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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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UPAYA PENCITRAAN TELEVISI LOKALâ€JOGJA TV MELALUI PROGRAM SIARAN TELEVISI BERBASIS BUDAYA DAERAH NRA. Candra DA
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 (3277.848 KB) | DOI: 10.33153/dewaruci.v6i3.967

Abstract

THE IMAGE BUILDING ATTEMPT OF LOCAL TELEVISION USING LOCAL CULTUREBASED TELEVISION BROADCASTING PROGRAM (A Case Study on Yogyakarta “JOGJA TV”)is basically made to investigate the essence and role of television as the mass media, technical and production principles of television broadcasting program and to capture the meaning of television broadcasting programs particularly for the local television media of Yogyakarta JOGJA TV. This research aims to find out the image construction JOGJA TV wants to build as its attempt of strengthening its position and image building for the area where this media operates its broadcasting activity. The research method employed in this research is the descriptive qualitative one. Considering the problem proposed here, this research particularly employed the communication theory approach emphasizing on disclosing the role and function of television mass media within the society as a part of the attempt of building positive image on the existence of media. The conclusion of research process series states that in confirming the positive image within the society, JOGJA TV gives more dominant local load portion as its broadcasting basic concept. The concrete manifestation is by producing and then showing the local culture-based broadcasting programs with the more dominant program composition. The basic guidelines used by JOGJA TV in its attempt of building positive image for Yogyakarta people and surrounding includes to develop company profile as the main foundation as the principle of broadcasting organization process, producing television program and conducting the societal activities such as corporate social responsibility for its audience society.Keywords: image building, JOGJA TV, culture based television programme.
NGAYAH: TRANSFORMASI NILAI SOSIAL Ni Nyoman Wati
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 (576.601 KB) | DOI: 10.33153/dewaruci.v5i2.797

Abstract

This paper describes a performance entitled ngayah, that is an important activities in Balinese society.  The activities which do not aimed to gain material advantages is  assumed  consist of high value in society.   Based on experience through her whole life  and research held on three cases, the writer transformed those social activities to the  performing art.   The performance means to aware and actualize the value of ngayah in  contemporary era. Key words: ngayah, social activities, value, performance.
KAHYANGAN: SEPENGGAL KISAH DALAM LEGENDA PERADABAN TANAH JAWA DALAM KOMPOSISI MUSIKAL Reza Ginandha Sakti
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 (553.144 KB) | DOI: 10.33153/dewaruci.v10i1.2141

Abstract

Legenda Kahyangan merupakan sepenggal kisah penting dalam legenda peradaban Tanah Jawa karena berkisah mengenai Panembahan Senopati yang merupakan raja besar pertama Kerajaan Mataram.Kahyangan terletak di Kecamatan Tirtomoyo, Kabupaten Wonogiri, Provinsi Jawa Tengah. Situs Kahyangan menjadi objek wisata spiritual yang ramai dikunjungi peziarah dari dalam dan luar kota Wonogiri. Menurut legenda, Kahyangan adalah salah satu tempat bertemunya Nyai Roro Kidul dan Panembahan Senopati.Tujuan pertunjukan ini adalah menggarap kisah legenda Kahyangan dalam bentuk komposisi musik agar dipahami masyarakat Wonogiri karena banyak warga Wonogiri yang tidak mengetahui legenda Kahyangan. Berangkat dari masalah tersebut, pengkarya melakukan observasi kepustakaan dan observasi lapangan untuk mencari legenda yang sebenarnya dari Kahyangan. Setelah mendapatkan data dari buku, internet, dan juru kunci, pengkarya melakukan eksplorasi untuk mencari bentuk pertunjukan dan membuat komposisi musik. Hasil eksplorasi pengkarya memutuskan untuk membuat pertunjukan komposisi musik dengan bentuk Chamber Orchestra yang disertai dengan teatrikal urutan ritual peziarah Kahyangan. Tujuan teatrikal adalah agar masyarakat mengetahui lokasi yang diceritakan dalam legenda Kahyangan, yaitu Selo Bethek dan Selo Payung. Instrumen yang digunakan adalah Piano, Biola alto, Viola, Violin,Cello, French Horn, dan Flute. Komposisi terdiri atas tujuh repertoar yang masing-masing berbeda suasana untuk menggarap kisah legenda Kahyangan. Suasana yang digarap dalam pertunjukan ini adalah nuansa pedesaan, sakral, agung, dan surgawi. Pertunjukan dilaksanakan di Situs Kahyangan pada sore hari.Kata Kunci: legenda, Kahyangan, peziarah, dan komposisi.
MAKNA RAGAM HIAS SARUNG TENUN SUTERA MANDAR Amri -
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 (4241.549 KB) | DOI: 10.33153/dewaruci.v7i3.1051

