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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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TARI JANGKRIK NGENTHIR DALAM UPACARA BERSIH DESA DI DESA JRAKAH KECAMATAN SELO KABUPATEN BOYOLALI Rochmad Haryadi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 3 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1201.165 KB) | DOI: 10.33153/dewaruci.v5i3.821

Abstract

Jangkrik solar parade Ngenthir grows up and amends at environmentally Jrakah’s Silvan  society as ceremony of executed silvan clear exactly with breakfast tradi- tion.   Clear  ceremony tradition life dea is done up to fifty years hand in glove relationship it with  social cultural its supporting.   How forms parade dance in ritual’s ceremony clean  slate  village at Silvan Jrakah, Cello district, Boyolali’s regency Are solar fashioned meaning Jangkrik Ngenthir in that ritual’s ceremony? That phenomenon, having energy  draw for observed in a research.   Therefore problem formulation is proposed to  work  through about problem utilized by kualitatif ’s description method with tech  studi’s  data collecting library, observa- tion and interview.Silvan clear ceremony one demonstrates to Jangkrik Ngenthir dance that did by religious full magis to look after silvan society viability Jrakah as prop it.Form of Jangkrik Ngenthir comprises one of supported group type four dancer rides  on  horseback kepang, one Penthul’s dancer, one Tembem’s dancer, one Bel- lyband dancer, four Pengrawit, meanwhile property that is utilized which is horse kepang.   Meaning that consists in to paradeJangkrik Ngenthir dance constitute fecundity and  safety ceremony for Jrakah’s Village society. Keywords: Jangkrik Ngenthir, ritual’s ceremony
Pelarasan Gamelan Jawa Risnandar Risnandar
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 13, No 2 (2018)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1366.643 KB) | DOI: 10.33153/dewaruci.v13i2.2508

Abstract

Penelitian gamelan tuning adalah merumuskan teknik penyetelan gamelan Jawa. Gamelan pelaras. Belum ada teori atau cara kerja penyetelan gamelan, harmonisator umumnya masih mengandalkan insting dan pengalaman. Hal ini mengakibatkan generasi berikutnya sulit untuk meniru generasi senior, dan ada kemungkinan ilmu laras gamelan terdistorsi karena kematian Umpu untuk menyelaraskan gamelan. Penelitian ini bertujuan untuk merumuskan teknik dan juga mencari jawaban terhadap perspektif pelaku. Fokus dari penelitian ini adalah untuk mengungkapkan masalah yang terkait dengan teknik tuning, merujuk pada musik gamelan yang ada, dan menentukan rentang, serta gamelan gamelan. Mulai dari sudut pandang ini, penelitian ini akan menggunakan metode kualitatif untuk mengumpulkan dan mengolah data dari aktor, pemilik gamelan, dan seniman sebagai pengguna. Laras gamelan Jawa. ABSTRACTJavanese gamelan tunings research is an attempt to formulate a Javanese gamelan tunings techniques. There are various issues that still a mystery in Pelaras gamelan. There has been no theory or the workings of gamelan tunings, pelaras generally still rely on instinct and experience. This resulted in the next generation is difficult to imitate the senior generation, and it is possible gamelan tunings science is distorted due to the death of Umpu pelaras gamelan. This study aims to formulate techniques and also seek answers gamelan tunings issues from the perspective of the perpetrator (pelaras gamelan). The focus of this study is to reveal the problems associated with the technique tunings, mbabon process (refer to the existing gamelan tones), and specify ranges, as well as embat gamelan. Starting from this point of view, the study will use a method kulalitatif to collect and process data from pelaras (actor), the owner of gamelan, and artists as a user. Through this way is expected to uncover problems Javanese gamelan tunings.
PERJALANAN HIDUP DAN KREATIFITAS SANG PESINDHÈN Batari Ayu Saraswati
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 (315.44 KB) | DOI: 10.33153/dewaruci.v8i2.1099

