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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 271 Documents

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TARI BALANSE MADAM PADA MASTARAKAT NIAS DI PADANG SUMATERA BARAT: KAJIAN KOMPARASI BENTUK Novina Yeni Fatrina
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 3 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Balanse Madam dance is traditional dance of Nias Padang society. Â Balanse Madam dance Â belongs to social dance with the married dancer.Â Â Balanse Madam dance performance Â is Â accompanied with western music instrument such as drum set, accordion, violin, Â guitar, tambourine, drum and tambour.Â Â Balanse Madam dance performance in the Â customary event in 2007, was different from the one in 1994. To raise the phenomenon Â in Â a scientific writing, therefore descriptive qualitative research with observation Â technique, interview by means of analysis interaction and data analysis using analysis Â interpretation would be used.Â Â It is found that there were form changes in the Balanse Â Madam performance, including unmar- ried dancer, dance accompanied by single-organ Â and some different term of com- mand from commander.Â Â The differences might be used Â by discontinuous inherit- ance system.Â Keywords:Â Balanse Madam, comparation, form.

Hubungan pemesan dan pelaras dalam penentuan larasan Gamalan Banjar Novyandi Saputra
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 13, No 2 (2018)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Proses pelarasan gamalan Banjar sangat berkaitan antara pemesan dan pelaras gamalan Banjar. Pemesan yang menginginkan gamalan Banjar memiliki kreteria sendiri terhadap gamalan yang akan dibuatnya melalui pelaras gamalan Banjar. Komponen yang mempengaruhi pemesan dalam membuat gamalan Banjar adalah modal budaya, selera, kedekatan timbre suara, dan kekuatan kapital yang dimilikinya.sedangkan pelaras gamalan Banjar memiliki pengetahuan atas pembentukan tumbang antar bilahan nada yang berdasarkan pada karateristik rasa musikal budayanya. Peneliti menggunakan metode penelitian kualitatif sebagai metode utama dalam upaya mengumpulkan informasi dan data lapangan yang di dapatkan pada saat pengumpulan data. Metode kuantitatif juga digunakan sebagai metode bantu untuk menghitung dan memvalidasi data frekuensiyang didapatkan dari instrumen gamalanBanjar yang ada di lapangan, sehingga peneliti bisa mendapatkan gambaran jelas. Kerangka konseptual yang berdasarkan pada pengetahuan emperis pemesan dan pelaras GamalanBanjar menjadi dasar analisis untuk mengungkap hubungan antara pemesan dan pelaras gamalan Banjar. Perbedaan ini tergambar jelas pada frekuensi bilahan nada-nada gamalan Banjar, sedangkan jangkah dan gembyangannya tidak mengalami perubahan yang signifikan. Perbedaan frekuensi bilahan nada tersebut dilandasi oleh timbre suara dalang yang berbeda-beda. gamalan Banjar yang telah selesai dilaras akan menjadi representatif pemiliknya. Caruk dan payau menjadi penanda kualitas hasil dari hubungan antara pemesan dan pelaras gamalan Banjar. ABSTRACTWithin the process of gamelan Banjar tuning, the relationship between the buyers and the tuner of gamelan Banjar is taken into account. The buyers who order gamelan Banjar must have their criteria toward the gamalan which is going to be produced by the tuner of gamelan Banjar. The components that are taken into consideration by the buyers when ordering gamelan Banjar is the cultural principle, taste, the proximity of voice timbre, and the finance capability they possess. Furthermore, the tuner of gamelan Banjar has a cognition in contriving the strides within the frequency of tone keys which based on the characteristics of its cultural music taste. The researcher utilizes qualitative method as the primary method in collecting information and data on the field in the stage of data collection. The quantitative method as a secondary method here is used to assist the researcher in calculating and validating the frequency of the data collected from gamelan Banjar instrument which is present on the field so he could get a clearer picture. A conceptual framework which is based on the empirical knowledge about the buyers and the tuner of gamelan Banjar becomes the basis of the analysis to uncover the relationship between the buyer and tuner of gamelan Banjar. This distinction is clearly illustrated in the frequency of tones keys of gamelan Banjar, whereas the stride and its gembyangan do not change significantly. The differences in the frequency of the tone pitches rely on the varied voice timbre of the mastermind. gamelan Banjar who has completed tuned will be the representative owners. Caruk and payau become a mark of quality results from the relationship between the buyer and the tuner of gamelan Banjar.

