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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 271 Documents

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SIMBOLISME ORNAMEN KUMUDAWATI PADA SINGUP PENDHAPA AGENG MANGKUNEGARAN KARYA MANGKUNEGARA VII Wisnu Adisukma
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

The contents of this thesis concern the existence of ornament Kumudawati at singup Pendhapa Ageng Mangkunegaran, Surakarta. This thesis attempts to identify, comprehend, and explain: Firtsly, life influence of Mangkunegaran palace before all to concepts think Mangkunegara VII; second, about concepts think Mangkunegara VII in initiative making of ornament kumudawati at singup Pendhapa Ageng Mangkungaran; and third about symbolic meaning consisting barbed in ornament kumudawati with Java culture order. Bearing in mind that culture is an element which influences the existence of ornament kumudawati, an overall understanding of the form, role, and meaning of ornament kumudawati is based on a cultural approach, that is a way of looking at culture as a system. Within this framework, culture is construed as aconcept which is used for analysis and at the same time as a model for study. The problems posed in the research for this thesis placed more emphasis on discovering the process and meaning, and for this reason, the paradigm of approach and strategy of reseach used was qualitative descriptive research. A phenomenological perspective with ethnographical dimensions was used. As such, this research is of an emic nature, as it is based on a means of emphatic understanding or verstehen within the framework of indigenous knowledge which is expressed in the from of â€œthick descriptionâ€.Keywords: simbolism, ornament kumudawati, Mangkunegaran

Kualitas personal dalam mencapai estetika “Ngroncongi” Bayu Raditya Prabowo; Zulkarnain Mistortoify
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 1 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Kualitas personal merupakan salah satu komponen pembentuk karakteristik kualitas dalam musik keroncong. Kualitas personal tersebut terbentuk oleh beberapa aspek yang telah meng-embody dalam diri seniman keroncong. Tulisan ini bertujuan untuk mengungkap aspek-aspek beserta operasionalnya dalam membentuk kualitas personal di musik keroncong. Metode penelitian yang digunakan adalah metode kualitatif. Proyeksi tulisan ini akan membahas karakteristik kualitas musik keroncong, dan menggunakan kerangka konseptual yang berasal dari istilah-istilah lokal yang sering digunakan seniman keroncong saat menyajikan pagelaran dalam lingkup musik keroncong. Sebelum mengungkap karakteristik kualitas dalam musik keroncong, penulis akan fokus mengkaji mengenai kualitas personal yang merupakan komponen pembentuk karakteristik kualitas dalam musik keroncong. Kesimpulan penelitian ini adalah kualitas personal dalam musik keroncong terbentuk oleh beberapa aspek yang saling bersinergi, diantaranya akumulasi pengetahuan; kompetensi (skill); interpretasi terhadap lagu keroncong; dan pembawaan secara personal. Beberapa aspek tersebut telah meng-embody dalam diri setiap personal untuk membangun kesadaran secara musikal bahwa musik keroncong menjadi harmonis bukan karena menampilkan virtuositas dari kualitas yang dimiliki oleh setiap personal, melainkan keharmonisan yang tumbuh dari kesadaran ensembleship interpersonal.ABSTRACTPersonal quality is a component framer of characteristic and quality in keroncong music. The quality of personal was formed by many aspects, who has embodied in the artist of keroncong. This paper aimed to explore the aspect of personal quality includes the operational to form personal quality in keroncong music. The method of research is qualitative and use the framework of local conceptual terminology in scope keroncong music often used by artist keroncong in presenting keroncong music. Before uncovering personal quality, the writer will focus study on the quality of personal in keroncong music. The conclusion in this research is personal quality formed by many aspects with good synergy. They are knowledge, competency (skill), interpretation to song keroncong, and personal character. Some aspect was embodied in every personal to raise musical awareness that keroncong music be harmonious not for showing virtuosity personal, but harmoniously when high awareness of interpersonal ensembles