Abstract

The article entitled “The Life Journey and Creativity of the Pesindhèn” was in theory encouraged by a desire to understandaspects of the workmanship, the thoughts, and the success of Nyi Ngatirah who was moulded under the guidance anddirection of Ki Nartasabda. Nyi Ngatirah was chosen as the subject for the research because she was a skilled andsuccessful pesindhèn who created various innovations and made numerous developments and refinements to the céngkokused in sindhènan. In an endeavour to discover and study the workmanship of Nyi Ngatirah, the writer used akarawitanological approach which was integrated with a number of concepts from humanities and social disciplines in orderto complement and guide the analysis. In addition to studying her work, Nyi Ngatirah as a person was also studied. Theresults of the research showed that Nyi Ngatirah succeeded in making an important contribution for the development andcontinued existence of sindhènan in particular and karawitan in general. In addition, the research showed that thecéngkok used in sindhènan can always be developed in accordance with the ability of each performer and according to thecurrent day and age.Keywords: sindhenan, cengkok, and treatment.
HUBUNGAN INTERTEKS LAKON BANJARAN KUNTHI KARYA PURBO ASMORO DENGAN SUMBER CERITA WAYANG Sugeng Nugroho; Timbul Haryono; R.M. Soedarsono -; Soetarno -
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 (4513.11 KB) | DOI: 10.33153/dewaruci.v7i1.975

Abstract

This paper aims to discover the intertextual relationship between the story Banjaran Kunthi and other basic stories which already existed beforehand, and also with a number of classical shadow puppet (wayang purwa) story sources, based on an intertextual theory in a literary study. The results of the research show that banjaran is a form of wayang story which tells about the life of a particular character in a single performance. The ideas, events, characterization, and composition of scenes which make up a banjaran story are the result of a transformation of a series of particular wayang stories, either directly or through a basic story which already existed beforehand. To a certain extent, the scenes in a banjaran story show no coherence with a number of the basic stories which are adopted and the various episodes contained in the series of wayang stories.Keywords: Banjaran Kunthi, story, intertextual relationship.
PERTUNJUKAN REJUNG DALAM PERSPEKTIF PESAN MORAL Silo Siswanto
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 (566.718 KB) | DOI: 10.33153/dewaruci.v10i1.2147

Abstract

Rejung merupakan seni pertunjukan rakyat musik, teksnya berbentuk pantun yang disenandungkan bersama dengan permainan gitar, piol berbentuk seperti biola dan dambus. Munculnya rejung bermula dari kesenian ta’dut dan sardudun. Tulisan ini bertujuan: (1) Menjelaskan bentuk rejung sebagai penyampai pesan moral; (2) Menjelaskan sumber pesan moral dalam pertunjukan rejung; (3) Menjelaskan pemahaman masyarakat terhadap pesan moral dalam pertunjukan rejung. Tersampaikannya pesan moral sangat dipengaruhi oleh lima hal, yakni: (1) diketahuinya sumber dan isi pesan; (2) internalisasi pemahaman; (3) budaya masyarakat penerima pesan moral serta di mana pertunjukan rejung dipentaskan; (4) cara pesan moral digarap secara musikal; (5) sajian pertunjukan rejung dipresentasikan. Apabila seluruh lapisan tersebut diimplementasikan secara bertahap dan konsisten, maka pesan moral dapat tersampaikan kepada masyarakat penonton ataupendengar dengan baik. Analisis pada tulisan ini dilakukan secara deskriptif analisis. Proses analisis ditekankan pada konsep ‘pesan moral’. Penekanan tersebut dilakukan dengan cara mengidentifikasi jenispesan moralnya. Setelah diketahui jenis pesan moral, selanjutnya menghubungkan pesan tersebut dengan realitas pertunjukan rejung dan realitas budaya masyarakat pendukungnya. Tulisan ini menyimpulkan (1)pengemasan pesan tidaklah bersifat tunggal, yakni yang hanya mengandalkan makna sajian pantun yang melekat pada lagu, melainkan juga memanfaatkan sajian musik hingga akhirnya pesan tersebut tersajikansecara estetis; (2) pesan moral dalam rejung adalah proses transmisi atau penerusan nilai-nilai berharga dalam hidup yang bersumber pada adat istiadat dan hukum agama; (3) pemahaman masyarakat terhadappertunjukan rejung tidak terlepas dari cara mereka memandang rejung dan memanfaatkannya.Kata kunci: rejung, pesan moral, adat istiadat, agama.
PERKEMBANGAN BENTUK DAN FUNGSI PATUNG LORO BLONYO DALAM MASYARAKAT DI SURAKARTA Ersnathan Budi Prasetyo
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 (705.66 KB) | DOI: 10.33153/dewaruci.v8i1.1081

