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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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KETERPADUAN STRUKTUR DRAMATIK PERTUNJUKAN WAYANG KULIT LAKON SUDHAMALA GR. Lono Lastoro Simatupang; Timbul Haryono; S. Soetarno
Gelar : Jurnal Seni Budaya Vol 12, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (264.338 KB) | DOI: 10.33153/glr.v12i1.1505

Abstract

Wayang performance can be used for the sake of ritual ceremony ruwatan. The story of wayang performanceruwatan lakon Sudamala comes from kidung Sudamala. The literature work is sacred. Besides in literaturework, Sudamala story also can be seen visually in the relief sculpture of Candi Sukuh (Central Java) andTegowangi (East Java). The research problem is how the integration of dramatic elements in lakon Sudamalapresented by Ki Purbo Asmoro. The purpose of the discussion is to describe the dramatic elements in lakonSudamala. Lakon Sudamala is researched by using textual approach from the dramatic structure as well asthe treatment elements. Based on the approach, the result found is that the presented structure hasn’t beenas strict as the balungan lakon of the palace tradition even it can be a new treatment presentation. The onenight wayang performance is not anymore treated traditionally but it presents a creative treatment of thescene. It can be seen from ginem that the chosen words is suitable to the characters’ characteristics,pocapan that only uses short words, and the presented janturan that seems to be a kind of janturan alit thatis janturan that its expression is relatively short.Keywords: wayang performance, Sudamala, tekstual, dramatic structure
SEKA DALAM KONTEKS KEHIDUPAN MASYARAKAT DAN KESENIAN BALI I Gusti Gede Putra
Gelar : Jurnal Seni Budaya Vol 7, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2690.232 KB) | DOI: 10.33153/glr.v7i1.1259

Abstract

This article focuses on Seka in the context of Balinese art and social life. Seka is a professional organization of which the scope is smaller than a traditional organization in Bali, like banjar and village. Seka is a smaller part but it covers certain parts of banjar and village. This article aims to describe the form and role and Seka in the context of Balinese art and social life. The results of the analysis show that Seka is a social group of which the members have close relation, which has a special feature and goal, and which uses direct and indirect patterns of communication. Seka is engaged in art, social and economic life, customs, religion and hobby. It has a great role in religious life, especially Seka which is engaged in art. The members of this kind of Seka do not hope for payment when they give a hand in carrying out customary rituals. In case of tourism, Seka participates in making an effort to attract tourists. Seka charges a fee for this affair to increase the welfare of the members.Keyword : seka
STRUKTUR PERTUNJUKAN TEATER DULMULUK DALAM LAKON ABDULMULUK JAUHARI DI PALEMBANG Nugroho Notosutanto Arhon Dhony
Gelar : Jurnal Seni Budaya Vol 13, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (721.331 KB) | DOI: 10.33153/glr.v13i2.1631

Abstract

Penelitian Teater Dulmuluk adalah penelitian kualitatif menggunakan metode deskriptif analisis denganpendekatan teori struktur. Metode pengumpulan data dengan, observasi, studi pustaka, wawancara, dandokumentasi. Pada awalnya Teater Dulmuluk tidak memiliki naskah yang tertulis, pertunjukannya dilakukandengan cara spontanitas atau diperankan dengan berimprovisasi dari para pemain, belum ada naskah yanglengkap, hanya garis besarnya saja yang disampaikan secara lisan kepada para pemain dan disesuaikandengan cerita yang akan disampaikan. Tulisan ini berusaha menggali dan menganalisis struktur pertunjukannyabagi kehidupan masyarakat Palembang. Terkait permasalahan maka Teater Dulmuluk yang akan dibahasdalam rumusan masalah, adalah: Bagaimana struktur pertunjukan Teater Dulmuluk dalam kehidupan masyarakatPalembang. Hasil penelitian menunjukkan bentuk penampilan yang semula hanya diperankan oleh laki-lakikini dapat diperankan oleh perempuan dan waktu pementasan bisa dipersingkat dengan memadatkan danmengambil fragmen ceritanya saja disesuaikan dengan kebutuhan pentas. Adapun struktur pertunjukannyaadalah kisoh, bermas pembuka, adegan demi adegan, dan bermas penutup.Kata kunci: struktur, teater Dulmuluk, Lakon Abdulmuluk Jauhari.
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
PEMAKNAAN SIMBOL PADA LAKON “PANGERAN DAN BUAYA PUTIH” TEATER BANGSAWAN Indah Zulhidayati
Gelar : Jurnal Seni Budaya Vol 14, No 2 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (690.188 KB) | DOI: 10.33153/glr.v14i2.2080

