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INDONESIA
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
 1 
Search results for , issue "Vol 8, No 1 (2012)" : 9 Documents clear
“TANGLED IN MUSICAL MANGROVES” Kadek Indra Wijaya
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1911.253 KB) | DOI: 10.33153/dewaruci.v8i1.1095

Abstract

The realization of awork of artmust go through a process, namely thework of art. Processes in question are the stages of thework done since getting the idea to claimthat happen. In order for this processwentwell, it needs sincerity andmaturity of theconcept. The concept ofmusical Tangled inMangroves is howmusic can be presentedwhen themangroves began to tanglewith an array of abrasion is performed by humans.With the perspective of building the complex,which is processed into themangroves, then the author has a sense of hope that nature will stay in touch. Always accompany themusic flowing greenleaves and strong roots ofmangrove trees that gave birth to human social relationswith the natural harmony among fellowwill stay in touch.Keywords: concepts, processes,mangroves,music
HARMONI VOKAL ALAMI DALAM PADUAN SUARA MUSIK GEREJA DI GPIB JEMAAT PENABUR SURAKARTA Agus Budi Handoko
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1187.626 KB) | DOI: 10.33153/dewaruci.v8i1.1087

Abstract

This article is the result analyze of research the potency of chorusmembers inmaking a natural vocal harmony at Church,which is a harmony that is not emerging or came fromthe concept of harmonic theory ofwesternartmusic. The authormakesseveral questions in the problemstatements related to: (1) Skill development of producing natural vocal harmony. (2) Theresult of natural vocal harmony. (3) The use of thatmusical potency in their life. This research uses qualitative approach.Concepts that are used in the data collections are: phenomenological, ethnographic and concept harmony ofmusic.Results ofthe research are: (1) Potency development of producing natural vocal harmonywhich are triggered by two things, namely:background of Church and background of their culture. (2) Form of natural harmony is generally almost similar to theconventional harmony, but if they are examined carefully, then there are differences between them, namely: the process,characters’ arrangement for each kind of voice, and howthey present it. (3) Their potency could be used to as an effective toolfor praising the Lord, supporting the religious service, and get themcloser toGod.Keywords:Harmony,Choir, ChurchMusic
SEKALA NISKALA: Realitas Kehidupan Dalam Dimensi Rwa Bhineda I Ketut Ardana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (896.674 KB) | DOI: 10.33153/dewaruci.v8i1.1097

Abstract

 The SekalaNiskalamusicwas inspired by the society social conflicts. It used cross culture concept asmusic applications thatcollaborate between the kwartets and gamelan luwang. It consists of three compositions are: Sekala,Niskala, and Ananda.Purpose of thismusic are: 1) gift knowledge to society obout the sekala niskala concept; 2) interpretations sekala niskalaworldin symbols, such as: tones andmelodys; 3) doing develop to traditionalmusicwith “nowdays creativity”; 4) result the newmusic. SekalaNiskalamusic can be useful for society as reflection the sekala niskala concept phenomenon in the publics live.SekalaNiskalamusic is considered newmusic that usingmusic character and semiotics approach.Keywords:music, rwa bhineda, sekala, niskala, ananda.
PERAN KOREOGRAFER PEREMPUAN DALAM PERKEMBANGAN TARI Sri Rochana Widyastutieningrum
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1077.478 KB) | DOI: 10.33153/dewaruci.v8i1.1089

