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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 20 Documents
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Search results for , issue "Vol. 18 No. 2 (2023)" : 20 Documents clear
Guntur galunggung song: text and symbolic meaning review Abizar Algifari Saiful; Yudi Sukmayadi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.4569

Abstract

Mang Koko's 'Guntur Galunggung' is one of the most evocative and innovative songs in Sundanese music, created in response to the 1982 eruption of Mount Galunggung. This song represents a collaborative effort between Sundanese writer Wahyu Wibisana and musical artist Mang Koko, showcasing uniqueness in its thematic background, musical arrangement, and lyrical meaning. The research employs descriptive analysis, focusing on data processing through content analysis of music manuscripts. Data collection methods include observation, interviews, and literature studies. This analysis provides an in-depth review of the innovative Sundanese musical work, 'Guntur Galunggung,' highlighting its musical complexity and interrelated symbolic meanings. The research results reveal the intricate structure of the song "Guntur Galunggung," comprising 12 stanzas of rumpaka, 12 stanzas of gending accompaniment, and distinct sections with varying musical elements, while symbolically depicting the life of a local couple, Mang Maman, and Bi Warsih, emphasizing themes of simplicity, gratitude, resilience, and adaptation in the face of challenges, culminating in their migration to Sumatra as a metaphorical journey of rising after a fall.
Aesthetic criticism of dancers' costumes at Jaranan Pegon's performance in Trenggalek Mellany Octa Salsabila Sugiarto; I Nengah Mariasa; Setyo Yanuartuti
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.5191

Abstract

Aesthetic criticism serves as an evaluation of diverse forms of beauty perceived differently by individuals. Costumes worn by Jaranan Pegon dancers adhere to specific standards and regulations during performances, with the dancers donning Wayang Wong attire. This research aims to assess aesthetic criticism by investigating absolutism, anarchy, and relativism in the costumes of Jaranan Pegon dancers. The study employed a descriptive approach with a phenomenological method. The findings revealed that, in accordance with absolutism, Jaranan Pegon dancers' costumes must adhere to established standards or guidelines. From the perspective of anarchy, there is freedom in costume choices, allowing deviation from traditional rules. Relativism permits flexibility in attire, considering various presentation factors while still allowing departures from established guidelines. The significance of this research lies in exploring aesthetic criticism through the lenses of absolutism, anarchy, and relativism in the context of Jaranan Pegon dancers' costumes, shedding light on the varying standards and freedoms associated with costume choices in performances.
The creative process of creating dance accompaniment gendhing Murdanata Dedarining Aringgit: the mascot dance of Nagasepaha Village in Buleleng Regency, Bali I Nyoman Kariasa; Wardizal Wardizal; Hendra Santosa
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.4904

Abstract

The Gendhing accompaniment for Murdanata Dedarining Aringgit is a newly composed musical piece designed to accompany the Murdanata Dedarining Aringgit dance, which serves as the mascot dance of Nagasepaha village in Buleleng Regency, Bali. Data for creating this piece were gathered through literature studies, observations, interviews, and discography (recordings). The primary question guiding this creation was: 'What is the creative process involved in composing the accompaniment for the Murdanata Dedarining Aringgit dance?' The creative process involved three stages: exploration, improvisation, and formation. The key findings of this creation include: (1) The Gendhing accompaniment for Murdanata Dedarining Aringgit is a novel composition rooted in Balinese karawitan musical concepts, (2) The structural framework of the Gendhing utilizes the Tri Angga concept, comprising Kawitan, Pengawak, and Pengecet, and (3) Both the Gendhing and the Murdanata Dedarining Aringgit dance emerged from a collective desire to establish a new musical language that fulfills the community's evolving cultural needs. This creation underscores the inseparable unity between the Gendhing accompaniment and the Murdanata Dedarining Aringgit dance, thus serving as a cultural representation of the people of Nagasepaha village in Buleleng Regency, Bali.
Exploring the traditional ritual of Jaran Kepang Papat: context, heritage, and significance Rr. Paramitha Dyah Fitriasari; Maharani Hares Kaeksi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.4896

