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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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INTERNALISASI NILAI-NILAI JEMPARING DALAM PERTUNJUKAN TARI Havid Ponx Jakaria Kustoto
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 (490.998 KB) | DOI: 10.33153/glr.v13i2.1641

Abstract

Jemparing adalah istilah Jawa yang digunakan untuk menyebut panah. Olah kridha panahan adalah hal yangwajib dikuasai seorang ksatria, prajurit, bangsawan, sampai menurun kepada kalangan masyarakat Jawa.Fenomena yang ditemukan adalah bahwa, aktivitas penulis beserta seluruh keluarga bahkan kakek dari orangtua penulis merupakan keluarga yang gemar mendalami olah raga panahan. Berpijak pada realitas ini penulisselanjutnya menjadikan panahan atau Jemparing sebagai sumber gagasan kreatif dalam proses penciptaankarya seni tari. Aspek-aspek yang hendak digali dan diungkap adalah nilai-nilai yang terkandung di dalamJemparing. Mengingat bagian-bagian yang terdapat di dalam Jemparing mencerminkan karakter individu yangmenggunakannya, seperti embat dalam, embat tengah dan embat luar, maka pada aspek ini hendak digalikemungkinan-kemungkinan artistik tarinya. Persoalannya adalah bagaimana menciptakan sajian pertunjukantari dengan menjadikan Jemparing sebagai sumber penciptaan tari. Metode yang digunakan adalah participantobserver dengan mengetahui, mengenali berbagai macam karakter Jemparing beserta fenomena simbolisyang ada di dalamnya. Disimpulkan bahwa Jemparing secara empiris dapat digunakan sebagai sarana eksplorasiide kompisitoris gerak tari. Tulisan ini bertujuan bukan hanya satu arah yakni memaparkan pengalamanberkesenian, namun turut pula mengenalkan kepada publik atau masyarakat umum bahwa olah raga panahanmemiliki nilai-nilai filosofis terdalam yang terkandung dalam Jemparing.Kata kunci: Jemparing, tari, penciptaan.
PERTUNJUKAN WAYANG KULlT: WISATA MANDALA KESADARAN KOSMIS I Nyoman Murtana
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 (6270.107 KB) | DOI: 10.33153/glr.v9i1.1345

Abstract

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.
SUTRADARA DJAKA HARJANTO PERTUNJUKAN HARDHASANGKARA WAYANG ORANG RRI SURAKARTA Muhamad Alifi; 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 (757.214 KB) | DOI: 10.33153/glr.v15i2.2213

Abstract

Hasil penelitian menunjukkan bahwa sutradara wayang orang merupakan sebuah jabatan untuk mendidik, mengajar, membimbing, mengarahkan, melatih, menilai, dan mengevaluasi pertunjukan wayang orang. Sutradara fungsinya sebagai pendidik menyampaikan pengetahuan yang telah dimiliki kepada semua pemain. Figur seniman tradisi yang melekat pada diri Joko Harjanto karena profesionalisme yang dimiliki untuk melestarikan budaya tradisi wayang orang. Saat ini hiburan berkembang cukup pesat, mendobrak nilai budaya masyarakat. Figur seniman tradisi berperan aktif menyelamatkan dan kembali pada akar budaya pertunjukan wayang orang. Sesuai dengan semangat RRI Surakarta yang lebih mengutamakan nilai-nilai budaya yang sudah ada dimasyarakat dari pada menciptakan budaya baru dalam seni pertunjukan.Kata kunci: Wayang Orang, Hardhasangkara, Sutradara.  The results of the study show that the director of wayang orang is a position to educate, to teach, to guide, to direct, to train, to assess, and to evaluate the performances of wayang orang. The director functions as an educator conveys the knowledge that has been shared with all presenters. A traditional artist who is attached to Joko Harjanto because of the professionalism he has to preserve the culture of wayang orang traditions. At present entertainment is growing quite rapidly, breaking the cultural value of society. Traditional artist figures play an active role in saving and returning to the cultural roots of the wayang orang. It is In accordance with the spirit of RRI Surakarta which prioritizes the cultural values that already exist in the community rather than creating a new culture in the performing arts.Keywords: Wayang Orang, Hardhasangkara, Director.   
AJARAN MORAL KGPAA MANGKUNAGARA IV BAGI MASYARAKAT JAWA PADA ERA GLOBAL Edy Tri Sulistyo
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 (1507.011 KB) | DOI: 10.33153/glr.v10i2.1413