Abstract

This article is the result of a study of the development of the formand function of the statue of loro blonyo in the Surakartacommunity. Themethod used for collecting data for the research included direct observation, a bibliographical study, and indepthinterviewswith cultural experts, academics, and the community using the loro blonyo statue. Fromthe results of theresearch it can be concluded that the loro blonyo statue is the symbol of a couple (aman and awoman), themanifestationof an imperceptible form, representing Dewi Sri and Sadana. In Javanese mysticism, this sacred statue is believed tosymbolize the embryo of the figure of a Javanese couple. The statue of loro blonyo is the product or result of the culture ofthe nobility, and as such, the rural Javanese community,who cannot afford to own such a statue, have transformed the loroblonyo statue into the formof amanten pari (rice wedding), alu lumpang (mortar and pestle), and ani-ani arit (knife forharvesting the rice). The statue of loro blonyo has undergone a change in form and function from a sacred to a profanesymbol.Keywords: loro blonyo,myth, sacred, profane.
MEMBACA BAHASA RUPA SASTRA VISUAL GAMBAR DINDING KOMUNITAS SUKU DAYAK HINDU BUDHA BUMI SEGANDU INDRAMAYU Asep Deni Iskandar
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 (2044.608 KB) | DOI: 10.33153/dewaruci.v6i3.957

Abstract

Representation of teaching in the form of literary visualization of panel wall picture alongside fortress of Padepokan at Suku Dayak Bumi Segandu Indramayu community. The visual form at overall panel wall pictures still be shown the existence of touch by way of drawing typically used by the past ancestors with the system space-time-plane (STP). The use of system STP at wall picture become the evidence that the tradition pattern still exist in the middle of domination of the visual language of the West with the system naturalistic-perspective-moment opname (NPM) that assumed universal and modern. Keyword : The wall picture, literary visualization, space-time-plane, naturalistic-perspectivemoment opname
SENI PERTUNJUKAN TRADISIONAL (JAWA) ERA REFORMASI T. Slamet Suparno
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 (1324.657 KB) | DOI: 10.33153/dewaruci.v5i2.773

