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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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KLEWERAN SASTRO KINANG SEBUAH KARYA SENI PENCIPTAAN TARI Maharani Luthvinda Dewi; Eko Supriyanto
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 (13629.985 KB) | DOI: 10.33153/glr.v15i2.2222

Abstract

Karya Kleweran Sastro Kinang diinspirasi dari bango Sastro Kinang yang pernah berada di Los C10-11 Pasar Klewer. Karya ini berupaya menampilkan aspek performatif yang natural dan artifisial. Aspek natural terjadi melalui aktivitas transaksi pedagang dan pembeli. Aspek artifisial disajikan melalui tari yang geraknya merupakan hasil eksplorasi laku pedinan di Pasar Klewer. Keseluruhan aspek itu diwadahi dalam karya dengan bentuk pameran atau instalasi aneka produk Pasar Klewer.Kata kunci: Klewer, Sastro Kinang, laku pedinan.The work of Kleweran Sastro Kinang was inspired by Bango Sastro Kinang who was at Los C10-11 Pasar Klewer. This work seeks to display the natural and artificial performative aspects. Natural aspects occur through transaction activities of traders and buyers. An artificial aspect is presented through dance whose motion is the result of laku pedinan exploratory in the Klewer Market. All aspects are accommodated in works with exhibition forms or various installations of Klewer Market products.Keywords: Klewer, Sastro Kinang, laku pedinan.
SILANG GAYA PEDALANGAN DALAM PERSPEKTIF PERUBAHAN BUDAYA Sunardi Sunardi
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 (3329.153 KB) | DOI: 10.33153/glr.v10i2.1425

Abstract

This writing aims at describing the factors causing differences of styles in puppetry.  There are two differences of styles in puppetry, namely: (1) the difference of style in garap elements in puppetry, and (2) the difference of style between the wayang performance and other performing art. The difference of style in puppetry is influenced by global cultural changes, mass media, the authoritative repression, and other social cultural aspects. The tendency of differences in style in wayang performance is influenced by (a)   the waning of locality and the local identity of puppeteers and of wayang audience because of the openness of tradition, (b) the effort made extraordinarily by puppeteers for legitimacy because they are capable of conducting a variety of styles in a major style, (c) for the reason of creativity and innovation, a puppeteer combines various styles and adopts other performing arts in wayang performance. Key words : difference of styles, wayang performance, cultural changes, puppeteer, local identity
RUWATAN: A RITUAL IN TRANSITION Eddy Pursubaryanto
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 (1694.177 KB) | DOI: 10.33153/glr.v4i2.1213

Abstract

"Where are you going, Wayang?" This question was raised by the late Umar Kayam in 1969 (Kayam 1981: 129-135) in his article as a speculative note after a Wayang Festival in Jakarta in the same year. In the article he pointed out that when the Wayang Festival started, Wayang was already very old and weak, because it had undergone a very long journey through various eras and dimensions, Its presence in its old age and at the crossroad of a changing society must have created one or two consequences. The first, Wayang was forced to arrive at new idioms. The second, it must shift emphasis, such as including new images or new identifications because at this point the time and language dimensions had so demanded. He was also predicting that the audience would change and the new audience would have different perceptions towards the characters in Wayang in general [including Wayang Kulit]. They would humanize the characters more. The audience probably would no longer use Wayang as a frame of reference in their life. Wayang would become a modern drama that avoided giving advice, but it would provide several alternatives of life. When future audiences went to a Wayang Kulit, they would no longer search for any symbolism in it. They would rather prepare to enjoy "aesthetical experiences which are full of pleasure". His writing was like a warning about the life of Indonesian Wayang if it wanted to survive and cope with the modernization era where the agricultural life was bit by bit replaced by urban life. However, Umar Kayam did not specifically look at the future Wayang Kulit in the context of ritual ceremonies, such as Ruwatan. Therefore this paper will look at some tendencies at its performance today, especially in the so-called Ruwatan Masa/(Mass Ruwatan), a new trend in Indonesia. This paper has used the data from various written resources, interviews with dalang ruwat(a dalang who has the right to perform a ruwatanceremony), and several families that participated in ruwatan. Beside that, I was involved through participatory observation as a member of the Organizing Committee of a Ruwatan Massal, and as pengrawit (gamelan player) in both regular performances and some ruwatanceremonies.
PEMAKAIAN GAYA BAHASA PADA IKLAN SUSU FORMULA ANAK-ANAK Ana Rosmiati
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 (285.948 KB) | DOI: 10.33153/glr.v12i1.1507

