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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 426 Documents
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KAJIAN ADAPTASI DONGENG TRADISIONAL DALAM FILM ANIMASI TIMUN MAS PRODUKSI STUDIO KASATMATA JOGJAKARTA Anugrah Irfan Ismail
Gelar : Jurnal Seni Budaya Vol 15, No 1 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (655.58 KB) | DOI: 10.33153/glr.v15i1.2064

Abstract

Dongeng tradisional adalah salah satu aset budaya bangsa Indonesia yang sangat bernilai namun keberadaannya perlahan tersisihkan.Perkembangan zaman membuat budaya mendongeng semakin jarang dilakukan.Terlebih dengan munculnya televisi, membuat budaya masayarakat saat ini lebih cenderung menjadi budaya melihat ketimbang hanya sekedar mendengar.Semakin pesatnya arus teknologi dan informasi membuat cerita-cerita dari luar negeri semakin familiar bagi anak-anak Indonesia masa kini.Dongeng tradisional Indonesia semakin asing bagi mereka. Dongeng tradisional agar bisa bertahan harus beradaptasi.Dongeng tradisional harus merubah karakter atau bahkan mediumnya untuk menyesuaikan diri dengan karakter masyarakat masakini. Film animasi Timun Mas (2012) adalah sebuah film hasil adaptasi dongeng tradisional yang diproduksi sebagai upaya memperkenalkan kembali dongeng tradisional kepada anak-anak masa kini.Dalam upaya adaptasi tersebut dongeng tradisional yang merupakan sastra lisan dengan karakter ceritanya yang spontan kemudian dirubah menjadi film yang sangat memperhatikan struktur cerita.Untuk menarik minat penonton, film animasi juga harus menampilkan beberapa strategi kreatif. Strategi tersebut dapat berupa tampilan visual maupun gaya penceritaan.Kata kunci: adaptasi, dongeng, film animasi.Traditional tale is one of the Indonesian valuable cultural heritages but its existence gradually excluded. The developing era leads to decrease the tale telling culture. Along with the television growing, people tend to beaudiences than listeners. The rapid growing of technology and information make the foreign stories more familiar to Indonesian children. Traditional tales become unfamiliar to them. It has to adapt in order to survive. It has to change its characteristic and medium supposed to adjust to the modern society. The animation filmTimun Mas (2012) is an adapted film of traditional tales produced as an effort to introduce traditional stories to the present children. In the adaptation process, the traditional tales as a spoken literature withspontaneous stories are changed to be a film concerning the story structure. To get the audience’s interest, an animation film has to present some creative strategies including visual presentation as well as the style ofstory -telling.Keywords: adaptation, traditional stories, animation film.
BEBERAPA UNSUR PEMBENTUK ESTETIKA KARAWITAN JAWA GAYA SURAKARTA Joko Purwanto
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2556.154 KB) | DOI: 10.33153/glr.v10i1.1371

Abstract

This article was written based on a bibliographical study which used a number of references found in the library of Karawitan department at ISI Surakarta. An audio study was also carried out, using various references of Javanese karawitan from both commercial recordings and the writer’s own private collection. Other references were also downloaded from the internet, in particular those related to the topic of the study, namely the subject of aesthetics. From the results of the study it was discovered that there are at least two categories of elements which shape the aesthetics of karawitan, namely the primary elements and the special elements. The primary elements consist of 1) the infrastructure, 2) the tuning and melody, and 3) the artists. All three are equally important in creating the aesthetics of karawitan and all three are connected with one another. The other elements, which are no less important, are categorized as special elements. These include: irama, laya, cengkok, patterns, pathet, treatment, dynamics, time intervals, vocal elements, and culture. All of these elements are extremely important in relation to a karawitan performance. These special elements are also connected to each other. It is through these primary elements and special elements that a karawitan performance can be realized and the aesthetics of karawitan can take shape. Key words :  infrastructure, tuning and melody, artist Pengantar
FILSAFAT ILMU SEBAGAI LANDASAN PENGEMBANGAN ILMU PENDIDIKAN Setya Widyawati
Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (240.778 KB) | DOI: 10.33153/glr.v11i1.1441

