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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 271 Documents
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Rachana Vidhi: Metode Desain Interior Berbasis Budaya Lokal dan Revolusi Industri 4.0 I Kadek Dwi Noorwatha; Putu Ari Darmastuti; Ni Luh Kadek Resi Kerdiati
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.v15i2.3160

Abstract

This research is a fundamental research that seeks to formulate an interior design method based on local culture and the industrial revolution 4.0 called 'Rachana Vidhi'. The research problem arises from the urgent need for the formulation of an ideal interior design method, which combines the development of local culture, the needs of the interior design industry and implements the spirit of the industrial revolution 4.0. The research method uses a qualitative document study approach specifically with the systematic review method, which is combined with the comparative method. The reseach results of the 'Rachana Vidhi' method have been discussed using the basic framework of the stages of the HDII professional organization as a synergy between academics and professional organizations. The method also balances knowledge and abilities between academics and practitioners with the 'research based design' paradigm. In the context of cultural development, the interior design method 'Rachana Vidhi' has been filled in at the ‘Predesain’ stage especially at step no. 15 Cultural Exploration, as part of the drafting of interior design concepts. Synergy with the industrial revolution 4.0 on the interior design method 'Rachana Vidhi' is applied to the stages of Input, Design, Conceptual Design and Design Development. Industrial revolution 4.0 application used is for insight searching, data collecting and modeling.
Peran Puik-puik dalam Kesenian Gandrang Makassar Adiatma Hudzaifah
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.v15i2.2699

Abstract

ABSTRACT In general, this music is played by several instruments, not only the poetry and equipped with gandrang, length and katto-katto also actually exist in the separate music. In the next development, only puik-puik and gandrang were launched, which continued to be developed in the owner's community activities. This became the basis for the beginning of the puik-puik research. Puik-Puik in the Gandrang Makassar has a very fundamental role in shaping the harmony of the show. The difference in sound characteristics between gandrang and puik-puik is a strong reason. In the end, puik-puik is always present in the Gandrang dish, while there are several other instruments such as dengkang and katto-katto, which are rarely found at community events. This is closely related to the concept of harmony of the art owner community. Puik-Puik in the Gandrang Makassar art has a very fundamental role in shaping the harmony of the show. The difference in sound characteristics between Gandrang and puik-puik is a strong reason. In the end, puik-puik is always present in the Gandrang dish, while there are several other instruments such as dengkang and katto-katto, which are rarely found at community events. This is closely related to the concept of harmony of the art owner community. Keywords: Puik-puik, Society, Gandrang Makassar, and Role.  ABSTRAK Umumnya kesenian Gandrang Makassar dimainkan oleh beberapa alat saja, bukan hanya puik-puik dan sepasang gandrang, tetapi dengkang dan katto-katto sebenarnya juga berada dalam seperangkat kesenian tersebut. Pada perkembangan kemudian, hanya puik-puik dan sepasang gandrang yang eksis berkembang dalam kegiatan masyarakat pemilik. Hal ini menjadi landasan awal penelitian puik-puik. Puik-puik dibahas secara mendalam karena belum adanya pengetahuan tentang kenapa hanya puik-puik yang berada dalam kesenian Gandrang Makassar. Sepasang gandrang tidak dipertanyakan karena alat tersebut adalah utama dalam kesenian Gandrang Makassar. Maka dari itu permasalahan mengenai kepentingan dan peran puik-puik dibahas dengan melihat dari sisi masyarakat, kebudayaan, peranan musikal nilai esetetis yang terkandung, dan peranan musikal dalam kesenian Gandrang Makassar. Puik-puik dalam kesenian Gandrang Makassar sendiri mempunyai peran yang sangat elementer mengenai pembentukan harmoni sajian. Perbedaan karakter bunyi antara gandrang dan puik-puik menjadi alasan kuat mengapa puik-puik sangat berperan dalam kesenian tersebut. Pada akhirnya puik-puik selalu ada dalam sajian Gandrang, walaupun beberapa instrumen lain seperti dengkang dan katto-katto sudah jarang ditemui dalam perhelatan masyarakat. Hal ini erat kaitannya mengenai konsep harmoni masyarakat pemilik kesenian.   Kata Kunci: Puik-puik, Masyarakat, Gandrang Makassar, dan peran.
Bentuk dan Gaya Kesenian Barongan Blora Muhammad Jazuli; Slamet MD; Lesa Paranti
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.v15i1.2892

