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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
 1 
Search results for , issue "Vol 8, No 2 (2013)" : 9 Documents clear
WAYANG ORANG KALANGAN ELITE KUNTI NALIBROTO Dhita Anindya Widyarani
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (533.771 KB) | DOI: 10.33153/dewaruci.v8i2.1109

Abstract

The existence of Wayang Orang (a form of traditional Javanese stage show) in Jakarta is characterized by the involvementof the elite community who, as both performers and funders, make it possible for the art of Wayang Orang to continue to existand develop. The Kunti Nalibroto troupe, one of the elite Wayang Orang groups in Jakarta, was chosen as the object of thestudy, with the aim of discovering various facts related to the existence of Wayang Orang groups among the elite communityin Jakarta. The formulation of the problems addressed in this research is as follows: (1) Why do the elite choose the art ofWayang Orang as a way of self expression? (2) What is the concept of Wayang Orang among the elite community of KuntiNalibroto? (3) What is the potential of the elite Kunti Nalibroto Wayang Orang group? Within the conceptual framework,the concepts used are concepts of ‘role’, ‘status’, and ‘elite community’. The research uses an analytical descriptive methodwith a qualitative and phenomenological approach to outline the characteristics and facts about the Wayang Orang groupsamong elite community in Jakarta. The techniques used for collecting data included a bibliographical study, observation, andinterviews. From the results of the study, it can be concluded that: (1) The elite choose Wayang Orang as a means of selfexpression because they need an activity for relaxation in order to maintain a balanced life, and by practicing Wayang Orangthey are able to return to their traditional cultural roots and cultivate their spiritual, sensory, and physical needs; (2) TheKunti Nalibroto Wayang Orang group is a non-profit organization whose members all belong to the elite female community(socialites) and who aim to support the development of the traditional arts by holding regular Wayang Orang performances;(3) All the potential of this group is displayed to a maximum in Kunti Nalibroto’s performances, and in the future this grouphas the potential to continue to exist in the world of Wayang Orang and to make a contribution to the preservation anddevelopment of the art of Wayang Orang in Indonesia.Keywords: Wayang Orang, elite, Kunti Nalibroto.
KONTRIBUSI ORANG-ORANG TIONGHOA DI SURAKARTA DALAM KEBUDAYAAN JAWA 1895-1998 Rustopo Rustopo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2263.119 KB) | DOI: 10.33153/dewaruci.v8i2.1117

Abstract

Artikel ini merupakan kajian sejarah sosial-budaya, tentang orang-orang Tionghoa di Surakarta yang berperan penting dalam pengembangan kebudayaan Jawa dan sekaligus menjadi jawa. Aspek temporalnya dibatasi dari 1085 hingga 1998. Tahun 1985 menandai awal sebuah proses sejarah yang menempatkan orang Tionghoa sebagai pengembang kebudayaan Jawa yang kreatif.Sebaliknya tahun 1998 merupakan tragedi yang menempatkan orang-orang Tionghoa menjadi korbannya. Untuk mengkaji sejarah tentang orang-orang Tionghoa di Surakarta ini menerapkan pendekatan dan analisis historis. Teori psikologis perkembangan digunakan untuk memahami upaya-upaya mereka menjadi Jawa. untuk memahami interaksi sosial dan kultural orang-orang Tionghoa dan Jawa digunakan teori-teori antropologi budaya dan sosiologi pengetahuan. Proses sejarah sebagai realitas kultural dimulai dari Gam Kam dalam industri seni pertunjukan ini diikuti oleh pengusaha-pengusaha Tionghoa lainnya yang membawa wayang wong panggung mencapai puncak popularitasnya. Dalam bidang lainnya yang membawa wayang wong panggung ini diikuti oleh pengusaha-pengusaha Tionghoa lainnya yang membawa wayang wong panggung mencapai puncak popularitasnya. Dalam bidang lain muncul dua tokoh Tionghoa yang kontras; yang pertama Tjan Tjoe Siem, mewakili intelektual tinggi dan yang kedua Kho Djien Tiong, mewakili pemikir dan kreator ke;as rakyat (massa). Yang pertama diangkat sebagai guru besar dalam Bahasa dan Sastra Jawa, dan yang kedua diakui sebagai guru besar dalam dunia seni pertunjukan lawak.Terakhir adalah tokoh yang mewakili keunikan yang tidak ada duanya. Ia merupakan orang Tionghoa yang luluh dalam dunia kehidupan Jawa melalui seni pertunjukan, seni rupa, bahasa, arsitektur, kepurbakalaan, permuseuman, adat-istiadat dan upacara keraton. Ia adalah Go Tik Swan, yang derajat kejawaannyadianggap paling matang di antara orang-orang Tionghoa lainnya. Semua karya-karya mereka mewakili Jawa yang ‘baru’. Jawa ‘baru’ yang mereka hasilkan merupakan hibrida antara unsur-unsur kebudayaan keraton, rakyat, kota, desa, tradisional, modern. Dalam realitas kultural, Jawa ‘baru’ made by Chinese inibagaimanapun telah membuat Surakarta dan Jawa menjadi beradab. Sebaliknya dalam realitas sosial ‘Surakarta’ telah memperlakukan orang-orang Tionghoa secara biadab.Kata kunci: Seni, Kebudayaan, Surakarta, Jawa, Tionghoa
PEMENTASAN TEATER SEBAGAI SUATU SISTEM PENANDAAN Dede Pramayoza
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (320.546 KB) | DOI: 10.33153/dewaruci.v8i2.1105