Abstract

Advertising is a tool to convey the information about a thing or goods. Advertising is usually popularizedthrough a media includes electronic as well as printed media like radio, television, or printed advertising.Advertising is supposed to persuade or influence people to use or utilize the things or goods. Advertising isdesigned by sophisticated technology so that it can be easily accessed by public. The research aims to findthe kinds of language styles in the advertisement of the kid formula milk. The milk consumer in Indonesia isvery high. For the reason, then, the agents of advertisement try to make language style designed by picturesand interesting models in order to influence people to choose the milk. The research uses descriptive qualitativemethod. Descriptive research aims to make a systematic, factual, and accurate description about the facts,characteristics, and the relationship between the researched phenomena. Data source in this research usedocumentation technique. The result is the kinds of language styles used in the advertisement of the kidsformula milk including hyperbola, metonymy, personification, and sinekdok. All of the kinds of languagestyles mostly dominate the advertisement in the kid formula milk.Keywords: advertisement, milk, formula, the kids, language style
INTERAKSI SENI PERTUNJUKAN WAYANG DAN POLITIK Jaka Rianto
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 (3148.966 KB) | DOI: 10.33153/glr.v7i1.1261

Abstract

The article entitled “Wayang and Politics: the Interaction of Shadow Play with the Power System” discusses the intervention of the authority in puppet theatre. The intervention has begun since there was an understanding that art could be a medium for practical purposes. Based on the fact, this article aims to explain the problems of how the power system intervenes wayang theatre and what the wayang paradigm in the Indonesian power system is like. Based on the analysis on political system dimension, the result of the research showed that to make the art development free from the intervention of the authority was hard to realize. Wayang theatre, indeed, can be used as the frame of the behaviour of the authority. We can see, for instance, that politicians are analogous to wayang; there is a belief that wayang ruwatan (an act of exorcism) performance aims at making a certain political party win.Keyword : wayang performance, politics, power
MAKNA SIMBOLIK ORNAMEN MASJID AL-ISLAM MUHAMMAD CHENG HO PALEMBANG Sri Hastuti Heldani
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 (823.997 KB) | DOI: 10.33153/glr.v13i2.1633

