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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 10 Documents
 1 
Search results for , issue "Vol 8, No 2 (2010)" : 10 Documents clear
KENYAMANAN BUS KOTA 01 SURAKARTA DITINJAU DARI ASPEK DESAIN INTERIOR (Studi Kasus Bus Kota Jalur Kartasura-Palur) Agung Purnomo
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (10284.376 KB) | DOI: 10.33153/glr.v8i2.1323

Abstract

Not only does the discipline of interior design cover static interior such as houses and buildings,  but also dynamic interior like the interior of land, sea and air transportation. The interior design in  these two scopes must consider the comfort factor for the user besides the aesthetic aspect and  function. A city bus as a means of public transportation should take the comfort for the user into consideration as a public service. The interior condition of the city bus can indicate the comfort  and this can be seen from the condition of a space forming element, a space filler element, and  space layout. The object of this study is the interior of city buses in the direction of Kartasura-  Palur in Surakarta. The approach used is numerical quantitative, that is, a data analysis based on a quality realized in the form of numbers in atable to measure the level of comfort. The variables  measured cover: (1) the element of space forming (sub variable: floors, walls, and ceilings), (2) the element of space filler (sub variable: seats and supporting facilities) and (3) space condition  (sub variable: lighting, ventilation and acoustic). The population of this research is the entire fleet of a number of transportation company operating in Surakarta. The sample is taken using cluster random sampling, that is, covering all the companies of city bus in Surakarta consisting of PO Surya Kencana, PO Nusa, an Perum Damri. A check list is used to analyze the comfort level of the city bus in Surakarta. The result of the research showed that the comfort level of the city bus in Surakarta was still low assessed from the aspect of interior design. The space forming element has some shortcomings, among others, the material usage is not optimal and its condition is not  well maintained and even some have broken. The space forming element has also some shortcomings, for instance, 'the number of the seats does not meet the standard and some have broken. Besides that, the arrangement of other facilities is not well planned. The arrangement of space condition is not supported by proper ventilation, lighting and acoustic.                             Key words: comfort, city bus, and interior elements
NUKSMA DAN MUNGGUH DALAM PERTUNJUKAN WAYANG PURWA GAYA SURAKARTA Sunardi Sunardi
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (14125.04 KB) | DOI: 10.33153/glr.v8i2.1341

Abstract

Nuksma and mungguh are the aesthetic orientation of wayang purwa performance of Surakarta style. Nuksma (expressive) gives an understanding that the shadow play the puppeteer performs  has the impression of life. Mungguh (logic) shows that the wayang performance that the puppeteer expresses has a conformity with the rules of puppetry. The concepts ofmungguh andnuksma are  formed by three elements, that is, (a) medium; expression, and (c) a pattern of suitability. Medium is the raw material processed into a variety ofgarap material. Expression is understood as the  puppeteer's strength in performing antawecana (dialogues), sabetan, and vocal-instrumental. The pattern of suitability refers to the creation of synergistic relationship between matter, expression,  and the rules of puppetry. The implementation of nuksma and mungguh concepts at the Samodera Mingkalbu scene, the story of Bima Sekti perfomed by Nartasabda can be known through the  expression of catur (talk), sabet and karawitan for wayang performance, the response of the audience and social context of Javanese culture.Key words: nuksma and mungguh, matter, expression, pattern of suitability, puppeteer, wayang performance.
RICIKAN KETHUK PADA KARAWITAN JAWA GAYA SURAKARTA Joko Purwanto
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (6712.458 KB) | DOI: 10.33153/glr.v8i2.1333