Abstract

This article aims to outline the essence of theatre performance as a signalling system from the perspective of theatre semiotics.The scope of the discussion in this article covers: (1) the components of the signalling system in theatre; (2) the changing ofsigns from the story to the stage; (3) the units of signs contained in the story and in the performance; and (4) how all the signsare joined together in a single system. Using a bibliographical study, each of these topics will be addressed and answeredinductively. Subsequently, through a descriptive analysis, the article will show which signs are involved in the manifestationof the script for the performance. It is hoped that this article will be useful for understanding that the meanings of a theatreperformance are essentially determined by the correlation of various units of signs that are involved in the process of signallingin the performance.Keywords: Theatre, Semiotics, System, Signalling
PERJALANAN HIDUP DAN KREATIFITAS SANG PESINDHÈN Batari Ayu Saraswati
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (315.44 KB) | DOI: 10.33153/dewaruci.v8i2.1099

Abstract

The article entitled “The Life Journey and Creativity of the Pesindhèn” was in theory encouraged by a desire to understandaspects of the workmanship, the thoughts, and the success of Nyi Ngatirah who was moulded under the guidance anddirection of Ki Nartasabda. Nyi Ngatirah was chosen as the subject for the research because she was a skilled andsuccessful pesindhèn who created various innovations and made numerous developments and refinements to the céngkokused in sindhènan. In an endeavour to discover and study the workmanship of Nyi Ngatirah, the writer used akarawitanological approach which was integrated with a number of concepts from humanities and social disciplines in orderto complement and guide the analysis. In addition to studying her work, Nyi Ngatirah as a person was also studied. Theresults of the research showed that Nyi Ngatirah succeeded in making an important contribution for the development andcontinued existence of sindhènan in particular and karawitan in general. In addition, the research showed that thecéngkok used in sindhènan can always be developed in accordance with the ability of each performer and according to thecurrent day and age.Keywords: sindhenan, cengkok, and treatment.
GAMELAN POLENG “SINERGISITAS HARMONI WARNA” I Wayan Diana Putra
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (800.671 KB) | DOI: 10.33153/dewaruci.v8i2.1111

Abstract

This article is an analysis of the process of creating a new musical composition entitled Gamelan Poleng. This musicalcomposition was inspired by the observation of a visual structure, poleng (a checked pattern), which is well known on theIsland of Bali (and also in Central Java). This checked pattern, in sacred imagery, is an element that is inseparable from thehearts and minds of the Balinese people in particular. In addition to its sacred or auspicious meaning, poleng also has apsychological connection with values of togetherness in social activities within a community. It is this humanistic psychologicalmeaning of poleng that was used as the idea for creating a new composition of gamelan music. The idea of poleng inits psychological perspective was sublimated into the idea for the content and extra-musical treatment of a gamelan composition.This new conception of poleng in a psychological context was then developed through the medium of gamelan musicand it is hoped that the result will provide a reflection of the importance of values of uniformity and togetherness.Keywords: Poleng, Psychology, Gamelan Music Composition
ETNISITAS, KREATIFITAS, DAN IDENTITAS DALAM WACANA SENI BUDAYA BANGSA Suherni -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (375.443 KB) | DOI: 10.33153/dewaruci.v8i2.1101