Abstract

This article summarized from the research report aimed at finding out the development of the ornament form of woven silk sarong of Mandar and its symbolic meanings. The method used was a descriptive qualitative one. The data was collected through observation, interviews and literature. Safri Sairin’s theory was used to study the development of the form of the ornament and Bagus Gede Triguna’s was used to study the symbolic meanings. The research results showed that the development of the ornament form of the woven silk sarong of Mandar had something to do with socio cultural changes, the economical level of the society, and the creativity of the weaver. The ornament in rectangle form in the society of Polewali Mandar symbolizes nature, glorious values of human characteristics and the concept of self-control. Keywords:  woven cloth, silk sarong of  Mandar, and development.
AKTUALISASI IDENTITAS KAUM WARIA DALAM PERTUNJUKAN LUDRUK Agus Sukamto
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 (1388.661 KB) | DOI: 10.33153/dewaruci.v6i2.947

Abstract

The object of this research is identity actualization of intersex in Ludruk Irama Budaya Surabaya show. Ludruk is one of art traditional show in east java. Ludruk and the life of all the members is a phenomenon for Surabayanese people One of the members is intersex. They are considered to be able to give any entertainment on the stage in ludruk show. Their ability to create any dancing movement and make any improvisation on the stage shows that they have their own way to actualize their identity. The strategy is done by showing the beauty in their bodies. Any ways like showing up their big breasts, wearing wigs,showing up their erotic body movements, and any accessories. For the intersex members, all of those things are the way for them to find satisfaction because the life outside the ludruk show is just as their side life. In the ludruk esthetic shows, the intersex members in any ways want to be claimed as beautiful women. It means that intersex people use ludruk shows as one of the ways to show their real identity to audience. Identity perspective through its approach will deal with all process of intersex people to get their self identity on the stage but also in social life. The life of intersex on the stage is considered to be important because for them on the stage they can show their femininity. Having tender movement does not mean to imitate any movement of dances in Javanese palaces, attitude and behaviour. It’s about how they reflect women’s attitude and behaviourand imagine to be themselves. The identity actualization of intersex will not happen without response and reaction from audience. For audience, the intersex activities on the stage is an entertainment. Audience will give any comments at the time the intersex people do any funny activities that can cause them laugh and arise their passion. The intersex movements will be considered as better movements compared with any real womwn’s movement. The intersex are still considered to be an entertaining show, not as people with admited existence. Therefore, in estetic world the intersex fight for their rights as human beings.Keywords: identity,esthetic, actualization
MUSIK GENJRING SEBAGAI SARANA DAKWAH ISLAMIAH Markus Wibowo; Santosa Santosa
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 (321.246 KB) | DOI: 10.33153/dewaruci.v11i2.2560

