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426 Documents
<![CDATA[TARI PASIHAN BHONDAN SAYUK SEBUAH MAKNA TEKS ]]>
<![CDATA[Slamet MD]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v4i2.1223
<![CDATA[Bondhan Sayuk compiled to be inspired by Enggar-Enggar dance which have preexisted. Sunarno as orderer dance conscious Bondhan Sayuk that this dance in the begining fill compiled karawitan song music by Marto Pa ngrawit, what motivat desire have baby. Studying Bondhan Sayuk can be understood if in the theatre of him between dancer which is one with other experience of different motion variation of. This matter happened caused by text meaning of different accompaniment music song text especially at middle Javanese song. This Research is more focused by about how audience and dancer mean song text in music dance related to dance motion expression. involved in Audience of complex situation that where they get " inspiration" momentary to determine the meaning. Dancer as perpetrator in text meaning of song text in his danced dance motion. Process giving mean text take place in complicated situation that, which realized or do not, re/ate to experience before audience see Dance Pasihan Bondhan Sayuk. Related to Text show dance Pasihan represent story or the dance story, usually such text here is]song which is there are in dance music. Show text dance Bondhan Sayuk, residing in in loaded musical context of meaning, hereinafter get form in show of dance will give framework think to dancer to express into dance form, and audience get meaning from show dance Bondhan Sayuk from song text and dance as a show which is global and go into effect at the time of show take place. In context this is text meaning become important because interaction from various above mentioned factor reach form finallyKeyword: Pasihan, Bondhan Sayuk, Meaning Text.]]>
<![CDATA[MODEL ALTERNATIF FILM PENDEK ANIMASI 3D BAGI ANAK-ANAK ]]>
<![CDATA[Alfan Setyawan]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v12i2.1523
<![CDATA[The article discusses about the form of Sendratari Mahakarya Borobudur (the ballet of Borobudur great work)that is used to be a model in the making of 3D animation short film for children. The problem of research isthe alternative model of 3D animation for children towards Sendratari Mahakarya Borobudur. The researchuses qualitative method. The research data is collected from written sources, art works, key persons, and theaudio video documentation of Sendratari Mahakarya Borobudur. Data is collected by library study, works,observation, interview, and documentation. Data analysis process covers several stages including datacollecting, reduction, data presentation, and summary. Based on the research, it shows that SendratariMahakarya Borobudur is chosen to be an alternative model of 3D animation short film. The story of SendratariMahakarya Borobudur has moral values packed as the alternative model of 3D animation short film andsupposed to have an important role in making the native characteristic in order to become a completelyIndonesian people. The recommended model of 3D animation short film has duration of 15 minutes and it isa story of visual design and storyboard.Keywords: Sendratari (ballet), Mahakarya (great work) Borobudur, 3D animation]]>
<![CDATA[PERAN TEKNIK GERAK TARI MENDUKUNG KEMAMPUAN KEPENARIAN ]]>
<![CDATA[Sriyadi Sriyadi]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 7, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v7i1.1271
<![CDATA[Teknik Tari adalah suatu cara untuk melakukan sesuatu gerak tari agar lebih baik, Teknik tari merupakan metode atau cara latihan tari yang sangat baik dan efektif, sebagai persiapan fisik disamping juga untuk menujang ketrampilan gerak dibidang tari, atau untuk mempersiapakan seorang penari, terutama pada mahasiswa Jurusan Tari ISI Surakarta. Teknik merupakan sruktur anatomi pisikologi yang mengembangkan gerak dengan tari. Guna teknik adalah untuk melatih jiwa dan pikiran secara runtut agar dalam mempergunakan tubuh sebagai sarana ekpresi, dan melatih tubuh supaya tunduk dan reponsip terhadap pikiran yang ekpresif. Dalam pengunaan gerak tari tubuh adalah intrumen atau alat, sedangkan gerak adalah medianya yang akan diolah. Pencapaian teknik perlu didahuluhi persiapan alat yang kuat dan lentur yang dapat dipergunakan dalam mengukapkan, mengekpresikan dan menampilkan gerak yang diinginkan agar bias tercapai dengan sempurna.Keyword : Teknik, Tari]]>
<![CDATA[PERUBAHAN BENTUK SAJIAN MIDANG PADA MASYARAKAT MORGESIWE KECAMATAN KAYUAGUNG KABUPATEN OGAN KOMERING ILIR ]]>
<![CDATA[H., Heryanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 2 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i2.1643