Abstract

To date, apart from being recognized as one of the structural instruments of the Javanese gamelan, the kethuk has rarely been a topic fordiscussion. It is as though its existence is no more than a  supplementary instrument in a gamelan ageng ensemble. This article is a development of the works by Djojomlojo and Sunardi Wisnusubroto which discuss the function of the ricikan kethuk,  or kethuk instrument in Surakarta style Javanese karawitan. This article attempts to discover the technique, function, and existence of the kethuk ina gamelan ageng ensemble. The ideas presented  in this article are developed through a bibliographical study, observation, and interviews, together with a study of commercial cassette recordings and the writer's own private collection of recordings. The results of this study show that the kethuk can be played using three different patterns,namely limrah, salahan, and banggen. There are two techniques used for producing sound, which result in either a long or short sound. Pitch 2 (gulu) on the kethuk is ideal for all pathet in the slendro tuning, and pitch y (nem) is ideal for all pelog gending. The kethuk, with its own technique, supports the tempo set by the pamurba irama, or the instrument which controls the tempo, namely the kendang. In Surakarta style Javanesekarawitan, the kethuk is also important in connection with  the title of a gending, in that it guides the other musicians in terms of their concept and patterns of treatment applied to the other instruments, in particular the kendang.Key words: kethuk, Djojomlojo and Sunardi, Surakarta Style Javanese Karawitan.
OPTIMALlSASI BATIK TRADISIONAL SURAKARTA IMPLEMENTASINYA PADA ASESORIS BERBASIS TRADISI SEBAGAI UPAYA PENGOKOHAN BUDAYA LOKAL SURAKARTA DI ERA GLOBAL Sunarmi Sunarmi
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v8i2.1343

Abstract

This research is entitled "Optimizing Tradisional Batik of Surakarta: its Implementation to Traditional Based Accessories as an Effort to Strengthen local Culture of Surakarta in the Globalization Era".  The research aims at analyzing and realizing traditional batik of Surakarta as a traditional-based interior element to support the district tour and to strengthen the local culture in the era of  globalization. The problems of this research are as follows: 1) to optimize the utilization of batik of Surakarta as a souvenir of the district tour; 2) to make the craftsman more sensitive to the cultural  richness in Surakarta as a work of design and 3) to recommend to the authority. The activities will be carried out for two years. The results of the research in the first year were the identification of  the forms of batik of Surakarta and the map of design offered. The existence of batik should be developed and the concept of the development should be based on batik characteristics, especially  the element of batik surface design, namely, batik motif and batik as a technique. There are five activities in the second stage, that is, the experiment for developing, training for the craftsman, try out of the result, the completion of batik developing concept, and the recommendation.The strategy used was actively programmed by making use of modality: hearing, visual, kinesthetic. Brainstorming is used as a response to the strategy design. Try out is carried out using drill method and assistance. The result of the experiment is the combination of parang batik with tenun lurik (hand-woven cotton with a stripped pattern) which has shortcomings and advantages.  The advantages are that the innovative design of the surface appearing as tenun lurik with batik motif made by batik technique is easily adjusted to the need for interior elements; the cloth used  is hand-woven cotton with a stripped pattern; the natural dye is that is used for batik which is environment-friendly. The shortcomings of this design are as follows: the cost is higher than that of traditional batik; to combine batik with tenun lurik needs substance used to remove the colour of tenun lurik and it takes a long time. To make the cost cheaper so that it is affordable for anyone, we need to make plans for the cloth size and the dyeing both of which should be considered at the time of weaving process. Due to that the activities should be supported by all sides especially the financier.Key words: Batik, tenun lurik, elements interior, and inovation
MLESET DALAM KARAWITAN: KASUS PADA GENDING PANGKUR Hanggar Budi Prasetya; Adhi Susanto
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4915.735 KB) | DOI: 10.33153/glr.v8i2.1327