Abstract

The aim of this study is to obtain a more in-depth explanation regarding the prob- lems in the life of classical Javanese performance from a sociological-artistic angle, in the face of changes that have occurred in the environment during the post Orde Baru era.   Nevertheless, in order to gain a clear picture about the changes during each era, this study also covers the life of classical Javanese performance during the two previous era, namely the era preceding the Orde Baru and the Orde Baru era itself.  This problem includes a general picture of the life of classical Javanese performance during these three periods, in particular at the time of this research. The next problem is concerned with the possibility of change occurring in the pat- tern of classical Javanese performances during the same period, and the nature of these new patterns, including which aspects, and with  what substance.   Likewise, to what extent are the aspects related to social change and  social phenomena re- flected in classical Javanese performance a response from the artist, in connection with preserving his existence.In accordance with its goal, this study uses a sociological-artistic approach, from the  result of Arnold Hauser’s ideas in his book The Sociology of Art.   This ap- proach principally looks at the relation between a community and its art.  Classical Javanese performance is made up of a number of different elements, including its group, equipment, and audience.  Arnold Hauser explains that social changes in a given area will result in a unique artistic style, in accordance with the form of the community at that particular time.  An art form which in a certain period may be considered as a ritual art,  may have the potential to be used as a tool of propa- ganda by the authority or even emerge as a form of popular art.Based on the results of the research, classical Javanese performance has a ten- dency  to  stand alone in each of the three eras, according to the changes in its environment.   During the era prior to the Orde Baru, classical Javanese was en- joyed mainly by the  agrarian community, who were influenced by arts from the court.   During the Orde  Baru era, performances were not only enjoyed by the agrarian community but also by the urban community as it spread to towns outside the court territory. At the present time, classical Javanese performances are coloured by government development policies and for  this reason are often used as a gov- ernment tool for conveying messages about  development.   In addition, during the Orde Baru era, other art forms began to penetrate and influence the form of clas- sical Javanese performance.  In the postOrde Baru era, its form has become moreopen, as a result of the euphoria created by an excess of reformation, and it has become difficult to identify.  Furthermore, it is evident that audiences can no longer respond to the  moral messages conveyed in a classical Javanese performance. Key words: classical Javanese performance, group, audience.
Jagad Ageng and Jagad Alit In Traditional Kayons Pandu Pramudita; Sarwanto Sarwanto; Soetarno Soetarno; Dendi Pratama
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 (1003.499 KB) | DOI: 10.33153/dewaruci.v14i2.2850

Abstract

Kayon is a shadow puppet character who symbolizes the world. In the Java world, there are two types of world concepts, namely the jagad ageng and the jagad alit. This study aims to examine the concepts of jagad ageng and jagad alit which are symbolized by the traditional kayons in purwa shadow puppets. The focus of this research study is to reveal the existence of Kayon Blumbangan and Kayon Gapuran as traditional kayons that have world essence, namely the jagad ageng and the jagad alit. Therefore, this study aims to reveal the existence and essence of Kayon Blumbangan and Kayon Gapuran as traditional kayons that store the concepts of jagad ageng and jagad alit. The method used in this research is iconography. Form theory which is divided into fields and ornament will become the main scalpel in analyzing the existence of Kayon Blumbangan and Kayon Gapuran. This research results that Kayon Blumbangan and Kayon Gapuran have the same shape structure with different widths of fields. The ornamental elements that form the kayon of the two traditional kayon are basically the same, namely forming four elements, including fire, water, wind, and earth. The four elements are the elements that make up the jagad ageng and the jagad alit. So, Kayon Blumbangan and Kayon Gapuran have a symbol of cosmological concepts regarding the concepts of jagad ageng and jagad alit.
KONSEP FILOSOFI DAN ESTETIKA MAINAN TRADISIONAL GANGSINGAN, DHAKON, UMBUL WAYANG, DAN KUDA LUMPING Bagus Indrayana; R.M. Soedarsono -; Djoko Suryo; Timbul Haryono
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 (3337.313 KB) | DOI: 10.33153/dewaruci.v7i2.1027

Abstract

Dinamika kehidupan yang terjadi karena ada potensi dan peluang, meskipun ada kelemahan dan hambatan. Gambaran siklus kehidupan manusia sangat berkaitan dengan pandangan hidup yang melekat pada hasil karya cipta untuk memenuhi fungsi-fungsi tertentu. Pandangan hidup dan konsep pemikiran tersebut dapat dibaca melalui hasil karya yang diwujudkan, termasuk benda mainan tradisional gangsingan, dhakon, umbulwayang, dan kuda lumping. Keempat jenis mainan tradisional tersebut mengandung muatan konsep filosofis dan estetis terkait dengan siklus kehidupan, fungsi sosial, dan kultural penyertanya.  Kata kunci: Estetika, Mainan Tradisional.

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