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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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RAJA, KARAWITAN, DAN UPACARA TRADISI KERATON SURAKARTA Joko Daryanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1217.388 KB) | DOI: 10.33153/dewaruci.v6i2.937

Abstract

Karawitan (gamelan music and singing accompanied by a gamelan) is an integral part of court activities. The very large role of karawitan makes the court karawitan an integral part of court traditional life. The large role of court karawitan is closely related to the traditional ceremonies. The importance of karawitan in the court traditional life finally makes the karawitan one of power legitimacy tools to confirm the king’s power and authority. Thus, there is a unity between the court tradition and karawitan, in other words, karawitan cannot be apart from the court tradition. In other words there is reciprocal and mutual relation between the king, karawitan and court tradition. Such relationship between king, karawitan and court tradition is called system. It is named system because there is a strong reciprocal relationship and the loss of one such element will harm the court traditional life survival.Keywords : king, karawitan, court tradition, system
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
SENI LUKIS INDONESIA Problem Refleksivitas Dalam Pemikiran Filsafat Post-ModernismeTerhadap Masyarakat Multikultural Dharsono -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 2 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3262.101 KB) | DOI: 10.33153/dewaruci.v7i2.999

Abstract

Perjalanan seni lukis sejak perintisan R. Saleh sampai awal abad XXI ini, terasa masih terombang-ambing oleh berbagai benturan konsepsi. Kemapanan seni lukis Indonesia yang belum mencapai tataran berhasil itu, sudah diporak-porandakan oleh gagasan modernisme yang membuahkan seni alternatif, dengan munculnya seni konsep (conseptual art): “Instalasi Art”, dan “Performance Art”, yang pernah menjamur di pelosok kampus perguruan tinggi seni sekitar 1993-1996. Kemudian muncul berbagai alternatif semacam “kolaborasi” sebagai mode 1996/97. Bersama itu pula seni lukis konvensi dengan berbagai gaya menghiasi galeri-galeri, yang bukan lagi sebagai bentuk apresiasi terhadap masyarakat, tetapi merupakan bisnis alternatif investasi. Seniman dihadapkan dalam dua pilihan: pertama, tetap sebagai seniman idealis yang mencoba mempertahankan nilai, dengan mempertahankan seni sebagai terapi batin, sehingga mampu menjadi monometalitas zaman, seni senafas dengan zamannya, seni sebagai satu potret kehidupan. Kedua, masuk dalam blantika seni lukis Indonsia, yang cukup menggiurkan. Apabila  seniman modern mencoba menceritakan dirinya lewat  ekspresi pribadinya, dengan mengungkapkan atau mengekspresikan  pengalaman estetiknya dalam simbol-simbol ekspresi yang penuh realitas makna. Maka paradigma seni dalam fenomena kini  (kontemporer) menawarkan berbagai gagasan yang ia racik dalam multi media, multi-idea dan bahkan multi tafsir, menghasilkan  realitas wacana Kata kunci: pencarian identitas, dekontruksi dan sentuhan tradisi
PERUBAHAN MUSIK TRADISI GORONTALO: GAMBUS DAN POLOPALO MENJADI TIPOTUMBA Mimy Astuty Pulukadang
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1272.835 KB) | DOI: 10.33153/dewaruci.v6i1.855

Abstract

Tradition art as medium to get society’s expression had experienced a lot of change according to support the creativity of society. Based on creativity on tradition art force this has humanitarianism point in supporting society’s life. It supported tradition form medley. Tradition music usually was engaged region, society appetite, trust, tradition and style. Archipelago music history notes to mark sense changing appetite and because of function politics social change. Changing it most verily constitute influence of artistry the world and education knowledge. Its attending is that phenomena, bearing idea Gorontalo’s artist to give aesthetic touch to its tradition music because archipelago music diversity can’t divorce from artists creative job it. Gorontalo’s artist tries to poor idea to merge music Gambus is traditional and Polopalo as Tipotumba without leave traditional methods. Changed process that covers to form, function, and music meaning Tipotumba looked on can represent kawula’s distortion young of extern culture that progressively on familiar term with their life. This research utilize fenomenologi’s approaching because is seen according to study object, concerning with happening phenomenon on Gorontalo’s society. Downloading to look for a variety source which is lionized deep observational covers studi is library, observation, and interview.Music Tipotumba be not simply realization of creativity one eye but as an estetik’s opus artists that region music Gorontalo cans also be Gorontalo’s society icon at winks national and also international.Keywords: changing, Gambus and Polopalo, Tipotumba
Pengalaman empiris menjadi sebuah ide dalam penciptaan musik Yandri Syahputra
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 12, No 1 (2017)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1205.953 KB) | DOI: 10.33153/dewaruci.v12i1.2518

