cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
pramesti
Contact Email
pramesti@isi-ska.ac.id
Phone
+6281233916226
Journal Mail Official
bambangsunarto@isi-ska.ac.id
Editorial Address
Pascasarjana ISI Surakarta Jl. Ki Hadjar Dewantara 19 Surakarta 57126
Location
Kota surakarta,
Jawa tengah
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
 4   5   6   7   8 
WAKIDJO PENGENDHANG HANDAL KLENÃNGAN GAYA SURAKARTA Risnandar -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 3 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4176.253 KB) | DOI: 10.33153/dewaruci.v6i3.965

Abstract

This article is result ofresearch whichbased on three main questions: Who is Wakidjo? What are the concept and form of his drumming? What are the factors that have influenced the formation and development of Wakidjo’s drumming? This research aims to reveal Wakidjo’s life, his approach to drumming, and his contribution to the world of Solonese style gamelan music, uses a qualitative methodology. Besides drawing on oral accounts from several informants, it also uses literary sources that concern drumming and gamelan musicians. Several psychological theories are used as a basis for writing a profile about Wakidjo. Among others, this project uses convergence theory from William Stren and theory about the development of talent from Monks and Y. Punberg. In order to clarify Wakidjo’s drumming, Rahayu Supanggah’s Bothèken about interpretation is used. This research concludes that Wakidjo’s existence as one of the foremost drummers in Surakarta has been influenced by several factors, including his surroundings, his talent, his performance experience, his predecessors, gamelan associations, the gamelan circle at the National Indonesian Radio Station (RRI) in Surakarta, the world of the recording industry, and the world of gamelan music education.Key word: Wakidjo, Klenengan, Karawitan Instrument
SIMBOLISME PATUNG LORO BLONYO Edy Tri Sulistyo; Jamal Wiwoho
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (486.175 KB) | DOI: 10.33153/dewaruci.v5i2.791

Abstract

The objectives of research are to find out: (1) the cosmology form of loro blonyo sculpture in Javanese cultural context, (2) placement system of loro blonyo sculp- ture in  “joglo” house structure relating to the concept of Javanese social-cultural environment  balance, (3) loro blonyo sculpture as the most important element in its position in  “pasrèn” room in Javanese custom house, and (4) the symbolic- philosophical meaning of loro blonyo sculpture art in Javanese cultural cosmology. Based on the result of  research and discussion, it can be concluded: (1) The cos- mology form of loro blonyo  sculpture in the Javanese cultural context relating to the Javanese society particularly the one with rice planting as the earning; (2) The placement system of loro blonyo sculture in the “joglo” house structure relating to the concept of Javanese social-cultural environment balance; (3) Loro blonyo sculp- ture is the most important element in its position in the “pasrèn” room in Javanese custom house;.   (4) The symbolic-philosophical meaning of  loro blonyo sculpture art in Javanese cultural cosmology is as the symbol of fertility (Dewi Sri) and pros- perity (Sadana).Key words: loro blonyo, krobongan, pasrèn or petanèn, joglo, Dewi Sri, Sadana.
FUNGSI KIDUNG DALAM BOJANA EKARISTI Renaldi Lestianto Utomo Putro
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 10, No 1 (2015)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (317.06 KB) | DOI: 10.33153/dewaruci.v10i1.2139

Abstract

Persoalan yang diangkat dalam tulisan ini adalah, bagaimana nyanyian difungsikan oleh rama dan kawula dalam Bojana Ekaristi? Untuk menjawab, digunakan metode analisis strukturalisme Lèvi-Strauss. Analisis dilakukan dengan menetapkan rama dan kawula sebagai pasangan oposisi yang melantunkan kidung. Kemudian kidung dicari relasi fungsinya terhadap Bojana Ekaristi. Tulisan dihasilkan melalui kerja kualitatif, yaitu pengamatan, perekaman, studi pustaka, dan wawancara. Hasil yang diperoleh adalah kidung difungsikan oleh rama dan kawula untuk menyertai berbagai aktivitas dalam Bojana Ekaristi. Kegiatan itu memberi makna terhadap berbagai fenomena yang disertai.Kata kunci: fungsi kidung, Bojana Ekaristi.
PERAN DAN POSISI OEI HONG DJIEN DALAM ARENA SENI LUKIS INDONESIA Teguh Djaka Sudarmana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 3 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3691.987 KB) | DOI: 10.33153/dewaruci.v7i3.1043

