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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 272 Documents

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ORNAMEN MASJID MANTINGAN JEPARA JAWA TENGAH Agus Setiawan
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

The research focuses on a study of how the ornaments on the Mantingan Mosque came to exist, what is the characteristic Islamic of the ornaments on the Mantingan Mosque, why the ornaments presents Hindu, Chinese, and local genius elements, and what is the symbolic meaning of the ornamental motifs it. The aim of the research was to discover and explain the existence of the ornaments, the facts behind the characteristic Islamic, why the ornaments presents Hindu, Chinese, and local genius elements, and the symbolic meaning of the ornamental motifs. The method used for the study was a qualitative research method. The location of the research was the site of the mosque and grave of Pangeran Hadiri and Ratu Kalinyamat in the village of Mantingan in Jepara. The data was collected through observation, interviews, a bibliographical study, and from documents and archives. The data was analysed using an interaction and interpretation analysis which was structured to cover a historical study, Islamic forms, symbolic meanings, and a conclusion. The results of the research showed that the existence of the ornaments are originated as decorations and teachings related to the figure of Pangeran Hadiri, Ratu Kalinyamat, and Sungging Badarduwung. The role of these three figures influenced the combination of artistic styles found in the ornaments of the Mantingan Mosque, namely Hindu, Chinese, and Islamic influences, together with the influence of a local genius. The characteristic Islamic of the ornaments developed through a process of acculturation in which art and cultural forms from outside were combined with art with an Islamic nuance. The symbolic meaning of the ornamental motifs on the Mantingan Mosque is the connection between the microcosm and macrocosm, depicted through motifs of plants, animals, imaginary creatures, interwoven patterns, buildings, and other inanimate objects.Keywords: ornaments, Mantingan Mosque, the symbolic meaning

GAYA TILAWAH JAWI MUHAMMAD YASER ARAFAT Tika Puspita Sari
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 12, No 2 (2017)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

ABSTRAKBakat artistik, semangat, dan dukungan sosial dari sekitarnya adalah faktor utama yang membentuk konsistensi Yaser dalam menjalani hidupnya sebagai seorang seniman - pelafalan jawi. Yaser memberikan kontribusi dengan menciptakan karya baru, yaitu membaca Al-Qur’an dengan memasukkan musik Jawa dalam bacaannya tanpa melanggar aturan tajwid. Yaser adalah seniman kreatif sebagai bentuk bentuk baru dan gaya baru dalam seni pembacaan dengan mengubah sistem maqamat arabiyah dengan laras pelog nem.Kata Kunci: Seni; Gaya musik; KreatifABSTRACTArtistic talent, passion, and social support from the surrounding are the main factors which shape Yaser’s consistency in going through his life as artist—tilawah jawi reciter. Yaser gives contribution by creating a new masterpiece, which is reciting Al-Qur’an by infusing Javanese music in his tilawah without breaking the rule of tajwid. Yaser is a creative artist as proven by the creating of new form and new style in the art of Al-Qur’an recitation by changing maqamat arabiyah system with laras pelog nem.Key Words: Artistry; Musical style; Creative

MAKNA SENI LUKIS HITAM PUTIH KARYA I.G.N NURATA TAHUN 1990-2010 Maraja Sitompul
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 3 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

This article is the result of a study entitled â€œA Study of the Meaning of Black and White Paintings by I.G.N. Nurata from1990-2010.â€ The study takes as its object the black and white paintings of I.G.N. Nurata as a medium of expression, andaims to: 1) describe and analyze the background to the creation of I.G.N. Nurataâ€™s black and white paintings; 2) describe andanalyze the form of I.G.N. Nurataâ€™s black and white paintings; and 3) describe the response of the observer towards I.G.N.Nurataâ€™s black and white paintings. In order to obtain the necessary results, the research method adopted a holistic approachwhich focussed on six of I.G.N. Nurataâ€™s black and white paintings. The method used for collecting data included abibliographical study, participatory observation, documentation, and interviews. The data was analyzed mainly through aninterpretational analysis. Based on the results of the research, it could be concluded that: 1) I.G.N. Nurataâ€™s black and whitepaintings between 1990 and 2000 are visualized strongly in imaginary forms, through traditional visual language andcultural codes, in order to articulate symbolism and metaphors; 2) I.G.N. Nurataâ€™s black and white paintings between 2001and 2010 are still visualized in imaginary form, through traditional visual language and cultural codes, with the addition ofan increasingly intense use of elements of modern visual language such as the use of volume and perspective; and 3) On thewhole, there is a message of harmony between the macro, micro, and meta cosmos, in accordance with the doctrine â€œTri HitaKaranaâ€ which teaches us how to live in harmony with God, with other people, and with nature, including the spiritualworld.Keywords: Symbols through imaginative form, Visual Metaphors, Black and White Paintings