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

Identity is a political tool that is used to develop pride and love of oneâ€™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.

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

KEJAWEN: PLURALISME DI JAWA MELALUI KOLABORASI MUSIK GAMELAN DAN MUSIK BARAT Victorhugo Hidalgo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 10, No 1 (2015)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Artikel ini menjelaskan proses penciptaan karya seni pertunjukan Kejawen: Margi Tumuju Alam Sawegung.Â Meskipun kejawen itu sendiri mengacu pada keyakinan dan ritual khas orang-orang Jawa di Pulau Jawa,Â Indonesia, melalui berabad-abad, karya seni pertunjukan ini terinspirasi oleh 6 agama resmi di pulau JawaÂ dan kejawen itu sendiri. Melalui prosesselama hampir 4 tahun, komposer menganalisa rekaman musikÂ upacara, ritual, dan perayaan agama tersebut dan hasilnya adalah karya pertunjukan ini yang dibagi dalam7 lagu dengan menggunakan wayang kulit, tarian, dan video. Setiap lagu mewakili sebuah agama danÂ konsep dengan kehadiran yang kuat dan bersejarah di Jawa, agama-agama ini adalah: animisme di JawaÂ (pluralisme dalam agama), agama Hindu (loyalitas), agama Buddha (hormat dan damai), campuran antaraagama Hindu dan agama Budha (kesatuan dalam terlepas dari perbedaan-perbedaan kita), agama IslamÂ (Pengampunan), agama Kristen (Cinta) dan kejawen (Harmony dalam hubungan manusia, Tuhan dan alam).Unsur seni yang paling dominan adalah musik, yang dimainkan oleh dua ansambel utama, string orkestraÂ dari Institut Seni Indonesia Yogyakarta, dan Institut Seni Indonesia Surakarta.Kata kunci: kejawen, musik dunia, seni pertunjukan.

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

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,Diyatâ€™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.Diyatâ€™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 â€œprohibitedâ€ 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.

PERUBAHAN BENTUK PERTUNJUKAN TARI NYAMBAI DI LAMPUNG BARAT Fitri Daryanti
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 3 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

The Nyambai Dance is one of cultural components of Lampung local society which exists in the meeting of single men and women which is held as a part of the traditional wedding ceremony. It develops gradually to be a tourism performing art and the change are represented on the form of performing art. The purpose of this research was to describe the change of form of Nyambai Dance and the causal factors. The research used qualitative method through ethno-choreology approach. The approach was done by textual and contextual analyses. The textual analysis was looked at the structure of dance, while the contextual analysis was from the function of Nyambai Dance and the causal factors of the change. The analysis of change of form used the theoretical structure of Marco De Marinis and Soedarsono which stated that it had to know the elements of performance in order to describe the change of form of the performing art. The elements were actor, movement, the pattern of floor, music, make-up and costume, property, and the other supporting elements. The researcher used the concept of Alvin Boskoff in order to analyze the causal change. The concept stated that the change which happened can be seen from the internal and external factors.The result of the research shows that there are the changes of form of Nyambai Dance in several elements, they are: the adding and making of movement, the pattern of floor, music, make up and costume, and property. The change also happens in the place and time of performance, meanwhile the causal factors of the change was affected by several factors, and they are: economics, education, technology, and transition of cultural value. The change of form of Nyambai Dance is a participation of the local society, artists, and The Local Department of Culture and Tourism through tourism promotion program, so that Nyambai Dance as one of the tourism assets in art in Lampung Barat. Keywords: Nyambai Dance, wedding ceremony, tourism.

