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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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EKSISTENSI KRITIK TEATER DI MEDIA CETAK: SEBUAH TINJAUAN KRITIS Nur Sahid
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 (869.875 KB) | DOI: 10.33153/dewaruci.v6i2.925

Abstract

This research aim to as follows: a) wish to know the writing format criticize theatre in mass media print; b) wish to know the elementary difference among or between criticism masterpiece writed by critic of have background to of actor of theatre with have background to of have background to of journalist. The result of research got by some conclusion of following. Writer of critic of theatre from journalist more emphasizing of aspect of event of show of theatre fulfilling journalistic standard which concept 5W+1H (what, where, when, who, why and how). Nuance differ very felt at critics of theatre of masterpiece of all observer of theatre which is non journalist of like Putu Wijaya, Afrizal Malna and Syu’ bah Asa. In their analisys theatre staging can lay open most of all theatre aspect. Every aspect laid open by detail.Keywords: theatre of criticism, theatre, journalist, artistic, art
Estetika pola tiga: Konsep musikal talempong renjeang dan dinamika keagamaan di Minangkabau Andar Indra Sastra
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 (838.4 KB) | DOI: 10.33153/dewaruci.v14i1.2535

Abstract

Tulisan ini bertujuan untuk membahas estetika pola tiga yang menjadi ciri khas dalam penyajian talempong renjeang (renjeng atau tenteng). Estetika pola tiga dalam konsep musikal talempong renjeang dibentuk oleh 3 (tiga) pasangan talempong, dan masing disebut sebagai talempong Jantan, talempong Paningkah, dan talempong Pangawinan. Dinamika kehidupan beragama di Minangkabau ditandai konflik antara kaum sufi dan paham modern. Konflik tersebut bermula dari tarekat Syattariyah dan tarekat Naqsyabandiah yang mempersoalkan konsep wildathul wujud dan wildathul suhud. Masuknya pengaruh wahabi, konflik  konflik menyulut perang suadara, dan dalam catatan sejarah kemudian lebih dikenal dengan perang padri – secara fisik berkahir pada perjanjian Bukik Marapalam. Perjanjian Bukik Marapalam – momerandum of understanding – melahirkan sebuah konsensus untuk menciptakan perdamaian di antara mereka yang berbeda paham. Konflik tersebut kemudian melahirkan konsep tali tigo sapilin, tungku nan tigo sajarangan (tali tiga sepilin, tunggku yang tiga sejarangan) – keharmonisan. Metode yang digunakan berbasis data kualitatif dan diperoleh melalui  observasi, wawancara, dokumentasi, dan analisis data. Analisis data fokus pada talempong renjeang sebagai satu sistem musikal dan dinamika kehidupan bergama dalam masyarakat Minangkabau yang bermula dari perbedaan paham keagamaan antara tarekat Syattariyah dan tarekat Naqsyabandiyah. Hasil yang diperoleh dari penelitian ini adalah bahwa talempong sebagai sistem musikal sejalan dengan dinamika keagamaaan masyarakat Minangkabau.   ABSTRACTThis article is intended to discuss the aesthetics of three-patterned talempong which its characteristic is in the presentation of ranjeang talempong (renjeng or tenteng). Aesthetics of three-patterned talempong in ranjeang talempong musical concept are formed by 3 (three) pairs of talempong. Each of them called as Jantan talempong, Paningkah talempong, and Pangawinan talempong. The dynamics of religious life in Minangkabau is marked by conflict between Sufis and modern Islamic concept. The conflict begins when Syattariyah “tarekat” and Nasqsyabbandiah ”tarekat” question the concept of wildatul wujud and wildathul suhud. The influence of conflict induced by the Wahhabi has sparked off a civil war, that in the historical record has been known as Paderi war – and that was physically ended in an Agreement of Marapalam Hill. This agreement spawned a consensus to bring peace among those who have different understandings. This conflict has spawned one concept of tali tigo  sapilin, tungku tigo sajarangan (unity in diversity, three pillars of leadership) - harmony. Method used builds upon the qualitative data obtained through observation, interviews, documentation, and data analysis. Data analysis are focused on renjeang talempong as a musical system and the dynamics of religious life in Minangkabau society that began with diffrent religious understanding between Syattariyah :tarekat” and Nasqsyabandiah “tarekat”. The result of this study is talempong as a musical system that is in accordance with the dynamics of relegious of Minangkabau society.
PERAN BRAND BOROBUDUR DALAM PARIWISATA DAN WORLD HERITAGE Muh Ariffudin Islam
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 (626.094 KB) | DOI: 10.33153/dewaruci.v8i3.1129