Abstract

This article is the result of anobservation of the role of female chorographers in the development of dance inIndonesia. The roleof female choreographers in the development of dance can be divided into four aspects, namely choreographers as creators ofdance, choreographers as dancers, choreographers as preservers of traditional dance, and choreographers as supporters of thedevelopment of dance. In carrying out the role of a choreographer as a creator of dance, a high level of creativity is required, andthis is influenced by the choreographer’s cultural background, environment, talent, education, and love of dance. The role offemale choreographers in creating dance is evident in the fact that they have created various newforms of dance, in terms oftheir numerous ideas, forms, types, and styles, so that dance performances have becomemore attractive andmore animated.Thepresence of these newdances has also enhanced the aesthetical values of existing dances, enriched the spiritual experience ofthe dancers and the audience, and added to thewealth of variety in theworld of dance. Female choreographers have the scopeand freedomto express real-lifewomen’s issues related to the complex problems of life, based on awoman’s point of view. Incarrying out this role, a choreographer also functions as a dancer, a preserver of traditional dance, and a supporter of thedevelopment of dance.Keywords: role, female choreographer, dance creation, tradition.
PERKEMBANGAN BENTUK DAN FUNGSI PATUNG LORO BLONYO DALAM MASYARAKAT DI SURAKARTA Ersnathan Budi Prasetyo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (705.66 KB) | DOI: 10.33153/dewaruci.v8i1.1081

Abstract

This article is the result of a study of the development of the formand function of the statue of loro blonyo in the Surakartacommunity. Themethod used for collecting data for the research included direct observation, a bibliographical study, and indepthinterviewswith cultural experts, academics, and the community using the loro blonyo statue. Fromthe results of theresearch it can be concluded that the loro blonyo statue is the symbol of a couple (aman and awoman), themanifestationof an imperceptible form, representing Dewi Sri and Sadana. In Javanese mysticism, this sacred statue is believed tosymbolize the embryo of the figure of a Javanese couple. The statue of loro blonyo is the product or result of the culture ofthe nobility, and as such, the rural Javanese community,who cannot afford to own such a statue, have transformed the loroblonyo statue into the formof amanten pari (rice wedding), alu lumpang (mortar and pestle), and ani-ani arit (knife forharvesting the rice). The statue of loro blonyo has undergone a change in form and function from a sacred to a profanesymbol.Keywords: loro blonyo,myth, sacred, profane.
REKONSTRUKSI TARI BEDHAYA DIRADA META DI MANGKUNEGARAN Nur Rokhim
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (530.884 KB) | DOI: 10.33153/dewaruci.v8i1.1091

Abstract

This article is the result of a study into the reconstruction of the BedhayaDiradaMeta dance in theMangkunegaran.This dance is interesting in that it uses the name Bedhaya and is performed by seven male dancers. The battle whichMangkunegara I experienced in the forest of Sitakepyak on the day of Monday Pahing 17 Sura in the year Wawu1681J/1756 AD was the event which inspired the creation of Bedhaya Dirada Meta. The meaning of the BedhayaDiradaMeta dance is closely related to the philosophy ofMangkunegara I’s struggle, promoting the concept of Islamicteachings (Sufism). In addition to this concept, the use of seven dancers is related to the events experienced byMangkunegaraI when he was fighting against theDutch. A socio-cultural approach was used, taken fromthe field of social and politicalsciences. In order to discover the history ofMangkunegara I’s struggle, in relation to existing texts ormanuscripts, a literary(hermeneutic) framework was used, with a historical method, in order to obtain reliable data. The reconstruction of theBedhayaDiradaMeta dance by Daryono, Hartanto, andWahyu Santoso Prabawa, was founded on the problem ofcreativity in the field of dance.Keywords: Reconstruction, BedhayaDiradaMeta dance.
DIYAT SARIREDJO: PANDANGAN DAN KONSEP PEMIKIRANNYA Aris Setiawan
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (509.382 KB) | DOI: 10.33153/dewaruci.v8i1.1083