Abstract

Seni Barongan merupakan cerminan kreativitas seni dan budaya Blora di Jawa Tengah yang bersifat kerakyatan dan syarat makna, seperti spontan, sederhana, kekeluargaan, kasar, menantang, dan berani karena memang benar. Sifat kerakyatan membuat masyarakat Blora memiliki kekuatan yang luar biasa dalam menjalani kehidupannya. Topeng singa dalam kesenian Barongan merupakan simbol kekuatan dan kekuatan. Simbol ini merupakan nilai yang sangat penting untuk digunakan dalam mendukung pendidikan karakter anak bangsa. Penelitian ini bertujuan untuk mengkaji bentuk dan corak seni Barongan (kearifan lokal) serta nilai-nilai yang terkandung di dalamnya sehingga dapat dimanfaatkan untuk kepentingan pendidikan karakter. Urgensi penelitian ini karena beberapa acara budaya tradisional di Blora memerlukan keterlibatan kesenian Barongan di dalamnya, seperti tradisi sedekah bumi, tradisi bersih kampung, dan tradisi lamporan. Hasil penelitian menginformasikan bentuk pertunjukan Barongan di Blora dibedakan menjadi dua yaitu bentuk arak-arakan dan drama. Gaya penampilan Barongan ditentukan oleh pola karyanya dan ragam gerak yang unik. Form and Art Style of Barongan BloraAbstract: Barongan art is a reflection of the artistic and cultural creativity of Blora in Central Java, which has populist nature and conditions of meaning, such as spontaneous, simplicity, kinship, rough, challenging, and brave because it is true. The populist nature means that the Blora people have tremendous power in living their lives. The lion mask in Barongan art is a symbol of strength and might. This symbol is a significant value to be used in supporting the character education of the nation's children. This study aimed to examine the form and style of Barongan art (local wisdom) and the values contained therein so that it can be utilized for the benefit of character education. The urgency of this study is because some regular cultural events in Blora require the involvement of the Barongan art in them, such as the earth alms tradition, the clean village tradition, and the lamporan tradition. The results of the study inform the form of Barongan performances in Blora can be divided into two, namely the form of procession and drama. Barongan performance style is determined by the pattern of his work and a unique range of motion.
Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting Hasbi Hasbi
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.v16i1.3234

Abstract

Lontara is a traditional script of the Bugis-Makassar community, derived from the word lontar, a type of plant in South Sulawesi, which is still used and maintained. Sappo (Bugis): fence used to limit (surround, insulate) land and houses. The Bugis-Makassar community as a whole always has a Sappo / fence to protect themselves, their families, and their nation. Sulapa eppa (four sides) is a mystical form of classical Bugis-Makassar belief that symbolizes the universe’s composition, wind-fire-water-earth. Walasuji is a kind of bamboo fence in a rhombic ritual. Walasuji comes from the word wala, which means separator/fence/guard, and suji means daughter (metaphor of something of value, which must be under protection). The research aims to create three-dimensional paintings with the idea of creation, Sappo: Sulapa eppa walasuji. The symbolic expression concept borrows the Lontara tradition’s idioms, making works of metaphorical Sappo (montage) titles; Posi’ Symbolic expressions are used as research methods to create works. Researchers borrow traditional idioms as a place of expression. Symbolic abstraction works are conceptually a form of modern art by utilizing the Lontara tradition's idiom as a basic element of preparing the work. The contextual use of idioms is no longer intact because there is a degradation in the artists’ processing when interpreting symbolic forms. The expression of tradition is no longer a thematic pouring of ideas, still, as a textual symbol offered by artists to provide freedom of interpretation, Sappo: Sulapa eppa walasuji as the idea of creating paintings. The results of the study explore the elements of form and express the message conveyed through the work of three-dimensional images with the concept of creation, Sappo: Sulapa eppa walasuji, a work of metaphorical painting Sappo (montage) title: Posi, which is essentially God, as the protector of everything from the whole Sappo metaphor. Sappo, an idiom of tradition, is portrayed as a form of the symbolism of reflections on researchers’ lives visualized in the entire artwork. The visual elements used, stone, wood, bamboo, and paint, are at the same time a metaphor for the universe, which is God’s creation.
Peranan Elemen Desain Interior Dalam Membentuk Atmosfer Ruang Tunggu CIP Lounge Bandara Rr. Chandrarezky Permatasari; Nuarista Edi Nugraha
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.v15i2.3027