Abstract

Ornamen Masjid Al-islam Muhammad Cheng Ho Palembang merupakan budaya tradisi, dengan tiga kulturyang berbeda, Islam, Melayu Palembang dan Thionghoa, dengan metode penelitian menggunakan data kualitatif.Sumber data penelitian diperoleh dari sumber tertulis, karya, observasi, wawancara, dan dokumentasi. Datadikumpulkan melalui observasi, wawancara, studi pustaka, dan dokumen (arsip). Proses analisis datamenggunakan interaksi analisis data, hasil penelitian dapat di simpulkan keberadaan Masjid Cheng Ho yangada di Palembang merupakan masjid yang kelima dibangun oleh Persatuan Islam Tionghoa Indonesia (PITI)yang berada di palembang. Keberadaan masjid ini merupakan satu identis muslim Tionghoa yang ada diPalembang khususnya dan masyarakat Indonesia umumnya, minoritas muslim Tionghoa di Indonesia, adadan terus berkembang. Perjuangan Persatuan Islam Tionghoa Indonesia (PITI) Provinsi Sumatera Selatanadalah mempersatukan Muslim Tionghoa secara utuh dan mempersatukan Muslim Tionghoa dengan kaummuslimin di Republik Indonesia dan dunia internasional secara global. Budaya ornamentasi yang terdapatpada masjid Al-Islam Muhammad Cheng Ho Palembang terlahir atas dorongan kebutuhan estetik yang berakardari kebudayaan masyarakat muslim Tionghoa, bersama dengan pengetahuan budaya Islam dan tradisimasyarakat Melayu Palembang. Al-Quran dan Al-Hadist, merupakan ajaran Islam sebagai tuntunan untukmembangun sebuah masjid, bentuk yang menyerupai hewan, manusia tidak diperkenankan dalam bangunanmasjid tetapi ada tiga unsur ornamen yang ada pada masjid Al-Islam Muhammad Cheng Ho Palembang, yaitukebudayaan Islam, Thionghoa dan Palembang, bangunan masjid Al-Islam Muhammad Cheng Ho palembang,menjadikan budaya modern yang tidak menghilangkan tardisi, yang diterapkan dalam simbol-simbol ornamenmasjid yang penuh makna dan filosofi dalam tuntunan ajaran agama Islam.Kata kunci: ornamen Masjid Al-Islam Muhammad Cheng Ho Palembang.
PENDHAPA SASANA SEWAKA KERATON KASUNANAN DI SURAKARTA Mitologi dan makna simbolis Santoso Haryono
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 (6221.044 KB) | DOI: 10.33153/glr.v8i2.1337

Abstract

Sasana Sewaka is a name of the main building of the court in the form of joglo. The building with a Javanese architecture which was built in 1770 by PB IX has undergone some changes but the  core building is relatively unchanged. There are two kinds of joglo, namely, prawitan and limasan. The front building is known as Pendapa and the rear building is called Dalem Probosuyasa.  Dalem is a place where the King takes a rest and meditates. It is also the place of heirloom and of equipments for ritual. Pendhapa Sasana Sewaka has the function as pasewakan, that is, the  place where patih (chief minister to a king) appears before the king and where government officials, the relatives of the king hold a meeting and other purposes which have something to do with the  court. Pendhapa Sasana Sewaka is also the place where Bedhaya Ketawang dance which symbolizes the meeting between the king and Kencana Asri, the queen of south sea, takes place. Pendhapa Sasana Sewaka is very meaningful for the life of the court because every business that has something to do with the legitimacy of the king, government, culture and rituals is held in it. Pendhapa Sasana Sewaka faces to the east and in front of it is a large yard having sand in it. Pendapa has floor made of white marble. It has four carved pillars and between the two pillars in the west is the royal throne placed. The king as the symbol of Wisnu who wants to be responsible for the peace of the universe sits on the throne at anniversary day of the coronation and on important days. At the certain places of the ceiling hang some decorative chandeliers, making the pendapa more noble, luxurious, authoritative, and haughty. All of the forms of the buildings and activities are full of symbolical and mystic values and meanings.Key words: sasana Sewaka, mythology, symbolic, and meaning.
AKNA SIMBOLIS RAPA’I GELENG DI SANGGAR BUJANG JUARA DESA SEUNELOP KECAMATAN MANGGENG KABUPATEN ACEH BARAT DAYA PROVINSI ACEH Syera Fauzya Lestari; S., Slamet
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 (713.244 KB) | DOI: 10.33153/glr.v14i2.2081