TEATER TANAH IBU: MATRILINEAL DAN KUASA IDEOLOGI KAUM PEREMPUAN MINANGKABAU Saaduddin -
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 3 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

theatre performance contains various ideologies that are promoted by the director as a choice of his workmanship. Thisideology can be seen in the relationship between the text of the script and the performance text. In Teater Tanah Ibu, a workby director Syuhendri, the background of Minangkabau culture is used as the centre of development for the dramatic elementsof the performance that are generated by the role of the women in the performance, and as such, the messages conveyed are fullof the ideology and the message of womenâ€™s resistance to the hegemony of Minangkabau men. This paper uses a multidisciplinaryapproach and aims to outline: (1) the process of creating Teater Tanah Ibu and (2) the form of womenâ€™s ideologyfound in Teater Tanah Ibu. The observation showed that the ideology of Minangkabau women in Teater Tanah Ibu was bornas the dialectic of women in understanding a migrant culture that reflects womenâ€™s ideology.Keywords: Teater Tanah Ibu, Ideology, Women

MEREPRESENTASIKAN SENI PERTUNJUKAN TRADISI MELALUI PENDEKATAN ETNODOKUMENTER Gerzon R. Ayawaila
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 1 (2009)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

To perform the representation of an art tradition is not simple. We need approachment method because the rites have sense of spirit and myth. This is the same as we record the sense of life from local genuine people with the way of life in their culture system. Therefore we must be very careful when we recorded and represented the whole spirit of local tradition culture of their social life. This note was trying to analyze how we could represent the performing of an art tradition through film or video, from two point of views, in two different disciplines: Visual Anthropology and Documentary Film. Camera or audiovisual is a research tool for Anthropology. Sinematography is a process of an abstract observation but it is quite different from the fieldworkerâ€™s inscribe notebook where the information is preserved in literate code. Sinematography could gather selected and specific information, recorded the realism of time and motion or the psychological reality from varieties of interpersonal relations. With the camera we can analyze the way of action of an art tradition was performed, where so many elements are in motion together. In this situation human memory and notebook records become wholly inadequate. This note was written with the purpose of not to some normative answer about where the ideal point of view between anthropology and documentary approachment method. Between two distinguished approachment point of view, maybe we could have another creative approachment in same reason with comparative perspective, to records and to represent the performing of an art tradition in their own reality.Key word: documentary, tradition art performing, visual language

“Bansi Rang Solok” music composition of (Re-interpretasi tradisi) Ronaldi Ronaldi; Pande Made Sukerta
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 12, No 1 (2017)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Kesenian Bansi Solok, adalah sebuah kesenian tradisi khas daerah Solok Sumatera Barat. Kesenian ini terdiri dari satu orang pendendang, dan satu orang peniup Bansi. Instrumen musik Bansi Solok terbuat dari bambu, hampir mirip dengan instrumen tiup recorder, namun instrumen bansi Solok hanya memiliki enam buah lobang nada saja, kesan melodi, warna bunyi, garitiak, teknik tiupan, dari permainan instrumen bansi Solok, akan menghasilkan melodi-melodi yang cenderung terkesan minor, bila diukur dengan sistim tangga nada, pada musik barat. Biasanya dalam menghasilkan melodi, teknik garitiak pada bansi Solok lebih rapat dan punya tekanan-tekanan pada nada-nada tertentu, kadang terkesan tidak sama, atau tidak se irama dengan melodi dendang yang diiringinya. Namun pada saat ini, kesenian Bansi Solok, dalam kondisi hampir punah. Di Kota Solok hanya tinggal satu orang pendendang Bansi Solok yang masih setia menggeluti dendang kesenian Bansi Solok ini, yaitu bapak Kaslan (63 tahun). Hal inilah yang menjadi alasan pengkarya menjadikan kesenian Bansi dan dendang khas Solok sebagai materi utama dalam penggarapan karya yang berjudul ”Bansi Rang Solok” (re Interpretasi tradisi). ABSTRACTThe art of Bansi Solok is the traditional musical art from Solok West Sumatera, The Bansi Solok consists of one singer and one bansi player. The Bansi is made of bamboo, it looks almost like regular Recorder, only it has six hole instead of eight. The melody that comes from bansi mostly forms a minor play, because of the colour of the sound, blowing and fingering technique, and the very characteristic of bansi it self, comparing bansi whith western musical instrument. Bansi has more pressure on certan note and more density between the notes, some times it sounds mismatched with the vocal, but it is only some part of the performance, that when we listen to the whole thing, it become a perfect siphoni “Bansi Rang Solok” (re interpretasi tradition)