Abstract

This research aims at studying the understanding and response of the Javanese society to the moral teachings of KGPAA Mangkunegara IV in serat Wedhatama in this globalization era. The strategy used in this research is an embedded case study research. The data source made use in this research is the text in Serat Wedhatama. The data taken from  literary studies is used to study the objective and genetic factors and  the information obtained  from  cultural observers, lecturers of regional literature, members of Mangkunegaran palace is used to study the affective factor. The sampling technique used in this study was purposive sampling, while the data was collected through in-depth interviews and Focus Group Discussion (FGD), and then was analyzed using holistic critical analysis (Sutopo, 2006). The validity of the data was endorsed using the  triangulation method. The results showed that the moral teachings of KGPAA Mangkunegara IV had a close relation to God Almighty, the wise method of social intercourse, nobleman in spirit, respect for other’s opinion and struggle for life. The moral teachings of KGPAA Mangkunegara IV summarized from Serat Wedhatama are as follows: (1) moral teachings in the forms of  advices, guidance, persuasion, and messages; (2) warning; (3) prohibition; (4) criticism; (5) statements, and (6) teachings. The moral teaching offered is generally in the form of a suggestion through a metaphor. The suggestion given uses the method of esem mantri which means the smile of  punggawa mantri and semu bupati which means the regent’s amusing face.Key words : moral teachings, Serat Wedhatama, Tembang Macapat, sanepa, esem mantra, punggawa mantra, and semu bupati
KREATIVITAS NURYANTO DALAM PENCIPTAAN DRAMATARI RAMAYANA Putri Pramesti Wigaringtyas
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 (2476.685 KB) | DOI: 10.33153/glr.v12i1.1497

Abstract

The article an effort to browse and convey the creativity problem of Nuryanto in creating the Dramatari (dancedrama) Ramayana. It conveys every factor that makes Ramayana interesting so that it becomes the inspirationof various forms of performing arts. It also conveys how the adaptation process of Nuryanto towards Ramayanastory that it becomes a genre of dance drama performing art. The research also describes analytically thecreative process of the creation. The method used is qualitative with historical approach of performing artsand sociology. Ramayana by Nuryanto is created in 1998 started from the concept of dance drama. In pouringhis work, Nuryanto bases on the idioms of Surakarta traditional dance treated by new pattern of treatmentwith double casting concept, multi characters, as well as creative and innovative. The minimalist costumeand the different structure of presentation have made the work strongly exist in every performance. DramatariRamayana by Nuryanto is really an interesting work for it always presents a different treatment and differentcreativity process in every performance since 1998.Key words: Ramayana dance drama, tradition, creativity, genre
SANG AMURWABUMI SEBAGAI SIMBOL LEGITIMASI SULTAN HAMENGKU BUWANA X S. Supriyanto
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 (294.107 KB) | DOI: 10.33153/glr.v13i1.1549

