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<![CDATA[WAYANG SENI PERSEMBAHAN MENJADI SENI PERTUNJUKAN POPULER ]]>
<![CDATA[Mardjono Mardjono]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1349
<![CDATA[Wayang has been known by Javanese society since olden times before Hindu culture although it was very simple in shape. The main basis why Javanese society performed wayang kulit in olden time was that they believed that the ancestral spirit could be brought back through a magicalreligious ritual hoping that they could help the living. Therefore, the existing wayang kulit performance that has become a spectacle used to be aseries of religious ceremony. Over time wayang kulit performance gradually turns to be an entertainment although the traces of religious ceremonycan be felt. This research does not have an orientation towards the history and development of wayang stories that have developed rapidly because of the puppeteer's creativity. This research is more oriented to wayang performance which was at first a very simple shadow play intended to worship the ancestral spirit. The performance has now developed into a popular performance that remains containing invaluable values.Nowadays it turns to be a commercial performance. To analyze the problems, a historical approach dealing with the growth and development of wayang performance as a means of worship is used.                 .Key words: wayang, worship, popular.]]>
<![CDATA[PENGEMBANGAN SOFT SKILL DALAM PENDIDIKAN SEBAGAI BEKAL KEWIRAUSAHAAN ]]>
<![CDATA[Setya Widyawati]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1359
<![CDATA[Directorate of Academic and Directorate of Institutional, Directorate-General of Higher Education has launched Soft Skills Developing Program awarded on a competitive basis to the circle of higher education. In this period of intense competition, the development of hard skills should be in line with that of soft skills in higher education as an institution that turns out steadfast and excellent human resources. To instill soft skills needs some exemplars, ranging from university leaders, lecturers, and supporting staffs as the front liners who have direct contacts with students. If students are accustomed to be treated well and respected, sooner or later they will be good servants in society. This is meant by a simple transmission. The alternative transmissions of soft skills, among others, are through 1) teaching method called Student Centre Learning (SCL) implemented in teaching process by three ways, namely, Lecture role model, Message of the week, and Hidden curriculum; 2) Student Extracurricular Activity Units covering spirituality, art, sports, and so on. As the domain of emotional quotient, soft skills have an important role in entrepreneurial spirit. Entrepreneurial spirit has nothing to do with academic intelligence, with the skill to get the job done perfectly, but entrepreneurial spirit is a dynamic spirit to turn a challenge into an opportunity.Key words: soft skills, education, entrepreneurship.]]>
<![CDATA[PENDEKATAN TARI KREATIF 01 SEKOLAH: SUATU TINJAUAN PROSES PEMBELAJARAN TARI SEBAGAI PEMERKARSA PEMANTAPAN JATI DIRI PELAJAR ]]>
<![CDATA[Muhammad Fazli Taib Bin Saearani]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1351
<![CDATA[Creative dance approach for student who are involved in the creative dance activities can give the appearance of happiness besides the unique potential of most creative dance while enhance their self-esteem. This writing proposed creative dance activity should be develop in our education system in both the academic module and eo-curriculum activities to generate creative minds, colourful imagination and induce students dynamic intellectual capabilities.Key words: teaching creative dance, curriculum, self-esteem]]>
<![CDATA[PERBANDINGAN BENTUK PERTUNJUKAN WAYANG KLlTIK UNDAAN KUDUS DENGAN NGEMPLAK SLEMAN ]]>
<![CDATA[Suwondo, Suwondo]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1361
<![CDATA[Wayang klitik performance at Sleman, Yogyakarta has some differences and similarities with that at Kudus, Central Java although they came from the same source. After a long period of time, those who used to be the devotees of wayang klitik have lived in different places and the puppeteers of wayang klitik have performed a different characteristic of performance. The story and function of wayang klitik in Kudus are more dynamic because wayang klitik is thought not only as the only entertainment but also as a ritual for the surrounding society. Wayang klitik at Kudus is always performed annually as a sendang (spring) purifying ritual. Wayang klitik performance at Sleman, Yogyakarta is held in the territory with limited devotees. The inhabitants of the territory coming from the outside are usually the younger generation and educated people who are not familiar with wayang klitik. The form of Wayang klitik performance at Sleman, Yogyakarta refers to the norm (pakem) of wayang purwa that has been traditionally performed in puppetry. If there is a change in the performance, it usually has something to do with a puppeteer's own version (sanggit) and the characteristic of his performance. Wayang klitik performance