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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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Media Adaptation of Mask Making in Malang: Study of Functional and Process for Making Fiber Masks Izam Ismail
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.v16i2.3318

Abstract

The mask is the main attribute in Malang Mask Show. The representation of Malang masks has undergone adaptation along with the development of the times, which were originally made of wood. This study aims to analyze the Malang mask material from the adaptation process of fiber raw materials as its component. The research approach method is descriptive qualitative. Data collection techniques using observation and interviews as the unit of analysis descriptively. The results of the study on the adaptation of the raw material for making Malang masks from wood into fiber as a medium of learning and the preservation of local culture as a medium of learning in schools. The technique of making Malang masks with fiber material uses the basic principles of printing and finishing techniques in the painting process using acrylic paint. An important finding from this research is that the Malang Mask making material using fiber has long durability, does not rot because it is synthetic
Art, Nature, and Culinary as Leverage of Village Branding at the Foot of the Mountain Soerjo Wido Minarto; Rully Aprilia Zandra; Adzrool Idzwan Ismail
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.v16i2.3620

Abstract

Beach tourism and seaside settlements are perennially popular. Nature's potential as well as the coast's characteristic hybrid art may always entice visitors. The settlements at the foot of the mountain, on the other hand, have their own unique environmental, gastronomic, and cultural identities. Bedugul village (Indonesia), Albarracin village (Spain), Reine village (Norway), Wengen village (Switzerland), Panglipuran village (Indonesia), Hallstatt village (Austria), Patiangan village (Indonesia), and Ora village (Indonesia) are some of the names given to the villages in Indonesia (Greece). They're all mountain communities that have successfully marketed themselves as tourist destinations at the foot of the mountain. The goal of this research is to come up with a viable approach for village branding at the foot of the mountain. This study is a hybrid of action research and development research, with a focus on tourism village acceleration. The Benjor village residents, Benjor village administrators, and a sample of potential visitors were polled for information. The community around Benjor village, the Malang Regency community, and persons outside the Malang Regency were all surveyed for potential visitors. Individual interviews or focus groups, environmental observations, and archives of village office records and Malang Regency government documents were used to gather data. The purpose of this study is to understand the tourism village process before and after therapy. Mining potential excavation yields eleven environmental assets in the form of waterfalls, five culinary assets in the form of chilli sauce, grilled rice, and other similar dishes, and three cultural assets in the form of hadrah, jaranan, and dancing. The development research yielded seven goods that Benjor villagers found to be the most effective in terms of branding. For mountain slope communities, the greatest method is to combine branded items that showcase their artistic, natural, and gastronomic potential.
The creative process of the Potehi puppet craftsman in Gudo Jombang Hasprita Restiamangastuti Boru Mangunsong; Warih Handayaningrum
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 1 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i1.3506

Abstract

Potehi Puppet is one of the traditional arts in the form of hand puppet performances from China that developed in Java, one of which was in Gudo, Jombang. This article aims to describe the creative process of the Potehi Puppet artist/maker in Gudo, which is correlated with family background and life experiences. The author finds a relationship between difficult life experiences and artistic family background with the artist's creative energy so that he can survive and continue to develop his work in difficult artistic conditions. This explains that difficult life experiences are also needed in creativity in terms of creativity theory and psychology. The method used is descriptive qualitative with interview data collection techniques with three artists/makers of Potehi Puppet in Gudo, namely Toni, Sony, and Samsul. Data analysis uses several main theoretical bases, namely Primadi Tabrani's creativity theory, and Graham Wallas's creativity, and research by Marie J.C. Forgeard is about taking advantage of adversity for increased creativity. This article can inspire artists, especially traditional artists, to take advantage of life's difficulties as a stepping stone to increasing creative energy, endurance, and creativity
Music video: evaluation of communication media for health campaign in early childhood education and development (ECED) students Vina Mahdalena; Lusia Handayani
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 1 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i1.3872