<![CDATA[Penelitian yang berjudul “Transformasi Sajian Midang Pada Masyarakat Morgesiwe Kecamatan KayuagungKabupaten Ogan Komering Ilir†ini, dimaksudkan sebagai bentuk pelestarian dan sumber informasi tentangseni budaya khususnya di Kabupaten Ogan Komering Ilir. Beberapa pendekatan sosiologi digunakan untukmembedah dan mengarahkan mengungkap fakta-fakta dan fenomena yang terdapat pada kesenian Midang.Berdasarkan fenomena yang ada, penelitian ini bertujuan untuk mengetahuibagaimana perubahan bentuk dariMidang Mabang Handak menjadi Midang Bebuke. Untuk mengungkap masalah tersebut menggunakanmetodekualitatif dan teori transformasi. Teknik pengumpulan data dilakukan dengan cara studi pustaka/visual, observasidan wawancara. Selanjutnya dilakukan analisis data dengan mengkomparasi dan menyimpulkan. Hasil penelitianmenunjukkan bahwa perubahan bentuk Midang ini disebabkan oleh hilang Perkawinan Mabang Handak padaera 60an dan selanjutnya pada awal 70 an terjadi kesepakatan antara seniman, adat dan pemerintah sertamuda-mudi yang mewakili setiap tiyuh (kampung) nya untuk membangun kembali Midang dari ranah adatperkawinan ke ranah hiburan. Perubahan bentuk Midang Mabang Handak menjadi Midang Bebuke dapatditunjukkan dari ketiga bagiannya. Pertama, sepasang pengantin diganti menjadi sepasang muda-mudi inti.Kedua peserta Midang yang berasal dari kerabat sepasang pengantin diganti menjadi peserta Midang darikelurahan setempat, dan diperkuat oleh perbedaan busana pesertanya. Ketiga, perubahan dapat dilihat darirepertoar lagu-lagu musik tanjidornya.Kata kunci: perubahan bentuk (tranformasi), Midang Mabang Handak, Midang Bebuke.]]>
<![CDATA[TINJAUAN HISTORIS PERKEMBANGAN RUMAH TRADISIONAL JAWA ]]>
<![CDATA[Joko Budiwiyanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v9i1.1347
<![CDATA[This article is a part of the results of my research on "The Shape, Function and Meaning Changes of Interior Design of The Prince's Residence in Surakarta". The research was carried out using literature and observation methods. The research aimed at studying the historical development of Javanese traditional houses from time to time.This study covered the prehistoric period, the influence of Hindu-Buddhist period, of the Islamic period, of Western period, Kasunanan in Surakarta period and the independence period of Indonesia. The result of the research showed that the house of a Javanese had its basic shape although it was very simple. The basic shape of a Javanese traditional house was called as a local genius. The architecture of a Javanese traditional house had developed into a better shape over time. The shape development was influenced internally and externally by Islam, Hindu and Buddhist and Western (European) culture. These various influences were processed by Javanese people into a new form without leaving the original form behind.Key words: development, house, traditional, Java]]>
<![CDATA[SENI LUKIS KARIKATUR KARYA GM. SUDARTA ]]>
<![CDATA[Jimin Budiyono]]>;
<![CDATA[Dharsono Sony Kartika]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 15, No 2 (2017) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v15i2.2217
<![CDATA[“Seni Lukis Karikatur Karya GM. Sudarta.â€ini memfokuskan permasalahan pada bagaimana latar belakang seni lukis karikatur GM. Sudarta, mengapa seni lukis GM. Sudarta bergaya karikatural dan bagaimana bentuk estetik seni lukis karikatur karya GM. Sudarta.Tujuan penelitian ini untuk memahami dan menjelaskan latar belakang seni lukis karikatur karya GM.Sudarta, memahami dan menjelaskan seni lukis GM. Sudarta yang bergaya karikatural, memahami dan menjelaskan serta menganalisa estetika seni lukis karikatur GM. Sudarta.Metode atau langkah-langkah penelitian ini menggunakan metode kualitatif. Lokasi penelitian di studio lukis GM.Sudarta Cisarua, Bogor Jawa Barat. Data yang diperoleh melalui observasi, wawancara dan dokumentasi (arsip). Analisis data menggunakan interaksi analisis dan interpretasi analisis dengan pendekatan kritik seni Dharsono Sony Kartika, untuk mengetahui makna estetiknya menggunakan teori estetika Monroe Beardsley.Hasil penelitian menunjukkan kepeduliannya rasa cinta bangsa seorang seniman (GM.Sudarta) kepada masyarakat, bangsa dan negara (Indonesia) yang baru dilanda krisis moral, penuh aib korupsi dan keadilan yang belum ditegakkan, dengan teriakan bahasa rupa “kita belum terlambat†masih ada waktu untuk perbaikan.Kata kunci: Latar belakang, Karikatural, Estetika.]]>
<![CDATA[OLAH VOKAL DALAM TARI INDANG PARIAMAN SUMATRA BARAT (Kajian tekstual dan fungsi) ]]>
<![CDATA[Efrida Efrida]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 10, No 2 (2012) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v10i2.1415
<![CDATA[Indang is one of traditional arts which develops in Pariaman, West Sumatra. This traditional art is a combination of literature and dance movements. This research aims to find out the textual and functional changes developing in accordance with the society’s taste. The data was collected through observation, interviews, and literary study. The data was analyzed using an analysis on textual and functional changes. The research result showed that the vocal of Indang dance existed in small Muslim chapels accompanied by songs containing Islamic lyrics. The indang dance had changed from a sacred into a profane dance. That the movements of Indang dance are relatively simple and monotonous but the dance keeps on existing is interesting. The Islamic teaching in the lyric of oral literature always complies with the society’s taste. Indang dance functions as entertainment and a means of communication performed for a variety of purposes. Key words :  indang, textual, changes, function, Pariaman Pengantar]]>