Abstract

This article discusses rnleset phenomena in gamelan music. The main research question is why kenong and kempul instruments are played inmleset style. Acoustic and karawitanology approaches were used to analyze the problem. Two data type, qualitative and quantitative, were employed in this research. The recording of each gamelan pieces and the common gending (gamelan piece) constituted the quantitative data. These recordings were then analyzed through a computer  program, Wavelab 7. The qualitative data-experiences of the musicians were obtained through in-depth interview and observation done to the informants. The research revealed that rnleset is  classified as mleset nuntuni and mleset ngempyungi. Mlasat nuntuni is determined by the melody, while mleset ngempyungi is determined by patet(mode) and fundamental frequency of gamelan  instruments. Common instruments for plesetan are kenong and kempul, both with their unique sound frequency. Each of the instruments possesses fundamental frequency producing main  tone and overtone frequency, resulting in kernpyunq (kwint) orgembyang (octave) specific tone. The overtone frequency results in tonal interference which is culturally accepted as nice melody  by the listeners and the musicians.Key words: mleset, karawitan, gamelan, overtone
MAKNA KESUBURAN DALAM PERTUNJUKAN TAYUB Rabimin Rabimin
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (9267.117 KB) | DOI: 10.33153/glr.v8i2.1335

Abstract

This article gives the information on the meaning of fertility in Tayub performance in Java which is  lately thought to be more negative (Iekoh) than positive. Ironically, many Tayub performances are  prohibited in certain regions such as Kecamatan Sambung Macan (Sragen), Kabupaten Gunung Kidul, Special Distric of Yogyakarta and so on.Tayub as the pride of rural people is one of the supreme art supporting the life and preservation of national culture especially Java. One of thefunctions of ritual Tayub is believed as the symbol of fertility for plants and for the soil of rural peasants, and for the people themselves. This article describes a variety of data in Tayub  performance, some pros and cons and the explanations. The two opinions have been explained in depth in this article and it can be concluded that the fertility in Tayub can have an effect on the  fertility of plants, soil and people (the dancers and audience). This can happen because there are the same elements, namely, the soil essence of vicious passion (Iauwamah), the water essence of sufiah passion supported by the atmosphere (wind) essence of mutmainah (strong drive to avoidimmoral actions) and the fire essence of anger. Those passions are very useful as the foundation of peace if one can handle them.Key words: Tayub, fertility, and meaning
WAYANG KULlT INOVATIF CENK BLONK LAKON SUTHA AMERIH BAPA OLEH DALANG I WAYAN NARDAYANA KAJIAN BENTUK DAN MAKNA I Ketut Saba
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5079.809 KB) | DOI: 10.33153/glr.v8i2.1329

Abstract

Wayang kulit (a shadow play) is one of the performing arts which has become firmly rooted in Indonesia. It is even known in many countries in the world. Like other performing arts, wayang kulit has undergone changes in accordance with the demand of the surrounding society. It is hard for the society to be fond of wayang kulit if it does not make changes because the competition of the entertainment world is very hard (through electronic media or live performance). Wayang  Cenk Blonk - as people call it - is a new phenomenon that emerged in recent years. The emergence of Wayang Cenk Blonk cannot be separated from the figure of I Wayan Nardayana. By his creativity  and innovation, his popularity is rising to greater heights and a new genre of Balinese wayang kulit performance with Ramayana story has come into existence. He has made a total change in the appearance of figures, story; dialogues, property, and music. The presence of wayang Cenk Blonk is proved to make a change in Balinese society so that it is not surprising that people love it very much. The data of the article on Wayang Cenk Blonk was collected through literature study,  interview, observation and an analysis on a commercial cassette entitled "Sutha Amerih Bapa". Wayang Cenk Blonk can match the entertainment instantly obtained from electronic media. I Wayan Nardayana is able to change the society's hunger for actual news into an interesting performance, giving guidance and entertainment through fresh jokes.Key words: wayang, Cenk Blonk, puppeteer, innovative
PENDHAPA SASANA SEWAKA KERATON KASUNANAN DI SURAKARTA Mitologi dan makna simbolis Santoso Haryono
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (6221.044 KB) | DOI: 10.33153/glr.v8i2.1337