Abstract

The media for health campaigns carried out by both the government and the private sector are very diverse. This shows the importance of selecting and packaging media at the planning stage. The purpose of this research is to create a music video which suitable for the target audience (Early Childhood Education and Development Students) to campaign for the 7 steps of hand hygiene. The method is a type of Research and Development (R & D) which focuses on the process to produce the music video. Development models in this research is procedural which consider with suitable objectives to be achieved. The results of the feasibility tested by material experts were 89.9%, media experts were 89.7% and ECED students were 97.1%. From the percentage of the evaluation test, it can be concluded that the music video media produced in this study are appropriate to be used as a health campaign tool for ECED students and can be disseminated for the benefit of the community. So, the music video design has been proven to ECED students as a communication media campaign of 7 steps hand hygiene.
Exploring bodily knowledge in Silek Tuo through the meaning of the Pencak silat movement as material for developing dance learning at the Universitas Negeri Jakarta Romi Nursyam
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 1 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i1.3526

Abstract

Silat, apart from being a form of self-defence, is also a source of artistic inspiration for dance artists, including, in this case, Silek Tuo, which developed in Paninggahan, which is the “Parik Paga Nagari” (village protector). The purpose of the study was to find out and describe the meaning that existed in the Silek Tuo element, where the study included the conditions that must be fulfilled before the Silek Tuo practice, the meaning of the Silek Tuo itself from an Islamic perspective, and the meaning of the Silek Tuo movement, which would be applied in Pencak silat courses at the Dance Study Program at Jakarta State University. The method used in the research is the descriptive qualitative method, where the meaning of Silek Tuo is described in writing, with the method of collecting data using observation and interviews. The urgency of this research is to improve dance students' psychomotor affective and cognitive abilities about silat, especially the Silek Tuo. This study's results describe the conditions that must be met to learn Silek Tuo, the meaning of motion, and the correlation of Islamic law to Silek Tuo in Paninggahan
Disaster mitigation in an art creation approach: a case study of the dance film "Spectrumotion Coastal Flood" Mentari Isnaini; Eko Supriyanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 1 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i1.3802

Abstract

The dance work for the film “Spectrumotion Coastal Flood” is an interpretation of the expressions of sentiment, habits, and ways of survival in Sayung District, Demak Regency, which are inspired by coastal flooding. This study aimed to find experimental methods and studies of dance film media. The basis for making this work are habits that have formed a new culture, such as washing feet, the way humans defecate during floods and surviving with limited activities and routines. The research method uses an empiricism approach. The production process of art creation is carried out with the stages of making an estimate of the form of the work of art as outlined in the design of the creation. The analysis was carried out by exploring knowledge about the body associated with experiments and media studies. The outcomes of this cinema dance piece are capable of evoking feelings and experiences that are appropriate for their intended purpose. Thus, the process of creating the dance film Spectrumotion Coastal Flood, which lasts 14 minutes 51 seconds, successfully presents the empirical experience of the film's dance artist
Nuutsih: interpretation of Celuk village revival via soundscape as a cultural phenomenon Ni Nyoman Srayamurtikanti; Bambang Sunarto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 1 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i1.4074

Abstract

This article discusses the process of creating a work of performing arts entitled "Nuutsih" as an artistic interpretation of cultural phenomena and social phenomena that occur in Celuk Village. Celuk Village is the centre of silver handicrafts in Bali. The village that culturally colours life and economy in Bali experienced a fluctuating event due to the community's attitude towards local wisdom. The local wisdom is in the form of a soundscape in producing silver handicraft motif designs characteristic of Celuk village. This article aims to report on creative activities in creating Nuutsih's musical works. The writing method is an informative reflection of the creative activity the author undertakes as an artist. This method ultimately produces a picture of the artist's creative process in developing a strategy for creating artwork. Mainly with the object of the phenomenon of cultural sounds and the attitude of life of the Celuk village community. The artist sees this object from the perspective of restoring the collective memory of a happy community. Another result is the birth of Nuutsih ontology which will appear described in the discussion of this article. The significance of this article is to demonstrate the application of the rules that artists must adhere to in the creative process of art creation to produce works that the audience can enjoy
Historical sources as ideas for creating fiction films “Simpang Masa: The imaginary meeting among Ronggowarsito, Mangkunegoro IV, and Raden Saleh” Subiyanto Subiyanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 1 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i1.3645

