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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. 19 No. 1 (2024)" : 20 Documents clear
Animating Indonesian folklore “Smong” as a child-friendly guide for disaster preparedness Agung Zainal Muttakin Raden; Muhammad Iqbal Qeis; Siriporn Maneechukate
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.3868

Abstract

Smong is a folklore from Simeulue Island in the western part of Indonesia. Smong contains wisdom about disaster preparedness and mitigation related to earthquakes and tsunamis. Although located near the epicenter of the earthquake, the inhabitants of Simeulue Island managed to save themselves when the 2004 Indian Ocean earthquake and tsunami disaster occurred through the local wisdom taught in the form of Smong folklore. As Indonesia sits in an earthquake and tsunami-prone area, the local wisdom of the inhabitants of Simeulue Island needs to be widely disseminated as a form of disaster preparedness. However, Smong is taught using the Devayan Language indigenous to Simeulue Island. Therefore, there is a need to adapt this into a modern platform so it can be understood throughout the nation, especially by the younger generation as an early guide for emergency preparedness. This article will discuss the process of adapting the folklore “Smong” into a child-friendly digital media in the form of animation for Indonesian society. The adaptation used the design thinking method through a double-diamond approach which consists of Discover, Define, Develop, and Deliver. The adaptation resulted in an animated film depicting the local wisdom from Simeulue Island accompanied by a song in the Indonesian language so it can be understood and becomes a medium of learning for the child about disaster preparedness related to earthquakes and tsunamis.
Visual ethnography of the Aneuk Jamee bridal chamber as an effort to preserve cultural products in Tapak Tuan, Aceh Province Lindawati, Lindawati; Bakhir , Norfarizah Mohd; Ismawan, Ismawan; Ramdiana , Ramdiana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5504

Abstract

This article investigates the bridal chamber aisle of the Aneuk Jamee tribe in Tapaktuan District which is rarely used by the community. This aisle is one of the visual cultural products that need to be preserved. The research uses a visual ethnography approach. Visual ethnography provides a new way of revealing, describing, and analyzing cultural products and human experiences. Data were obtained through interviews, observation, and documentation. Data analysis was carried out by visual ethnography analysis. The results of the study found that, bridal room aisles are rarely used by the Aneuk Jamee tribe due to the times where many aisle businesses offer more modern bridal room decorations and the lack of government role in maintaining the use of bridal room aisles. The visual form of the bridal room aisle has its own characteristics and meaning. With this article, it is hoped that people can find out the parts and meanings contained in the bridal aisle of the Aneuk Jamee tribe. These meanings become the basis for contemplating actions to maintain the continuity of tradition in the face of growing innovation.
Semiotic exploration of Indian patriarchy: Roland Barthes' perspective on Gangubai Kathiawadi Gunadi, Andini Damayanti; Azwar, Azwar
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5836

Abstract

This study delves into the profound impacts films can exert on audiences. Through an in-depth exploration of the Gangubai Kathiawadi film, it endeavors to unveil the intricate layers of patriarchal culture prevalent in Indian society. Employing Roland Barthes's Semiotics as a guiding framework, the research meticulously examines the semiotic elements of signs, denotations, connotations, and myths embedded within the movie. To ensure the robustness of the findings, a multifaceted approach to data collection and analysis was adopted. The primary data source, the Gangubai Kathiawadi movie itself, was the cornerstone. Additionally, secondary data sources, including literature reviews and interviews with domain experts, were strategically utilized to triangulate perspectives and enrich the analysis. The meticulous triangulation of data sources ensures the reliability and validity of the findings, thereby enriching our understanding of the intricate interplay between film representations and societal constructs. The methodology employed in this research is anchored in descriptive qualitative techniques, wherein scene-by-scene analysis units are meticulously scrutinized for insights. By employing this methodological rigor, the study endeavors to unravel the patriarchal representations depicted in the film. The research findings illuminate a spectrum of patriarchal constructs within the Gangubai Kathiawadi, including stereotypical gender categorizations, instances of subordination and objectification of women, and systemic injustices faced by prostitutes. The film adeptly portrays the entrenched societal norms that perpetuate the superiority of men and the inferior status accorded to women. Through its compelling portrayal, Gangubai Kathiawadi emerges as a poignant reflection of societal attitudes towards women, particularly within the context of Indian society.
The impact of changes in scale configuration on the gangsa instrument of the Bhavana Ethnic Mataram as an Indonesian music innovation Gde Agus Mega Saputra; Galih Suryadmaja; Dewi Puspita Ningsih
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5887