Abstract

ABSTRAKPenyebaran suatu agama bisa dilakukan dengan berbagai cara, antara lain dengan memanfaatkan seni sebagai medium. Di Indonesia musik tradisi telah lama ada dan pada umumnya dipakai sebagai sarana untuk upacara-upacara keagamaan, sehingga seni (musik) sudah menjadi barang biasa dan akrab dengan masyarakat, khususnya pedesaan, yang sebagian besar masih mempertahankan nilai-nilai tradisi leluhur.Agama Islam membawa suasana baru bagi kehidupan masyarakat Jawa yang sebelumnya sangat akrab dengantradisi Hindu-Budha. Pengaruh Islam terhadap kebudayaan Jawa tidak hanya membawa pembaharuan dalam kehidupan sehari-hari, tetapi juga sampai kepada bidang seni musik.Genjring sebagai produk dari masuknya Islam sangat berperan sebagai salah satu medium bagi penyebaran agama Islam dan telah menjadi bagian dari kesenian tradisional Nusantara yang mempunyai hak sama dengan kesenian-kesenian tradisiolanl lain; ia mampu, dengan kelebihannya, menjadi alat pemersatu masyarakat desa yang mayoritas beragama Islam. Tulisan ini memaparkan musik Genjring sebagai sarana yang efektif untuk dakwah yang penelitiannya telah dilakukan di daerah Purbalingga dengan cara mendatangi lokasi dan mengadakan pengamatan secara teliti terhadap para pemain Genjring.Kata kunci: Genjring, Islam, Dakwah, Kitab BarzanjiABSTRACTThe spread of a religion can be done in various ways, such as by utilizing arts as a medium. Indonesia’s traditional music has long existed and is generally used as a means for religious ceremonies, so music has become a regular item and are familiar with the community, especially in rural areas, which are mostly still maintain the tradition of ancestral values. Islamic religion brought a new atmosphere to the Java people’s lives who are very familiar with the Hindu-Buddhist tradition. Islamic influence on the culture of Java not only bring renewal in our daily lives, but also to music.Genjring as a product of the advent of Islam was instrumental as a medium for the spread of Islam and has been part of this archipelago traditional art and it has the same rights as other traditional arts; it was, with all of it’ssupremacy, able to become an integral tool for villagers of Muslim majority. This paper describes Genjring musicas an effective means of propaganda which research has been done in the area Purbalingga by visiting the site and held a thorough observation of the Genjring players.Keywords: Genjring, Islam, Dakwah, Kitab Barzanji
Ornamen Waruga Pada Rumah Minahasa Sebagai Pencitraan Budaya Ronald Marthen Pieter Kolibu
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 (3969.532 KB) | DOI: 10.33153/dewaruci.v7i2.1011

Abstract

Waruga dan rumah hunian Minahasa merupakan artefak budaya yang masih dapat dinikmati sampai saat ini. Rumah Minahasa dengan bentuknya yang khas, menjadi penanda eksistensi budaya Minahasa. Masuknya rumah Minahasa sebagai bagian dari komoditi budaya berdampak pada mulai kaburnya identitas Minahasa dalam produk arsitektur tradisional ini. Waruga sebagai produk kebudayaan Minahasa sarat akan simbol-simbol yang dapat diangkat sebagai ornamen khas Minahasa. Bagaimana keberadaan ornamen waruga sebagai produk budaya Minahasa, bagaimana keberadaan rumah Minahasa dapat menjadi citra budaya Minahasa dan bagaimana aplikasi alternatif ornamen waruga mampu berfungsi sebagai citra budaya Minahasa merupakan tiga rumusan masalah yang dapat dijawab dengan mengaplikasikan ornamen pada waruga menjadi ornamen rumah hunian Minahasa. Hal tersebut dapat menjadi penegas ciri/citra rumah Minahasa sebagai produk budaya  Minahasa. Representasi merupakan sebuah pendekatan dalam menjawab permasalah identitas ini. Alternatif desain adalah langkah awal dalam mencapai identitas tersebut, sedangkan pencitraan adalah strategi membentuk identitas budaya baru. Sebuah produk budaya lama dengan kemasan baru yang memberi identitas baru dalam sebuah kebudayaan. Kata kunci: Rumah hunian Minahasa, ornamen, aplikasi desain, citra budaya.
KEBERADAAN BATIK KLIWONAN DI KABUPATEN SRAGEN Tiwi Bina Affanti
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 (1516.136 KB) | DOI: 10.33153/dewaruci.v6i1.873

Abstract

Title of research: “Existence of Batik Kliwonan”. The research focused on: (1) appearance of pembatikan at rural area of Bengawan Solo (Kliwonan, Sidodadi, Pilang, Jabung, and Gedongan residence); and (2) dynamics of batik business by Batik Kliwonan communities. Cultural and historical approaches were used to solve these case that related to batik activities at rural area of Bengawan Solo (Sragen) until dynamics of Batik it self. It needs theories that related some cultures (river, farmer and aristocrat, cultural result and social-cultural) and histories to solve them. Research strategy tends to be descriptive research, with single case study. Data collected was qualitative data, which was used based on the informant, batik products, documents, also places and activities of making batik. Some technics of data collecting which were used are interview, observations and study about document. Research results were: (1) Existence of batik at rural area of Bengawan Solo–Sragen was affected by river as medium of transportation and trade, need for pembatik at urban area, water as supporter in processing batik, and Sragen society need part time job; (2) dynamics of batik begin from craftman history, from employee until be owner of batik enterpreneur called Batik Kliwonan. When Batik Kliwonan specified as tourism target, its image was built by creative and visual strategies. Keywords: Batik, Kliwonan, Sragen
“TOWARDS GAMELAN POP” Kenny Prehara; Rahayu Supanggah
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 (744.067 KB) | DOI: 10.33153/dewaruci.v12i2.2528