Abstract

Pentingnya keberadaan lapau bagi masyarakat Minangkabau sebagai institusi budaya non formal pengkarya sadari, oleh karena pengkarya adalah anak yang tumbuh di lapau. Pengalaman empiris tersebut, mengilhami pengkarya untuk menjadikan lapau sebagai ide dalam penciptaan musik. Lapau selain tempat makan dan minum, bagi masyarakat Minangkabau juga merupakan tempat bersosialisasi dan bersenda gurau. Bagi generasi muda, lapau merupakan tempat belajar bidang pergaulan untuk tahap menuju kedewasaan. Sebelum adanya teknologi seperti radio, telepon genggam, dan televisi, lapau juga menjadi salah satu sarana untuk memberikan informasi kepada masyarakat, serta menjadi tempat pertukaran informasi antara pengunjung lapau yang satu dengan yang lainnya. Selain aktivitas memasak, di dalam dan di luar lapau terdapat juga aktivitas berkesenian, gelombang bunyi dan budaya mahota (berbicara). Aktivitas dan cerita tersebut menghasilkan bunyi yang berpotensi musikal. Melihat fenomena-fenomena musikal yang terjadi di lapau dan pengalaman empiris pengkarya, maka muncullah ide untuk menjadikan aktivitas yang terjadi di lapau ke dalam komposisi musik. Bunyi yang terjadi di lapau, budaya mahota (berbicara) dan aktivitas berkesenian yang terjadi di dalam dan di luar lapau digarap dan disajikan dalam satu pertunjukan komposisi musik secara utuh. Sebagai anak yang tumbuh di lapau, pengkarya ingin mengingatkan, bahwa lapau bisa menjadi tempat untuk belajar, ia bukan merupakan tempat berjudi, menghabiskan waktu secara sia-sia seperti anggapan sebagian masyarakat Minangkabau dewasa ini (mertua dan istri laki-laki di Minangkabau). Pengkarya juga ingin berpesan pentingnya keberadaan lapau di tengah maraknya tempat-tempat yang menyediakan makanan cepat saji, yang notabenenya hanya menjadi simbol untuk membuat perbedaan kasta. Di samping itu, pengkarya berharap dengan adanya karya yang disusun ini, bisa menjadi salah satu usaha untuk mempertahankan kearifan budaya lokal agar tidak termarjinalkan oleh produk atau tren yang datang dari luar kebudayaan Minangkabau.ABSTRACTLapau the importance of the existence of Minangkabau society as non-formal cultural institutions pengkarya realize, therefore pengkarya was a child growing up in Lapau. The empirical experience, inspire pengkarya to make lapau as an idea in the creation of music. Lapau besides where to eat and drink, for Minangkabau society, is also a place to socialize and frolic. For the younger generation, Lapau a place to learn the field of association to stage towards maturity. Before the advent of technologies such as radio, mobile phones, and televisions, Lapau also is one means to provide information to the public, as well as being a place of information exchange between visitors Lapau with each other. In addition to cooking activities, inside and outside Lapau, there are also activities in art, sound waves and culture mahota (talk). Activities and stories that produce sounds potentially musicals. Seeing the musical phenomena that occur in Lapau, then came the idea to make the activity that occurs in Lapau into musical compositions. It sounds that occur in Lapau, mahota culture (speaking) and artistic activity that takes place in and outside Lapau worked out and presented in a show the whole musical composition. Through this work, “pengkarya” would like to remind, that Lapau could be a place to learn, it is not a place to gamble, spending time in vain as assumed most of the Minangkabau people today (in-law and wife of the man in the Minangkabau). Pengkarya also wants to instruct the importance of Lapau amid places that provide fast food, which only a symbol to make caste distinctions. Also, pengkarya hoped that the works are arranged, it could be one of the efforts to maintain the cultural wisdom so as not marginalized by the products or trends that come from outside the Minangkabau culture.
Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi Dani Yanuar; 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 (362.317 KB) | DOI: 10.33153/dewaruci.v14i1.2532

Abstract

Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner. Teknik pengumpulan data diperoleh melalui studi lapangan, perekaman audio-visual, dan studi pustaka. Hasil analisis dari penelitian ini dapat disimpulkan (1) Pemain rebab sebagai pimpinan yang memiliki kewajiban untuk mengkoordinasi jalannya pertunjukan. (2) Tata letak instrumen musik dari masing-masing penyaji didasarkan atas pertimbangan kelancaran pesan musikal. (3) Pesan musikal merupakan tanda yang kemudian mendapat respon dari pemain musik yang lain. (4) Struktur gending dipengaruhi jenis irama yang dimainkan. (5) Respon musikal merupakan wujud dari motivasi masing-masing pemain musik. ABSTRACTThis study discusses the musical interaction in Topeng Betawi art performances. The focus of the problem focuses on how the fabric of musical interaction that occurs between the musicians in the musical staple grain Performace Topeng Betawi arts. The method used in this research is a descriptive analysis of the methods by describing or depicting an object under study based on the data obtained, which then conducted an analysis of the data. This research applies the theory of musical interaction formulated by Benjamin Brinner. Data collection techniques gained through fieldworks, audio-visual recording, and literature. Analytical results from this study can be concluded (1) Player fiddle as a leader who has the obligation to coordinate the course of the show. (2) The layout of musical instruments from each presenter is based on the consideration of the smoothness of the musical message. (3) Book musicals is a sign that later received a response from the other music players. (4) The structure of the musical influenced the type of rhythm being played. (5) Response musical is a form of motivation for each music player.
Transformation of Krinok to Bungo Krinok Music: The Innovation Certainty and Digital-Virtual Contribution for Cultural Advancement Mahdi Bahar; Johannes Johannes; Uswan Hasan; Indra Gunawan; Zulkarnain Zulkarnain; Hartati M; Fatonah Fatonah
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 1 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i1.3529