Abstract

Penelitian ini bertujuan untuk memahami makna simbolik Tari Rapa'i Geleng yang terdapat di Sanggar Bujang Juara, Desa Seunelop, Kecamatan Manggeng, Kabupaten Aceh Barat Daya. Untuk menjawab permasalahanini, penelitian ini menggunakan metode kualitatif dengan pendekatan etno-koreologi. Data lapangan dikumpulkan dengan teknik etno-koreologi dari Kurath. Hasil penelitian ini menunjukkan bahwa posisi Rapa'i Geleng diDesa Seunelop adalah sebagai kesenian yang digunakan sebagai bagian dari media untuk melakukan dakwah agama islam, dan juga sebagai aktivitas sosial bagi masyarakat setempat. Dari bentuk koreografi, tari Rapa'iGeleng merepresentasikan tarian religi yang ditunjukkan oleh adanya unsur-unsur yang bisa ditemukan di dalam koreografinya, dimana unsur-unsur tersebut mencerminkan ketentuan-ketentuan hidup menurut agamaIslam. Tari Rapa'i Geleng juga adalah salah satu aktivitas kesenian bagi komunitas lokal masyarakat di Desa Seunelop, Kecamatan Manggeng, Kabupaten Aceh Barat Daya. Makna simbolik tari Rapa'i Geleng adalahsebagai salah satu ekspresi keimanan terhadap agama Islam. Tari tradisional ini merupakan salah satu dari kesenian masyarakat Aceh yang memiliki hubungan signifikan dengan dakwah agama Islam, dan juga sebagaisebuah hiburan.Kata kunci: Rapa'i Geleng, koreografi, makna, relijus, tari.This research aims at understanding the symbolic meaning of dance Rapa’i Geleng in Sanggar Bujang Juara, Seunelop, Sub district Manggeng, District of Southwest Aceh. This writing uses qualitative method and ethnochoreology approach to answer the problems. The data is collected by ethno choreology technique by Kurath. The research finding shows that Rapa’i Geleng is placed as a part of media in spreading Islam and also as a social activity for people in the village. From the form of choreography, it can be seen that dance Rapa’i Geleng represents a religious dance indicated by the elements found in its choreography. The elements reflect the norms of life according to Islam. Dance Rapa’’i Geleng also represents an art activity of local society inSeunelop, Sub district Manggeng, District of Southwest Aceh. The symbolic meaning of dance Rapa’i Geleng is as an expression of religiosity towards Islam. The traditional dance represents one of arts belongs to Acehpeople which has significant relationship with the spreading of Islam and also as an entertainment.Keywords: Rapa’i Geleng, choreography, meaning, religious, dance.
PERWATAKAN TOKOH BAIK (PROTAGONIS) DALAM PERTUNJUKAN WAYANG GOLEK MENAK Sunarto Sunarto
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 (5221.406 KB) | DOI: 10.33153/glr.v9i2.1403

Abstract

Personalities and figure of protagonist in a menak puppet show is discussed in this study. Personalities and figure are described by using literary approach. In this study is limited to the characterization and disposition protagonists or characters that are good. Based on the results obtained by this approach are common changes and developments, both in characterization and disposition due to the inheritance orally. In this case, the mastermind horizon expectations have adjusted to personal views, educational background, and social and cultural life, the development of characterization and physical character creation visualize growing. The addition of new characters to the physical form and disposition are also new, emerging according to the reception puppeteer  and puppet maker puppet show artists.Key words : characterization, figure, protagonist, puppet
KAJIAN BENTUK DAN FUNGSI WANDA WAYANG KULIT PURWA GAYA SURAKARTA, KAITANNYA DENGAN PERTUNJUKAN Bambang Suwarno; Timbul Haryono; R.M. Soedarsono; 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 (307.013 KB) | DOI: 10.33153/glr.v12i1.1487

Abstract

ABSTRACTThe writing is part of the writer’s discussion about the dissertation research as part of his doctoral programfinal examination. Focus of the study is wanda of wayang kulit purwa of Surakarta style, its function in the fifthpakeliran (wayang performance), and its relationship with sanggit lakon (story treatment). In solving theproblem, the writer uses the approach of pedalangan (puppetry) aesthetics completed by phenomenology,psychology, and creativity approaches in holistic thinking as the instrument of data analysis.Keywords: form, function, wanda, wayang kulit purwa, performance

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