Abstract

This paper investigates the traditional ritual of Jaran Kepang Papat, examining its contextual significance, cultural heritage, and the profound role it plays within the Indonesian cultural landscape. Jaran Kepang Papat is a unique and captivating ritual deeply rooted in Javanese culture. Through an interdisciplinary exploration encompassing anthropology, history, and cultural studies, this research unravels the intricate web of meaning and symbolism embedded in the ritual. The method employed in this research is descriptive qualitative. Researchers initiated the data collection process through in-depth interviews with ritual participants, community leaders, and cultural experts knowledgeable about Jaran Kepang Papat. These interviews provide comprehensive insight into the history, meaning, and significance of this ritual. Additionally, researchers engaged in participatory observation during the implementation of the ritual to gain a direct understanding of how it is carried out and experienced by the participants. The paper concludes by emphasizing the importance of understanding and safeguarding Jaran Kepang Papat as a valuable cultural treasure, advocating for its continued recognition and appreciation within the broader cultural discourse. This exploration serves as a testament to the enduring significance of traditional rituals in our globalized society, offering valuable insights into the preservation and appreciation of cultural heritage.
Local cultural identity representation at the Yogyakarta International Airport gate Rr. Chandrarezky Permatasari; SM. Wardhana; YN. Utomo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.4382

Abstract

Airports serve as a gateway for tourists as well as an introduction to local cultural opportunities, connecting regions, provinces, and countries. The application of local cultural aesthetic elements in airport public spaces is necessary due to conditions where the heavy influence of globalization can threaten the sustainability and the existence of local wisdom identity. This research aims to identify the potential of Javanese and Yogyakarta Cretan cultural elements, forming architectural designs and decorative elements at Yogyakarta International Airport's gates by the interior entrance access and the values contained therein. This research method uses qualitative methods with the ATUMICS theory approach to analyzing traditional elements (past culture) that can be integrated with modern features (present) in interpreting the existence of a form of local cultural identity. The results of this study suggest that the existence of local culture in the gapura and entrance gate in depicting micro symbols plays a significant influence. The Jogja palace feels present as it creates a feeling of place for its presence at Yogyakarta International Airport. The findings demonstrate that the object of research has an essential function in developing local identity as a symbol of archipelago architecture and as a possible magnet for introducing local culture so that it can be preserved by modernization.
The ethical dimensions of Mong Kinemong in music performance in catholic worship: a phenomenological analysis of first Friday night eucharist musicians at Ganjuran Church Tony Anwar Rosidy; Aton Rustandi Mulyana; Yayi Suryo Prabandari
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.4723

Abstract

In the context of Catholic worship at Ganjuran Church, music and musicians play vital roles in enhancing the spiritual experience of worshippers. This research employs a qualitative and phenomenological approach to explore the ethical aspects related to musical performances during the First Friday Night Eucharist. Through careful observation, interviews, and documentation, the study analyzes the musicians' practices using Marc Benamou's theory of Rasa and Keontjoroningrat's insights on religious emotion. The findings reveal that musicians at Ganjuran Church embody the ethical principle of 'Mong Kinemong,' demonstrating a profound ethos of mutual care deeply embedded in their musical practice. This ethical commitment is bolstered by the musicians' intense experience of religious emotion, evoking feelings of majesty and serenity among choir members. Additionally, instrumentalists, referred to as 'pengrawit,' express heightened veneration, describing their peak moments as 'semu' (joyful), 'nges' (serene and good), and 'dados' (fulfilling expectations). Importantly, this 'Mong Kinemong' ethos harmoniously integrates with musical elements, enhancing the overall worship experience. This study contributes to a deeper understanding of ethics in musical performance within the Catholic liturgy context, shedding light on the significance of mutual care, emotional resonance, and harmonious musical expression in enriching the spiritual dimension of worship.
An analysis of the dress of the female warriors of the palace of Mangkunegara I at the 1991 palace festival Linda Utami; Sunarmi Sunarmi; Rahayu Adi Prabowo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.5431

