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<![CDATA[PEMANFAATAN BOLA TENIS DAN LIMBAH KAYU SEBAGAI INOVASI PERAJIN FURNITURE DI DESA TEMUWANGI KECAMATAN PEDAN KABUPATEN KLATEN ]]>
<![CDATA[Siti Badriyah]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1553
<![CDATA[The art work about the use of tennis ball and wood waste has a strategic purpose and is social constructive.The orientation of using not used material has economic values. Besides, application in the chair design willgive an innovative view to the craftsmen in Temuwangi village which has been weary and stagnant in production.The wood material (Jati) is very expensive that it loosens the craftsmen’s creativity that, rata2, belongs tolower class. The idea of an art work about chair design by using tennis ball and wood wastes has opened thecraftsmen’s mindset not to rely on the wood material that its price becomes higher. The work’s target ismodification of raw material with special design that is able to stimulate innovation and root in the craftsmen’sunderstandings even it needs the right design sensitivity and a consideration that can pass through nationalor even international furniture market. An effective method in the work is applied to monitor the controlledprogram and run on the right and systematic framework. The method used to reach the purpose includes:firstly, preparation covering observation, documentation, introduction, and interview. Secondly, the workexecution including: a) designing covering programming, design schematic, the work image, and financialestimation; b) production consists of discussion, assembling, and finishing; c) socialization. The work resultis innovative design for example the product of lounge chair and its table. Each phase needs accuracy thatrefers to the basic concept of design that has been considered with mature so that the gap which isdisadvantage can be minimized in man power as well as the financing.Keywords: the use, the waste of tennis ball and wood waste, stimulus, innovation]]>
<![CDATA[KEBERADAAN BATIK KEDIRI JAWA TIMUR ]]>
<![CDATA[M. Mujiono]]>;
<![CDATA[D. Dharsono]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1535
<![CDATA[The article entitled “Keberadaan Batik Kediri Jawa Timur†(The Existence of Batik Kediri East Java) coversthe appearance and the development of batik in Kediri Residence. The analysis result uses qualitativemethod. Theories concerning culture and history are used to solve problems of the existence and characteristicsof batik Kediri in relation to the presence and the activities of batik making in Kediri through the culturalapproach, aesthetic approach by AAM, and Djelantik is applied to analyze the forms of batik Kediri motives.Analysis process is executed in two steps covering interactive and interpretative developed by Miles andHuberman. The characteristics of batik Kediri can be reviewed from the shape and the structure of batik withthe technique of natural and synthetic coloring. The values contained in batik Kediri show the condition ofKediri area. It can be seen from the several forms of batik pattern and motive made by batik maker in Kediri.The aesthetics of batik Kediri can be seen and felt from the pattern of tourism and local culture, abstractpattern, the creative pattern of natural suggestion, classic pattern, and the unity of classic pattern andnatural suggestion.Keywords: batik, aesthetics, motive, Kediri]]>
<![CDATA[GAYA SÉNGGOL CUCU S. SETIAWATI DALAM PENYAJIAN SEKAR KAPASINDÉNAN ]]>
<![CDATA[Rina Dewi Anggana]]>;
<![CDATA[S. Santosa]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1545
<![CDATA[The style senggol of a pasinden can be shown through a special song performance as a form of creativitythrough the development of the main melody or basic melody that is standard or not standard with a certainreureueus (ornamentation) technique supported by musical reference and self-potency. The journal is arrangedby using qualitative research method and musical approach that is more comparative in order to compare thesenggol of Cucu S. Setiawati with the senggol of Yoyoh S. Asih and Neni Hayati in the presentation of sekarkepasindenan entitled Kastawa, especially analyze about the form and the style of Cucu S. Setiawati’stypical senggol. By transcription and study of melody plot belongs to the song Kastawa presented by thethree pasinden, it can be concluded that the form of senggol Cucu S. Setiawati is different from the otherpasinden compared. The characteristic of Cucu S. Setiawati can be seen from the development of melodyand the use of reureueus technique based on her self-potency. She tends to confine herself in the presentationand it can be found in the using of the less and simple tone values and legato. The laras (barrel) used byCucu S. Setiawati is more various, laras rotation tends to be done at the end of song especially at matra 3-4 or at the last bait of song. Her typical Senggol also can be seen through the using of certain melodies whenshe faces nada kenongan and goongan, when nada is wider and its reach is higher. From the side of vocaltechnique, she uses masiep sora technique which is not used by the pasinden compared.Keywords: style, sénggol, sekar kapasindénan, Kastawa, Cucu S. Setiawati]]>