Abstract

The atmosphere of the space can be formed visually through its interior design elements. In this study shows how the role of interior design elements is applied to the public waiting room in CIP Mandiri Priority Lounge Kualanamu conducted to determine the atmosphere of the atmosphere that forms the image of corporate lounge image.The existence of a space formed through the physical elements of interior design consisting of horizontal and vertical elements. This basic element is present along with the color, light, texture and pattern of the field which will affect the perception of visual weight, proportion and dimensions. Other non-physical elements of a space are socio-cultural elements carried by other people and the environment can affect interactions in the form of non-physical elements of a space.The physical and non-physical elements work together to create the atmosphere of a space that has characteristics that are able to build a space image.This research uses a qualitative method with a descriptive analysis approach. Data collection techniques through survey studies.  From the analysis of the data it was found that the role of the interior design elements forming the space greatly influences the atmosphere of the public lounge CIP lounge in accordance with the image of identity of a lounge. The character of the atmosphere formed is linked and assessed for its suitability to the style, function of the area in the Airport CIP Lounge
The Concept of Tumbuk in Javanese Gamelan Tuning Harmanto Harmanto; Suyoto Suyoto; Jody Diamond
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 2 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i2.3794

Abstract

This study aimed to reveal the concept of Tumbuk in Javanese gamelan tuning, namely gamêlan agêng with Sléndro and Pélog. This study used a qualitative method with an ethical emic perspective. The data collection was done by conducting literature review, observation, interviews, and studio work, then processed with data analysis. The data analysis then was followed up through data interaction by interpreting the relationship reactions of the three elements of analysis consisting of data collection, data reduction, and data presentation. The interpretation of the data was done inductively, so that the conclusion was drawn entirely from the development of the data according to the realities of the field. The results showed that tumbuk was not only limited to a note that has the same high and low, but it is a musical concept that integrates the Sléndro and Pélog scales in the tuning of a set of gamelans. There are basically only two types of tumbuk: nêm tumbuk and lima tumbuk. Other than those, it means that they are the strut. The thing is,tumbuk has a central tone that serves as a benchmark and a supporting tone whose position strengthens the integration of each type of tumbuk. As a concept, it was found that tumbuk plays several important roles including equalizing the highs and lows of certain notes, equalizing the range of certain notes, and conditioning the range of notes or the addition of the tune.
Masak, Macak, Manak Nowadays through Challenge-Based Research on Nol Dance Creation Yulela Nur Imama; Michiyo Yoneno Reyes
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 2 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i2.3232

Abstract

Patriarchy in Javanese culture gives birth to gender stratification between women and men. This attitude has an impact on the work delegated to women. This stigma requires women to fulfill cultural values that include 3M, namely masak, macak, manak. This study aims to find out the existence and relevance of the values of masak, macak, and manak, in the form of dance works, and to find out how these values must be maintained. The method used is the method of creation based on the concept of art-based research. This research on the creation of dance works is based on challenges, namely through the process of creating challenges. The study was conducted by challenging ten participants to communicate and do several things intensely, both personally and communally, for seven days online through the "7 days cooking" challenge. The results of this study are in the form of dance performances containing messages of masak, macak, and manak which are displayed live streaming on the Youtube social media channel.
The Meaning Of Bali Aesthetic Code In The Animated Film Si Uma Hasbullah Hasbullah; I Wayan Mudra; I Wayan Swandi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 2 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i2.3164

Abstract

This study aims to analyze the meaning of aesthetic code in the animated film "Si Uma." The animated film "Si Uma" needs to be investigated because the reanimated film shows Balinese culture's beauty and has a unique character shape. Visualization of Balinese culture in this animated film contains a meaningful message for the life of the universe hitch conveyed through the form of code. The problem is what is the meaning of the Balinese aesthetic code represented in the animated film "Si Uma." The method used in this research is qualitative with data collection techniques through observation, interviews, and documentation. The technique of determining the source of data in this study is the Snowball sampling technique. Data sources were collected through interviews with Ida Bagus Surya Manuba, I Nyoman Suci Rasika, and Gede Pasek Putra Adnyana Yasa. Data analysis was carried out through data reduction, presentation, and conclusion drawing based on Ferdinand de Saussure's semiotic theory and Roland Barthes' postmodern aesthetic code. The results of this study indicate that the aesthetic code in the animated film "Si Uma" in the form of a semantic code is associated with a black and white patterned fabric sign (poleng) which contains the meaning of life balance in the universe; the cultural code is associated with a headband (udeng) containing meaning to concentrate thoughts or views (concentration) in every activity in Bali. In conclusion, the meaning of the aesthetic code in the animated film "Si Uma" is seen from two perspectives such as : the semantic code in the form of Poleng Cloth is ideological containing the meaning of balance in life in the universe; cultural code in the form of a headband (udeng)is connotative which means to focus attention/thought, aesthetic, and cultural identity in worship and daily activities.
Self Me: Interpretation of Self-Injury in the Context of Healing Hanna Medita; Nazima Rangwala Kalita
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 2 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i2.3411

