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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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TINJAUAN MUSIKAL MATERI LOMBA KARAWITAN TINGKAT SEKOLAH DASAR 01 SURAKARTA Isti Kurniatun
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 (10284.376 KB) | DOI: 10.33153/glr.v8i2.1331

Abstract

Education, Youth and Sport Service of Surakarta holds karawitan festival for Elementary Schools once a year. The problem of the festival is that the pieces of the festival does not match with the  physical and psychic competence of children. The pieces of the festival (instrumentation and vocalization) is more suitable for adults than children. Beside that, the gendhing (melody) and  larasan (pitch) do not come up to a child's competence. This becomes a problem for the children, teachers and instructors. This research aims at finding out the form and garap of the matter of karawitan festival for Elementary Schools and how the pieces were arranged. In addition, it aims at offering a solution that can be taken into consideration in arranging the future pieces of the  festival in order that the pieces are in accordance with children's physical and psychic need and competence. The approach used in this research is a musical, psychological, and social one. The  main objective of the art festival in "Art Week" in Surakarta is to encourage the growth of the spirit of nationalism that loves their own national culture. The target of the program is the students of  elementary schools and senior high schools. To attain the objectives, concrete and certain steps are needed not only limited to art events but also art appreciation focusing on traditional art like drama, poetry, vocal, dances, and music including karawitan.Key words: musical, festival, karawitan, children, Elementary Schools.
LUDICITAS PADA FILM DOKUMENTER “DI BALIK FREKUENSI Dwi Putri Nugrahaning Widhi; Aton Rustandi Mulyana
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 (579.017 KB) | DOI: 10.33153/glr.v14i2.2076

Abstract

Tulisan ini mempertanyakan persoalan realitas ludic film dokumenter “Di Balik Frekuensi”. Film dokumenter dipercaya akan penghadirannya kebenarannya di hadapan publik, tetapi di balik penghadirannya tersebut sebenarnya terdapat realitas ludic yang disungguhkan oleh pembuat film. Film “Di Balik Frekuensi” terdapat rangkaian realitas yang diciptakan oleh pembuat film melalui dua unsur audio dan visual, di antaranya narasi, ilustrasi musik, sound effect, teks, iklan, slow motion dan fast motion, motion graphic, stock shot dan footage, kemiringan kamera, lensa fish eye, multiple frame, dan epilog. Ludic dalam film “Di Balik Frekuensi” dipaparkan dalam lima asas yaitu kebebasan, sementara, tertutup, ketertiban dan ketegangan. Pendekatan tafsir digunakan untuk mendukung teori ludic dan teori realitas, sehingga diperoleh makna penghadiran ludic yang disampaikan dalam film “Di Balik Frekuensi”. Rangkaian realitas yang dihadirkan tidak lepas dari ideologi pembuatnya. Terselip pesan-pesan khusus dengan rangkaian makna pesan yang disampaikan secara persuasifdan tendensius.Kata kunci: film dokumenter, realitas, ludicThis writing asks about the reality of ludic in documentary film “Di Balik Frekuensi”. Documentary film is believed to be true according to public but behind its presence there is actually a ludic reality presented by the film maker. There is a series of reality created by the film maker through audio and visual elements among other things are narration, music illustration, sound effect, text, advertising, slow motion and fast motion, motion graphic, stock shot and footage, camera tilt, fish eye lens, multiple frame, and epilog. Ludic in film “DiBalik Frekuensi”is presented in five principles covering freedom, temporary, closed, discipline, and tension. Interpretative approach is used along with the theories of ludic and reality so that the meaning of the presentedludic in film “Di Balik Frekuensi” can be found. The series of realities presented in the film are not out of the maker’s ideology. The film contains special messages with the meaning revealed persuasively and tendentiously.Keywords: documentary film, reality, ludic.
AKULTURASI BUDAYA DALAM KESENIAN SETREK DI DUSUN KEDUNGAN III, SAMBENG, BOROBUDUR, MAGELANG Langen Bronto Sutrisno
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 (5131.229 KB) | DOI: 10.33153/glr.v9i2.1395