REVITALISASI RAGAM HIAS TRADISIONAL GAYA MATARAM DALAM PENGEMBANGAN DESAIN FURNITUR Bagus Indrayana; Guntur -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Among Indonesian original artworks, there are many of them which are claimed by foreign entrepreneurs or countries. Batik (Malaysia), decorative motifs of metalic handicraft (Cina), and carving furniture design from Jepara (England) were the examples. Keris and Wayang Kulit Purwa are officially validated by UNESCO as great creation from Indonesia. This fact leaded the anticipation to identify Indonesian traditional decorative patterns to avoid foreign claim. Cultural products from various suburban areas in Indonesia such as traditional decorative patterns in Mataram style in various kinds of technique and material that was an aesthetic element of daily need products in its era. Understanding the insights of motif, structure, function, application method, and also style and the symbolic meaning within, the techniques and the materials used in the creating process are essential to be explored using aesthetic approach. To make the traditional decorative pattern of Mataram style appropriate in the present and the future era, it needed to be revitalized by applying it as aesthetic element of creative and innovative furniture design within creative process of Indonesian craftsmen, so that it would possible competing among global culture era. Besides, such study needed to be supported by reference from relevant source, empirical observation and interview with relevant experts, such as culture observer, chief of deperindagkop (Official department of industry, trading and co-operation), entrepreneurs, craftsmen, and also practitioner of Usaha Kecil Menengah (UKM)-Lower-Middle Class Industry. As the result, beside to be treated as the basic idea in obtaining HAKI, this research would identify traditional Mataram style decorative pattern to provide innovative and creative furniture designs those reflecting Indonesian local wisdom. Besides reserving the intellectual rights for Indonesian craftsmen, collecting this decorative patterns were also claim-protected from other country. It would also increase and rearrange the values of national culture in the present and the future.Keywords: revitalized, traditional decorative patterns, furniture designs

Melongok klenengan di Radio Republik Indonesia Surakarta T. Slamet Suparno
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 12, No 1 (2017)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Tulisan berjudul “Melongok Klenengan di Radio Republik Indonesia (RRI) Surakarta” ini didasarkan atas pengamatan terhadap kelompok-kelompok karawitan yang melaksanakan klenengan di RRI Surakarta pada pertengahan tahun 2015 selama 6 (enam) bulan. Pendekatan dilakukan secara sosiologis perspektif Hauser dengan metode kualitatif. Pertanyaan yang dirumuskan adalah kelompok karawitan mana saja yang melaksanakan klenengan, bentuk gending seperti apa dengan repetoar apa saja yang menjadi bahan klenengan, dan kecenderungan seperti apa kelompok karawitan melaksanakan klenengan di RRI Surakarta. Hasil yang dicapai yakni dapat dinyatakan bahwa para kelompok karawitan di wilayah Solo Raya cenderung mengikuti selera pasar yang menghibur, ramai, dan gobyok yang merupakan sifat gending-gending populer. Namun demikian, sejumlah lembaga “kebudayaan” yakni HMJ ISI Surakarta, Keraton Surakarta, Pura Mangkunegaran, dan RRI Surakarta, masih merawat gending-gending klasik, meskipun ada kecenderungan ke arah populer.Kata kunci: klenengan, klasik, populerABSTRACTThe article entitled “An Investigation of Klenengan at Radio Republik Indonesia (RRI) Surakarta” is based on an observation of the karawitan groups which performed klenengan at RRI Surakarta over a period of six months around the middle of 2015. A sociological approach with Hauser’s perspective is used, together with a qualitative method. The questions formulated for the study are: which karawitan groups played klenengan, which forms of gending and what repertoire were used as the klenengan material, and what were the tendencies of the karawitan groups that performed klenengan at RRI Surakarta. The results show that the karawitan groups from the Solo area which performed klenengan at RRI Surakarta were inclined to follow market preference by performing popular gending with an entertaining, lively, and vibrant character. Nevertheless, a number of “cultural” institutions, such as HMJ ISI Surakarta, Keraton Surakarta, Pura Mangkunegaran, and RRI Surakarta, still chose to play classical gending, although there was a tendency towards those of a popular nature.Keywords: klenengan, classical, popular.