at Sleman, Yogyakarta has a tendency to contain aesthetic values and it is less communicative. During the last four years, Wayang klitik at Sleman, Yogyakarta has been performed twice only so that the society tend to have little interest in it. The similarity in the form of the performance between wayang klitik at Sleman and that at Kudus is that the performance begins with a major scene (jejer). The accompanying melody (gending) for wayang klitik at Sleman is relatively more dynamic and the garap is more creative and inventive in nature. However, the performance has less close relation with the audience so that there is an impression that the performance is separated from the audience. On the other hand, wayang klitik performance at Kudus has close relation with the society. Wayang klitik performance at Kudus is more simple and has a religious impression that can be appreciated in many ways of communication and as may be required by the society. The romantic scenes performed at wayang klitik performance at Kudus is very simple in line with the society's homogenous thinking level.Key words: Wayang Klitik, function and form, comparison.]]>
<![CDATA[Tari Dan Pendidikan ]]>
<![CDATA[Soemaryatmi Soemaryatmi]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1353
<![CDATA[In Indonesia, dancing education get less attention or called has lower quality than others. This is the reason why dancing education included into local curricula and considered as a subject matter which is not useful to evaluate the progress of learners. The aim of dancing education is not to study gesture only, but also mental attitude, discipline, self-confidence, the attitude to accept, appraise and cooperate with other person. Through dancing education, learners do not receive art knowledge based on social and cultural value only; however, they have opportunities to do creative activities by trainings. Creative activities are manifestation of their communication skill with other people and their environment and self-actualization in their live. About those manners, teacher as the mainstay expected bring her/his role as mediator to improve societies art appreciation. It means that role of art teacher, especially dancing, not only arranges Learning Application Plan (Rencana Pelaksanaan Pembelajaran) but also gives information by printed or electronic medium, produces work of art and presents some performances within her/his society. The key and effort to improve aesthetical ability of children is how the government appreciates work of art and brings it into its policies proportionally.    Keywords: dance, curricula, role of teacher, and approach.  ]]>
<![CDATA[KONSEP KESENIAN PROFETIK DAN IMPLEMENTASINYA DALAM PENDIDIKAN ISLAM ]]>
<![CDATA[Wawan Kardiyanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1363
<![CDATA[The research based on the background of art creation glowing that was influenced by the art concept for art it self (L'art pour L'art) the art concept for art show free value, aesthetic sense and truth more. The research tried to think about the prophetic art concept that would give advantage and clear purpose where the art has been brought, is must proportionally with action value, aesthetic sense and truth. The religion and social figure tried to look for the answer in debating of the art value. This was based on the regions prophetic missions that have attention to maintain action value, aesthetic sense and truth. The regions prophetic mission is prophetic action via theology that becomes ideology of revolusioner that always raise the movement of civilization. This is the prophetic ethic movement, unite to the social implementation, including art. The research knew. and also understands the prophetic art practice in Islam education. Islam as rahmatan IiI alamin that brings love, affection for universe of course care and join in maintaining truth, goodness, development of culture via art and education. The research used literature method with Heuristic analysis method approach, is new understanding by doing description, reflection critic and make conclusion in agreement and opinion of prophetic art. Furthermore the research to make receipt of prophetic art implementation theoretically in Islam education. Prophetic art in Islam education is something that's very important as the creativity of propagation method. Islam and prophetic art would make our environment more beautiful as in Moslem law.Key words: art, prophetic art, Islamic art, Islamic studi]]>
<![CDATA[PERTUNJUKAN WAYANG KULlT: WISATA MANDALA KESADARAN KOSMIS ]]>
<![CDATA[I Nyoman Murtana]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1345
