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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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WIRENG KALANA TOPENG DI ISTANA MANGKUNEGARAN SURAKARTA Suharji Suharji
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 (1376.615 KB) | DOI: 10.33153/glr.v10i1.1381

Abstract

Kalana Topeng at Mangkunegaran Palace called as wireng based on its heroism traits. Wireng Topeng Kalana included in heroic dance that represent personality of character who falling in love. Wireng Kalana Mangkunegaran is affected by its leadership spirit with glorious, authority, assertive, and energetic traits. Wireng Kalana Mangkunegaran has heroism traits. As one of single dances, it often accompanied with Javanese gamelan music sound Laras Pelog Patet 6, gendhing Pathetan, Ada-ada Greget Saut Sampak, Liwung, Ladrang Pucung Rubuh, Lancaran Bendrong, Ladrang Eling-eling Wantah and Sampak. There is topeng (mask) for make up. The wardrobe especially for head cover uses tekes malang, sumping, shoulder brace, bracelet, and ring. It also uses necklace in kace motive with pendok on back, complete clothes with red cinde pants, fabrics in rapekan, timing epek, boro samir and sampur model. There is binggel for ankle. Kalana character has rugged and awkward traits. The dance is begun with maju beksan, main beksan, and mundur beksan. Key words :  wireng, topeng, kalana, Mangkunegaran
KOHESI DAN KOHERENSI TEKS SANDOSA LAKON SOKRASANA DALAM PENELITIAN KUALITATIF Endang Retnaningdyah Elis NM.
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 (269.432 KB) | DOI: 10.33153/glr.v11i2.1455

Abstract

Discourse analysis is one of the analytical models which based on the assumption that life with itsentire cultural phenomenon is a text, discourse. Discourse analysis seeks to understand paaroleie. speech, the use of language that can individually be recorded, printed. Parole language isconsidered as an action, and representation mode, and associated with the social structure. Theplay script is a, utterance text that be spoken by a show dalang as the adaptation of the role’scharacters. Parole is the speech of the characters which are interrelated. In a show parole is asocial phenomenon that produce language, as social identity, social relations, and social ideas. Inthe analysis it was performed through several stages of vocabularies, grammar, cohesion, andtext’s structure and architecture. Each text contained form and content. The shape is somethingthat can be sensed, meanwhile the content is the hidden meaning. Each text is always in touchwith form and content.
Bentuk Dan Fungsi Ragam Hias Pada Pendapa Sasana Sewaka Di Keraton Kasunanan Surakarta joko Budiwiyanto joko Budiwiyanto
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 (6558.463 KB) | DOI: 10.33153/glr.v5i1.1239

Abstract

This Article represent result of conducted by research at Sasana Sewaka  pendapa in Keraton Surakarta. used by Type Research is qualitative by using approach  of hermeneutik. From result of analysis can be conduded, that classified decorative  manner form to become geometric form, flora, fauna, calligraphy, and other jorms.  location of decorative Manner, classified to become two, that is decorative manner  which have the character of constructive and decorative manner which have the character  of patching. Function from decorative manner is as building element decorator, sacral  function symbolic, and social junctionKeyword: Form, Function, Decorative Manner.
LAKON CARANGAN PADA PEDALANGAN SUNDA Timbul Subagya
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 (4078.18 KB) | DOI: 10.33153/glr.v7i2.1293

Abstract

The writing entitled lakon carangan is a descriptive review of Sundanese puppetry discussing how lakon carangan was created and the structure of it. The result of the analysis shows that lakon carangan came into existence because it was only standard stories of Mahabarata and Ramayana which were presented. To avoid boredom, puppeteers created new stories which were still based on the standard stories. The new stories are called lakon carangan. The structure of Sundanese lakon carangan is different from Javanese lakon carangan. Key words : wayang, lakon carangan, structure 
PROSES KREATIF PENCIPTAAN TARI SEDULANG SETUDUNG H., Heriyandi; Nanik Sri Prihartini
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 (709.359 KB) | DOI: 10.33153/glr.v14i1.1751

Abstract

Penelitian ini bertujuan untuk mengetahui proses kreatif penciptaan tari Sedulang Setudung. Mengungkappermasalahan tersebut digunakan metode kualitatif dengan pendekatan etnokoreologi. Teknik pengumpulandata lapangan menggunakan metode etnokoreologi Kurath. Hasil penelitian menunjukan bahwa latar belakangpenciptaan tari Sedulang Setudung berasal dari permintaan Bupati Banyuasin dan Pemangku Adat KabupatenBanyuasin yang menginginkan adanya tari penyambutan tamu di Kabupaten Banyuasin. Sumber ide penciptaantari Sedulang Setudung karya Raden Gunawan adalah tari tradisional di Propinsi Sumatera Selatan yaitu tariGending Sriwijaya, tari Tanggai, tari Setabik, dan tari Putri Seluang Mudik dengan mempertimbangkan aspekgerak, busana dan properti tari yang kemudian dikembangkan oleh Raden Gunawan. Proses kreatif penciptaantari Sedulang Setudung melalui lima tahap, yaitu tahap persiapan, tahap konsentrasi kreatif, bermain dengangagasan atau stimulasi pengilhaman, tahap menyilang beberapa konsep, dan mengukur kelayakan ide.Kata kunci: tari Sedulang Setudung, kreativitas.
KONSEP KESENIAN PROFETIK DAN IMPLEMENTASINYA DALAM PENDIDIKAN ISLAM Wawan Kardiyanto
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 (7145.575 KB) | DOI: 10.33153/glr.v9i1.1363