Abstract

Diyat Sariredjo is a highly skilled maestro of East Javanese karawitan. His name is often mentioned in relation to thedevelopment of karawitan in East Java at the time when he was a composer, arranger, and head of the karawitan group atRadio Republik Indonesia in Surabaya. Because of the regulation for a routine broadcast of East Javanese karawitan,Diyat’smusical patterns on the kendang and rebabwere usedwidely as a reference by karawitan artists throughout EastJava and in particular in Surabaya.Diyat not only performed East Javanese style gending but also initiated a number ofmonumentalworks of karawitan.Dayat Sariredjomay be said to be the onlymaestro ofEast Javanese karawitanwho is notonly a highly skilled performer but also has the ability to formulate concepts and theories of East Javanese style karawitan.This was supported further by his position as a teacher at Sekolah Menengah Karawitan Indonesia and SekolahTinggiKesenianWilwatikta Surabaya during the 1980s.He transmittedmany thoughts and ideas both to his studentsand colleagues. One of the concepts that Diyat Sariredjomanaged to develop was an analysis of pathet and the sirikantones in compositions of East Javanese karawitan.Diyat’s version of pathet is unique since it is basedmore on the strongseleh of themainmelody (balungan) in a gending (referred to as the tonic). In addition, in order to reinforce the sense ofpathet, every gending has certain “prohibited” noteswhich should be avoided (sirikan). ToDiyat, these notes should beavoided in order that the colour of a particular pathetmay emergemore strongly.On the contrary, if a gending contains toomany of these prohibited notes, the colour or sense of the pathet in a gendingmay become obscure or biased.Keywords:Maestro, concept of thoughts, pathet, prohibited notes.
RUPA DAN MAKNA SIMBOLIS BATIK MOTIF MODANG, CEMUKIRAN Aan Sudarwanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1511.342 KB) | DOI: 10.33153/dewaruci.v8i1.1093

Abstract

This article presents and identifies the formand symbolicmeaning of the batikmotif known asmodang, cemukiran. Thepresentation beginswith an explanation of the formof the batikmotifmodang, cemukiran, followed by an interpretationof the symbols surrounding it. The symbols are interesting in that a single symbol can explain a dual function, namely atranscendent-vertical function (related to reference, size, and the behavioural patterns of the community) and an immanenthorizontalfunction (as a means of communication based on its context and close connection with the solidarity of thesupporting community). In order to discovermore about the symbols surrounding the batikmotifmodang, cemukiran, itis first necessary to learn about the background of the personwho designed thismotif. Based on the nature of thought of theJavanese with regard to sacred symbols,which are constantly used as guidelines in every aspect of their lives, themodangand cemukiranmotif can be understood to be a symbol of flames.Modang and cemukiran aremotifswhich have certainsimilarities from the point of view of their visual form. The modang motif can be said to be a form of stylization of thearrangement or organization of the shape of firewhich has a flexible nature. Based on this analysis, the shape of the fire canbe said to be closer to its real form, whereas the shape of the cemukiranmotif ismore of a deformation of shape; that is, anornamentation created by breaking down and then rearranging the shape to achieve the desired form. In itsmanifestation, fireis elaborated in the formofmodang and cemukiranmotifs,whose application appears on batik cloth, the decorative plating onthe sheath of a traditional dagger or keris, and a number of ornaments on the interior of the palace or keraton.Keywords: Symbol,Modang,Cemukiran, Flames 
PERILAKU RITUAL MITIS ABDI DALEM KERATON KASUNANAN SURAKARTA (Sebuah Dialektika Sosiologi Budaya) R. Adi Prabowo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (518.352 KB) | DOI: 10.33153/dewaruci.v8i1.1085

Abstract

The palace, or keraton, which is recognized as a Javanese cultural centre, requires rituals in order to increase itsspiritual power and also to be used as ameans of preserving the Javanese culture. The courtiers in the keraton, whoare a subservient social group (acting as servants), have a greater portion in the spiritual actions that take place insidethe keraton environment. They are the true executors of this culture since in carrying out their duties, they have nodesire formaterial reward; they wish only for blessings fromGod – their source of power and strength. These acts ofdedication and surrender provide a large contributionto the keraton, and are not only a vehicle for cultural legitimacybut also contain noble and honourable teachings for the benefit of society. This cultural phenomenon was chosen asthe topic to be analyzed froma sociological and cultural approach, with the aimof gaining an understanding of thestructure andway of thought of the executors of this culture. It is hoped that this paperwill provide knowledge andinformation about an original Javanese cultural practicewhich continues to exist and develop to this day, and is stillrelevant to be implemented as a ritual cultural teaching.Keywords: Courtiers, keraton, ritual.

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