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<![CDATA[The use of formalist techniques and semiotic analysis in depicting social media realities in 'budi pekerti': a study of cinematic composition and social commentary ]]>
<![CDATA[Rizkitaa, Meira Rai]]>;
<![CDATA[Supiarza, Hery]]>;
<![CDATA[Pawitan, Zakiah]]>
<![CDATA[ Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v22i2.6024
<![CDATA[The film "Budi Pekerti" has garnered critical acclaim, earning multiple awards and nominations at prominent festivals, including the Toronto International Film Festival 2023 and Jakarta Film Week 2023. This study examines how cinematic techniques are utilized to depict social realities. Anchored in Sergei Eisenstein's formalist theory and Roland Barthes' semiotic analysis, the research adopts a qualitative methodology involving scene observations, in-depth interviews with the director, and document analysis. The findings reveal that montage techniques and visual compositions effectively construct narratives that highlight moral and ethical issues. Additionally, the use of symbols within the film uncovers culturally relevant messages, providing deeper insights into contemporary social dynamics. Through an integrative approach combining formalist and semiotic perspectives, the study underscores the critical role of cinematic aesthetics in conveying complex social commentaries. This research makes a significant contribution to the fields of visual arts, communication, and linguistics by offering a comprehensive framework that links visual storytelling with cultural critique and societal reflection, emphasizing the power of film as a medium for understanding and shaping cultural narratives.]]>
<![CDATA[Exploring self expression and femininity in food photography: the artworks of the women photographer community "Kompakers Jogja" ]]>
<![CDATA[Wibowo, Arif Ardy]]>;
<![CDATA[Abrar, Ana Nadhya]]>;
<![CDATA[Yuwono, Ardian Indro]]>
<![CDATA[ Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v22i2.6025
<![CDATA[This study aims to analyze of the expressions of femininity in food photography as carried out by Kompakers Jogja. Photography has historically been established inside male-dominated domains. Unlike the historical context where photography has consistently been associated with male-dominated, Kompakers Jogja presents a contrasting perspective that questions the established norms of male dominance. This research explore the diverse viewpoints of ten individuals using a combination of photovoice and photo-elicitation. Through the application of qualitative content analysis within the thematic framework of femininity in photography, categorized as Theatricality, Tactility, Softness, and Hybridity. The analysis reveals that community members infuse distinct feminine sensibilities in their photography, as corroborated through visual scrutiny and validated during photo-elicitation. Prevalent among these manifestations are theatricality and hybridity, exemplified by strategic prop placement and digital enhancements aimed at augmenting the aesthetic allure of the captured images. In addition, tactility becomes important, especially when carefully choosing angles to elicit gustatory wants. Although the works of the members exhibit some softness, they serve more as supporting element. In summary, the Kompakers Jogja depict motifs that subtly and intricately symbolize femininity in their photography. This research shows the distinct characteristics linked to the facets of femininity as expressions of women's self-identity.]]>
<![CDATA[The music of topada tindo: the musical composition from the history of Toraja Nobility ]]>
<![CDATA[Toding, Vernando]]>;
<![CDATA[Lestari, Dewi Tika]]>;
<![CDATA[Picanussa, Branckly Egbert]]>
<![CDATA[ Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v22i2.6055
<![CDATA[This article aims to explore the history of the struggle of the Toraja nobility as a source for the composition of Topada Tindo musical composition. Reviving the history of Topada Tindo through musical compositions has an important meaning for the Torajan people's struggle to dare fighting against every tyrannical power that oppresses the people. Musical compositions that originate from the history of people's struggles can also functionally continue to revive and preserve positive historical values for each generation. This research uses an art composition method starting from the stage of building ideas from the history of Toraja nobility, exploring themes and theoretical concepts of the work, as well as forming the composition of Topada Tindo musical works. The authors argue that the history of the Topada Tindo struggle is not only a source for the musical composition but can also provide inspiration and guidance for the Torajan people today to faight and kee struggling for well-being. Topada Tindo's musical composition consists of four parts as a description of the musical situation, namely the peaceful situation (part one), the situation of the entry of external cultural influences (part two), the situation of the arrival of Arung Palakka troops (part three), ending with Topada Tindo's resistance (part four). This composition uses the basic notes Bm and C#m, with multimetric 4/4 and 6/8.]]>
<![CDATA[Product logo identity design: a case study on increasing the value of micro, small, and medium enterprises (MSMEs) snack products ]]>
<![CDATA[Ekawardhani, Yully Ambarsih]]>;
<![CDATA[Fasya, Muhammad Na'imulloh Ismina]]>;
<![CDATA[Nasruddin, Merlina Fatimah]]>
<![CDATA[ Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v22i2.6098