Abstract

ABSTRAK“Towards Gamelan Pop” adalah karya seni musik yang lahir akibat bentuk permasalahan yang sedang populer saat ini, misalnya korupsi, kurangnya kepedulian terhadap lingkungan hidup, radikalisme, tindak pelanggaran hukum, dan kerusakan moral. Fenomena tersebut dikaitkan dengan bentuk musik pop yang sedang diminati oleh banyak kalangan masyarakat. “Towards Gamelan Pop” mengangkat kisah legenda setempat di daerah Kompleks Candi Gedong Songo yaitu Kisah Ramayana dengan tujuan menarik generasi muda untuk mencintai kesenian tradisi nusantara. Karya musik ini memadukan instrumen gamelan dengan gaya bernyanyi pop dan diperankan oleh 6 tokoh, yaitu Rama, Shinta, Rahwana, Wibisana, Hanoman, dan Semar. Karya musik ini dipentaskan di Kompleks Candi Gedong Songo dengan durasi 60 menit yang terbagi dalam sebelas karya lagu, yaitu Rimba Raya, Aku, Satu, Penjara Emas, Hanoman Obong, Petuah yang Dianggap Sampah, Eling lan Waspada, Gerhanamu, Impas, Mandi Api, dan Sigaraning nyawa.Kata kunci : populer, pop, Kisah Ramayana, generasi muda, gamelan.Abstract“Towards Gamelan Pop” is the musical art work form due to the problems that are popular today, such as corruption, the lack of concern towards the environment, radicalism, acts of lawlessness, and moral damage. These phenomena are associated to a form of pop music that is in demand by many people in the community. “Towards Gamelan Pop” lifts the local legends from the Gedong Songo temple complex that is the story of Ramayana, which its purpose is to attract the younger generation to love thetraditional arts of the archipelago. This musical work blends gamelan instruments with pop singing style and performed by six characters, namely Rama, Shinta, Rahwana, Wibisana, Hanoman, and Semar. This musical work is staged in the Gedong Songo complex with a duration of 60 minutes divided into eleven song parts, namely “Rimba Raya” (the Great Jungle), “Aku” (I), “Satu” (One), “Penjara Emas” (the Golden Prison), “Hanoman Obong” (Ignited Hanoman), “Petuah yang Dianggap Sampah” (Unconsidered Wisdom), “Eling lan Waspada” (Keep in Mind and Alert), “Gerhanamu” (Your Eclipse), “Impas” (Breakeven), “Mandi Api” (Bathe in Flames), and “Sigaraning Nyawa” (Soulmate).Keywords: popular, pop, Ramayana Legend, young generation, gamelan.
PENCIPTAAN KARYA TARI SLENDANG PEMALANG SEBAGAI TARI IDENTITAS KABUPATEN PEMALANG Evi Septimardiati
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 (389.793 KB) | DOI: 10.33153/dewaruci.v8i3.1123

Abstract

The Slendang Pemalang dance was created by Koestoro in 1985. It is a form of social dance which may be performed asa solo, a duet, or by a group, and uses a scarf or slendang that is tied and used in various ways. The Slendang Pemalangdance was declared a form of regional identity in a decree by the Regent of this area on 17 September 2012. The localPemalang government subsequently adopted this dance as a form to promote its regional identity. This decision is proof thata system has the power to undertake, control, arrange, and preserve the potential expression of its regional art which isintegrated in a symbolic process. This system connects the artist, the Regent, the local government, the tourist board, and thePemalang community in a system of values of its regional identity. The performance of dance at certain ceremonies is used asa tool to display authority. The style of a dance performance as a protocolary substance and ceremony involving the Regentis a form of imaging that is used as a means of increasing the level of authority.Keywords: social dance, Pemalang identity

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