Abstract

The use of traditional instruments in Bhavana Ethnic's musical compositions is one of the innovative aspects of Indonesian music offered. This Indonesian authenticity emerges through the characteristic sounds and drumming patterns that are presented in composing the harmony of the musical works. The innovation in question is the group's efforts to change the composition and configuration of the notes and scales on the gangsa  instrument. An instrument adopted from the Balinese gamelan ensemble. Making adjustments to the reality of traditional music in the creative process. The aim of this research is to explain the importance of innovation in the creative (music) process. Seeing how the Bhavana Ethnic group's perspective understands the reality of tradition in gangsa  instruments, the idea emerged to change the composition and configuration of the notes in an effort to meet the aesthetic needs in the work. This research was conducted using qualitative methods. Researchers as the main instrument to understand the impact of changes in the tone composition and scale configuration of bronze instruments in natural conditions. The research results are that changes in aspects of the instrument's pitch configuration have implications for changes in the number of tones, pitch range, rules, melodic pattern system, and instrument function in the ensemble. The result of the musical innovation process carried out is that there is a tendency for interval patterns in the selection of tones in each musical creation process. The tendencies for interval patterns in question include the 2- ½ -1- 2 -½ pattern on the major scale, and 1-1- 1½ -1 -1½ on the minor scale.
Javanese wayang system of signs in batik logo and its role in creating visual brand identity Melinia Enggal Pangestu; Taufik Murtono; Rendya Adi Kurniawan
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5914

Abstract

Batik was one of Indonesia's cultural heritages that had been recognized worldwide. Batik in Indonesia was diverse in terms of products and producing regions. One of the Batik-producing areas in Indonesia was Masaran in Sragen Regency. Batik producers in Kliwonan had their business names complete with logos as trademarks. One form of this was using names and images of wayang characters in trademarks, which had been done for a long time. This study analyzed four Batik company logos in Kliwonan Village, Masaran District, Sragen Regency, which were found using images of puppet figures, namely Janoko Kembar Batik, Sadewa Batik, Dewi Brotojoyo Batik, and Dewa Rama Batik. The research phase begins with data collection in the form of visual logos and literature related to the meaning of puppet figures. Data analysis is carried out by identifying the visual elements of the logo, including colors, illustrative images, typography, and layout as the first sign system (denotation). The denotational data is then read using a second sign system (connotation), which involves analyzing the characters of the puppet characters. The character of the puppet character that is understood is then discussed in a cultural context (myth). Roland Barthes' semiotic analysis is used to describe signs through first-order meaning (denotative), second-order meaning (connotative), and interpretation of meaning in cultural contexts (myth) The reading of the logo sign system was confirmed by interviews with the Batik entrepreneurs. The research results described the system of signs in denotation, connotation, and mythical meaning in the logos studied, which was in line with the application of visual elements and design principles. This research concluded that wayang could be used to discover self-identity for brand owners. The visual formation of brand identity in this study occurs through the selection of illustrations of images, colors, typography, and personal layout by brand owners. Illustrations of puppet characters are selected from the types of knights and princesses that give good character meaning. The selection of knight and princess characters can be a logo design model that uses puppet characters.
Introducing the Lantang Lantang Pangang performance: one of the oldest puppet performance rituals in Indonesia Andi Baetal Mukadas; Faizal Erlangga Makawi; Hasbi Hasbi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5946

Abstract

The Lantang lantang pangang is an integral part of the Toraja funeral ceremony, however, in recent times the knowledge of this puppet performance has changed significantly. This study aims to introduce and preserve the significance of lantang lantang pangang in puppet performances for the Toraja people. The method used is a qualitative study using a cultural anthropology that emphasizes social values and symbolism. The findings show that; (1) Lantang lantang pangang has a deep-rooted history dating back to the 9th century; (2) its dual role in funerals and as Toraja-style souvenirs; (3) its unique puppet characteristics; (4) the traditional puppet performance was carried by the high social status of Toraja people;(5) the performance reflects on the profile of the deceased and for entertainment purpose for grieving families; (6) Integrating it into school education is vital to preserving this culture. This study will have a historical significance that emphasizes the social context of funeral ceremonies and puppet performances to preserve cultural heritage.
Coexistence of particularity in the universality of musical sensation Ovan Bagus Jatmika
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5980

Abstract

This research is motivated by the debate about the issue of the universality of music. The question to be answered is, at what level does this aspect of musical universality emerge? This question is asked because, at a material level, it is clear that every piece of music is different and cannot be said to be the same, but at the same time, people tend to be able to enjoy music even if they don’t know the type or language of the music they are listening to, intuitively, unlike verbal language. Efforts to answer these questions bring this research under the qualitative umbrella with a phenomenological approach. In the context of this research, the issue of music is examined through the experience of musical sensations and reviewed using Deleuze’s theory of sensation. Data on musical sensation experiences was collected by conducting semi-structured interviews with five musicians from different genres, namely classical, jazz, pop, experimental and traditional. The research results show that the universality aspect of music is at the level of sensation, not sound material. In this case, sensation is only possible through empirical experience when people intensifically encounter sound material. This also shows that the term musical universality is not merely a metaphorical expression, but rather explains the existence of a coexistence relationship between musical material and sensation. So this finding can contribute to the need for the musician to think about performance strategies if they want to produce a universal sensation experience.
Integrating Pancasila philosophy into arts education curriculum design Sumasno Hadi; Rachmat Rachmat; Sulisno Sulisno
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5986