Abstract

The work Self Me focuses on the topic of self-injury, which is influenced by a number of factors, including bullying and mild to severe stress. The purpose of this study is to process the expression of pain from self-injury into a dance work. Self Me is in the form of research-based work using asymmetrically arranged wood and ropes as a medium for symbolic expression. The dancers involved use one dancer who represents several backgrounds. There are five segments of Self Me's work, the first is how a person tries to accept life symptoms that can become self-injury. The second segment is the feel-good phase of self-injury. The third segment expresses comfort in solitude, the fourth is about being stuck with problems that are difficult to get out of and the fifth expresses various emotions asynchronous feelings and thoughts. This research revealed self-concept findings, meaning that difficulties may be overcome when we confront ourselves. All issues and answers that decide are self, thus self means self and I means myself
Adangiyah: Philosophy of Art in Tradition and Modernization Bambang Sunarto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 2 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i2.3983

Abstract

Dewa Ruci's journal on this edition is felt so special. Since volume 15 has been eager to target a wider audience. Many scientific idiographic concepts are important and need to be known by international readers. This edition is proud to present the most widely written articles by postgraduate students and lecturers from the Indonesian Institute of the Arts Surakarta, Universities of Education from Surabaya, and Malang (East Java). What is special about this edition of this journal is the participation of the second author, who comes from various countries who are very encouraging to the first author. The participating writers from abroad are Adzrool Idzwan Ismail (Malaysia), Michiyo Yoneno Reyes (Japan), Nazima Rangwala Kalita (India), Lee Yong-Shik (South Korea), Jody Diamond (United States).We above appear to have six collaboratively written articles to publish on this occasion. The first author, Soerjo Wido Minato, wrote an article entitled “Art, Nature, and Culinary As Leverages for Village Branding at the Foot of the Mountain.” He discussed that coastal tourism and coastal villages have always been attractions, especially mountain villages that have succeeded in branding themselves as tourist villages. The Malang State University research team conducted research activities to support the preparation of Benjor Village to become a tourist village. An effective strategy for branding Benjor Village as a tourist village at the foot of the mountain is to synergize art, nature, and culinary arts in logos, songs, dances, taglines, videos, and social media.Next is Yulela Nur Imama's article entitled "Masak, Macak, Manak” at this time through challenge-based research on the creation of Nol dance," discussing 3M (cooking, preening, give birth) as cultural values for Javanese women. This study aims to determine the existence and relevance of these 3M values in dance works and how these values must be maintained. Tari Nol interprets 3M's cultural values.Hanna Medita wrote the article “Self Me: interpretation of self-injury in the context of healing,” discussing modernization that affects human needs. Self Me is a work inspired by the author's experience of self-injury which is very common among teenagers towards adulthood. Many symptoms are very likely to affect one's mental health. The work of Self Me gives a message about the importance of knowing self-injury early on and knowing what the symptoms of self-injury are.Rian Prasetya's article entitled "Color Formation of Musical Compositions of Children's Choir "Vocalista Angels" discusses the choir resulting from intensive training in various competitions in the Vocalista Angels (VA) group. The group emphasizes unique performance with sound color processing that deviates from the conventions of music theory. At the heart of quality processing at VA is building a distinctive tone of voice, trying to avoid musical tendencies based on classical vocal theory. An important element to form distinctiveness is a musical work that puts forward the method of wording, processing articulation, resonance, and intonation.Izam Ismail wrote the article "Media Adaptation of Mask Making in Malang: Study of Functional and Process for Making Fiber Masks" which discusses the adaptation made by changing the media without changing the shape and visuals that appear in Topeng Malang. The mask in the Malang Mask performance is a sacred form used by dancers by bringing the Panji character into the show. Making fiber masks begins with practice, namely making molds without changing the shape and ornaments on Malang Masks.Harmanto’s article entitled "The Concept of Tumbuk in Javanese Gamelan Tuning" discusses the phenomenon of musical mash in the Javanese karawitan tradition. Tumbuk is more than just a scale between Sléndro and Pélog. Tumbuk acts as a synchronizer in frequency and range between notes and a tone coordinator or add-on in the tuning system. Tones that have the same frequency in the tone of nêm are nêm sléndro and nêm pélog, nêm sléndro and pélog stuff, and others.The last writer is Hasbullah, with an article entitled "The Meaning Of Bali Aesthetic Code In The Animated Film Si Uma." He discusses the meaning of the Balinese aesthetic code in the animated film "Si Uma." The animated film gives a message through semantic codes such as cloth poleng, which connotes a balance of life and perfection. The meanings found from studying the Balinese aesthetic code in the animated film “Si Uma” are beauty, concentration, and cultural identity.That is the essence of the issue of Volume 16 Number 2 (December Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of fine arts and performing arts in international networks, both in the arts. Creation and in the scientific research of art in general. We hope for the development of fine arts and arts.Thank you

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