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INDONESIA
Gelar : Jurnal Seni Budaya
Published by Institut Seni Indonesia Surakarta
ISSN : 14109700     EISSN : 26559153     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Gelar focuses on theoretical and empirical research in the Arts and Culture.
Arjuna Subject : -
Articles 11 Documents
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Search results for , issue "Vol 5, No 1 (2007)" : 11 Documents clear
Berbahasa Inggris Melalui Teater Wayang Eddy Pursubaryanto
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2438.499 KB) | DOI: 10.33153/glr.v5i1.1235

Abstract

This article presents an example of how a script of Wayang Kulit in English version  is used to provide more English exposure for English learners. It offers a strategy for  English instructors and anyone who is learning English.
Tembang Dolanan Anak-anak Sri Hesti Heriwati
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3802.349 KB) | DOI: 10.33153/glr.v5i1.1247

Abstract

consciouslY makes every effort to express the sense. One can find an outlet for his  estbetic sense through various kinds of means or media. A literary man will express  his estbetic sense through a means of language. A language is something that is not  separable from human lift. Children understand the realz!J around them, make  social interaction and describe the reality again using a language. Tembang dolanan.  a work of art with which children familiar, is an author's work containing estbetic  values.A literary text is a whole systemic unit of language taken the shape of oral  or writing utterance. A text specifically  refers to a unit syntacti« or semantic strudllre  which coherentlY creates interrelated relations so it makes a full message/ injormation.  A literary text contained in children bembang dolanan is possible to be anaIYzed  from ma'!Y aspects depending on the study. In relation to the above problems, the  discourse of children's tembang dolanan will be closelY studied grammaticallY and  lexicallY.Keywords: Tembang (recited Javanese Poetry), discourse,  grammatical, lexical.
WAYANG ORANG SEBAGAI PERTUNJUKAN TEATER TRADISIONAL DALAM TINJAUAN SEMIOTIKA : (Sebuah kajian awal) Eko Supendi
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5601.732 KB) | DOI: 10.33153/glr.v5i1.1237

Abstract

Wayang wong, as a genre included in dance drama, is in fact the  personification of wayang kulit purwo of which the stories come from the Ramayana  and Mahabarata. The existence of wayang wong in Mangkuneagaran Palace and  in the Sultanate of Jogjakarta in second half of the 18th century was the renaissance  of wayang wong which had developed in the time of the empire of Majapahit.  Even it was supposed to have developed before that time because in the year of 930  the term of wayang wong was discovered in the inscription of Wimalasrama.Semiotics can be defined in a simple way as knowledge of signs and system  of signs. Some People say that semiotics is knowledge dealing sistematically with  signs,  symbols and process of symbolism. This simple definition will turn into complex ·  one when there is a demand to define a sign. The difficulty in coming to an agreement  on the definition of signs can make the agreement on the definition of semiotics  difficult.Keywords: Wayang orang, Traditional Theatre, Semiotics
TRANSFORMASI BAGAWADGITA DAIAM LAKON BISMA DAN DURNA GUGUR PADA PEWAYANGAN JAWA SURAKARTA (Bagawadgita Tranformation in the episude Death of Bisma and Durna on J avaness Surakarta puppetry ) Subandi -
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (6123.676 KB) | DOI: 10.33153/glr.v5i1.1249

Abstract

Bagawadgita is a literary work f!i India which has been adapted into old  Javanese language with the title Gitaning Bagawan meaning Kidungan Gusti.  Bagawadgita has been adapted into ma'!} International la'!guages among others  English, Dutch, French, and regional languages such as old Javanese langllage which  later was transformed into pedalanganjiteratllre. Bagawadgita amstitutes phi/oJop~y  and art. Bagawadgita contains Kresna's teaching to Arjllna when the war ~l  Baratayuda was in progress. .Arfuna being one of commanders-in-chief of .Amarta  was doubtflll after having known that his enemies were pepunden / parents he  respected very mllch, teachers who had tallght him and his own relatives. As a  nobleman, .Arjuna actuallY had not been capable for differentiating dury, task and  service. .Arjuna still needed Kresnas advice when he was facing his enemies. In the  war f!i Baratayuda, pepunden, teachers, relatives were not taken into consideration.  The opponents faced were the enemies who had evil characters and belonged 10 Kurawa.  There was no choice in the war, to kill or being killed Life or death is the same. In  Baratqyuda, those who won led to the bonorable wqy in the world that is power,  cOllntry and richness; those who died were believed to go into Heaven. As God's  messenger for jllstice, a nobleman had to destroy greed existing in the enemy. As the  enemies were those who had provided great merit to him, a nobleman had to carry ota  his dllry and differentiate right and dury exactlY. The wise Kresna had ma'!} accurate  wqys in giving adoices so .Arjuna had strong enthllsiasm to destroy his enemies. In the  episode f!i the death of Bisma and Durna, .Arfuna was given mucb advice how to  lead to glory.Keywords: Bagawadgita, teaching, a nobleman's duty
Perspektif Dalam Seni Lukis Tradisi Indonesia Agung Purnomo
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3436.895 KB) | DOI: 10.33153/glr.v5i1.1229