<![CDATA[BAHASA RUPA KOMIK WAYANG KARYA R.A. KOSASIH ]]>
<![CDATA[Sayid Mataram]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1537
<![CDATA[Comic is a media of speech, like a language is, with the language system and individual application. Comicof puppet by R.A. Kosasih is one of the genres in constellation of Indonesia comic which is able to overcomethe influence of western comic. The problems analyzed in this research include how the form of visuallanguage and idiolect characteristics of puppet comic by R.A. Kosasih. This research aims to analyze thevisual language of puppet comic by R.A. Kosasih as well as the idiolect characteristic that is appeared to beits characteristic. The research uses an approach of language analogy using textual and contextual analysisof comic. The result shows that firstly, the visual language of comic is analog with language consisting oflanguage system and idiolect. The system of visual language in comic R.A. Kosasih consists of the basicelements of comic constituent covering panel and juxtaposition structure. Secondly, puppet comic by R.A.Kosasih uses stories based on Mahabarata epos and Ramayana in Indian version as well as Nusantarapuppet in which Sunda language is inserted. The picture and symbol in the comic is influenced by the realiststyle of Western comic and Indie Mooi stream and also the technology of the age. The relationship of puppetcomic juxtaposition is influenced by the story order and the session of lakon.Keywords: comic, language, visual, puppet, idiolect]]>
<![CDATA[KAJIAN SENI LUKIS KARYA YUNUS SUNARTO ]]>
<![CDATA[S. Suyadi]]>;
<![CDATA[D. Dharsono]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1547
<![CDATA[The research entitled “Kajian Seni Lukis Karya Yunus Sunarto†(A Study in Paintings Arts by Yunus Sunarto)aims: to know about the background of creative process in painting arts by Yunus Sunarto; to analyze theform of paintings art by Yunus Sunarto using analysis interpretation with aesthetic approach by MonroeBeardsley; and to learn the observer’s view towards paintings art by Yunus Sunarto. Data is collected byobservation, interview, and library studies. The six paintings by Yunus Sunarto, with the studies of analysisinterpretative and aesthetic approach by Monroe Beardsley, refer to the three aesthetic characteristics ofarts: unity, there are visual and design elements well composed in the paintings; complexity, an art is not sosimple but it is rich of content and contains a smooth difference. Intensity, an art has an outstanding qualityeven in a bleak, happy, soft and rough condition. In reconstructing natural events, the aesthetic form ofYunus Sunarto’s paintings has a proportional form of anatomy, gradation, and volume in painting an object incanvas even the color sometimes seems tacky.Keywords: paintings art, works, aesthetic, creativity]]>
<![CDATA[PERKEMBANGAN RAGAM HIAS TENUN IKAT GEDOG BANDAR KIDUL MOJOROTO KOTA KEDIRI JAWA TIMUR ]]>
<![CDATA[Tri Atmoko]]>;
<![CDATA[D. Dharsono]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1539
<![CDATA[This research is entitled “Perkembangan Ragam Hias Tenun Ikat Gedog Bandar Kidul Mojoroto Kota Kediriâ€(The Development of Ornaments Variety of Tenun Ikat Gedog in Bandar Kidul, Mojoroto, Kediri). It usesdescriptive analysis approach and quantitative data in order to learn how the existence and the developmentof tenun ikat gedog Bandar Kidul Mojoroto, Kediri, is; how the function of the tenun ikat gedog is; how theornaments variety is; and how the aesthetic value in the ornaments variety of tenun ikat gedog Bandar KidulMojoroto, Kediri. The various ornaments and their appearance are analyzed in this research. Unfortunately,tenun ikat Bandar Kidul is not very popular in Kediri especially among the young generation. It happensbecause of many factors, for example, the lack of promotion, there is not enough stock in the market, andthe high price of tenun ikat so that it influences the production. The existence of tenun ikat gedog BandarKidul is one of the cultural works of Indonesian people that has to be maintained in order to preserve thecultural heritage. Aesthetically, the creativity can be found in the beautiful patterns and ornaments variety inthe tenun, while culturally, tenun can be used as a symbol in every ceremony and in every activities of thelocal society in order to preserve Indonesia culture.Keywords: the development of ornaments variety, aesthetics]]>
<![CDATA[SANG AMURWABUMI SEBAGAI SIMBOL LEGITIMASI SULTAN HAMENGKU BUWANA X ]]>
<![CDATA[S. Supriyanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1549