Abstract

The philosophy of science clarify the existence of science to the other science that requiresknowledge as a medium of thinking and means of scientific communication. These are language,logic, mathematics, statistics, and other data analysis techniques. Specifications and independencyscience faced by the increasing number problems that can not be answered by science, therefore,philosophy appears as the answer. Philosophy gives an explanation or an answer onthat problemssubstantial and radical, while the science continues to develop it self- in its limit , while still radicallycriticized, process or the interaction basically is a field of philosophy of science. Philosophy ofscience therefore can be put as an attempt to bridge the gap between the philosophy and science,so that science does not despise the philosophy, and the philosophy does not see science as asuperficial understanding of nature . Reality is “what is naturally “ or existence , while the appearanceis that “artificially real“. Also how the relationship to both with subject /human. Epistemology isconsidered synonymous with the theory of knowledge. At the present time theory of knowledgecan not be ignored. Epistemology of education science related to know how science educationobtaining gain processing, what is the procedure to get the true scientific knowledge. Axiologiyrelated to what is the advantages of science education, what ethical relationship with science andits application science education in daily life .
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
KONSEP MUSIK RAHAYU SUPANGGAH DALAM TEATER I LAGALIGO Danis Sugiyanto
Gelar : Jurnal Seni Budaya Vol 7, No 2 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4267.24 KB) | DOI: 10.33153/glr.v7i2.1279

Abstract

I Lagaligo (ILG) epic belongs not only to Sulawesi society anymore but to the world as well. The epic contains many values of life such as history, literature, philosophy of life, humanity, and so on. The epic has been talked about as the latest performing art dealing with such problems as East-West culture, collaboration, originality, morality, and so on. This writing analysis (ILG) in detail covering the people (artists) involved in the production of ILG musical theatre, how ILG musical theatre could be performed in various world class festivals, and the explanation of Rahayu Supanggah’s concepts of musical theatre in ILG and music director’s views. Key words : i lagaligo, concept of ILG musical theatre, Rahayu Supanggah
MAKNA RAGAM HIAS MOTIF NAGO BESAUNG PADA KAIN SONGKET PALEMBANG Decky Kunian; Nanik Sri Prihatini
Gelar : Jurnal Seni Budaya Vol 14, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (554.382 KB) | DOI: 10.33153/glr.v14i1.1735

Abstract

Penelitian yang berjudul “Makna Ragam Hias Motif Nago Besaung pada Kain Songket Palembang” ini,dimaksudkan untuk melihat makna simbolik motif nago besaung dalam pernikahan masyarakat Palembang.Pendekatan yang digunakan dalam penelitian adalah pendekatan simbol. Dalam pendekatan simbol penelitimemandang motif nago besaung sebagai sebuah teks. Untuk memahami teks tentang motif nago besaung,peneliti menggunakan konsep pemahaman masyarakat Palembang untuk mendukung hasil penelitiannya.Hasil penelitian menunjukkan bahwa simbolisasi dari motif nago besaung merupakan unsur kepercayaan darimasyarakat Palembang yang di dalamnya mengadung pemahaman dan kepercayaan akan kekuatan nagakarena mengganggap naga sebagai lambang yang memiliki nilai-nilai magis, spiritual, kebaikan, perlindungan,ke makmuran, dan kebijaksanaan. Konsep tersebut dituangkan dalam visual songket yang mengharapkanakan memiliki kesamaan sifat dari unsur naga itu sendiri untuk pemakainya.Kata kunci: makna simbolik, motif nago besaung, kain songket.
Tari Dan Pendidikan Soemaryatmi Soemaryatmi
Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2264.543 KB) | DOI: 10.33153/glr.v9i1.1353

Abstract

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.  
MITOS TOKOH PEREMPUAN LAKON ABDULMULUK JAUHARI TEATER DULMULUK TUNAS HARAPAN Tri Puji Handayani; I Nyoman Murtana
Gelar : Jurnal Seni Budaya Vol 15, No 2 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (387.395 KB) | DOI: 10.33153/glr.v15i2.2220