<![CDATA[A cohesive identity for MSME products is imperative, particularly in light of the prevalence of similar types and shapes of products, especially snacks. The adoption of an identity in the form of a logo has the potential to serve as a differentiating factor for snack products. This research aims to devise an identity design for the product logo of Micro, Small, and Medium Enterprises (MSMEs) potato chip snacks. To this end, the art-based research (ABR) method was employed as a facilitator to understand creative ideas in a visual work. The research method comprised two stages: the initial stage involved observing and communicating with relevant individuals to understand the challenges faced by the product. The subsequent stage entailed the implementation of the design thinking method to gain an understanding of design centered on human needs. The previous logo was found to be inconsistent and lacked legibility. MSME snack products must contend with competition in the market, particularly to enhance recognition among similar products. The result is a logo identity design that aligns with the values of the product owner. Adopting this new logo identity design differentiates the snack food product from competing products while concurrently reinforcing its image.]]>
<![CDATA[The analysis of music composition learning of HL Music diploma program students in the international baccalaureate curriculum using Jean Piaget’s theory of cognitive development ]]>
<![CDATA[Gunita Putri, Vinsensia]]>;
<![CDATA[Mulyanto, Mulyanto]]>;
<![CDATA[Widiastuti, Endang]]>
<![CDATA[ Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v22i2.6104
<![CDATA[This study uses a qualitative case study method with three HL music students in the International Baccalaureate (IB) Diploma Programme. It aims to analyze the creative process of students who selected HL music out of interest but lacked prior musical theory or skills. The focus is on the Contemporary Music Maker HL Only assessment, where students produce a music composition. The composition process is analyzed using Jean Piaget's cognitive theory, particularly the stages of assimilation (integrating prior knowledge), accommodation (adapting to new knowledge), and equilibrium (balancing the two). The findings show that Piaget’s cognitive stages effectively guide students through the creative process. The quality of equilibrium each student achieves is reflected in their IB scores, demonstrating their ability to integrate and apply new knowledge. This study underscores the relevance of Piaget's cognitive theory as a foundation for developing creative skills in music education. It highlights the importance of understanding cognitive stages to support student learning in music composition. Further research is recommended to explore its application across different educational levels and cultural contexts.]]>
<![CDATA[The potential of onomatopoeia from Javanese culture as assets for visual work creation ]]>
<![CDATA[Mataram, Sayid]]>;
<![CDATA[Ranu Wicaksono, Arif]]>;
<![CDATA[Irfan Ismail, Anugrah]]>;
<![CDATA[Ardhianto, Peter]]>
<![CDATA[ Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v22i2.6196
<![CDATA[Onomatopoeia is one of the visual elements in graphic design works. Cultural diversity in Indonesia has the potential to produce domestic onomatopoeia. Antawacana is one of the speech cultural activities of natural sound mimesis in Javanese society. It is the speech and sounds performed by Dalang of Wayang Purwa (puppeteers of shadow puppet performance). This research examines the potential of Indonesian domestic onomatopoeia, especially Javanese, which comes from the speech of puppeteers as an asset to support the increase in potential and productivity in the field of graphic design. This research converts audio into visual items to develop Indonesian domestic onomatopoeia based on the domestic cultural asset of Antawacana. This research interprets sound into visuals by using Antawacana as the basis for visualization. The variety of sounds in Antawacana itself results from Dalang’s interpretation. This research contributes to the Indonesian creative industry by providing visual assets based on Antawacana. These assets can assist the communication process in other creative works. In addition, along with technological developments, the potential of onomatopoeia as a domestic cultural asset can be developed into an artificial intelligence asset in online graphic design creation platforms.]]>
<![CDATA[Cultural identity of Beji Village Community in Onggoloco Folktale: ethnographic study of literary anthropology ]]>
<![CDATA[Rahmah, Annisa Fatati]]>;
<![CDATA[Wulandari, Yosi]]>
<![CDATA[ Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v22i2.6251
<![CDATA[Globalization and the pressures of urban life have resulted in a cultural identity crisis. This study aims to describe the cultural identity of the Beji Village community in the Onggoloco Folktale by analyzing cultural elements (religion, knowledge systems, arts, and livelihoods) through a study of literary anthropology with an ethnographic approach. This type of research uses a qualitative descriptive method. This research was conducted in May-June 2024 in Beji Village, Ngawen, Gunung Kidul, Special Region of Yogyakarta. Data collection through participant observation, interviews, and documentation. Interview data collection using the purposive sampling method with five respondents who are forest and cultural conservation figures. The results of the research found the cultural identity of the Beji Village community in the Onggoloco folktale, namely belief in ancestors, having knowledge of nature conservation, preserving the arts, and making a living as farmers. The Onggoloco folktale strengthens the cultural identity of the Beji Village community by teaching people to always preserve culture. This research contributes to the development of literary anthropology theory. The practical aspect of this research is used as a learning resource in schools related to folklore. Further research is needed that is of a developmental or in-depth nature.]]>