Abstract

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
PENANAMAN BUDI PEKERTI MELALUI PERTUNJUKAN WAYANG GOLEK GARAP PADAT Jaka Rianta; Titin Masturoh
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 (231.841 KB) | DOI: 10.33153/glr.v11i1.1433

Abstract

The implanting of character or morals can be achieved through art appreciation and activity, forexample through the puppet show performance. Within performance art of puppet show, manyelements of moral education can be provided. This discussion promotes the problems about “howthe character /moral elements in the puppet show performance can be used as the implanting ofmoral education for elementary students?”. The goal of this research is to identify the moral elementsin the puppet show performance that can be seen though Sabet and vocabulary of utterance alongwith music accompaniment. This research also tries to describe the moral elements in the puppetshow performance as the moral teaching for elementary students. Based on the discussion, thereis a result that moral elements in wayang golek performance in shortened production can be seenon lakon element is chosen by suitable with the age from child to adult, sabet element by avoidingthe pornographic and sadism movement, utterance/ catur element by avoiding the harsh and dirtytalk and choose the respectful words. And music accompaniment /iringan elements by choosingthe respectful lyric and good songs.
WAYANG ORANG PERKU M PU LAN MASYARAKAT SURAKARTA (PMS) EKSPRESI ETNIS CINA MENJAWA Nora Kustantina Dewi
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 (964.7 KB) | DOI: 10.33153/glr.v4i2.1221

Abstract

Wayang orang or Javanese Stage Show has been spread out from the palace since the socio-structural changing in Javanese community in the end of 1.91' century, This circumstances brought to the influences of the development of wayang orang out side of Pura Mangkunegara Palace as a commercial art performance. In 1958, the members of People Community of Surakarta/ Perkumpulan Masyarakat Surakarta (PMS) built a group of wayang orang, which the players and the pang rawit/traditional music player 90% were the Chinese ethnic. Wayang Orang PMS has growth in acculturation process of _Javanese and Chinese Culture, which were completing each other in the successful of its arts work. Wayang orang has become the one of the way to express in Chinese ethnic mix in the melting pot of the beautifulness of the arts work. People Community of Surakarta as the place of socio cultural interaction includes its wayang orang, still exists and actives in the understanding of the state unity, assimilation in any natural and individual process.Key words: Chinese Ethnic 'Wayang Orang' to be likes Java
PENCIPTAAN KARYA SENI PERTUNJUKAN BERBASIS SUSASTR A “DANG, LAMPUNG GHAM KARAM” Goesthy Ayu Mariana Devi Lestari
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (833.838 KB) | DOI: 10.33153/glr.v12i2.1517

Abstract

“Dang, Lampung Gham Karam” is a title chosen to represent the whole content of this literary work of performingart. The terms come from Lampung language that means “Janganlah, Lampung Kita Karam” (Don’t be sunkour Lampung). Interpretation of a literary work “Lampung Karam” produces other idea in creating a work“Dang, Lampung Gham Karam” that means the sink of Lampung physically at the time of Krakatau eruptionin 1883 doesn’t make Lampung socially as well culturally sunk. The multi ethnics in Lampung have beenexisted since the natural event of Krakatau and getting more advanced to color the identity of Lampungnowadays. This work uses the element of traditional arts in Lampung culture that is potentially supported bythe physical empiric memory of creator. The cultural reaction between Lampung and other culture and alsothe various branches of arts (not only dance art) supports to enrich this work of art. The performance work ofart is not only supported by the various forms of dance but also the other art field covering the arts of music,literature, and the various traditional theater of Lampung. The work presentation is executed in a close as wellas open room. The change of performance place becomes the dynamics and color in the performance.Keywords: Krakatau, Lampung, sink, literature, performance
TARI WAROK SURO INDENG SEBAGAI EKSPRESI SENI DAN UPACARA RITUAL MASYARAKAT JRAKAH KECAMATAN SELA KABUPATEN BOYOLALI Suharji Suharji
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 (5886.581 KB) | DOI: 10.33153/glr.v7i1.1269

Abstract

Abstrak Pertunjukan Tari Warok Suro Indeng pada awal debutnya sebagai sebuah ekspresi seni kelompok masyarakat, kemudian berkembang dilingkungan masyarakat Desa Jrakah sebagai bagian dari upacara adat tradisi saparan yang laksanakan bertepatan dengan bersih dusun. Upacara ritual dianggap sebagai keharusan untuk memperoleh ketenangan batin, berkaitan erat dengan kondisi sosial budaya pendukungnya. Kehadiran Tari Warok Suro Indeng sebagai ekspresi masyarakat Desa Jrakah merupakan bentuk sinkretis. Melalui sesaji disertai pertunjukan Tari Warok Suro Indeng penuh dengan tindakan simbolis. Masyarakat berusaha mengadakan komunikasi dengan kekuatan adi kodrati sehingga dalam kegiatan upacara terjadi hubungan dua arah yaitu secara vertikal dan horisontal. Secara vertikal masyarakat Jrakah berusaha mengadakan komunikasi dengan Tuhan dan leluhurnya serta arwah yang anggap suci untuk mendapatkan keselamatan, berkahnya demi kelangsungan hidupnya, secara horisontal menumbuhkan rasa kebersamaan, kesetia kawanan yang didasari rasa saling membantu, menghormati sehingga tercapai kegoyong-royongan hidup bersama. Dengan dilandasi kepercayaan terhadap kekuatan adikodrati, upacara adat tradisi saparan yang laksanakan bertepatan dengan bersih dusun yang dilengkapi pertunjukan Tari Warokan Suro Indeng, memiliki penuh makna menyangkut norma serta tindakan sosial, untuk menjaga kelangsungan hidup masyarakat Desa Jrakah sebagai penyangganya.  Keyword : Suro Indeng, sinkretisme, tari rakyat.

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