Abstract

The military apparatus in each region is established to maintain its sovereignty. The Prajurti women of the Mangkunegara Palace were an elite group of soldiers who participated in Raden Mas Said's struggle. As an extraordinary group of warriors in Mangkunegaran history, they have unique clothing that needs further research. The palace attire is one of the important cultural heritages that must be preserved. In Javanese culture, it is taught that dressing appropriately is in accordance with guidelines, situations, and conditions. This article discusses the attire of the Prajurti women of the Mangkunegara Palace, which was reintroduced during the Keraton Festival in 1991 by Trenggono. The research used descriptive analysis techniques, describing the research subject through collected data without analysis or drawing conclusions. The approach used was the aesthetic morphology approach of Thomas Munro. Based on this, this research explains the women's clothing of the Mangkunegara Palace Soldiers by Trenggono, which was displayed at the 1991 Palace Festival. The result shows that there is a discrepancy between the description of the attire of the Prajurti women of the Mangkunegara Palace in Serat Babad Nitik Mangkunegara I and II and the attire created by Trenggono.
Unveiling toxic masculinity symbols: Peircean semiotic analysis in films “Seperti Dendam Rindu Harus Dibayar Tuntas” Damarati Rahma Widiasa; Vina Mahdalena; Lusia Handayani
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.5384

Abstract

“Seperti Dendam Rindu Harus Dibayar Tuntas” movie depicts how societal pressures concerning masculine characters are illustrated through male attractiveness, centered around their genitalia, the dominance of power, the suppression of emotions or sadness, and physical strength and toughness. According to Terry A. Kupers, toxic masculinity comprises four main components: the suppression of anything labeled as feminine, emotional repression, male domination, and aggression. This study employs a qualitative and descriptive approach to illustrate the phenomenon of toxic masculinity in films. The data collection is conducted through documentary, observational, and literary methods and subsequently analyzed using Peirce's semiotics by examining icons, indexes, and symbols. The research results demonstrate that the representation of toxic masculinity in the film is portrayed through Ajo Kawir as the main character who suffers from impotence and adopts masculine traits to mask his condition. Toxic masculinity behavior is more likely to be produced when Ajo Kawir's masculinity is threatened. Ajo's toxic masculinity behavior becomes more extreme after experiencing erectile dysfunction. Furthermore, this research reveals that sexual power is a part of toxic masculinity, depicted by viewing male genitalia as a symbol of virility. Related to the characteristics of toxic masculinity, this research identifies a complementary character in Kupers' concept, which is excessive sexual processes.
Alu Katentong performance, history, form, and function at a wedding event in Padang Laweh Syeilendra Syeilendra; Ayuthia Mayang Sari
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.5417

Abstract

Alu Katentong is a traditional Minangkabau art that persists in Nagari Padang Laweh, Tanah Datar Regency. The purpose of this research is to establish that Alu Katentong is an essential and meaningful element in a wedding ceremony. This qualitative study employs a descriptive analysis approach. Data collection techniques include literature review, observation, interviews, documentation, and triangulation. Data analysis involves data clarification, reduction, presentation, and drawing conclusions. The research findings demonstrate that the inclusion of Alu Katentong in wedding ceremonies is a prerequisite for adhering to local customs and traditions, as well as for the preservation of local culture. The performance elements encompass the following: The function of Alu Katentong art serves as a traditional complement to the wedding ceremony procession, provides entertainment and spectacle, functions as a means of communication, acts as a unifying force in society, contributes to cultural preservation, and serves as a medium for educating the community. The presentation takes the form of a coordinated ensemble arrangement comprising several alu, lasuang, and flat stones in a circular formation facing forward (lasuang). This artistic performance commences at noon following various wedding processions leading up to the manjapuik and maanta marapulai procession.
Langgam Makassar: the adaptation of keroncong to local music in Makassar Adiatma Hudzaifah; Zulkarnain Mistortoify
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.5455

Abstract

The musical landscape of Makassar features a unique variant of keroncong known as "Langgam Makassar." Faced with limited references to keroncong before Indonesia's independence, musicians in Makassar encountered a dilemma that prompted inventive solutions in the development of keroncong. This led to the emergence of Langgam Makassar as a distinct variant, undergoing a process of adaptation to the local music scene. The research aims to illustrate and explore key aspects of Langgam Makassar, encompassing musicological, historical, and societal dimensions. The methodology employed in this study is an ethnomusicological approach involving direct observation of Langgam Makassar practices and performances. The findings were validated through interviews with Langgam Makassar musicians, recordings, and document analysis. This method offers an understanding of music within its societal context, exploring the reasons why keroncong in Makassar diverges and evolves into Langgam Makassar. The results demonstrate that Langgam Makassar is a product of the creativity of Makassar musicians who, despite limitations, successfully developed keroncong by incorporating elements from local musical traditions such as kelong, parambang, and losquin. These efforts contribute to the distinctive features of Langgam Makassar, establishing it as a novel variant of keroncong.

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