Abstract

Artikel ini adalah hasil dari penelitian dengan judul “Peran Oei Hong Djien dalam Perkembangan Seni Lukis Indonesia 1965-2010.”  Ini merupakan penelitian kualitatif, dengan pendekatan sosio budaya. Penelitian ini fokus pada peran OHD di dalam dunia seni lukis Indonesia dan faktor yang mempengaruhi-nya: latar belakang pemikiran OHD membuat museum, strategi yang digunakan dan sistem pegelolaannya. Landasan teori penelitian ini menggunakan teori habitus dan arena milik Bourdieu, sehingga penelitian ini mencari habitus, modal dan strategi OHD dalam Arena Seni lukis Indonesia. Metode pengumpulan data penelitian ini menggunakan metode observasi dengan datang ke Museum OHD I dan II, penelusuran pustaka, dan wawancara mendalam kepada empat kurator di Indonesia. Validitas data yang digunakan triangulasi data dan analisisnya menggunakan model analisis interaksi yang memberikan satu perabaan yang mampu menjaring masukan serta paparan dalam rangkuman yang bersifat reduksi data dalam penyimpulannya. Hasil penelitian ini menyimpulkan bahwa OHD menjadi pencinta dan kolektor seni lukis karena kultivasi dalam keluarganya yang membentuk habitus OHD sebagai pecinta lukisan. Modal ekonomi dan kultural mendorong penguatan modal sosial dan modal simbolik OHD dalam arena seni lukis Indonesia, yang berdampak kepada penguatan posisi dan peran OHD dalam dunia seni lukis Indonesia.  Meskipun belum dikelola secara profesional ternyata Museum OHD mampu menguatkan modal simbolik OHD yang memperteguh peran penting OHD dalam dunia seni lukis Indonesia. Kata kunci: OHD, habitus, modal, arena, seni lukis.
NYI BEI MARDUSARI DALAM LANGENDRIYAN MANGKUNEGARAN: SEBUAH TINJAUAN MENGENAI KUALITAS KEPENARIAN SILANG KARAKTER Darmasti -
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 (1817.475 KB) | DOI: 10.33153/dewaruci.v6i2.945

Abstract

This biography of Nyi Tumenggung Mardusari aims to discover her role as an all round artist within the environment of the Mangkunegaran. It is important to do so as her works and ability as an artist have made her a role model for subsequent generations. Her life spanned numerous events and a variety of situations of the era. A multidimensional approach was used, with concepts borrowed from the social sciences, beginning with Mardusari’s background from childhood until she entered the Mangkunegaran, covering her various cultural influences from the palace, methods of study, work experience, creative experience, and the award she received. Her success as an artist was closely connected with her hard work in developing her talent, and the encouragement and opportunities given to her by Mangkunegara VII, who gave her guidance. Other direction was provided by her art teacher, who helped mould her into a revered artist. Nyi Tumenggung Mardusari’s presence as an artist showed her artistic ability in numerous fields, in each of which she excelled: as a dancer, a pesindhen, a batik worker, and a makeup specialist for Surakarta style wedding. Her ability was recognized by many people, both inside and outside the palace and even abroad. As we know, langendriyan have become a very famous show in Mangkunegaran palace. Mardusari’s dance role as Menak Jingga become an example of a crossed gender phenomenon on dance tradition. Its role have comprehended conditions which must be done by and to be a good dancer.Keywords: biography, langendriyan, crossed-gender role
“LACUR” Interpretasi Kemiskinan Ke dalam Bentuk Musikal Agus Kastama Putra; Rahayu Supanggah
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 11, No 2 (2016)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1115.792 KB) | DOI: 10.33153/dewaruci.v11i2.2559