GAMELAN POLENG â€œSINERGISITAS HARMONI WARNAâ€ I Wayan Diana Putra
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

This article is an analysis of the process of creating a new musical composition entitled Gamelan Poleng. This musicalcomposition was inspired by the observation of a visual structure, poleng (a checked pattern), which is well known on theIsland of Bali (and also in Central Java). This checked pattern, in sacred imagery, is an element that is inseparable from thehearts and minds of the Balinese people in particular. In addition to its sacred or auspicious meaning, poleng also has apsychological connection with values of togetherness in social activities within a community. It is this humanistic psychologicalmeaning of poleng that was used as the idea for creating a new composition of gamelan music. The idea of poleng inits psychological perspective was sublimated into the idea for the content and extra-musical treatment of a gamelan composition.This new conception of poleng in a psychological context was then developed through the medium of gamelan musicand it is hoped that the result will provide a reflection of the importance of values of uniformity and togetherness.Keywords: Poleng, Psychology, Gamelan Music Composition

SEMIOTIKA FILM LASKAR PELANGI Dwi Haryanto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 1 (2011)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Â This article is results of research about of the text of film Laskar Pelangi by Riri Riza. â€œ Issues of concern to this research are: (1) how the shape of the film Laskar Pelangi; (2) how the flow of dramatic film Laskar Pelangi; (3) How does the meaning of the messages contained in the film Laskar Pelangi by Riri Rieza? The purpose of this study is to describe the shape and dramatic plot and interpret the messages contained in the film Laskar Pelangi. Concrete steps to address the problem of research is to describe the shape, dramatic plot and analyze the message conveyed by the scenes at the Rainbow Warriors. In the revealed message conveyed in a movie, it takes an appropriate research methodology to reveal the meaning of the visible and hidden meanings behind the symbols that exist in the film. So the researchers used a qualitative research methodology is interpretive and semiotic approach. This study uses Roland Barthesâ€™s semiotic approach by approaching with five code of the object under study in this movie. Five of them code hermenuitik code, code proaretik, cultural code, code semik and symbolic codes. Semiotic approach is not only researching on the marker and the marker, but also the relationships that bind them as a whole. The results of this study include: movie Laskar Pelangi formed by the elements of narrative and cinematic elements, dramatic plot consisted movie opening phase, middle and closing stages. Film Laskar Pelangi through scenes-scenes convey the message content includes moral messages, the message of leadership, religious messages and social messages. The series of events in a story the film is just a stimulant, it is more important is the messages contained useful to guide the human form of mind and good manners, so that it becomes an adult human being the noble and virtuous character.Keywords: movie Laskar Pelangi, text analysis, the message of education

Wacana Drama Korea dalam Iklan Sprite Versi “Kenyataan Gak Kayak Drama Korea” Shani Fella; Fitri Murfianti
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 2 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

The development of the Hallyu, or Korean Wave, has an impact on product advertising in Indonesia, which uses many actors and discourses brought from Korean culture.Starting from this it turns out that growing questions about the possibility of Korean Wave can shape new consumption interests and behaviors that have an interest in Korea. The study, entitled Korean Drama Discourse in the Sprite ad version “Kenyataan Gak Kayak Drama Korea” is an advertisement for Sprite beverage products identified using Korean drama discourse with humor at the end of the story. The research method used is descriptive qualitative research supported by a theoretical basis, namely the structure of advertising discourse to dismantle Korean drama discourse on the Sprite advertisement version “Kenyataan Gak Kayak Drama Korea” using the concept of fashion as communication and storyline and location settings to be peeled off per scene advertisement. The discourse structure of advertising in this study will be explained in three parts, namely the main items of advertising, advertising agencies and closing advertisements. The results of this study indicate that in the version of the Sprite advertisement “Kenyataan Gak Kayak Drama Korea” there is a Korean drama discourse displayed on the advertising body, which functions as an advertisement explanatory item that is a message from a Sprite advertisement that "Nyatanya Nyegerin" can be well received by prospective customers.

