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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 271 Documents
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Kesenian senjang antara tradisi dalam arus globalisasi sebagai media propaganda Irawan Sukma; Slamet T. Suparno
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 13, No 2 (2018)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (590.452 KB) | DOI: 10.33153/dewaruci.v13i2.2510

Abstract

Penelitian ini difokuskan bentuk kesenian Senjang secara tekstual berdasarkan periodisasi zaman, keberadaan dan fungsi kesenian Senjang secara kontekstual dan kesenian Senjang mampu eksis sampai dengan saat ini. Senjang merupakan sastra lisan yang berbentuk pantun bersahut biasanya ditampilkan berpasangan dan disertai instrumen musik. Namun instrumen musik yang dimaksud bukan berfungsi sebagai musik pengiring seperti pada umumnya suatu lagu, tetapi instrumen musik Senjang berfungsi sebagai intro, interlude, atau coda yang dimainkan secara berulang ulang dengan melodi yang sama. Artinya saat syair pantun dilantunkan oleh pe-Senjang, musik instrumen diam, dan saat musik instrumen berbunyi pe-Senjang diam. Inilah bentuk yang khas dari kesenian Senjang. Metode yangdigunakan adalah kualitatif interpretatif dalam menganalisis keberlangsungan Senjang yang mengalami perubahan baik bentuk maupun fungsinya. Senjang yang pada awal keberadaannya tanpa instrumen musik, terus bergerak dan berkembang mengikuti arus zaman sampai pada era saat ini menggunakan keyboard. Fungsi Senjang dimanfaatkan sebagai media propaganda bagi penguasa, terbukti dari bentuk syair pantunnya berisi tentang pujian dan sanjungan dari pesanan pengguna jasa. Senjang masih eksis dan memiliki tempat tersendiri di hati masyarakat Kabupaten Musi Banyuasin. ABSTRACTThis study discusses the form of a textual gap based on the periodization of the times, discusses and functions of Senjang with contextual and artistic aspects of Senjang able to exist today. Slang is an oral literature consisting of friendly rhymes, usually free of pairs, and releasing musical instruments. However, the musical instruments that are issued are not as musical accompaniment in general, but Senjang musical instruments are used as intro, interlude, or coda which is played repeatedly with the same melody. Regarding when the poem is sung by the artist, the musical instrument is silent, and the musical instrument when the sound is silent. This is a typical form of Senjang art. The method used is interpretive qualitative in analyzing the continuity of the Senate that corrects changes in both form and function. The slang which initially began without musical instruments, continued to move and develop following the era until the present time using the keyboard. The function of the Senjang is used as a media for propaganda for the authorities, as evidenced by the form of the poetry of the poem which contains praise and flattery from the orders of service users. The gap still exists and has a separate place in the hearts of the people of Musi Banyuasin Regency.
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.
MACO MAULUD: TRADISI MASYARAKAT INDONESIA KETURUNAN ARAB DI PALEMBANG Sungkowo Soetopo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (745.904 KB) | DOI: 10.33153/dewaruci.v5i2.783

Abstract

This article contains the description of Maco Maulud, the tradition of Indonesian society  of Arab clan in Palembang.   Maco Maulud comes from the word maco‘reading’ and maulud.   Maulud means “being born.”   Maco-maulud in this case, means reading the history of the Prophet Mohammed existing inMajemuk-Maulid written in Arabic and red like poetry reading or singing.   There are four maulid scripts in Majemuk-Maulid, maulid of Syarafal anam, maulid of al Barzanji, maulid of Diba, and maulid of Azab.  Maco maulud, made as routine activity for Indone- sian societies of Arab clan.  It is used as a tradition which almost resembles ritual activities.   A party, e.g.  wedding party, and circumcision, are not perfect (afdal) without maco-maulud  ceremonies. Key words: maco, maca, maulud, maulid.
Transformation of Tradition: Incorporating Technology to Transform Local Culture in the Form of Modern Sundanese Script Agung Zainal Muttakin Raden
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 2 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1363.792 KB) | DOI: 10.33153/dewaruci.v14i2.2730

Abstract

Sundanese script is a system for writing Sundanese. The traditional writing system in Sundanese began in the 14th century until the 19th century. Sundanese script is related to cosmology that developed in Sundanese society. This research will review the role of technology in transforming local values by comparing the Ancient Sundanese Script and the Modern Sundanese Script through ATUMICS method. The result of this study shows that there is a simplification happening when transforming the Ancient Sundanese Script to the Modern ones. However, the Sundanese cosmology embodied within the Sundanese script is not lost. Thus, transformation of tradition could become one of the options in preserving local traditional values while adapting it into the current world.
Inovasi alat musik konvensional berbahan dasar bambu oleh Indonesian Bamboo Community Mirna Nurmala
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 13, No 1 (2018)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1166.872 KB) | DOI: 10.33153/dewaruci.v13i1.2501