Abstract

Innovation is a certainty for the development of folk music. The use of digital technology is part of the creation of folk music in the sense of evolution itself. Krinok music is one of Jambi’s traditional music themes. This music genre is a cultural wealth that has great potential for artistic development and advancement. Musical systems, melodic contours, musical grammar, and interval patterns make up the distinctive character of krinok music. The normative freedom of the singing text’s spontaneous expression in presenting this musical entity and its changes is the entity that colors this uniqueness. The contribution of digital technology in processing krinok music has the potential for reproduction and publication as an integral part of the creative process itself. The placement of krinok music as cultural property is an effort to process it creatively. The result was the birth of new music as a transformation of Jambi folk music called “bungo krinok” music. This creative activity is an effort to progress the Indonesian nation’s culture.
Perubahan Struktur Organisasi Kepanitiaan dalam Festival Film Mahasiswa UCIFEST Natalia Depita
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 1 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i1.2524

Abstract

Festival film berkontribusi besar dalam menyelesaikan masalah distribusi bagi film-film alternatif seperti film-film karya mahasiswa yang ada di Indonesia. Film –film mahasiswa yang tidak dapat masuk ke jalur komersil, membutuhkan ruang atau etalase untuk menunjukkan karya mereka. Kebutuhan akan memiliki ruang eksebisi dan distribusi bagi film-film alternatif, menjadi faktor terbentuknya festival-festival film kampus. Sebagai festival film yang berada dibawah institusi dan dibentuk dengan semangat independen dari mahasiswa, festival film dapat bertahan dalam berbagai kondisi. Jaringan yang diciptakan oleh mahasiswa antar universitas juga menjadi kekuatan berlangsungnya festival film. Struktur organisasi kepanitiaan dibuat menyesuaikan kebutuhan festival film. Struktur organisasi yang dibentuk harus berjalan secara efektif dan efisien demi tercapainya kesuksesan festival film. Changes in the Organizational Structure of the Committee in the UCIFEST Student Film Festival  Abstract: Film festivals contribute to solving distribution for alternative films. A short film created by students cannot enter the commercial path or screen in the movie theatre. The need to have exhibition and distribution spaces for the alternative film is a factor that the students make short film festivals on the campus. As a film festival under the university or institution, a film festival can survive in various conditions. This is because of the festival formed with the spirit of independence by students. Besides that, the network created by students between the communities or universities is also the strength of the short film festival. Another essential factor for the film festival is the organizational structure. The organizational structure must run effectively and efficiently to achieve the success of the film festival.
Social Criticism about the 2019 Election Campaign in the Comic Strip Gump n Hell Luqman Wahyudi; Sri Hesti Heriwati
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 1 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i1.3231

Abstract

Comic strips are a top-rated entertainment product. Supported by growing information technology, comic strips today are very accessible to almost all people. In addition to serving as a medium of entertainment, comic strips are often used as a means of opinion and convey criticism creatively from the comic artist. One of the comic strips that are vocal in expressing social criticism is Gump n Hell comic strip by Errik Irwan Wibowo. This comic strip depicts political events that occur, then publishes the comics through social media. This research is qualitative descriptive research using Charles Sanders Peirce's semiotic theory to determine the meaning of social criticism in the comic strip Gump n Hell. The researcher took three Gump n Hell comic strip samples relating to the moment of the 2019 General Election to analyzed the meaning. From the study results, there was an implicit meaning in the comic strip, namely criticizing and satirizing specific political figures related to the phenomenon. Criticism in comics is represented subtly or indirectly through pop culture icons that become representations or parodies of exact political figures and wrapped in narratives according to political phenomena.
Visual Elements of Semar Calligraphy on Cirebon Glass Painting of Kusdono’s Work Yayah Rukiah; Sarwanto Sarwanto; Sutarno Sutarno; Sunardi Sunardi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 2 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i2.3161

Abstract

This research is focused on visual elements contained in Kusdono's Cirebon glass painting. To examine the meaning of visual elements, the writer uses the aesthetic approach and Erwin Panofsky's iconographic approach through 3 stages: the description of pro-iconography, iconography, and finally, iconology. The methodology used is a descriptive qualitative research method, with data collection techniques from books and journals related to the research object. The purpose of this study is to examine and uncover the meaning of Cirebon glass paintings. These research results are Semar as the principal figure in the clown who always do good, keep the truth, and obey His teachings closely related to Islam. Arabic calligraphy reinforces Semar's figure. Many use mega cloudy and wadasan ornaments in the Cirebon glass painting, which are Cirebon batik motifs. Also, the colors used are coastal colors due to the City of Cirebon's geographical location close to the beach.

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