Abstract

Traditional painting Indonesia like wayang beber and of a kind represent  one of form "genius local" a success expand according to requirement a period of  the Cultural product tidy efficient considerabfy practical and with elements which, is  easy to be arrested and permeated to later, then digested by space think its prop  socie(y of that moment.Visual form of traditional painting of The Indonesia it careful there is an  problems hit is "in perpective" because in laying open form an obyek do not seen  realisitis as perception of human being to real obyek-obyek. To remove "picture"  natural and above its contents an media as area draw realisticallY and have "  dimension to three" needed by knowledge hit is in perpective.Do not there are in perpective element at traditional painting ~l rasse  Indonesia by elementary matter about  way of perceiving an obyek which thry see is  everydqy. Way of idioplasitik approach so central form the condition of think concept  in creating a painting, so that thry are in paint crystal clear take no account of in  perpective element which is often used in visioplastis think frameworkKeyword: Art Paint Tradition, Perspektif
Bentuk Dan Fungsi Ragam Hias Pada Pendapa Sasana Sewaka Di Keraton Kasunanan Surakarta joko Budiwiyanto joko Budiwiyanto
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (6558.463 KB) | DOI: 10.33153/glr.v5i1.1239

Abstract

This Article represent result of conducted by research at Sasana Sewaka  pendapa in Keraton Surakarta. used by Type Research is qualitative by using approach  of hermeneutik. From result of analysis can be conduded, that classified decorative  manner form to become geometric form, flora, fauna, calligraphy, and other jorms.  location of decorative Manner, classified to become two, that is decorative manner  which have the character of constructive and decorative manner which have the character  of patching. Function from decorative manner is as building element decorator, sacral  function symbolic, and social junctionKeyword: Form, Function, Decorative Manner.
SENI PEDALANGAN DALAM PENJAJAGAN MASA DEPAN Suwondo Suwondo
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3070.66 KB) | DOI: 10.33153/glr.v5i1.1251

Abstract

Puppetry or the shadow puppet performance has gone into a decrease in its  qualiry and .frequency. This transformation, of course, has positive and negative  impacts. The present puppetry has little chance of being a source of lift guidance for  the Javanese. Unlike puppetry in the past, puppetry as ordinary entertainment does  not take the balance between entertainment and guidance into consideration and is  market-oriented which entertains instantaneouslY so long as it is new and salable.  The importance is that it is livelY and funny and if it is necessary it does not matter  when it creates a pornographic impression. The shadow puppet peiformance has  changed into a commodiry or merchandise.Keywords: Puppetry, commodity, transformation
Micro Sociological Theories And Their Function Of Aesthetics Donie Fadjar Kurniawan
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3412.782 KB) | DOI: 10.33153/glr.v5i1.1231

Abstract

Aesthetics is basically part of ore daily life. It has a very closet meaning to guide, choose and determine in our behavior and attitudes. In Micro sociology, there is also paralel and strong opinions about those, here we know as the phenomenology, ethno methodology,symbolic interaction and hermeneutics. This writing will explore how that micro sociological theories have a strategis interrelationsip among them. It can be seen clearly on the work about discourse, philosophical anthropological, and psiycho analytic theory of arts.Keywords : Micro sociological theories, aesthetics of art
CITRA SRIKANDHI DALAM CERITERA MAHABARATA (Pencitraan Nilai -Nilai Kewanitaan dalam Budaya Jawa ) mamik Widyastuti
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3870.619 KB) | DOI: 10.33153/glr.v5i1.1241

Abstract

One of art forms capable for being used as the source of moral values in lift  is Javanese shadow puppet because it contains various kinds of principles and ethic  values. Indonesia people can make use of the principles and values to survive. The  glorious principles and values made use of Indonesian people (espetialIy the Javanese)  have existed since the old days.S rikandhi, one of female figures in the Mahabarata, is often thought of as  an ideal figure because this female figure has the personality that is suitable for a  model for responsibility, discipline, bravery, skills, and leadership. She is willing to  put her own interest a side for the sake of the interest of others or her country.  S rikandhi’s character has the image of  femininity value.Javanese femininity value in the figure of  Srikandhi is different from gender  and feminism at issue which tend to think that Javanese  women are always positioned  as subordinate, weak and hopeless. The figure of Srikandhi projects an image of  femininity value which positions women as strong characters, having strong potential  as resources and not subordinate to men. Gender and feminism at issue aimed at  Javanese women are strongfy rejected   Srikandhi becomes the figure who presents the  rejection of the issue through the estbetic image morally and artistically.Keywords: Srikandhi, Women, Value
Wiraga Wirama Wirasa Dalam Tari Tradisi Gaya Surakarta Dwi Maryani
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3467.3 KB) | DOI: 10.33153/glr.v5i1.1233

Abstract

Javanese traditional dances of Surakarta style are one of the ancestor’s  heritage owned by the king so that abdi dalem (the royal servants), especialy abdi  dalem taya in the court of Surakarta remain obeying the king’s order. In other  words, traditional art of Surakarta existing in the court of Surakarta still go on  according to the handbook or guidelines applicable at that time. To be a good Javanese  dancer, someone has to have a good knowledge of three basic concepts, namely, wiraga,  wirama, and wirasa. A Javanese dancer, especially that of  surakarta style, should  pay attention to the series and forms of movements, and dance structure and call  adjust the kind and character of the dance to the rhythm of gending (melody). A  dance who has acquired skills in wiraga, wirama, and wirasa will dance gracefully,  not stiffly. He will not make forced movements; everything looks smooth and flows in  enjoyable rhythm. He moves seriously but does not look strained.Keywords: Wiraga Wirama Wirasa, Traditional Dance.

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