Abstract

Penelitian berjudul “Mitos Tokoh Perempuan Lakon Abdulmuluk Jauhari Teater Dulmuluk Tunas Harapan” ini menganalisis tentang tokoh perempuan yang dimainkan oleh aktor laki-laki dan mitos tokoh perempuan dalam lakon Abdulmuluk Jauhari. Dengan menggunakan teori semiotika untuk menjawab permasalahan tersebut maka peneliti membuat pertanyaan dalam rumusan masalah yang berkaitan dengan: bagaimana materi mitos wicara tokoh perempuan dalam lakon Abdulmuluk Jauhari pertunjukan teater Dulmuluk kelompok Tunas Harapan. Penelitian ini menggunakan teori semiotika Roland Barthes untuk melihat analisis tokoh perempuan dalam lakon Abdulmuluk Jauhari. Hasil penelitian ini memberikan pemahaman yaitu (1) Tokoh perempuan yang dimainkan oleh aktor laki-laki menampilkan sosok perempuan dengan menggunakan kostum, make-up, hair style, gerak dan nada yang menyerupai perempuan. Tunas Harapan dalam menampilkan tokoh perempuan melalui aktor laki-laki memiliki simbol-simbol kebudayaan yang disampaikan melalui tokoh perempuan. (2) Tunas Harapan menampilkan tokoh perempuan berdasarkan ideologi gender yang menghadirkan mitos perempuan, yaitu perempuan sebagai kesetaraan gender, perempuan sebagai sosok pemberani, perempuan sebagai sosok penguasa, dan perempuan sebagai penyelamat.Kata kunci: Teater Dulmuluk, Tokoh Perempuan, Mitos.The research entitled “ Mitos Tokoh Perempuan Lakon Abdulmuluk Jauhari Teater Dulmuluk Tunas Harapan “ analyzed the female characters played by male actors and the myth of a female character in Abdulmuluk Jauhari’s play. By using semiotic theory to answer these problems, the researcher makes a question in the formulation of the problem related to: how is the material of the myth of the talk of female characters in Abdulmuluk Jauhari’s play Dulmuluk theater group Tunas Harapan. This study uses Roland Barthes’s semiotic theory to look at the analysis of female characters in Abdulmuluk Jauhari’s play. The results of this study provide understanding, namely (1) The female figure played by male actors displays a female figure using costumes, make-up, hair styles, movements and tones that resemble women. Tunas Harapan in presenting female characters through male actors has cultural symbols conveyed through female characters. (2) Tunas Harapan presents women leaders based on gender ideology that presents myths of women, namely women as gender equality, women as brave figures, women as figures of rulers, and women as saviors.Keywords: Theater Dulmuluk, Female Leader, Myth.
ESTETIKA SENI PERTUNJUKAN TARI Maryono Maryono
Gelar : Jurnal Seni Budaya Vol 10, No 2 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1661.124 KB) | DOI: 10.33153/glr.v10i2.1423

Abstract

A dance is the expression of the soul actualized through verbal and non-verbal medium. Kinds of medium present in dancing are not only material in nature but they are enhanced, managed, and enriched with ideas so that they result in sensation. The sensation quality has ideas that form imagination which triggers feeling or emotion so that the imagination becomes alive. As a matter of fact, beauty lies in the audience themselves not in the object because an artist does not provide anything but a stimulus. In the performing art, a living imagination is something we think beautiful. In Javanese dances the fundamental form of aesthetics is related to the natural environments and the main goal is a means of reaching the perfection of life. Key words : sensation, emotion, aesthetics and dance
ASPEK GENETIK, OBJEKTIF DAN AFEKTIF DALAM PENERJEMAHAN Donie Fadjar Kurniawan
Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1089.906 KB) | DOI: 10.33153/glr.v4i2.1211

Abstract

Translation have been practiced and developed for approximately well over 5000 years as from the Egyptian Old Kingdom and the Greek philosophy. It is commonly said that translation refers to reproducing the closet natural equivalent message from source language into target language. The evolution of linguistic theories and transaltion studies comes to two important paradigms of translation researchs. First in product oriented translation. Here, the translator should successfully replace the message from source language into target language. Furthermore, the second paradigm is process oriented translation. In process oriented translation, the focus is on the process of producing the equivalent message cognitively, - in iblackbox' translator In order to get a good process translation, the translator at least have to explore the three aspects withn it The three aspect are Genetic (the producer of the translation) , Objective (transaltionas an object) and Affective (the affect of translation into the reader).Keywords : source language(SL), target language(TL), genetic, objective, affective aspects.

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