Abstract

Artikel ini merupakan analisis dari penciptaan karya musik yang bertemakan “Lacur”. Kata “Lacur” dalam bahasa Bali dapat diartikan miskin. Karya yang bertemakan Lacur, merupakan karya yang ide dasarnya memusikalisasi kemiskinan yang terjadi pada masa ini. Ada tiga bentuk kemiskinan yang menjadi ide garapan dalam karya musik “Lacur”diantaranya: 1) Kemiskinan Pengetahuan diberi judul “Awidya” 2) Kemiskinan materi diberi judul “I ketunan” dan 3) Kemiskinan Moral yang berjudul “Awidya”. Adapun media ungkap yang digunakan dalam garapan ini ialah Gong Kebyar, Gamelan Joged Bumbung, dan Gamelan Semarandhana. Tujuan dari penciptaan karya yang bertemakan ”Lacur” harapannya ialah agar keadaan kemiskinan yang terjadi dapat ditanggulangi secara lebih dini serta tujuan lainnya adalah keinginan untuk memberi sumbangsih pemikiran terhadap pengolahan yang dapat dilakukan pada ansambel gamelan yang digunakan.Kata Kunci: “Lacur”, karya musik.ABSTRACTThis article is an analysis of the creation of music entitled “Lacur”. The word “Lacur” in Balinese language can be interpreted poor. “Lacur” in this article means a piece of music based on the musical of poverty that occurs today. There are three forms of poverty which is the basis of this article : 1) Knowledge entitled “Awidya”; 2) Material poverty entitled “I Ketunan” ; dan 3) Moral poverty entitled “Awidya”. Media used are Gong Kebyar, Gamelan Joged Bumbung, and Gamelan Semarandhana. The goal of this article is to reduce poverty early on. Beside that, it can contribute ideas to the processing that can be performed on gamelan ensemble used.keywords : “Lacur”, Creation of Music.
PEMBENTUKAN KARAKTER MUSIKAL DAMBUS AIR ANYIR DAN MENDO KABUPATEN BANGKA Muhammad Firdaus
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 (3268.172 KB) | DOI: 10.33153/dewaruci.v7i2.1009

Abstract

Kesenian tradisional dambus yang menjadi pusat perhatian penulis dalam penelitian ini merupakan salah satu kesenian yang hampir tersebar di berbagai wilayah Kabupaten Bangka Propinsi Kepulauan Bangka Belitung. Artikel terhadap karakter musikal Dambus Air Anyir dan Mendo mencoba menegaskan kembali bahwa musik (tradisi) adalah “alat ukur objektif” dalam melihat cerminan budaya masyarakatnya. Penelitian terhadap karakter musikal Dambus Air Anyir dan Mendo mencoba menguak konstelasi kesenian dambus kaitannya dengan serat-serat budaya masyarakatnya. Persoalan utama yang mencoba dimunculkan adalah mencari jawaban bagaimana apabila dua masyarakat yang berbeda menginterpretasi kesenian  yang sama yakni dambus. Guna menjawab persoalan tersebut penulis meminjam pendekatan konsep garap musikal (karawitan Jawa) yang meliputi tiga kategori utama. Hal ini dikarenakan konsep garap di Bangka Belitung belum dikenal. Ketiga kategori utama adalah, ide garap, proses garap, dan hasil garap. Pencapaian dari penelitian ini dapat diketengahkan bahwa karakter musikal dambus merupakan hasil implementasi penuangan konsep, perilaku serta konstruk budaya secara makro dari masyarakat pengkultusnya. Kata kunci: karakter musikal dambus, intrepretasi  dan budaya
KEHIDUPAN WAYANG GOLEK MENAK KEBUMEN PADA MASA KI SINDHU JOTARYONO (1955-1980) Sunarto Sindhu
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 (963.875 KB) | DOI: 10.33153/dewaruci.v6i1.869

Abstract

An article entitled the life of wayang golèk ménak Kebumen on the age of Ki Sindhu Jotaryono from 1955 to 1980 discussed about the existence of Ki Sindhu Jotaryono in developing and improving the wayang golèk ménak Kebumen play. The problems which will be investigated were: How was the history of puppeteer in Kebumen? How was the life of wayang golèk ménak Kebumen on the age of Ki Sindhu Jotaryono? Why did the play of wayang golèk ménak Kebumen decrease and what methods used to preserve and to make the ply of wayang golek Kebumen stay alive. The purpose of the investigation was to describe the history of the puppeteer of wayang golèk ménak Kebumen, the life of wayang golèk ménak Kebumen on the age of Ki Sindhu Jotaryono, the reason why the play of wayang golèk ménak Kebumen decreased, and the methods used to preserve the life of wayang golèk ménak Kebumen. Based on the analysis, the result was that on the age of Ki Sindhu Jotaryono, the play of wayang golèk ménak Kebumen improved significantly. Ki Sindhu Jotaryono created many marionettes and new characters. The decrease of the play of wayang golèk ménak Kebumen was caused by many things. It was caused by the process of globalization and the internal factor, the puppeteers. The preservation effort was conducted by improving the self of the puppeteers and of the related institutions to concern more on the life of wayang golèk ménak Kebumen. Keywords: dalang, wayang golèk ménak Kebumen, preservation
PROSPEL: KEMUNCULANNYA PADA MUSIK KERONCONG Mohammad Tsaqibul Fikri; Zulkarnain Mistortoify
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 12, No 2 (2017)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (506.179 KB) | DOI: 10.33153/dewaruci.v12i2.2527