Abstract

Setrek at Kedungan III is a type of traditional art terbangan or slawatan that serves as a medium for preaching Islam. As a kind of traditional art slawatan, seems to blend aesthetic elements having Islamic art with aesthetic elements of traditional folk art is a form of acculturation that reflect local creativity. The influence of Islamic art is not meant to change the overall form of the choreography, but the elements of Islam is more of a formality breath Islamic values in the face of traditional arts for the purpose of preaching the religion of Islam. Therefore, it remains in the form of presentation format with a touch of tradition Islamic breath. For example, the presentation of dance movement found hardly breathing motion Islam except Takbiratul Ihram Allohu Akbar, which is the figure Kyai Ba’in representation a scholar with typical Islamic fashion, Islamic airway motorcade given poetry book Al Barjanzi comes flying instruments and music representing jidor Islam. Breath of Islam is actually more of a legal spirit of Islam in the arts setrek the hope of all the players and spectators can practice Islam in their daily lives. Therefore, the media propaganda can be seen in any expression of Islamic values in relation to the God The Almighty and His Prophet Muhammad SAW. Thus every movement and musical accompaniment or poem in the arts setrek have imbued the values of Islam. Icons is thus important to understand that they can safely live in this world and in the hereafter. The presence of Islam in the breath of artistic development setrek looks enrich appearance, so the presence of this art in people’s lives Kedungan III boost the quality of the religion of Islam, although they were aware the remnants of ancient beliefs still characterize setrek arts, such as ndas-ndasan attraction in the form of imitating animal attraction . Variations attraction ndas-ndasan procession around the village with aim to expel the influence of evil spirits.Key words : setrek, acculturation, traditional.
ESTETIKA KENDHANGAN DALAM KARAWITAN JAWA Slamet Riyadi
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 (243.503 KB) | DOI: 10.33153/glr.v11i2.1477

Abstract

Kendhangan in Javanese karawitan show has an important role. The role were vary in everyshows. Kendhangan in karawitan, klenengan type, was different from kendhangan for supportingother kind of arts such as dance’s karawitan, wayang kulit’s, wayang orang, and ketoprak.Kendhangan that been played combined with other gamelan instruments without ciblon usuallywas used as the rhythm indicator. When it was included in other arts, kendhangan had doubleroles, which were as as the leader on gamelan orchestra, it had to guard the laya, and on the meantime it had to follow, to induce, to stimulate movement expressions, and to accentuate the dancemovements. The sound of kendhangan made by pengendhang has a big role in developing dramaticimpression and liven up the show. In klenengan, the function of pengendhang is not only as therhythm arranger, he also has the main role in revive and dramatize ensemble that been presented.When the pengendhang managed in maximizing his role, the show would not be boring. In assessingthe aspects, this writing is using aesthetic object approach referencing to the theory of beauty ofMonroe Beardsley, which are the measure of unity, intensity, and complexity. The following aresome aspects of the aesthetic elements forming kendhangan’s assessed value, that are: laya ,kebukan, and wiledan
KARAKTER DALAM TARI GAYA SURAKARTA Silvester Pamardi; Timbul Haryono; R.M. Soedarsono; AM. Hermien Kusmayati
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 (336.366 KB) | DOI: 10.33153/glr.v12i2.1533

Abstract

This writing is aimed at explaining characters in Surakarta style dance rooted at the palace. In Indonesiandance knowledge it is known as classic dance. Surakarta style dance has developed so long that has builtsystematized patterns of move and been fully fledged based on pakem beksa containing with many rules andtechniques of movements of palace dance. Javanese society believes that palace dance is a cultural heritagecontaining both values of guidance and entertainment as well. The concept of beauty of palace dance hasthree norms. Those are Hastakawaca, Kawaca, and Hastakawaca Gendhing. The norms show that the dancehas soul and movement such as container and content unified in inner and outer life. The masters (empu) ofJavanese dance believe that dance movement expressed through the body of dancer will produce innerattitude. Some people are able to find its philosophy at the time of dance appreciation. This paradigm can bedefined as an implementation of functional values of palace dance giving characters guidance and good soul.Identified through dance forms perspective, palace dance is a collective soul expression. In relation tomovement, palace dance expresses the soul of Javanese personality. In the sense of being a collective expression related to customary structures, the movement of palace dances covering the whole body meansbuilding up good soul. The character of palace dances is constructed with typology, temperament, and dispositionderived from or transformation of the forms of shadow play. The forms of shadow play have physical size(typology), motion puppet play (temperament), and wanda (character) in different visual appearance for eachcharacter or role. The characters structured in the forms of dance movement serves as the values of guidancethrough appreciation towards the values of nature and the roles of motion expressing bad and good teaching.Keywords: dance, character, philosophy, aesthetic, Surakarta style
ASPEK DRAMATIK LAKON KRESNA DUTA SAJIAN NARTASABDA Mardjono Mardjono
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 (10287.382 KB) | DOI: 10.33153/glr.v8i1.1307