<![CDATA[The domain of intellectual and empirical consciousness analyzing wayang as a thinking subject shows that the reality of wayang realm is the formation of human thought. On the contrary, empiricism understands human consciousness in wayang as the reflection on an objective fact beyond the thought. That is why, the reality of wayang itself can be understood objectively as far as it is reflected on consciousness. However, the performance is intended for the emotional domain to develop the human imaginative power of nature. The domain of nature and that of human being in wayang develops cultural consciousness, the position of human being in the universe and the position of nature for human life, both in horizontal and vertical dimensions excreted in wayang kulit performance. The domain of ontological function has something to do with the difference between the manifest function and the latent function (visible and invisible functions) of wayang kulit performance. The manifest function is an objective consequence of adapted system demanded and realized by partisans of that system. On the contrary, the latent function is the objective consequence of wayang kutlt performance undesired and unrealized by community members. The domain of entertainment and of rite converging in wayang kullt performance review the duality of social function of wayang kulit performance. On the one hand wayang kulit performance has the function of entertainment and on the other hand it has a spiritual mission to meet a part of human necessities of sacred life.Key words: tourism, nature, human being, wayang kulit performance.]]>
<![CDATA[UPACARA BERSIH DUSUN NGAGRONG ATAS, DESA NGAGRONG, AMPEL, BOYOLALI SEBUAH STUDI DARI SUDUT SOSIOLOGI SENI ]]>
<![CDATA[Subandi Subandi]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1355
<![CDATA[This research aimed at. finding out a rite using a folk dance. The data were collected using observation, interview and documentation techniques. The data were processed using the technique of qualitative data triangulation consisting of data reduction, data reformation and conclusion. The research result shows that the village purifying ritual is a traditional custom that is still kept alive by the villagers living on the slope of Merbabu mountain. The ritual is held annually on Friday Kliwon on Jumadilakir (the sixth month of the Javanese calendar). A certain performing art is always presented during the ritual. Lembu Sena is one of the folk dances presented as a means of the ritual by Wahyu Budoyo group of art at dusun Ngagrong, Ngagrong Village, Ampel, Boyolali. For the completion of the ritual, an offering is served together with a prayer and its intention. Here acculturation takes place because the ancestor worship is mixed with Islamic beliefs. Traditional Rodhat is presented before the presentation of Lembu Sena dance. And after the presentation of Lembu Sena is over, Rodhat Kalijaga is performed. There are some supporting factors, internal and external ones.Key words: Lembu Sena, ritual, village purifying ritual, acculturation.]]>
<![CDATA[TINJAUAN HISTORIS PERKEMBANGAN RUMAH TRADISIONAL JAWA ]]>
<![CDATA[Joko Budiwiyanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1347
<![CDATA[This article is a part of the results of my research on "The Shape, Function and Meaning Changes of Interior Design of The Prince's Residence in Surakarta". The research was carried out using literature and observation methods. The research aimed at studying the historical development of Javanese traditional houses from time to time.This study covered the prehistoric period, the influence of Hindu-Buddhist period, of the Islamic period, of Western period, Kasunanan in Surakarta period and the independence period of Indonesia. The result of the research showed that the house of a Javanese had its basic shape although it was very simple. The basic shape of a Javanese traditional house was called as a local genius. The architecture of a Javanese traditional house had developed into a better shape over time. The shape development was influenced internally and externally by Islam, Hindu and Buddhist and Western (European) culture. These various influences were processed by Javanese people into a new form without leaving the original form behind.Key words: development, house, traditional, Java]]>
<![CDATA[GATHUTKACA GANDRUNG: SEBUAH STUDI TENTANG PSIKOLOGI KARAKTER TOKOH DAN BENTUK DALAM TARI GAYA SURAKARTA ]]>
<![CDATA[Suharji Suharji]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1357
<![CDATA[Gathutkaca Gandrung dance is a single dance that symbolizes character of Gathutkaca who falling in love. Gathutkaca has a jolt caused inner conflict. His behavior presented in this dance full of inner conflict for loved his cousin or took his beloved woman whom have gotten marriage proposal submitted by other. Finally, Gathutkaca understood that he could overcome this conflict through a assertiveness. The gesture when Gathutkaca Gandrung (falling in love) categorized into three parts: 1) maju beksan; 2) beksan; dan 3) mundur beksan. Gathutkaca Gandrung dance began with music of ada-ada greget, and then Gending Sampak with kendhang opening. The next was suwuk and followed by sendhon tlutur jugag. Beksan categorized into four parts. Parts I began with opening of Ketawang Kinanthi Pawukir, followed by ada-ada greget saut wantah. Parts II was musical instrument of Gending Lancaran Bendrong especially ompak. Parts III was Gending Ladrang Pucung Rubuh in rime of dados for merong and ngelik. Parts IV was kiprahan Gending Lancaran Bendrong and then suwuk. Mundur beksan was the last performance which Gending Sampak Laras Slendro pathet Manyura presented be its ending. Keywords : Gandrung, beksan of dance, Gathutkaca. ]]>