Abstract

ABSTRAKTulisan dalam jurnal ini merupakan salah satu bagian dari pembahasan penelitian tesis dengan judul “Prospel: Wujud, Eksistensi dan Peranannyadalam musik keroncong” oleh penulis dan sebagai bagian dari ujian akhir magister.Fokus kajian tulisan ini adalah kemunculan prospel pada lagu keroncong. Prospel merupakan salah satu fenomena musikal sebagai pembuka lagu keroncong yang diduga muncul karena adaptasi dari repertoar komposisi musik Barat. Persentuhan dengan komposisi musik Barat tersebut tidak lepas dari pengaruh Belanda pada saat melakukan ekspansi di Nusantara. Adaptasi tersebut kemudian menjadi sebuah fenomena yang berkembang dan bertahan pada lagu-lagu keroncong hingga sampai saat ini.Prospel kemudian menjadi salah satuciri khas dalam musik keroncong.Kata kunci: kemunculan, pembuka lagu, adaptasi, ciri khas.ABSTRACTThe journal is one part of the discussion of the research thesis entitled “Prospel: Being, Existence and His Role in Keroncong” by writer and as part of the final exam master. The case of studies is the emergence prospel article on keroncong. Prospel is one of the musical phenomenon as the opening song kroncong in my prediction emerged as an adaptation of the repertoire of Western music composition. Exposure to Western music composition could not be separated from the Dutch influence at the time of expansion in the archipelago. These adaptations became a phenomenon to grow and survive in songs Keroncong until today. Prospel later became one characteristic in keroncong music.Keywords: appearance, the opening song, adaptation, characteristic.
KOMUNIKASI VISUAL PADA KEMASAN BESEK MAKANAN OLEH-OLEH KHAS BANYUMAS Evelyne Henny Lukitasari
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 (653.747 KB) | DOI: 10.33153/dewaruci.v8i3.1121

Abstract

This article discusses the bamboo baskets used for packaging traditional food from Banyumas and the meaning of the visualcommunication on the basket packaging of this food through a semiotic approach. The basket packaging is given a criticalanalysis with an interactional analysis using a semiotic approach. The interactional analysis is used to obtain a connectionbetween all the data collected using ethical research or based on the data found in the library or based on the knowledge andopinions of the researcher. The goal of the analysis of visual communication on the bamboo baskets used for packagingtraditional food from the Banyumas area is to discover the existence of the basket packaging of this food and to analyze andgain an understanding of the visual communication on the baskets used for packaging traditional food from Banyumas. Thebenefit of the analysis of visual communication on basket packaging of traditional food from Banyumas is that it will provideinformation about the visual communication on this packaging that can be used as input and as a reference for the governmentwhen determining policies regarding the packaging of traditional Banyumas food. The character of the brand element on thesix types of basket packaging of traditional Banyumas food that were studied shows the denotative meaning regardinginformation about the name of the food, the taste, the weight, the expiry date, the address of the place selling the food, as wellas other information, through the element of layout, consisting of the colour, logo, illustration, and typography. The connotativemeaning reflects the desires, hopes, and aims of the producers regarding the sale of their food.Keywords: brand, visual brand, semiotics

Page 6 of 28 | Total Record : 271

 4   5   6   7   8 

Filter by Year

2008 2025


Reset
Filter By Issues
All Issue Vol. 20 No. 2 (2025) Vol. 20 No. 1 (2025) Vol. 19 No. 2 (2024) Vol. 19 No. 1 (2024) Vol. 18 No. 2 (2023) Vol. 18 No. 1 (2023) Vol 18, No 1 (2023) Vol 17, No 2 (2022) Vol 17, No 1 (2022) Vol 16, No 2 (2021) Vol 16, No 1 (2021) Vol 15, No 2 (2020) Vol 15, No 1 (2020) Vol 14, No 2 (2019) Vol 14, No 1 (2019) Vol 13, No 2 (2018) Vol 13, No 1 (2018) Vol 12, No 2 (2017) Vol 12, No 1 (2017) Vol 11, No 2 (2016) Vol 10, No 1 (2015) Vol 8, No 3 (2013) Vol 8, No 2 (2013) Vol 8, No 1 (2012) Vol 7, No 3 (2012) Vol 7, No 2 (2011) Vol 7, No 1 (2011) Vol 6, No 3 (2010) Vol 6, No 2 (2010) Vol 6, No 1 (2009) Vol 5, No 3 (2009) Vol 5, No 2 (2008) More Issue