Abstract

The 19th century was a turbulent time for the island of Java, especially for the Javanese inhabitants, who had just survived a devastating conflict known as the Java War (1825-1830). The policies of the newly established Dutch East Indies government (1818-1942) affected the Javanese. The 19th century was a turbulent time for the island of Java, especially for the Javanese inhabitants, who had just survived a devastating conflict known as the Java War (1825-1830). The policies of the newly established Dutch East Indies government (1818-1942) affected the Javanese experiencing a decline in self-confidence and a sharp recession in their socioeconomic, political, and cultural. Key historical figures: Raden Ngabehi Ronggowarsito (1802-73); Mangkunegoro IV (1811-81; reign 1853-81); and Raden Saleh Syarif Bustaman (around 1811-1880) came of age in this epoch. The research aims to use historical data as the idea of creation, Simpang Masa. Simpang Masa means Intersection of time In English. A historical approach is used to analyze the available primary and secondary data and to constitute a metaphorical approach for reading art through the prism of these three hugely talented figures. The way they interacted resulted in: (1) A heightened social awareness, which can be seen in the way their thought processes responded to contemporary social conditions; (2) A deepened aesthetic awareness, which enabled them to respond creatively to their environment and contemporary circumstances through their work; and (3) An enhanced spiritual awareness, which informed their individual and collective initiatives to protect Java’s circumstance. With a depth understanding of Javanese history, the history of the three selected individuals, and their artwork, the research will be able to capture the spirit and zeitgeist of the 19th century
Yomida Hamadi's cenderawasih batik creations in Papua: study of motive forms, patterns and structures Nathalia Dwijayanti; Bagus Indrayana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 1 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i1.3628

Abstract

The Cenderawasih Batik, created by Yomida Hamadi, is written as a repertoire of flora and fauna, which is a local cultural product as the motif. The depiction of batik's decorative components is through forming, patterning, and arranging the motifs, finally resulting in Cenderawasih batik. This study aims to describe the process of forming motifs, patterning techniques, and the process of composing batik motifs by Yomida Hamadi. It uses a research method of examining the motif's shape, pattern, and structure, which is a qualitative descriptive method supported by the theory of structural aesthetics to obtain a valid interpretation of objectivity. The result of the discussion of this study reveals the shape of the Cenderawasih batik motif as a work of art in arranging the motif's combination based on three decorative components, namely the main motif (Cenderawasih bird), the filler motif (areca nut), and the isen (betel nut) motif which is distilled in form. The batik modelling technique applies a combination of horizontal and vertical patterns and the Cenderawasih batik structure, with a combination of one motif with another to get a harmonious motif. The structure of the Cenderawasih batik motif is formed based on elements of art, made simple by paying attention to the elements of harmony, balance, contrast, unity, simplicity, accentuation, and proportion. The expectations achieved in this study may help identify and apply the process of forming motifs, patterning techniques, and making motifs by Yomida Hamadi. Hopefully, the community will better understand the process of creating creative batik whose motifs are inspired by the natural-cultural richness of the Land of Papua
The Influence of the Panji Tales on the Lyrics of Bedhaya Ketawang Michi Tomioka
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 2 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i2.4147

Abstract

The lyrics of Bedhaya Ketawang have been interpreted too much in line with the romance of Ratu Kidul and a Mataram king, with a view that the written words convey the meaning of the dance performance. On the contrary, the meaning is often made up by later interpretation. If written words are examined without preconception, it is difficult to say the dance depicts romance. From the fact that Jayengsekar, another name of Prince Panji, appears in the lyrics of Bedhaya Ketawang, as well as that the lyrics resemble the texts of two different Panji Tales, it can be considered that the first section of Bedhaya Ketawang was taken from the Panji Tales. The Panji Tales were favoured by court people, and a script was prepared in case of the performance in the court, by which lyrics of the Panji Tales may have been collected in the court. Prince Panji and his wife had been the symbol of love since before the Mataram period; therefore, the lyrics of the Panji Tales may have been chosen to create the love-themed dance, which was later named Bedhaya Ketawang

Page 17 of 28 | Total Record : 271

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