Abstract

Borobudur is one of numerous cultural products in Indonesia. As a cultural object, its existence provides a uniqueattraction as it contains historical value, a source of knowledge, and technology. Viewed from the economic and tourismperspective, Borobudur is a cultural asset which is economically profitable. As a historical object, many studies are stillbeing carried out on its artefacts. This research aims to discover the role of the Borobudur as a “brand,” from the perspectiveof tourism and world heritage. This goal will be achieved through a qualitative research method, by means of a descriptiveanalyticalapproach which focuses in particular on the perspective of imagery as an entity. The research process was based ona discovery and correlation of data in order to accumulate as much information as possible about the “branding” of a touristobject. From a research point of view, the results obtained from this study show that Borobudur is able to act as a tourist objectand destination both for the local community and international tourists. In addition, through various means of promotion asa world cultural heritage, Borobudur has managed to become an icon for religious tourism in Indonesia. This is also related tothe various media which act as a “brand” to form, develop, and create the identity of a tourism entity.Keywords: Borobudur, Brand, Tourism, World Heritage
KREATIVITAS GUGUM GUMBIRA DALAM PENCIPTAAN JAIPONGAN Edy Mulyana
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 (1771.773 KB) | DOI: 10.33153/dewaruci.v6i1.843

Abstract

The world of Sunda’s dance show on the decade of 1980th was startled by the appearance of Jaipongan. Its appearance became subject of story in various group of community from elite beurocrate, cultural experts and artists. The appearance of Jaipongan was not separated from the name of Gugum Gumbira, because this figure who has created it. This research aimed to reveal the matter of its creativity: Why did he create Jaipongan? How was the process in creating the Jaipongan and its socialization? Why does Jaipongan still exist up to now? Those were the questions which will be answered, while method which used is qualitative method with phenomenology approach. The result of the research showed that the birth of Jaipongan began from the desire of Gugum Gumbira for lifting people‘s art anymore, where at that moment its existence was marginalized. Its working concept started from female gender of the singer which called sinden or Ronggeng who had been attractive, except of that in realizing his creation start from people‘s character (vulgar, improvisators, and erotic). The existence of Jaipongan had great influence on tradition art of life, such as: Wayang Golek (puppet show), Degung, Kliningan, Calung, Topeng Banjet (Banjet Mask), Tarling ect, and even the pattern of strike and rhitmic pattern was mostly used by pop art, such as Dangdut, Jazz, Campur Sari and other pop art . In spreading of the work, there were supports from all media (printed and electronic) until Jaipongan became famous largely by the whole of element of the community, not only in local level but also in global level.Keywords: Jaipongan (Sundanese dance), creativity
Karya Rakut Sitelu Brepin Tarigan
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 (248.914 KB) | DOI: 10.33153/dewaruci.v12i1.2515