Abstract

Artikel ini dimaksudkan untuk mengungkap makna simbol pada pertunjukan yang berkaitan dengan kehidupanmasyarakatnya, serta fungsi pertunjukan Teater Bangsawan di Palembang. Mengungkap permasalahan tersebutmenggunakan metode kualitatif dan teori yang digunakan untuk memaknai simbol pada pertunjukan menggunakansemiotika Pierce dengan menggunakan tiga tingkatan yaitu interpretant, representament, object. Hasil darikajian dan penelitian adalah Pertunjukan Teater Bangsawan berfungsi sebagai pendidikan masyarakat, penebalrasa solidaritas, sebagai mas kawin, sebagai hiburan yang aman, sebagai sarana hiburan. Seni rakyat atauseni milik rakyat, pengungkap peristiwa kehidupan sehari-hari masyarakat. Ia tumbuh dan berkembang dalammasyarakat itu sendiri, sesuai dengan pola pikir dan adat masyarakat setempat. Nilai-nilai yang terkandungdalam pertunjukan ini adalah nilai budaya dalam hubungan manusia dengan Tuhan, nilai budaya dalam hubunganmanusia dengan masyarakat, nilai budaya dalam hubungan manusia dengan diri sendiri.Kata kunci: Teater Bangsawan, Semiotika, lakon, Pangeran dan Buaya Putih.ABSTRACTThis article is supposed to reveal the meaning of symbol in a performance related to the life of its society andthe function of Teater Bangsawan in Palembang. The qualitative method is used to reveal the problem andPierce’s semiotics using three levels including interpretant, representament, and object is applied to givemeaning to symbols in a performance. Finding of the research shows that Teater Bangsawan performancefunctions as the community education, to reinforce a sense of solidarity, as a dowry, as a safe entertainment,and as a media of entertainment. Folk arts or an art belongs to people reveals the daily lives of the community.It grows and expands in the community itself in accordance to their mindset and traditions. The valuescontained in the performance include cultural value in the relationship between human and God, cultural valuein the relationship between human and society, and cultural value in the relationship between human andhimself.Keyword: Teater Bangsawan, Semiotics, lakon, Pangeran dan Buaya Putih.
TAHLIL SEBUAH SENI RITUAL KEMATIAN PADA KEPERCAYAAN ISLAM JAWA Tinjauan Teks dalam Konteks Soerjo Wido Minarto
Gelar : Jurnal Seni Budaya Vol 9, No 2 (2011)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2656.742 KB) | DOI: 10.33153/glr.v9i2.1401

Abstract

Tahlil is an praying activity jointly prayer by a Muslim group of NU Ahlussunnah wal jamaah. The goal is for the ritual of death is usually done at certain times after a person’s death, such as 3, 7, 40, 100, 1000 day and so on. Considering from his form and medium, tahlil is the art of symbols and rituals that have meaning in the context of the text. Key words : tahlil, Islamic ritual art, death ritual.
NILAI-NILAI ESTETIS BENTUK WAYANG KULIT Timbul Subagya
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (232.654 KB) | DOI: 10.33153/glr.v11i2.1483

Abstract

The history of wayang (Javanese leather puppets) had through a long process and was influencedby many religions and beliefs. At the beginning, the function of wayang was as a worship tool to theancestral spirits or Hyang, and developed into attraction show today. Leather wayang was drawnen face and converted became en trios quart. Now it became en profil. The revision and thedevelopment of wayang’s forms stillation is synchronized with the social conditions of the society,from their beliefs in animism, Hinduism, and Islamic. The depictions of puppet forms that existtoday are influenced by Islamic sculpture and technical demands to perform the show on a screen.Depictions of leather wayang in en profile forms were done to avoid realistic human portrayal thatis prohibited in Islam.
PERKEMBANGAN RAGAM HIAS TENUN IKAT GEDOG BANDAR KIDUL MOJOROTO KOTA KEDIRI JAWA TIMUR Tri Atmoko; D. Dharsono
Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (952.92 KB) | DOI: 10.33153/glr.v13i1.1539