<![CDATA[Beksan Bedhaya, refers to its understanding, belongs to traditional theater, a valuable form of art that is stillconserved in the palace including Surakarta as well as Yogyakarta Palace. Traditionally, dance Bedhaya isdanced in group by nine young female dancers. Dance Bedhaya, with its sacred, takes a story based on mythor legend that thematically contains of philosophic and sociolinguistic meanings as well as bringing ethic andmoral values, and also actual life teachings of a certain age. The spiritual aspects, hereditary, have becomea basic concept that bases the aesthetic choreographic concept of dance Bedhaya. All process of danceBedhaya and its dancers’ names related to the symbol from the beginning until the end represent the humanbirth, life, and death. The process tells about purwa (beginning/birth), madya (life), and wasana (the end) ofhuman life. The understanding of content and meaning in dance Bedhaya Amurwabumi contains ritual valuesas the forms of glory and legitimacy along with other things. Dance Bedhaya also has a function to keep theunity between Sultan and his kawula (people) that is found in the concept of manunggaling kawula alit orcuriga manjing warangka, warangka manjing curiga.Keywords: Bedhaya, Sang Amujrwabumi]]>
<![CDATA[KONSEPSIONAL ALI MARKASA DALAM PENCIPTAAN TARI NGREMO JOMBANGAN ]]>
<![CDATA[Pance Mariati]]>;
<![CDATA[Nanik Sri Prihatini]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1541
<![CDATA[Dance Ngremo Jombangan is one of the dances Ngremo in East Java that has a special characteristiccompared to other dance Ngremo. The dance is created by Ali Markasa, a pengreman (Ngremo dancer) fromJombang. Ali treats the movements in such a way that they are able to bring a technique of an attractive anddynamic movement in dance Ngremo Jombangan. The research aims to convey Ali Markasa’s concept increating dance Ngremo Jombangan. It uses the method of qualitative analysis descriptive with etnokoreologiapproach. The result shows that Ali Markasa wants to create dance Ngremo because of his experience as apengreman in Ludruk performance. He learns that the movement of dance Ngremo is common and spiritless.For the reason, he wants to create a dance Ngremo that is more attractive and dynamic called Dance NgremoJombangan. His creativity in dance ngremo is able to give a special characteristic. It can be seen in themovements of sadukan sampur, tanjak, and ayam alas. His technique of movements is dynamic and attractive.It is often known as njangkrik upo because of his agility in dancing. Keywords: concept, Ali Markasa, dance Ngremo Jombangan]]>
<![CDATA[STRATEGI VISUAL IKLAN TELEVISI KUKU BIMA ENERGI PRODUKSI PT. SIDO MUNCUL SEMARANG ]]>
<![CDATA[Annas Marzuki Sulaiman]]>;
<![CDATA[I Nyoman Murtana]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1551
<![CDATA[Kuku Bima Energi is a brand of an energy drink produced by P.T. Sido Muncul, Semarang. Sido Muncullaunches an advertisement of version Mari Berwisata di Negeri Sendiri (Let’s go touring in our own country).The research is purposed to describe: 1). background of PT. Sido Muncul represents television advertisementKuku Bima Energy version Mari Berwisata di Negeri Sendiri; 2). Visual strategy of television advertisementKuku Bima Energy version Mari Berwisata di Negeri Sendiri; and 3). Visual form of television advertisementKuku Bima Energy version Mari Berwisata di Negeri Sendiri. The research uses qualitative method and casestudy approach. The research process is arranged based on the data gaining and correlation in order toaccumulate information related to visual strategy and advertisement structure. The analysis used is aestheticsMonroe Beardsley. The result of research shows that Kuku Bima Energi in its imaging has been succeed inusing the nationalism issues to bind consumers by raising up the cultural and tourism values through televisionadvertisement. It makes the nationalist image and love to local culture attached to Kuku Bima Energi and hasbound consumers emotionally.Keywords: Kuku Bima Energy, Brand, imaging, visual strategy, aesthetics]]>
<![CDATA[INTERPRETASI KARAKTER KUNTHI OLEH TIGA PENARI PADA PERTUNJUKAN WAYANG ORANG SRIWEDARI ]]>
<![CDATA[Retno Purwanti]]>;
<![CDATA[Sri Rochana Widyastutieningrum]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1543
<![CDATA[This study focuses on the characterization of figure Kunthi in the performance of traditional stage showWayang Orang Sriwedari. The research is based on the assumption that the character of Kunthi representsthe profile of a wise woman who deserves to be emulated by women today. The study describes the interpretationof the character of Kunthi by three dancers in Wayang Orang performances at Sriwedari. The implementationof the role by one performer and another shows a difference. The difference in the implementation of thesethree dancers formulates the problems to be addressed in the study including how the interpretation ofWayang Orang dancers at Sriwedari expresses the character of Kunthi in the story Kunthi Purwa. Theimplementation of the character of Kunthi by Darsi Pudyorini, Nanik Setyorini, and Sri Lestari (WayangOrang performers at Sriwedari) shows differences in the way they express the character of Kunthi.Keywords: character, Kunthi, Wayang Orang Sriwedari]]>