Abstract

Adanya asumsi bahwa bambu merupakan material dasar yang murah dan tidak memiliki harga jual,memicu kegelisahan beberapa kalangan untuk berinovasi menggunakan bambu sebagai bahan dasar. Salah satunya adalah Indonesian Bamboo Community yang dipimpin oleh Adang Muhidin yang mencoba berinovasi dengan membuat alat musik konvensional berbahan dasar bambu. Tulisan ini akan membahas proseskreatif yang dilakukan oleh sebuah komunitas bambu dengan metode penelitian kualitatif, yaitu penelitian yang menekankan pada kualitas atau hal terpenting dari sifat suatu benda, yang didalamnya tidak hanyameliputi pertunjukan musik saja tapi bagaimana membuat alat musik yang berbahan dasar bambu. ABSTRACTThe assumption that bamboo is a material cost basis and does not have a selling price, triggers anxiety in some quarters to innovate using bamboo as raw material. One of them is the Indonesian Bamboo Community led by Adang Muhidin who tried to innovate by creating a conventional musical instrument made from bamboo. This paper will discuss the creative process undertaken by a community of bamboo with qualitative research methods, the research emphasizes on the quality or the most important thing of the nature of an object, in which not only includes music performances alone but how to make a musical instrument made from bamboo.
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.
FUNGSI TARI RAPA'I GELENG PASCA TSUNAMI DAN PASCA KONFLIK DALAM MASYARAKAT ACEH BARAT DAYA Anton Setiabudi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 3 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4093.032 KB) | DOI: 10.33153/dewaruci.v6i3.961

Abstract

The essence of this research is to discuss about what the function of Rapa’i Geleng Dance in the North West Aceh Tribe in time after tsunami and conflict are. Based on the matter, this research aims to find out the system of socio-culture of the North West Aceh Tribe specifically as a representation of the social value system in time after conflict and tsunami, (2) to describe the function of Rapa’i Geleng Dance in reconstructing and rehabilitating the social regulation in the society deeply as a consequence of the conflict and tsunami happened in Aceh. A qualitative approach using the interconnection model is the contextual study of ethnochoreology, sociology, and anthropology. The approach is conducted by describing and analyzing the contextual phenomenon of Rapa’i Geleng Dance by mean of revealing the existing function in social activities dealing with the esthetic activity of the society. To analyze the function of Rapa’i Geleng Dance in the time after tsunami and conflict, the researcher uses Talcott Parsons theory of “functionalism structuralism” which has four concepts; they are adaptation, the realization of aims, integration, and license or the pattern development. The result of the research related to Rapa’i Geleng Dance in time after tsunami and conflict has the functions on the social regulation, social integration development, new vision development, social psychotherapy, and socialization media of reconcilement, the formation of social institution structure of the North West Aceh Tribe. The Rapa’i Geleng Dance is a cultural identity of the coastal area which reflects both the personal and communal life. Basically, it has a form developed through the standard pattern originally coming from the religious social activity based on the texts of Al- Qur’an and Hadist. The performance of Rapa’i Geleng Dance can encourage the emergence of the intensive relationship through the combination of choreographic elements of the performance which is dynamic and esthetic in society widely.Keyword: Rapa’i Geleng Dance, function
Internalisasi dimensi interkultural permainan gendang dalam komunitas Dangdut Koplo: Sebuah kajian konstruksi sosial Denis Setiaji; Aton Rustandi Mulyana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 1 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (544.979 KB) | DOI: 10.33153/dewaruci.v14i1.2533