Peningkatan kemampuan praktik karawitan dalam Mata Kuliah Karawitan Gaya Surakarta II model pembelajaran tutorial sebaya dan drill Sukamso Sukamso
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 13, No 1 (2018)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Penelitian tindakan kelas dengan tema “Peningkatan Kemampuan Praktik Karawitan mata kuliah Karawitan Gaya Surakarta II” terhadap mahasiswa semester II Jurusan Karawitan ISI Surakarta ini merupakan suatu usaha untuk peningkatan kemampuan praktik berkarawitan bagi mahasiswa semester II Jurusan Karawitan kelas C. Model pembelajaran tutorial sebaya merupakan hal baru diterapkan dalam mata kuliah praktik karawitan. Penerapan model pembelajaran ini adalah dalam usahanya untuk penanganan terhadap mahasiswa yang menemui kesulitan maupun keterlambatan di dalam proses belajar praktik karawitan agar mereka secepatnya bisa mengikuti teman lainnya. Guna percepatan dan keberhasilan di dalam proses belajar mengajar praktik karawitan terutama di dalam transfer cengkok dan wiledannya digunakan metode pembelajaran drill. Pembelajaran cengkok terutama wiledan yang berbobot dan berlaku di masyarakat karawitanadan bisa dikuasai secara persis hanya bisa dilakukan dengan pembelajaran secara drill, yaitu berlatih secara berulang ulang dan terus menerus sampai wiledan tersebut betul-betul bisa dikuasai. Penelitian ini bertujuan dan meningkatkan kemampuan praktik karawitan bagi mahasiswa peserta kuliah Karawitan Gaya Surakarta II, setidaknya mahasiswa sekelas tersebut rata-rata kemampuan karawitannya bagus. Diharapkan keberhasilan model pembelajaran ini bisa menjadi acuan bagi model pembelajaran praktik karawitan dan kelas lainnya. ABSTRACTClassroom action research with the theme “Improving the Practical Ability of Karawitan in Surakarta Style II” on the second semester students of the ISI Surakarta Karawitan Department is an effort to improve the literacy practice skills for second semester students of Class C Karawitan. applied in karawitan practice courses. The application of this learning model is in its efforts to handle students who encounter difficulties and delays in the process of learning musical practices so that they can quickly follow other friends. In order to accelerate and succeed in the learning process of musical practice, especially in the transfer of twists and turns, the drill learning method is used. Cengkok learning, especially wiledan, which is weighty and valid in musical society and can be mastered precisely can only be done by drill learning, which is to practice repeatedly and continuously until the wiledan is truly mastered. This study aims and enhances the ability of musical practice for students of the Surakarta II style Karawitan lecture participants, at least in that class of students the average musical ability is good. It is hoped that the success of this learning model can become a reference for karawitan practice models and other classes.

REKONSTRUKSI TARI BEDHAYA DIRADA META DI MANGKUNEGARAN Nur Rokhim
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

This article is the result of a study into the reconstruction of the BedhayaDiradaMeta dance in theMangkunegaran.This dance is interesting in that it uses the name Bedhaya and is performed by seven male dancers. The battle whichMangkunegara I experienced in the forest of Sitakepyak on the day of Monday Pahing 17 Sura in the year Wawu1681J/1756 AD was the event which inspired the creation of Bedhaya Dirada Meta. The meaning of the BedhayaDiradaMeta dance is closely related to the philosophy ofMangkunegara Iâ€™s struggle, promoting the concept of Islamicteachings (Sufism). In addition to this concept, the use of seven dancers is related to the events experienced byMangkunegaraI when he was fighting against theDutch. A socio-cultural approach was used, taken fromthe field of social and politicalsciences. In order to discover the history ofMangkunegara Iâ€™s struggle, in relation to existing texts ormanuscripts, a literary(hermeneutic) framework was used, with a historical method, in order to obtain reliable data. The reconstruction of theBedhayaDiradaMeta dance by Daryono, Hartanto, andWahyu Santoso Prabawa, was founded on the problem ofcreativity in the field of dance.Keywords: Reconstruction, BedhayaDiradaMeta dance.

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pramesti

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pramesti@isi-ska.ac.id

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Pascasarjana ISI Surakarta Jl. Ki Hadjar Dewantara 19 Surakarta 57126

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Kota surakarta,

Jawa tengah

INDONESIA