Abstract

Sasana Sewaka is a name of the main building of the court in the form of joglo. The building with a Javanese architecture which was built in 1770 by PB IX has undergone some changes but the  core building is relatively unchanged. There are two kinds of joglo, namely, prawitan and limasan. The front building is known as Pendapa and the rear building is called Dalem Probosuyasa.  Dalem is a place where the King takes a rest and meditates. It is also the place of heirloom and of equipments for ritual. Pendhapa Sasana Sewaka has the function as pasewakan, that is, the  place where patih (chief minister to a king) appears before the king and where government officials, the relatives of the king hold a meeting and other purposes which have something to do with the  court. Pendhapa Sasana Sewaka is also the place where Bedhaya Ketawang dance which symbolizes the meeting between the king and Kencana Asri, the queen of south sea, takes place. Pendhapa Sasana Sewaka is very meaningful for the life of the court because every business that has something to do with the legitimacy of the king, government, culture and rituals is held in it. Pendhapa Sasana Sewaka faces to the east and in front of it is a large yard having sand in it. Pendapa has floor made of white marble. It has four carved pillars and between the two pillars in the west is the royal throne placed. The king as the symbol of Wisnu who wants to be responsible for the peace of the universe sits on the throne at anniversary day of the coronation and on important days. At the certain places of the ceiling hang some decorative chandeliers, making the pendapa more noble, luxurious, authoritative, and haughty. All of the forms of the buildings and activities are full of symbolical and mystic values and meanings.Key words: sasana Sewaka, mythology, symbolic, and meaning.
TINJAUAN MUSIKAL MATERI LOMBA KARAWITAN TINGKAT SEKOLAH DASAR 01 SURAKARTA Isti Kurniatun
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (10284.376 KB) | DOI: 10.33153/glr.v8i2.1331

Abstract

Education, Youth and Sport Service of Surakarta holds karawitan festival for Elementary Schools once a year. The problem of the festival is that the pieces of the festival does not match with the  physical and psychic competence of children. The pieces of the festival (instrumentation and vocalization) is more suitable for adults than children. Beside that, the gendhing (melody) and  larasan (pitch) do not come up to a child's competence. This becomes a problem for the children, teachers and instructors. This research aims at finding out the form and garap of the matter of karawitan festival for Elementary Schools and how the pieces were arranged. In addition, it aims at offering a solution that can be taken into consideration in arranging the future pieces of the  festival in order that the pieces are in accordance with children's physical and psychic need and competence. The approach used in this research is a musical, psychological, and social one. The  main objective of the art festival in "Art Week" in Surakarta is to encourage the growth of the spirit of nationalism that loves their own national culture. The target of the program is the students of  elementary schools and senior high schools. To attain the objectives, concrete and certain steps are needed not only limited to art events but also art appreciation focusing on traditional art like drama, poetry, vocal, dances, and music including karawitan.Key words: musical, festival, karawitan, children, Elementary Schools.
PERKEMBANGAN MACAPAT DAN KONTRIBUSINYA DALAM KARAWITAN JAWA Sugimin Sugimin
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (8807.261 KB) | DOI: 10.33153/glr.v8i2.1339

Abstract

Macapat is a Javanese poem having the following rhymes: guru wilangan (numbers of syllables in every line), guru lagu (vocal of the syllable at the last line), and guru gatra (numbers of lines in  every kind of macapat). Each macapat has a different kind of guru wilangan, guru lagu and guru gatra. These three elements differ one kind of macapat from the others. Serat and Babad in  Javanese literature are written in the form of macapat. These two works of literature are recited in a singing voice. Tembang macapat which firstly had the function of reading has developed and  taken the form of a various musical works such as ketawang, ladrang, palaran, bawa gendhing and gendhing laras madya. The development of the musical work on tembang macapat into a  variety of musical works has something to do with the artist's creativity. In addition to aesthetic demands, the development is caused by the changes of function of musical performance. This  shows that when the society's demand for the use of a work of art changes, it is time for the artist to re-interpret the existing works of art, including macapat.Key words: Javanese poems, reading, creativity, changes, function, rhymes

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