Abstract

Puppet world, especially Lakon Kresna Duta, has two main suppression, characterization and symbolization of Kurawa Pandawa, which can be a reflect on our lives. Kurawa is reflecting antagonist (insolence) while Pandawa is reflecting protagonist (goodness). In personality we can find not only badness and goodness but also variety. We can take the wisdom from the vary character in our lives. Problem of this paper is  why Duryudana denies the King’s utterance  and what tendency is behind his decision.  Based on the problems, this paper aims to search and describe dramatic aspects that is theme, messages conveyed by the dalang, braided of  events, the appeared controversy or conflict and the role of key character in the lakon. To reach the purpose, the writer uses approaches from performing arts, especially puppetry, and humaniora as well as social science. The result of the dramatic analysis is that Pandawa’s deeds in Lakon Kresna Duta is aimed to uphold the justice and truth in order to realize prosperity and it is not based on their ambitions. The wisdom that can be found is that it is very important for a leader to be honest, wise, and berbudi bawa leksana. A leader who propose virtue, berbudi bawa leksana will produce togetherness and tranquility, on the contrary, a leader who ignores virtue and always breaks his promise will lead to dispute and unpeacefulness which finally lead to destruction.  Key words : shadow puppet, social, dramatic, lakon
VISUAL BRANDING KAOS MESEM SITHIK Novi Pradhana Putra; Dharsono Sony Kartika
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 (857.122 KB) | DOI: 10.33153/glr.v15i1.2066

Abstract

Penelitian ini berjudul VISUAL BRANDING KAOS MESEM SITHIK. Penelitian membahas tentang strategi visual branding pada produk cinderamata pariwisata dari Kabupaten Tulungagung, yaitu Kaos Mesem Sithik. Permasalahan penelitian terletak pada keberadaan kaos Mesem Sithik, konsep branding kaos Mesem Sithik, dan strategi komunikasi pada visal brand Kaos Mesem Sithik. Berdasarkan hasil penelitian, diperolehkesimpulan keberadaan kaos Mesem Sithik berawal dari gagasan komunal organisasi Paguyuban Cinta Wisata Tulungagung, yang kemudian kepengurusan produksi dipindah tangankan kepada perseorangan. Wahyu Cahyo Utomo sebagai pemilik usaha kaos Mesem Sithik lebih leluasa menuangkan gagasan idiom kebudayaan daerah KabupatenTulungagung kedalam visual brand produk. Perpindahan kepengurusan kaos Mesem Sithik membawa perkembangan dari segi konsep branding produk yang mencakup strategi media dan strategi visual. Desain ilustrasi yang tercetak pada permukaan kaos Mesem Sithik tidak serta merta mengungkap strategi komunikasi produk. Strategi komunikasi kaos Mesem Sithik didapatkan melalui pendekatan ikonografi Erwin Panofsky yang menkaji desain ilustrasi dalam tiga lapisan makna, pra-ikonografi, ikonografi, dan ikonologi. Dari analisisyang dilakukan, strategi komunikasi pada kaos Mesem Sithik mengedepankan keindahan visual, pemanfaatan teks sebagai penjelas universal, penekanan biaya produksi, dan kepantasan norma dalam menyampaikan idiom kebudayaan daerah Kabupaten Tulungagung sebagai brand produk.Kata Kunci: Strategi komunikasi, visual brand, kebudayaan daerahThis studyis entitled VISUAL BRANDING KAOS MESEM SITHIK. The research discusses about visual branding strategy on tourism souvenir product from Kabupaten Tulungagung, namely T-shirt Mesem Sithik. The problem lies on the existence of T-shirt Mesem Sithik, the branding concept of T-shirt Mesem Sithik, and communication strategies at visual brand of Mesem Sithik T-shirt. Based on the research, it can be said that the existence of T-shirt Mesem Sithik started fromthe notion of communal association Paguyuban Cinta WisataTulungagung that later move the management of production to individual. Wahyu Cahyo Utomo as the owner of T-shirts Mesem Sithik is more flexible to explore the cultural ideas of Tulungagung into visual brand products.Thedisplacement of management T-shirt Mesem Sithik shows the development in terms of the concept of branding products including strategy media and visual strategy. The illustration design printed on the T-shirt Mesem Sithik doesn’t necessarily show the product communication strategy. The communication strategy of T-shirt Mesem Sithik is studied through the iconography approach Erwin Panofsky that studies illustration design in three steps of meaning; they are pre-iconography, iconography, and iconology.From the analysis done, communication strategy of T-shirt Mesem Sithikputs forward the visual beautyutilizing text as universal explanation, pressing production fee, and the norms suitability in expressing cultural idioms of Tulungagung as theproduct brand.Keywords: communication strategy, visual brand, rural culture
GAMELAN LUNTHUNG KARYA WIDODO DONOSUKARTO DESA KADOKAN, KECAMATAN GROGOL, KABUPATEN SUKOHARJO Panggiyo Panggiyo
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 (1384.681 KB) | DOI: 10.33153/glr.v10i1.1375