Abstract

Identity is a political tool that is used to develop pride and love of one’s own culture, and it requires creativity in the treatmentof the ethnicity of our own art and culture. Local governments play an active role in creating conditions for the growth anddevelopment of art and culture which they consider to have promising prospects. The active role of the government in creativeart activities on one hand has the positive effect of producing large numbers of performing art events, but on the other hand ithas the negative effect of causing artists and or art practitioners to become dependent on such events for their artistic existence.The Indonesian society is highly complex one and this plurality is evident in the large number of ethnic communities andcultures, as well as the unique expression of their arts. This diversity is shown in the presence of the wide variety of Indonesianarts which are an invaluable source of wealth. This diversity is the result of the strong identity of each ethnic art form.Keywords: ethnicity, creativity, identity.
MEREFLEKSIKAN SEJARAH BURUH PETIK PERKEBUNAN TEH MELALUI KOREOGRAFI “SANG PEMETIK” Sherly Novalinda
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (682.152 KB) | DOI: 10.33153/dewaruci.v8i2.1113

Abstract

Pickers in a tea plantation present an interesting phenomenon, not only from a historical perspective but also from the point ofview of their anatomical experiences. Their hand movements are very fast, as though they are dancing on top of the tea leaves,and these movements are supported by formations that they unconsciously make in the wide expanse of the tea plantation.Based on a close observation of the tea pickers in Kayu Aro, Kerinci, Jambi, a new choreography entitled “Sang Pemetik” (ThePicker) was created, with the aim of reflecting on the history and daily experiences of the tea pickers. Using a ParticipatoryAction Research method, or PAR, the dance “Sang Pemetik” aims to make a statement that tea picking is a noble job and caneven provide inspiration for an attractive work of art.Keywords: Reflection, Tea Pickers, Choreography “Sang Pemetik”
KEBERADAAN ARTEFAK GERABAH DI DESA MELIKAN Novita Wahyuningsih
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1080.422 KB) | DOI: 10.33153/dewaruci.v8i2.1103

Abstract

This article is the result of the analysis from a study about earthenware jugs in the village of Melikan. The method used forthis research is a qualitative research method. This qualitative research method is descriptive in nature since it describes andexplains a particular phenomenon. The location of the research is the village of Melikan in the Wedi district of Klaten. Theapproach used is that of hermeneutic interpretation. The problems addressed in the research are: 1) What are the origins of theearthenware jug? 2) What are the developments and forms of earthenware jugs in Indonesia? and 3) How do earthenwarejugs continue to exist in the village of Melikan? The aim of this research is to discover the origin of the earthenware jug, itsdevelopments and forms in Indonesia, and its existence in the village of Melikan. The benefits of the research are that it willprovide new information and make a contribution to literature on the subject of earthenware jugs, and it is hoped that it willcomplement other existing studies. The results of this research show that the earthenware jug as a container for drinking waterhas its origins in the kundika from India; there are two kinds of development of the earthenware jug in Indonesia, namelytraditional earthenware jugs and new earthenware jugs; the existence of the earthenware jug in the village of Melikan isstill evident to this day, with a number of new types, shapes, functions, uses, and also new developments in the materials used,the manufacturing technology, and marketing process. To date there are 30 different types of earthenware jug in the villageof Melikan.Keywords: jug, earthenware, Melikan village.
TAYANGAN PROGRAM LUDRUK BANYOLAN KARTOLO DI JTV SURABAYA Mega Pandan Wangi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (557.243 KB) | DOI: 10.33153/dewaruci.v8i2.1115

Abstract

The directing of the program Ludruk Banyolan Kartolo (LBK) is carried out and influenced by elements of production, and itsaesthetic is formed in such a way that the LBK program can be packaged and broadcast in a way that is appropriate and canalso be enjoyed by the television audience. The directing of LBK is influenced by production elements such as the synopsis,program director, floor director, production assistant, camera operator, sound engineer, lighting engineer, and artistic arranger.The directing of this program can also be viewed from two strategies, namely the visual strategy, which is influenced by thecharacterization, dramatic plot, and the way in which the dramatic plot is created, and the media strategy, which is influencedby the techniques used for taking pictures and editing. The result of the LBK program, which is analysed and studied from theperspective of AAM Djelantik’s aesthetics, and viewed from the point of view of its form, quality, and appearance, shows thatthe properties used are still inadequate since the situation and conditions of every segment are the same. In addition, theuniformity of materials, costumes, and properties must also be addressed in order to improve the packaging and result of theshow.Keywords: show, program, Ludruk Banyolan Kartolo

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