Abstract

Penelitian ini difokuskan untuk melihat proses terkonstruksinya dimensi interkultural pada pola permainan gendang terhadap pelaku dan para pecinta Dangdut Koplo. Pendekatan yang digunakan mengadopsi dari Ilmu Sosial yakni teori konstruksi sosial Peter L. Berger yang terdiri dari eksternalisasi, objektivasi, dan internalisasi. Penelitian yang dilakukan menggunakan metode fenomenologi dengan melakukan studi lapangan ke sejumlah wilayah pertunjukan Dangdut Koplo di Solo Raya terutama Taman Hiburan Rakyat (THR) Sriwedari dengan objek kelompok musik Areva sebagai bahan studi kasus. Proses konstruksi sosial masyarakat Dangdut Koplo dideskripsikan melalui analisis pada transkrip pola-pola gendang dan dampak musikalnya. Tahap eksternalisasi melibatkan konsep dan kreativitas Areva dalam menghasilkan serta mengembangkan dimensi interkultural pada pola permainan gendang. Kreativitas dalam bentuk pola-pola gendang bermuatan proses interkultural dihadirkan dengan melibatkan interaksi intersubjek sehingga menghasilkan produk interaktif berupa senggakan dan gerak-gerak komunitas joged pada proses objektivasi. Media pentas dan konser menjadi proses sosialisasi yang membuat masyarakat dari satu kolektif ke kolektif lain, melihat Areva Musik sebagai manifestasi dari Dangdut Koplo, pada tahap internalisasi. ABSTRACTThis research focused on the construction process of the intercultural dimension of the drums pattern among Dangdut Koplo’s society. The approach used to adopt from the social sciences, that was social construction theory from Peter l. Berger consist of externalization, internalization, and objectivation. Research conducted using the method of Phenomenology by doing fieldwork to several areas performing Live of Dangdut Koplo in Solo and surroundings especially on Taman Hiburan Rakyat (THR) Sriwedari with Areva Music group as a case study. The process of the social construction of society Dangdut Koplo described through analysis on transcripts of drum patterns and the impact of its. Externalization stage involves the concept of creativity from Areva Music in generating and developing intercultural dimension on the drum pattern of the gendang’s player. Creativity in the form of many drum patterns featured an intercultural process involving the subject to subject interaction to produce interactive products in the form of senggakan and some motion from joged’s community on the process of objectivation. The medium of performances and concerts into a process of socialization that make communities from one another, the collective to collective see that Areva Music group as a manifestation of Dangdut Koplo, at the process of internalization.
STUDI BENTUK, FUNGSI DAN MAKNA ORNAMEN MAKAM DI KOMPLEKS MAKAM RAJA-RAJA BUGIS Meisar Ashari
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 3 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (601.811 KB) | DOI: 10.33153/dewaruci.v8i3.1135

Abstract

This article is the result of a study about a physical cultural legacy that is also an artistic product left over from the heydayof the Islamic dynasty from the 17th to the 19th century. For this reason, there are two artistic aspects that need to be observedclosely in the analysis of the form, function, and meaning of grave ornaments, namely the aesthetical context or the presentationof the ornaments, including the form and expertise which gave rise to the style, and secondly the context of meaning,including the message and connection of the symbols on the ornaments, or the symbolic value. The investigation of theaesthetical value of the form and function of grave ornaments aims to discover the meaning that has become associated witha particular work, and as such, the existence of the ornaments is analyzed based on an interactional and interpretationalanalysis through an archeological aesthetical approach. The interactional analysis is carried out in order to gain an intersubjectiveinterpretation of the data that is obtained by using ethical research or based either on the data in a bibliographicalstudy or on the knowledge and opinion of the researcher. The goal of the analysis is to discover the form, function, andmeaning of the ornaments on the graves in the cemetery of Bugis kings. The benefit of the analysis is that it shows that theexistence of grave ornaments is not only a form of cultural identity of the local community but also provides a wealth ofinformation that is communicated through the visual symbols found in the patterns or motifs contained in the grave ornaments.Keywords: Form, function, meaning, and grave ornaments.
PERUBAHAN DAN KEBERLANGSUNGAN MUSIK KATUMBAK DI LIMAU PURUIK PARIAMAN SUMATRA BARAT Yurnalis -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 3 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3619.132 KB) | DOI: 10.33153/dewaruci.v7i3.1037

Abstract

Artikel ini adalah hasil penelitian tentang perubahan dan keberlangsungan musik Katumbak di Limau Puruik Pariaman Sumatra Barat. Kejayaan musik Katumbak  mengalami pasang surut seiring dengan perkembangan zaman, khususnya musik organ tunggal mampu menggeser keberadaaannya. Dalam rangka mengidentifikasi penyebab terjadinya kemun­duran musik katumbak dan menemukan usaha pengem­bangannya, maka dilakukan penelitian kualitatif, sehingga permasalahan inti dapat dideskripsikan secara detail untuk keperluan analisis. Dukungan pengumpulan data tetap mengandalkan teknik observasi dan wawancara, serta mendokumentasikan pertunjukan di lapangan untuk mengetahui gambaran tentang terpuruk dan bangkitnya musik katumbak dalam kehidupan masyarakat pendukungnya. Hasil dari penelitian adalah perubahan yang dilakukan seniman katumbak berupa penambahan instrumen, repertoar lagu, dan menghadirkan musisi atau penyanyi muda telah mendapat dukungan dari pemuka adat. Perubahan ini berdampak positif terhadap keberlanjutan kehidupan musik katumbak, pertunjukan musik menjadi lebih menarik, para penikmat –generasi muda– tidak merasa ketinggalan jaman, karena materi musikal  yang disajikan sesuai dengan nilai-nilai sosial kehidupan masyarakat Nagari Limau Puruik. Alhasil, semenjak tahun 2005 musik katumbak mulai meraih kejayaannya kembali hingga sekarang. Kata Kunci: musik katumbak, perubahan dan keberlangsungan, Limau Puruik.

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