Abstract

Beksan Bedhaya, refers to its understanding, belongs to traditional theater, a valuable form of art that is stillconserved in the palace including Surakarta as well as Yogyakarta Palace. Traditionally, dance Bedhaya isdanced in group by nine young female dancers. Dance Bedhaya, with its sacred, takes a story based on mythor legend that thematically contains of philosophic and sociolinguistic meanings as well as bringing ethic andmoral values, and also actual life teachings of a certain age. The spiritual aspects, hereditary, have becomea basic concept that bases the aesthetic choreographic concept of dance Bedhaya. All process of danceBedhaya and its dancers’ names related to the symbol from the beginning until the end represent the humanbirth, life, and death. The process tells about purwa (beginning/birth), madya (life), and wasana (the end) ofhuman life. The understanding of content and meaning in dance Bedhaya Amurwabumi contains ritual valuesas the forms of glory and legitimacy along with other things. Dance Bedhaya also has a function to keep theunity between Sultan and his kawula (people) that is found in the concept of manunggaling kawula alit orcuriga manjing warangka, warangka manjing curiga.Keywords: Bedhaya, Sang Amujrwabumi
WAYANG KULlT INOVATIF CENK BLONK LAKON SUTHA AMERIH BAPA OLEH DALANG I WAYAN NARDAYANA KAJIAN BENTUK DAN MAKNA I Ketut Saba
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 (5079.809 KB) | DOI: 10.33153/glr.v8i2.1329

Abstract

Wayang kulit (a shadow play) is one of the performing arts which has become firmly rooted in Indonesia. It is even known in many countries in the world. Like other performing arts, wayang kulit has undergone changes in accordance with the demand of the surrounding society. It is hard for the society to be fond of wayang kulit if it does not make changes because the competition of the entertainment world is very hard (through electronic media or live performance). Wayang  Cenk Blonk - as people call it - is a new phenomenon that emerged in recent years. The emergence of Wayang Cenk Blonk cannot be separated from the figure of I Wayan Nardayana. By his creativity  and innovation, his popularity is rising to greater heights and a new genre of Balinese wayang kulit performance with Ramayana story has come into existence. He has made a total change in the appearance of figures, story; dialogues, property, and music. The presence of wayang Cenk Blonk is proved to make a change in Balinese society so that it is not surprising that people love it very much. The data of the article on Wayang Cenk Blonk was collected through literature study,  interview, observation and an analysis on a commercial cassette entitled "Sutha Amerih Bapa". Wayang Cenk Blonk can match the entertainment instantly obtained from electronic media. I Wayan Nardayana is able to change the society's hunger for actual news into an interesting performance, giving guidance and entertainment through fresh jokes.Key words: wayang, Cenk Blonk, puppeteer, innovative
STRUKTUR DRAMATIK DAN ESTETIK FILM ANIMASI THE LITTLE KRISHNA Cahya Surya Harsakya; D., Dharsono
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 (799.422 KB) | DOI: 10.33153/glr.v14i2.2075