<![CDATA[JATI JAWA KONTRIBUSI KAYU JATI BAGI MASYARAKAT JAWA ]]>
<![CDATA[Muhammad Zamroni]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 12, No 1 (2014) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v12i1.1499
<![CDATA[Teak wood is a natural plant that thrives in Java island. People in Java, historically for a long time, have usedteak wood as the raw material of various buildings, meublelair, and the craft of carving. Teak wood givescontribution to Javanese people not only in economic aspect but also in the social, religious, art, and culturalaspects. The film “Java Teak†is an effort to show discourse of teak wood contribution to Javanese people inorder that teak wood is placed as the important thing in the development of Javanese culture. The documentaryfilm is made by expository approach that is a documentary that directly shows the message and content ofthe film to the audience through presenter or narration in the form of text or voice.Key words: Java Teak, documentary, teak, Java, culture]]>
<![CDATA[Transformasi Cerita Serat Menak dalam Pertunjukan Wayang Golek Menak ]]>
<![CDATA[Tatik Harpawati]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 7, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v7i1.1253
<![CDATA[The change of form from written literature to performing arts produces a new genre, for the reason, transformation of all intrinsic as well extrinsic aspects are complex and varied the changes in performing arts which come from serat menak show that serat menak has had transformation. Concerning that serat menak is adaptation form Hikayat Amir, it is not impossible that artists of wayang golek menak may base their works directly form the original work. The aims of this discussion include (1) describing story (lakon) wayang golek menak; (2) describing transformation forms of serat menak in lakon wayang golek menak covering character, setting, story, and theme; (3) mapping the development of serat menak in lakon wayang golek menak. The aims will be fulfilled by using reception and intertextual approaches approaches. Based on both approaches, it can be found out that serat menak becomes the source of some stories (lakon) in wayang golek menak. Transformation of story can be seen in the hiprogramming stories in serat menak. Story pattern in wayang golek menak manak have double characters. Transformation of setting can be found in the addition and different names of places where the story happens. Transformation of character appears in the change of name and the additional new names for not basic characters. The difference and addition of name, place and character occur because of the different pronounciation, miss information, as well as the dalang creativities in recept serat menak. The reason is that the performance of wayang golek menak is inherited orally so that the development of serat menak in lakon wayang golek menak is very extensive and complex. Dalang can freely create lakon in accordance to his view and his family as well as social cultural background.Keyword : Transformation, Serat Menak, Wayang Golek Menak]]>
<![CDATA[STRATEGI VISUAL IKLAN TELEVISI KUKU BIMA ENERGI PRODUKSI PT. SIDO MUNCUL SEMARANG ]]>
<![CDATA[Annas Marzuki Sulaiman]]>;
<![CDATA[I Nyoman Murtana]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v13i1.1551
<![CDATA[Kuku Bima Energi is a brand of an energy drink produced by P.T. Sido Muncul, Semarang. Sido Muncullaunches an advertisement of version Mari Berwisata di Negeri Sendiri (Let’s go touring in our own country).The research is purposed to describe: 1). background of PT. Sido Muncul represents television advertisementKuku Bima Energy version Mari Berwisata di Negeri Sendiri; 2). Visual strategy of television advertisementKuku Bima Energy version Mari Berwisata di Negeri Sendiri; and 3). Visual form of television advertisementKuku Bima Energy version Mari Berwisata di Negeri Sendiri. The research uses qualitative method and casestudy approach. The research process is arranged based on the data gaining and correlation in order toaccumulate information related to visual strategy and advertisement structure. The analysis used is aestheticsMonroe Beardsley. The result of research shows that Kuku Bima Energi in its imaging has been succeed inusing the nationalism issues to bind consumers by raising up the cultural and tourism values through televisionadvertisement. It makes the nationalist image and love to local culture attached to Kuku Bima Energi and hasbound consumers emotionally.Keywords: Kuku Bima Energy, Brand, imaging, visual strategy, aesthetics]]>