TUBUH, HABITUS, DAN NGENG DALANG DAN PENGRAWIT WAYANG St. Hanggar Budi Prasetya
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Body, Habitus, and Bourdieuâ€™s theory have long been a topic of research in sociol- ogy of art. Â Pierre Bourdieuâ€™s work is widely viewed as a fruitful approach to both theory and Â research on the body as Bourdieu links agency with structure through the process of habitus. Â Bourdieuâ€™s concept of habitus illuminates the circular pro- cess whereby practices are incorporated within the body, only then to be regener- ated through the embodied Â work and competence of the body.Â Â This research explores the process embodiment on puppet master and gamelan musicians. Â NgengÂ is the most important concept for gamelan musician to play and appreciate gamelan music.Â Â The disciplined and rehearsed body of Â the puppet master and gamelan musician is one of the most significant resources in the conduct of gamelan music. In this paper I explore some of these issues to make sense of Â embodied work orÂ ngengÂ of gamelan music performance drawing on my ethnography of Â the shadow puppet theatre.Â Key words:Â ngeng, habitus, mlÃ¨sÃ¨d, nggandhul.

TIPIKALIS MOTIF KUPU-KUPU DARI SUKU ENGGROS PAPUA nathalia dwijayanti nathalia
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 2 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Batik is a cultural heritage of ancestors which is still developing. Batik in Indonesia has its own diversity and distinctive characteristics, including in the Papua region. In Papua batik has characteristics that describe animals, plants and musical instruments. In this study, the use of motifs in Enggros tribe has a different position from each of its clans. Some motifs in the Enggros cannot be used by other clans. Each of these batik motifs has a meaning and hereditary meaning. This study uses a review of the shape of the motif, colour, and aesthetic value. The research method uses a qualitative descriptive method supported by the hermeneutic theory as a method of obtaining a valid interpretation of objectivity. The results of this research discussion reveal about Enggros batik as a characteristic of the Enggros tribe whose surname is from the Iwo Tribe. Expectations achieved in this study can help and find out the motives of the Enggros and the community is expected to understand more deeply these motifs as a legacy of ancestral tradition.

MAKNA MOTIF ORNAMEN PADA WARUGA DI MINAHASA Jerry Manus
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 3 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

WarugaÂ adalah kubur batu megalit yang bertebaran di Minahasa. Pada benda artefak ini melekat budaya leluhur dan sistem kepercayaannya, serta mengandung nilai-nilai estetik. Kesemuanya itu terefleksikan melalui ornamennya, berupa relief yang dipahatkan pada sisi wadah dan penutupnya. Artikel ini hasil dari penelitian yang bertujuan menggali dan menjelaskan bagaimana keberadaanÂ waruga, wujud serta makna simbolik (lambang) ornamennya, menjelaskan fungsi ornamennya, menggali dan menjelaskan sistem kepercayaan masyarakat leluhur Minahasa, menjelaskan pengaruh bangsa Barat pada kepercayaan yang berdampak pada berakhirnya tradisiÂ waruga. Metode penelitian yang digunakan adalah metode penelitian kualitatif yang berlokasi di Taman Purbakala Sawangan, Taman Purbakala Tumatenden Airmadidi, dan Kota Tomohon. Pengumpulan data didapat melalui observasi, wawancara, dan studi pustaka. Analisis data digunakan interaksi analisis dan interpretasi analisis dengan kajian makna simbolik, kajian kepercayaan, sampai pada penyimpulan. hasil penelitian yang didapat adalah ornamenÂ warugaÂ merupakan perangkat simbol-simbol kepercayaan masyarakat leluhur Minahasa yang dimanifestasikan melalui motif-motif ornamen. Makna motif-motif lebih ketujuan dan fungsi yang bersifat sakral, semi sakral, dan profan.Â Kata kunci:Â Waruga,Â Ornamen, Makna Simbolik, Kepercayaan

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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