Abstract

Fokus permasalahan yang menjadi pokok pembahasan penelitian ini adalah struktur dramatik dan sisi estetik film dalam serial animasi The Little Krishna dengan kajian intepretasi analisis wacana estetik. Jenis penelitianini adalah kualitatif yang bersifat deskriptif. Penelitian ini berusaha untuk memahami plot (alur cerita) pada program acara anak yaitu film animasi pada objek penelitian yang terkait. Untuk mengkaji alur cerita dalamserial animasi The Little Krishna, digunakan pendekatan struktur dramatik dan estetik film. Data diperoleh melalui observasi pengamatan film, wawancara, dan studi pustaka. Proses analisis data dilaksanakan melalui beberapa tahap, yaitu: pengumpulan data, reduksi, analisis data dan kesimpulan. Kajian unsur dramaturgi antara lain: plot (alur cerita), struktur dramatik, tema, tokoh cerita (karakter dan motivasi), setting, bahasa (teks), genre dan warna. Hasil penelitian menunjukkan bahwa penerapan struktur dramatik dalam serial animasi The Little Krishna terdiri dari exposition (bagian awal), inciting-action (peristiwa awal), conflication (peningkatan eksposisi), crisis (perkembangan menuju klimaks), climax (peristiwa dramatik), resolution (bertemunyapermasalahan), conclusion (tahap akhir). Analisis estetika merupakan analisa yang terdiri dari, kesatuan (unity) yang berupa alur cerita (plot) merupakan suatu analisis cerita yang menimbulkan kesatuan setting lokasi,kerumitan (complexity) dialog antar tokoh yang menimbukan struktur alur cerita dramatik, dan terakhir kesungguhan (intensity) yang merupakan pergerakan tokoh. Dari keseluruhan teori tersebut ditemukan hasil analisis estetik film animasi The Little Krishna episode The Darling of Vrindavan.Kata kunci: film animasi The Little Krishna, struktur dramatik, dan analisis estetik Film.The research focuses on the analysis of dramatic structure and aesthetic side in the series of animation film The Little Krishna through the interpretative study of aesthetic discourse analysis. It is a qualitative descriptive research. The research tries to understand the plot of the children program, animation film, at the related object in the research. The research applies dramatic structure and film aesthetics approach to analyze the plot of animation series The Little Krishna. Data is collected through observation, interview, and library study.Process of data analysis goes through several steps covering: data collection, reduction, data analysis and conclusion. The study of dramaturgi elements includes plot, dramatic structure, theme, the story characters (characters and motivations), setting, language (text), genre and color. The research finding tells that the applied dramatic structure in animation series The Little Krishna consists of exposition, inciting-action, confliction, crisis, climax, resolution, and conclusion.Aesthetic analysis shows an analysis that consists of unity that represents the plot, a story analysis that creates a unity of location setting; complexity of the dialogues between the characters that leads to dramatic plot structure; and finally intensity that shows the character movements. Based on the above theories, this research produces an aesthetic analysis on animation film The Little Krishna episode The Darling of Vrindavan.Keywords: animation filmThe Little Krishna, dramatic structure, aesthetic analysis of film.
REMBANG DAN BUMBANG I Nengah Muliana
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 (3228.504 KB) | DOI: 10.33153/glr.v9i2.1393

Abstract

Basically, this paper aims to describe the motive behind the creation Bumbang made by Rembang. The scope of this paper focuses on Bumbang creation process, which begins by exploring data on family background, education, learning how musicians, both regard as a musician and instrument maker from bamboo material particular. This is done to get an idea of the extent to which it affects the creation motives of Bumbang itself. In this paper also describes the artistry and his works, in order to get a clear description of the things that encourages creative Rembang of Bumbang. That way, I can know what things are, who contributed so Rembang successfully create new gamelan Bumbang named. To obtain the necessary data, the authors use some method such as: observation, interviews, audio visual recordings, as well as in writing, either in the form of books and others. The collected data were analyzed using the theory proposed by Abraham Maslow who said that the motive for someone doing the activity is to meet their needs.Key words : Rembang, Process, Bumbang
MAKNA SIMBOLIK TARI REYOG GEMBLUK TULUNGAGUNG Nur Rokhim
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 (363.076 KB) | DOI: 10.33153/glr.v11i2.1473

Abstract

Reyog Gembluk Dance was a tradiotional performing art that raised and developed and belongsto Tulungagung society. The dance was performed by six dancers carrying Gembluk as the portraitwarriorss sent by of the king of Bugis’s to propose Kediri Proncess, Dewi Kilisuci. Reyog GemblukDance moves was full of symbols in interpreting the moves of Bugis warriors carrying task fromtheir king. The instruments of Reyog Gembluk Dance were the symbols of Bebana from the kingof Bugis for Dewi Kilisuci. The symbols in Reyog Gembluk Dance were society convention as theaesthetic expressions tool to strengthen interaction weaves among them. Symbolic expressionsin arts were the communication medium to ourselves, society, and environment. The meaning ofReyog Gembluk Dance was based on an event or story that happened in society as the symbolismtradition in arts and culture. In arts, historical facts was not meant to be proven. The most importantwas there were space for symbolized message deliverance. Moral messages that being expressedin a fine and beautiful way through arts were more acceptable as a way of life. Reyog GemblukDance was full of symbols with moral messages, motivation, and spirit in dealing with life problems.

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