Abstract

Rakut Sitelu adalah salah satu unsur yang ada dalam konsep Sangkep Nggeluh yang fungsinya untuk menentukan kedudukan seseorang dalam bersosial dan berbudaya kedalam tiga kategori yaitu Sukut, Kalimbubu, dan Anak Beru. Sukut adalah pihak yang menjadi tuan rumah dalam suatu upaca adat istiadat maupun ritual, kalimbubu adalah pihak yang sangat dihormati karena dianggap menjadi perwakilan Dibata (Tuhan) dibumi pemberi tendi dan darah, sedangkan Anak Beru adalah pihak yang mengerjakan pekerjaan sukut dalam upacara adat istiadat maupun ritual. Namun dalam sistem Rakut Sitelu kedudukan tersebut akan berganti melalui proses ertutur sehingga tidak ada kedudukan tetap dan kasta dalam masyarakat Karo. Namun dewasa ini sistem Rakut Sitelu menjadi artifisal karena berbagai pengaruh diantaranya jabatan, ekonomi, dan tantangan hidup. Fenomena tersebut membuat pengkarya merasa perlu menciptakan sebuah kritisi melalui media musik kemasan seni pertunjukan yang digagas dari konsep falsafah hidup masyarakat Karo dengan sumber bunyi dan rhitem dari gendang sarunei dalam kemasan seni pertunjukan dengan durasi pertunjukan lebih kurang 50 menit. Komposisi ini diberi judul “Rakut Sitelu” dan dibagi menjadi tiga bagian yaitu Sukut, Kalimbubu, dan Anak Beru. Namun komposisi ini tidak dapat berdiri sendiri-sendiri melainkan terkait antara yang satu dengan bagian lainnya. Masing-masing dalam bagian tersebut mempunyai makna tersendiri yang terkait dengan sistem Rakut Sitelu. ABSTRACTRakut Sitelu is one of the elements contained in the concept Sangkep Nggeluh whose function is to determine the position of a person in a sociable and cultured into three categories Sukut, Kalimbubu, and Anak Beru. Sukut is party to host a customs ceremony and rituals, Kalimbubu is the highly respected because it is considered to be a representative Dibata (God) on earth giver tendi and blood, while the Anak Beru is a party that does the work Sukut ceremonial customs and rituals. However, within the Rakut Sitelu these positions will change through the process ertutur so there is no fixed position and caste in society Karo. But today it is the Rakut Sitelu sytem be artifisal due to various influences such positions, the economy, and the challenges of life. That phenomenon makes composer felt the need to create a critique through packaging music media performance art conceived of the concept of community Karo philosophy of life with the sound source and rhitem of drum sarunei in the packaging art show with performances duration of approximately 50 minutes. This composition was given the title of “Rakut Sitelu” and is divided into three parts, namely Sukut, Kalimbubu, and Anak Beru. However, this composition can not stand alone but bound between the one with the other parts. Respectively in the section has its own meaning related to the raccoon Sitelu system.
PEMENTASAN TEATER SEBAGAI SUATU SISTEM PENANDAAN Dede Pramayoza
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 (320.546 KB) | DOI: 10.33153/dewaruci.v8i2.1105

Abstract

This article aims to outline the essence of theatre performance as a signalling system from the perspective of theatre semiotics.The scope of the discussion in this article covers: (1) the components of the signalling system in theatre; (2) the changing ofsigns from the story to the stage; (3) the units of signs contained in the story and in the performance; and (4) how all the signsare joined together in a single system. Using a bibliographical study, each of these topics will be addressed and answeredinductively. Subsequently, through a descriptive analysis, the article will show which signs are involved in the manifestationof the script for the performance. It is hoped that this article will be useful for understanding that the meanings of a theatreperformance are essentially determined by the correlation of various units of signs that are involved in the process of signallingin the performance.Keywords: Theatre, Semiotics, System, Signalling
STATUS DAN IDENTITAS SOSIAL SAUDAGAR BATIK LAWEYAN DALAM INTERIOR DALEM INDIS DI AWAL ABAD KE-20 Dhian Lestari Hastuti
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (954.644 KB) | DOI: 10.33153/dewaruci.v7i1.983

Abstract

The article is the research result dealing with the bearing process and interior visual structure of internal house (dalem) in the house of the Laweyan Batik merchant in Surakarta-Central Java at the early of 20th century. In this time, the interior of internal house (dalem) for Laweyan society is a status symbol and social identity because they are part of the marginal society in social life. The success in managing the business of printing batik does not move up their social class from lowerclass to upper class (priyayi). Their profession as seller places them in lower-class (kawula). The internal house (dalem) context as part of heritage building in order to get social status and identity is toughened by historical and cultural approaches. Those approaches able to explain how the cultural system forms a social system, then, it actualizes in the form of culture: artefact of internal house (dalem) in the house of batik’s merchant. The conclusion of the research is the Laweyan Batik merchants have experienced metamorphosis from the lawe market society into an exclusive Batik Village. The sharing system of social class which has done by Dutch government, empire, or urban development based on the ethnicity has a role in parallelizing the Laweyan Batik merchant with priyayi belonging to upper class. The merchants place the internal house (dalem) as sacred area as the form of their fighting in creating the self identity. The transformation is influenced by a blueprint measurement which refers to loji building design. The sacredness of the area is kept even though it is without mancapat pattern. The function displacement happens because of need adjustment of places of the merchants. The interior design of internal house (dalem) supported by symbolism in Javanese culture and modern Europe style, Art Nouveau, and Art Deco is as the form of acculturation of visual design giving solution in shaping the social identity of the merchants. Keywords: Internal house, marginal, identity, merchants of batik Laweyan-Surakarta
Words Representation of Postfeminism in Indonesian Heroine Character : Case Study of Valentine Film Daniar Wikan Setyanto; Santosa Soewarlan; Sumbo Tinarbuko
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 (654.503 KB) | DOI: 10.33153/dewaruci.v14i2.2797

