trowulan society in Majapahit period, which had Hindu and Buddha in their religion. In the period, elephant was considered to have symbol of strength, virility and wisdom. Besides that, elephant was also the vehicle of God Indra, named Airavata. Elephant is also the symbol of Budhaâ€™s birth story (Jataka). Elephant was also considered as God, called Shri-gaja. The last, elephant was also considered as a symbol of social status and fertility because elephant was a kingâ€™s pet and was used for war,so only the rich persons were able to have the animal.Keywords: Elephant, Majapahitâ€™s terracotta, function and meaning.

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Home Page

OAI Link

Editorial Team

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Contact Name pramesti

Contact Email pramesti@isi-ska.ac.id

Phone +6281233916226

Journal Mail Official bambangsunarto@isi-ska.ac.id

Editorial Address Pascasarjana ISI Surakarta Jl. Ki Hadjar Dewantara 19 Surakarta 57126

Location Kota surakarta, Jawa tengah INDONESIA

Abstract

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Contact Name
pramesti

Contact Email
pramesti@isi-ska.ac.id

Phone
+6281233916226

Journal Mail Official
bambangsunarto@isi-ska.ac.id

Editorial Address
Pascasarjana ISI Surakarta Jl. Ki Hadjar Dewantara 19 Surakarta 57126

Location
Kota surakarta,

Jawa tengah

INDONESIA