Abstract

When national education policy in Indonesia first included art as a content of the formal learning curriculum, art learning in schools has generally underwent many developments. The dynamics of its development also raise conceptual and practical issues, one of which is about the basic paradigm of art education in higher education (universities) that prepare art teachers in public schools. This research aims to find the educational philosophy that underlies and emphasizes the concept of art education in Indonesia so that it can guide the formulation of the curriculum content of art lessons in schools. This research uses the hermeneutic-philosophical method through three steps: finding and describing concepts, systematizing concepts, and then testing the level of explanation of the resulting concept system. Based on the results of the research, it is known that the philosophy of art education in Indonesia refers to the cultural values of the Indonesian nation formulated in the philosophy of Pancasila and the opening of the 1945 Constitution. The paradigm of art education in Indonesia must also be based on the philosophical concepts of Pancasila. The implication is that the concepts of formal art education in Indonesia, which include goals, curriculum content, students and educators, as well as the socio-cultural environment, must integrate the values of Pancasila.
Rate' Singing: Religious humming as a marker of cultural identity in Makassar’s life cycle rituals Khaeruddin, Khaeruddin; Rachmat, Rachmat
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5992

Abstract

This research on traditional arts related to religion or belief aims to uncover the life cycle flow of the Makassarese people through Rate's singing. The specific objectives of this research are to answer the following questions: (1) What is the function of Rate' singing? (2) Why is Rate's singing currently rarely performed in Makassar ethnic communities? (3) How can the regeneration of Rate's singing be achieved? This ethnographic qualitative research employs various data collection methods, including observation, interviews, and document studies. The research was conducted in Makassar and Gowa cities. The results indicate the following: (1) The function of Rate' in the Makassarese community is primarily as a medium for prayer, an invitation for good fortune, a rejection of bad luck, a confirmation of customary procedures, and a means of ethical education for the next generation. Rate' singing in sacred Makassarese activities aims to bring people closer to God; (2) The period of turmoil in Sulawesi, starting with the arrival of Japan and followed by the struggle for Indonesian independence, influenced the continuity of traditional art in South Sulawesi, particularly Makassarese art. After the security in South Sulawesi gradually recovered, the community began to focus on improving their welfare, viewing cultural arts, especially traditional ceremonies, as wasteful and non-materially beneficial; (3) Rate' singing faced near extinction as the nobility, or karaeng descendants, began to lose their traditional culture. The remaining Pa'Rate' are few and elderly, with no successors to inherit their knowledge. As a form of literature, the traditional way of conveying Rate' is known only to older generations. The transmission of ma'Rate's skills is conducted within the Parate family itself.
A new role in a new world: when an Osing traditional musicians become a teachers Karsono Karsono
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.6021

Abstract

Global socio-cultural changes have significantly impacted traditional cultural life in various regions. In Banyuwangi, East Java, global cultural changes have influenced the lifestyle of the Osing community, the indigenous people of Banyuwangi. One of the cultural changes among the Osing is the shift in economic systems from agrarian-maritime to industrial. This change has eroded the socio-cultural space of traditional performing arts. The situation has led traditional artists, especially Osing traditional musicians, to face an existential crisis regarding their roles and functions. Traditional art performances, particularly traditional music, which used to be their space for expression in society, are now rare. This has led to a reduction in the intensity and frequency of work for Osing traditional musicians. This research aims to demonstrate and explain the new role of Osing traditional musicians in preserving and reaffirming their existence through their roles as music teachers in formal schools. The study adopts an ethnomusicological approach using observation, interviews, and documentation methods. Ethnographic analysis of the data indicates that the new role of Osing traditional musicians as music teachers in formal schools has emerged due to the limited role they play in traditional performances. In such circumstances, a paradoxical situation arises. On one hand, industrialization weakens traditional arts, leading to an existential crisis for musicians as stage performers. On the other hand, the government's awareness of the need to preserve cultural identity in the global arena requires strengthening cultural heritage through education, which cannot solely rely on formal school teachers. This is where Osing traditional musicians seize the opportunity to take on roles as teachers in formal schools. As a result, the role of traditional musicians remains relevant, and the inheritance of Osing traditional music culture is preserved and sustainable.

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