Abstract

The heroine is a character who has succeeded in embracing the public imagination in terms of self-image and became the ideal image of female, including in Indonesia. The character of Srimaya/ Valentine is a heroine character coming from local comic taken into Indonesia’s movies. The image presented on Srimaya/ Valentine is the symptom of capitalism in the Indonesian’s movies, the character is also one of the case studies in image reconstruction product or the representation of female using their image as a heroine. The discourse of female representation in the character of Srimaya/ Valentine does not only show about image idealized however it also represents the ideology of post-feminism as well as a politic of identity presented in the world of local films. The achievement of identity exceeds physical image from female because, in character, there are many symbols about feminists. This research was done to know the discourse of identity in view of post-feminism delivered in the film of Valentine(2017).
Maakun Buni Celempong dalam kesenian Gondang Oguong: Sebuah proses pelarasan musik tradisi Reizki Habibullah
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 (1383.879 KB) | DOI: 10.33153/dewaruci.v13i1.2503

Abstract

Maakun buni merupakan proses pelarasan atau pembentukan sistem nada alat musik celempong, dalam kesenian Gondang Oguong di wilayah adat Limo Koto Kabupaten Kampar. Proses maakun buni didasari atas pengetahuan musikal para penggolong – selaku pelaras celempong terkait tinggi-rendah dan tingkai atau jarak nada dalam salobuan atau seperangkat celempong. Dalam proses pelarasan tersebut, para penggolong menggunakan konsep-konsep lokal seperti gheghek, kowan, sanggam, dan tingka. Semua konsep konsep lokal yang digunakan dalam proses pelarasan atau pembentukan sistem nada ini, masih tersimpan di dalam sanubari (embody) para penggolong sebagai sebuah pengetahuan empirik. Tulisan ini mengupas proses maakun buni sebagai sebuah pengetahuan empirik para penggolong celempong, dengan menggunakan konsep-konsep teoritik yang berasal dari dalam budaya itu sendiri.ABSTRACTMaakun buni is a tuning system process for celempong instrument of Gondang Oguong ensamble in Limo Koto ethnic region of Kampar District. The process of Maakun Buni is based on the musical knowledge mastered by the Penggolong – the expert of tuning system – relating to tingkai or the high-low interval exists on salobuan (a set of celempong). On the process of tuning system, penggolong apply local concepts such as gheghek, kowan, sanggam, and tingka. The entire local concepts that applied on the tuning system process is embodied inner the self of penggolong as the empirical knowledge. This article describes about the maakun buni process as an empirical knowledge to penggolong of celempong, by using theoretical conception comes from the cultural itself.
PERAN KOREOGRAFER PEREMPUAN DALAM PERKEMBANGAN TARI Sri Rochana Widyastutieningrum
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 (1077.478 KB) | DOI: 10.33153/dewaruci.v8i1.1089

Abstract

This article is the result of anobservation of the role of female chorographers in the development of dance inIndonesia. The roleof female choreographers in the development of dance can be divided into four aspects, namely choreographers as creators ofdance, choreographers as dancers, choreographers as preservers of traditional dance, and choreographers as supporters of thedevelopment of dance. In carrying out the role of a choreographer as a creator of dance, a high level of creativity is required, andthis is influenced by the choreographer’s cultural background, environment, talent, education, and love of dance. The role offemale choreographers in creating dance is evident in the fact that they have created various newforms of dance, in terms oftheir numerous ideas, forms, types, and styles, so that dance performances have becomemore attractive andmore animated.Thepresence of these newdances has also enhanced the aesthetical values of existing dances, enriched the spiritual experience ofthe dancers and the audience, and added to thewealth of variety in theworld of dance. Female choreographers have the scopeand freedomto express real-lifewomen’s issues related to the complex problems of life, based on awoman’s point of view. Incarrying out this role, a choreographer also functions as a dancer, a preserver of traditional dance, and a supporter of thedevelopment of dance.Keywords: role, female choreographer, dance creation, tradition.

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