<![CDATA[Enhancing community economies through legal protection models of traditional knowledge and cultural expressions: a study on Indonesia's communal intellectual property framework ]]>
<![CDATA[Widiarsa, Anang Pratama]]>;
<![CDATA[Mayasari, Hanita]]>
<![CDATA[ Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v22i2.6256
<![CDATA[This research investigates the impact of legal protection models for Traditional Knowledge and Traditional Cultural Expressions (TKTCE) on the economic development of communities in Indonesia. It emphasizes the government's role in regulating TKTCE as an integral component of communal intellectual property (CIP) that can be effectively integrated into the national development framework. The study employs a juridical-normative approach, utilizing both primary and secondary legal materials, which were collected through comprehensive literature reviews and analyzed descriptively and qualitatively. This research highlights significant gaps in the current regulatory framework, particularly the inadequacies in international conventions that have led to economic losses for Indonesia. The findings indicate that the government's recent initiatives, including Government Regulation Number 56 of 2022, aim to enhance protective measures for TKTCE, thereby fostering a creative ecosystem that benefits local communities. This research is crucial as it addresses the intersection of legal protection, cultural expression, and economic improvement, providing insights into how effective legal frameworks can empower communities and preserve cultural heritage.]]>
<![CDATA[Silat pangean: maintaining togetherness and respect in the Panggak Adat procession in Kota Baru Village, Riau Province ]]>
<![CDATA[Musrin, Musrin]]>;
<![CDATA[Erawati , Yahyar]]>;
<![CDATA[Idawati , Idawati]]>;
<![CDATA[Syefriani , Syefriani]]>
<![CDATA[ Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v22i2.6544
<![CDATA[Silat Pangean is an art form that features martial arts movements. Silat Pangean has an important role in various traditional ceremonies, especially in Kota Baru Village, Riau Province. Silat Pangean is inseparable in the procession of Panggak Adat where Silat Pangean becomes part of the custom in Kota Baru Village which becomes one unit. Silat Pangean is performed early in the Panggak Adat procession which aims to welcome the arrival of the groom as a form of friendship between the two parties. The function of the fighter after the silat performance is over is to guard the bride and groom while the Panggak Adat is taking place. This research aims to find out how the series of Silat Pangean performances in the procession of traditional wedding Panggak in Kota Baru Village, Riau Province. The method used is a qualitative approach with data collection techniques through observation, interviews, and documentation. The results showed that Pangean Silat in Kota Baru Village is not only a martial art, but also an entertainment silat that has an important role in the Panggak Adat procession in Kota Baru Village. The form of Silat Pangean performance is seen from several elements such as clothing, musical accompaniment, audience, stage and players. This research is expected to contribute to the development of cultural studies and local traditions, as well as increase awareness of the importance of preserving cultural heritage in Indonesia, especially in Riau Province.]]>
<![CDATA[Modern Indonesian theater in the 1980s: A criticism of the aesthetic hegemony of the new order ]]>
<![CDATA[Novianto, Wahyu]]>;
<![CDATA[Guntur , Guntur]]>;
<![CDATA[Faruk , Faruk]]>;
<![CDATA[Simatupang , G.R. Lono L.]]>
<![CDATA[ Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v22i2.6589
<![CDATA[This article discusses the practices and discourse of modern Indonesian theater in the 1980s as a form of resistance to the aesthetic hegemony of the New Order. For 32 years, under the government of Soeharto, freedom of expression was increasingly suppressed, including in the art of theater. Various forms of resistance emerged from theater groups, through practices and discourse that wished to seize the dominance of the New Order’s aesthetic ideology. This research aims to reveal how modern Indonesian theater functioned as a tool of counter-hegemony through the practices and discourse it developed. The research approach uses a critical paradigm with a qualitative method. The primary data are documentation of theater performances from the 1980s and the secondary data are taken from literature about the New Order and mass media articles. A dialogical analysis was carried out to discuss the various data and to explore the relationship between art and efforts to build a counter-hegemony. The research results show that modern Indonesian theater used artistic strategies such as symbolism, humor, and exploration of local traditions to convey criticism, and developed an alternative discourse that challenged the domination of noble (adiluhung) aesthetics. The study concludes that the practices and discourse of modern Indonesian theater in the 1980s reflected a process of negotiation between tradition and modernity, aesthetics and politics, and became a space for symbolic resistance to the New Order system. Through fluid, innovative art forms, theater functioned as a medium of social awareness and a tool of change amidst the constraints of the authoritarian regime.]]>