WAYANG ORANG KALANGAN ELITE KUNTI NALIBROTO Dhita Anindya Widyarani
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

The existence of Wayang Orang (a form of traditional Javanese stage show) in Jakarta is characterized by the involvementof the elite community who, as both performers and funders, make it possible for the art of Wayang Orang to continue to existand develop. The Kunti Nalibroto troupe, one of the elite Wayang Orang groups in Jakarta, was chosen as the object of thestudy, with the aim of discovering various facts related to the existence of Wayang Orang groups among the elite communityin Jakarta. The formulation of the problems addressed in this research is as follows: (1) Why do the elite choose the art ofWayang Orang as a way of self expression? (2) What is the concept of Wayang Orang among the elite community of KuntiNalibroto? (3) What is the potential of the elite Kunti Nalibroto Wayang Orang group? Within the conceptual framework,the concepts used are concepts of â€˜roleâ€™, â€˜statusâ€™, and â€˜elite communityâ€™. The research uses an analytical descriptive methodwith a qualitative and phenomenological approach to outline the characteristics and facts about the Wayang Orang groupsamong elite community in Jakarta. The techniques used for collecting data included a bibliographical study, observation, andinterviews. From the results of the study, it can be concluded that: (1) The elite choose Wayang Orang as a means of selfexpression because they need an activity for relaxation in order to maintain a balanced life, and by practicing Wayang Orangthey are able to return to their traditional cultural roots and cultivate their spiritual, sensory, and physical needs; (2) TheKunti Nalibroto Wayang Orang group is a non-profit organization whose members all belong to the elite female community(socialites) and who aim to support the development of the traditional arts by holding regular Wayang Orang performances;(3) All the potential of this group is displayed to a maximum in Kunti Nalibrotoâ€™s performances, and in the future this grouphas the potential to continue to exist in the world of Wayang Orang and to make a contribution to the preservation anddevelopment of the art of Wayang Orang in Indonesia.Keywords: Wayang Orang, elite, Kunti Nalibroto.

SIMBOL DAN PEMAKNAAN GERGA PADA RUMAH ADAT BATAK KARO DI SUMATRA UTARA Fuad Erdansyah
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

This research belongs to a field study, taken place in villages Lingga and Dokan Regency Karo. Generally, this research reveals the traditional values based on social-cultural background of Karo people, while particularly it reveals the meaning of ornament style in Batak Karo custom house called gerga. For that reason, the objectives of research are: (1) to describe the belief and kinship sistem underlying the gerga establishment in Karo custom house; (2) to describe the architectural components in Karo custom house consisting of: kitchen or floor crossbar, room, wall, facade, and roof platform; and (3) to reveal the symbolic meaning in gerga (ornament style). In order to achieve those objectives, the research method or procedure is required to determine the data source, both from the informant and custom house artifact completed with its style ornament. Techniques of collecting data used were from library study, observation, interview and documentation. The data was then analyzed based on the qualitative method using analytical interpretation with semiotic approach and batak karo rakut sitelu. Furthermore, the result of research shows that: (1) the belief and kinship sistem underlies the conception in establishing custom house and gerga; (2) the presence of custom house is the symbol of Karo peopleâ€™s cosmology, as well as the birth place of kinship system called rakut sitelu; and (3) the symbolic meaning of gerga has denotative and connotative meaning orientation based on its pattern and motive containing the message both as the adoration and as the tenet for batak Karo people. From the result of research, it can be concluded that gerga contains the meaning relevant to the original belief influenceas well as indicates the megalithic culture development containing religious (sacred) values, norms or customs or tenets(semi-sacred) as well as containing aesthetical and ornamental (profane) values. However, Karo custom house has lost its sacred religious values because it starts to be abandoned by its people, and its existence is just as the past monument, while the gerga motive that was sacred and semi-sacred previously becomes now profane. This research is expected to enrich the cultural information and actualization through the messages obtained from symbol and sign system.Keywords: Gerga, symbol, sitelu rakut and custom house.