Abstract

According to the empirical experience, basically all metals can be used as materials for gamelan. However, the resulting master gamelan been generally designed for adults. Form and larasan (steming) gamelan often cause problems when used for the race musical elementary school children (SD). In terms of shape and size, posture mean that small children will find it difficult at times to reach Ricikan (instrument) bonang. On the side of the barrel (scales) ambitus child becomes a fairly complicated issue for children. At the till, backgrounds aged children who are close to the joyous feeling of typical children become its own problems when faced with factors belonging gending garap from parents (adults). In a situation like this came the idea to create a gamelan Suroso that can meet the needs of standard forms, tunings and feeling young. Tit for tat, Suroso ideas taken seriously by Widodo Donosukarto, a master craftsman from the village gamelan reliable Kadokan,  Grogol, Sukoharjo. In 2002 Widodo Donosukarto began his experiments made gamelan largely shaped kemanak. At the beginning of the process of manufacture gamelan Widodo Donosukarto often fails. But with unyielding spirit, finally in 2005 Widodo Donosukarto succeeded in realizing the coveted gamelan. Since the technique of making the model gemelan kemanak by way lunthung (rolled), the new gamelan called Gamelan Lunthung. During the experiment (2002-2005) Widodo Donosukarto only able to make two sets of Gamelan Lunthung. Gamelan The first was in the child’s home law (the Netherlands) in Amsterdam, the orchestra both at home Widodo Donosukarto. Data obtained through the study of literature and interviews. The analysis was conducted mostly take the data obtained from interviews with sources that Widodo Donosukarto. Interviews were conducted in 2009-2011 at home Widodo Donosukarto, Kadokan Village, District Grogol, Sukoharjo. Key words :  Widodo Donosukarto, Gamelan Lunthung
RINGGIT GUPERMEN, ENCIK DAN CINA KERATON YOGYAKARTA MASA SULTAN HAMENGKU BUWANA V Supriyanto Supriyanto
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 (281.184 KB) | DOI: 10.33153/glr.v11i1.1445

Abstract

In Yogyakarta Palace during The Sultan Hamengku Buwono V (1823-1855), there was an interestingphenomenon around the formation of dancers classification of wayang wong as human actorsthat replaced the role of puppets. Giving the name to group dancers above look like giving levelof social stratification by race in the administrative law of foreign residents in the Sultan Palace.The first class is called Ringgit Gupermen, where there is the best dancers. The second calss isEncik Ringgit which is the middle class dancers. While the last class is Ringgit Chinese as anovice dancers. Class consciousness of Wayang wong dancers on such condition, has a dualtendency at the time of Sultan Hamengku Buwono V. On one hand the class is a bureaucraticframework in political mainstream devices, while on the other hand is a frame work class artistic,cultural tendency in the devices. In the pursuit of political tendency, class dancers into structuralbalance, the balance of class dancers into civilization.
Wiraga Wirama Wirasa Dalam Tari Tradisi Gaya Surakarta Dwi Maryani
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 (3467.3 KB) | DOI: 10.33153/glr.v5i1.1233

Abstract

Javanese traditional dances of Surakarta style are one of the ancestor’s  heritage owned by the king so that abdi dalem (the royal servants), especialy abdi  dalem taya in the court of Surakarta remain obeying the king’s order. In other  words, traditional art of Surakarta existing in the court of Surakarta still go on  according to the handbook or guidelines applicable at that time. To be a good Javanese  dancer, someone has to have a good knowledge of three basic concepts, namely, wiraga,  wirama, and wirasa. A Javanese dancer, especially that of  surakarta style, should  pay attention to the series and forms of movements, and dance structure and call  adjust the kind and character of the dance to the rhythm of gending (melody). A  dance who has acquired skills in wiraga, wirama, and wirasa will dance gracefully,  not stiffly. He will not make forced movements; everything looks smooth and flows in  enjoyable rhythm. He moves seriously but does not look strained.Keywords: Wiraga Wirama Wirasa, Traditional Dance.

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