Abstract

This research is entitled “Perkembangan Ragam Hias Tenun Ikat Gedog Bandar Kidul Mojoroto Kota Kediri”(The Development of Ornaments Variety of Tenun Ikat Gedog in Bandar Kidul, Mojoroto, Kediri). It usesdescriptive analysis approach and quantitative data in order to learn how the existence and the developmentof tenun ikat gedog Bandar Kidul Mojoroto, Kediri, is; how the function of the tenun ikat gedog is; how theornaments variety is; and how the aesthetic value in the ornaments variety of tenun ikat gedog Bandar KidulMojoroto, Kediri. The various ornaments and their appearance are analyzed in this research. Unfortunately,tenun ikat Bandar Kidul is not very popular in Kediri especially among the young generation. It happensbecause of many factors, for example, the lack of promotion, there is not enough stock in the market, andthe high price of tenun ikat so that it influences the production. The existence of tenun ikat gedog BandarKidul is one of the cultural works of Indonesian people that has to be maintained in order to preserve thecultural heritage. Aesthetically, the creativity can be found in the beautiful patterns and ornaments variety inthe tenun, while culturally, tenun can be used as a symbol in every ceremony and in every activities of thelocal society in order to preserve Indonesia culture.Keywords: the development of ornaments variety, aesthetics
KINJENG TRUNG GENDING KERAMAT DARI DUKUH MAJAPAHIT Rabimin Rabimin
Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5325.057 KB) | DOI: 10.33153/glr.v8i1.1313

Abstract

This writing gives an information on gending (melody) Kinjeng Trung thought to be sacred by the people of Dukuh Majapahit (Sambungmacan – Sragen) and its surroundings. When the invited guests from Dukuh Majapahit attending a banquet are not welcome with the presentation of gending Kinjeng Trung, the one who holds a banquet will get an accident or feel ashamed and will not feel safe because there will be an unnatural circumstance such as the food cooked is not done, dominated by an evil spirit, getting ill suddenly, and so on.    Kinjeng Trung gending has been known in Dukuh Majapahit and its surroundings since about the 15th century. In addition to being a gending for accompanying Tayub and Badhutan, the main function of Kinjeng Trung gending is to render honors so that it is everlasting. Recently the gending has been making rapid progress in cakepan, the instruments, garap and function. This writing gives some information on problems such as: historical background, notation of gerongan and sindenan. This writing aims to help the reader to understand the content and practice. Key words : kinjeng trung, sacred, Majapahit
INOVASI DESAIN LURIK PEDAN PADA ACESORIES INTERIOR SEBAGAI PENGEMBANGAN PRODUK UNGGULAN Siti Badriyah
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 (1569.902 KB) | DOI: 10.33153/glr.v15i1.2069

Abstract

Lurik Pedan adalah produk kekayaan potensi daerah yang merupakan warisan budaya yang sangat berharga sebagai produk unggulan kota Klaten. Produktivitasnya hingga kini masih tersisa meskipun beberapa banyakyang sudah gulung tikar pengusaha pada industry ini. Di era global yang sangat kompetitif industri kain tradisional harus berbenah dengan berbagai alternative untuk mempertahankan eksistensinya. Melalui inovasi desainsebagai pengembangan produk akan memberikan solusi untuk meningkatkan daya saing dan mempertahankan kelestarian produk warisan tersebut. Lurik dengan beragam motif yang khas bisa dimanfaatkan melaluipengembangan inovasi desain pada segmen acesoris interior. Dengan memperhatikan karakter spesifik Lurik akan tetap ditampilkan secara khas melalui ide desain sehingga dapat memberikan stimulus bagi pengrajinuntuk mengembangkan ketrampilan secara sederhana namun tetap mempertahankan kekhasannya.Kata kunci: Lurik Pedan, inovasi desain , acesories interior, produk unggulan.Lurik Pedan is a local product that becomes a valuable cultural heritage as a seeded product of Klaten. The productivity still can be found eventhough some producers have closed their industries. In this very competitive global era, industry of traditional textilehas to move to the various alternates in order to keep their existences. Design innovation as the product development will provide solutions to increase competitiveness and keeping the preservation of heritage product.Lurik with various special motives can be used through the development of design innovation on interior accessories.The specific character of Lurik will surely and specifically presented through the design ideas so that it gives stimulus to the pengrajin to mengembangkan ketrampilan sederhana by preserving its characteristic.Keywords: Lurik Pedan, design innovation, interior assesories, seeded product.

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