Karya Musik “Ngragi” Wahyo Cahyadi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 13, No 1 (2018)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Ngragi merupakan bagian dari proses membuat berbagai makanan tradisional dari bahan yang sederhana tetapi menghasilkan jajanan yang enak untuk dinikmati. Ngragi jemblung memiliki pengertian yang sama yaitu mengolah kembali kesenian Jemblung tradisional untuk dinikmati kembali sehingga memiliki nilai kekinian. Karya musik yang berjudul “Ngragi” terinspirasi dari kesenian Jemblung Tanjungsari yang mengalami stagnasi dengan menurunnya aktivitas dan regenerasi. Proses penciptaan karya musik ini mengembangkan gending-gending Jemblung melalui proses garap. Pengembangan komposisi musik dengan penggarapan dinamika, pengembangan garap vokal tunggal, bersama, saut-sautan. Garap vokal dalam bentuk karya baru lebih menonjolkan pada aktratif kemampuan peraga dalam bentuk sajian accapela, perpindahan laras, pengalihan suara gamelan dengan suara mulut. Pengemasan sajian karya musik Jem- blung dikolaborasikan dengan tradisi masyarakat yaitu sepasaran bayi dengan tujuan melestarikan budaya masyarakat sebagai penggambaran kebersamaan dalam kehidupan masyarakat. ABSTRACTNgragi is part of the process of making a variety of traditional dishes from simple ingredients but produces snacks that are enjoyable. Ngragi Jemblung has the same understanding that reworks the traditional Jemblung art to be enjoyed back so that it has the present value. Musical work entitled “Ngragi” inspired by the art Jemblung Tanjungsari stagnated with decreasing activity and regeneration. The process of creation of this musical work to develop gending Jemblung through the process of working on. The development of the musical composition with the cultivation of dynamics, working on the development of a single vowel, together, saut-sautan. Working on vocals in the form of new works highlight in aktratif visual capability in the form of grain acapella, the displacement of the barrel, dubbing the sound of gamelan with the mouth. Packaging dish musical work Jemblung collaborated with community traditions that sepasaran baby with the aim of preserving culture as the depiction of togetherness in public life

HARMONI VOKAL ALAMI DALAM PADUAN SUARA MUSIK GEREJA DI GPIB JEMAAT PENABUR SURAKARTA Agus Budi Handoko
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

This article is the result analyze of research the potency of chorusmembers inmaking a natural vocal harmony at Church,which is a harmony that is not emerging or came fromthe concept of harmonic theory ofwesternartmusic. The authormakesseveral questions in the problemstatements related to: (1) Skill development of producing natural vocal harmony. (2) Theresult of natural vocal harmony. (3) The use of thatmusical potency in their life. This research uses qualitative approach.Concepts that are used in the data collections are: phenomenological, ethnographic and concept harmony ofmusic.Results ofthe research are: (1) Potency development of producing natural vocal harmonywhich are triggered by two things, namely:background of Church and background of their culture. (2) Form of natural harmony is generally almost similar to theconventional harmony, but if they are examined carefully, then there are differences between them, namely: the process,charactersâ€™ arrangement for each kind of voice, and howthey present it. (3) Their potency could be used to as an effective toolfor praising the Lord, supporting the religious service, and get themcloser toGod.Keywords:Harmony,Choir, ChurchMusic

MAKNA TRILOGI CELENG KARYA SENI LUKIS DJOKO PEKIK Thomas Edi Nugraha
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 3 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Djoko Pekikâ€™s Trilogy Of The Wild Boars consist of three art works, namely First The 1996 Milk Of The Wild Boars King, second In The 1998 Indonesians Hunt Wild Boars, third The 1999 Flowerless and sad Telegram. The Trilogy Of The Wild Boars is Djoko Pekikâ€™s is most expensive, monumental master piece. In his period / in his life time / in his generation. Based on such consideration, I can formulate the problems of the research as : What are the important aspect relating to the raise of the trilogy of the wild boars, meaning can be faund in the semiotic perspective, and why does the art collectors motivate to own his/Djoko Pekikâ€™s art works ?.Based on the analysis of data, I can infer the important aspects relating to Djoko Pekikâ€™s trilogy. The important aspects are the artistâ€™s bitter past experiences, the meaning of the trilogy shows the falling down phases of the new order that can be seen on own Djoko Pekikâ€™s art works is influenced by several factor, namely : Djoko Pekikâ€™s art works have high economic value; The art collectors motivation canâ€™t be separated from the strategy of Djoko Pekikâ€™s self-image. From finding got by conclusion of about important aspect related to appearance painting of The Wild Boars. The aspect is bitter experience of past which have been experienced of by artist, while meaning of The Wild Boars to represent the phase depiction collapse the Orde Baru regime. Masterpiece of The Wild Boars push the collector enthusiasm because owning high economic value. The collector enthusiasm do not get out of the strategy of xâ€™self image conducted by Djoko Pekik. Djoko Pekikâ€™s strategy to increase his self-image is done by: 1. Developing good relationship among the artist, curator, and journalist as a publication need.2.Carriying out art exhibition.3. Raising the fresh, sensational ideas.4. Limiting the number of production of his art works.5. Reflecting his suffering past experiences through his at work.Keywords: Djoko Pekik, trilogy of the wild boars, the meaning analisys

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