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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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MAKNA LAGU DOLANAN ILIR-ILIR Rabimin Rabimin
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 (5433.046 KB) | DOI: 10.33153/glr.v7i2.1283

Abstract

The traditional children’s song entitled Ilir-ilir is predicted to come into existence in the 15th century. It is written in many manuscripts that the composer of this song was Sunan Giri. The song known well up to now has undergone various developments in lyrics, meaning, function and garap. In case of the function, the song which was only sung by children in the past, has developed into, amongst other things, a means of midodareni ritual of Javanese wedding, entertainment, Islamic proselytism, dance accompaniment, consciousness recovery, war motivation, education and so on. In case of garap development, the song which was sung without instrumental accompaniment has developed in various ways, that is, (1) the song is accompanied by gamelan agung rebana and lesung; (2) it is presented as an instrumental song; (3) it is arranged in the form of lancaran, srepeg, ketawang, ladrang; (4) it is arranged in lancar (fast), tanggung (medium-fast), dados (slow), wiled, rangkep rhythmes; (5) it is arranged in slendro and pelog (pentatonic) and even diatonic pitch; (6) it is arranged in patet nem, lima, manyura, and sanga; (7) the lyric which was at first only one pada (couplet) has become three couplets; (8) the lyric has a variety of differences due to needs, situation, the influence of local culture, and the attitude of creative artists. Key words :  ilir-ilir, traditional children’s song, development
ESTETIKA FORMALISME RITA WIDAGDO Marah Adiel; D., Dharsono
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 (743.3 KB) | DOI: 10.33153/glr.v14i1.1741

Abstract

Tulisan yang berjudul Estetika formalisme Rita Widagdo, menganalisis bagaimana estetika karya patung RitaWidagdo yang terdapat di Palembang. Tujuan untuk menjelaskan estetika formalism patung karya Rita Widagdodi Palembang, dengan metode kualitatif data diperoleh menginterpretasi analisis patung karya Rita Widagdoyang terdapat di Palembang. Rita Widagdo salah seorang pematung wanita yang konsisten dengan karyapatung abstraknya. Pada tahun 1973 ia mulai dipercaya oleh pimpinan PT Pusri Palembang untuk merancangdan membangun patung-patung monumen pabrik Pupuk Sriwijaya, seperti patung Harapan (1974), patungTaqwa (1976), Patung Syukur (1976), dan monumen PON XVI-2004, patung Tugu Prameswara (2004). Keempatpatung monumen tersebut berukuran besar, mengguna berbagai medium, karakter estetika yang tidak samadan wujud yang ditampilkan abstrak formal dengan prinsip-prinsip dasar geometris; garis, bidang, dan ruangditata dengan kesatuan bentuk yang sempurna, tingkat kesungguhan dan intensitas yang menghasilkan karyaakhir yang sempurna.Kata Kunci: Patung, Abstrak, Rita Widagdo, Palembang.
GATHUTKACA GANDRUNG: SEBUAH STUDI TENTANG PSIKOLOGI KARAKTER TOKOH DAN BENTUK DALAM TARI GAYA SURAKARTA Suharji Suharji
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 (1687.291 KB) | DOI: 10.33153/glr.v9i1.1357

Abstract

Gathutkaca Gandrung dance is a single dance that symbolizes character of Gathutkaca who falling in love. Gathutkaca has a jolt caused inner conflict. His behavior presented in this dance full of inner conflict for loved his cousin or took his beloved woman whom have gotten marriage proposal submitted by other. Finally, Gathutkaca understood that he could overcome this  conflict through a assertiveness. The gesture when Gathutkaca Gandrung (falling in love) categorized into three parts: 1) maju beksan; 2) beksan; dan 3) mundur beksan. Gathutkaca Gandrung dance began with music of ada-ada greget, and then Gending Sampak with kendhang opening. The next was suwuk and followed by sendhon tlutur jugag. Beksan categorized into four parts. Parts I began with opening of  Ketawang Kinanthi Pawukir, followed by  ada-ada greget saut wantah. Parts II was musical instrument of Gending Lancaran Bendrong especially ompak. Parts III was Gending Ladrang Pucung Rubuh in rime of dados for merong and ngelik. Parts IV was kiprahan Gending Lancaran Bendrong and then suwuk. Mundur beksan was the last performance which Gending Sampak Laras Slendro pathet Manyura presented be its ending. Keywords :  Gandrung, beksan of dance, Gathutkaca. 
ESTETIKA SENI LUKIS KARYA KOEBOE SARAWAN Y Yulianto; Dharsono Sony Kartika
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 (11783.275 KB) | DOI: 10.33153/glr.v15i2.2223

Abstract

Tulisan ini merupakan bagian dari karya tesis Yulianto, 2017, dengan judul “Seni Lukis karya Koeboe Sarawan, Kritik Seni Holistik.” Keberadaan seni lukis karya Koeboe Sarawan dalam kancah seni rupa modern Indonesia, dipahami sebagai karya seni yang memiliki karakteristik tersendiri. Eksistensi dan konsistensi Koeboe dalam melahirkan karya-karya diyakini tidak lepas dari sebuah proses kreatif, telah melatar belakangi perumusan masalah tulisan ini: 1) Bagaimana proses penciptaan seni lukis Koeboe Sarawan?; 2) Bagaimana bentuk estetis seni lukis karya Koeboe Sarawan?. Penelitan ini merupakan sebuah penelitian kualitatif, dengan menggunakan pendekatan kreativitas. Metode dalam penelitian ini, yakni deskriptif analisis dan didukung analisis interpretatif. Temuan dalam penelitian ini adalah karya seni lukis Koeboe Sarawan merupakan bentuk aktualisasi diri seniman (Koeboe Sarawan) dalam memahami perjalanan dan arti kehidupan sejati. Karya-karya seni lukis karya Koeboe Sarawan telah menghadirkan nilai-nilai estetika; kesatuan, kompleksitas, dan intensitas.Kata kunci: konsep penciptaan, kreativitas, dan estetika. This paper is part of Yulianto’s thesis work, 2017, with the title “Seni Lukis Karya Koeboe Sarawan, Kritik Seni Holistik.” The existence of Koeboe Sarawan’s art of painting in the Indonesian modern art scene is understood as an artwork that has its own characteristics. Koeboe’s existence and consistency in giving birth to the works is believed to be inseparable from a creative process, has been the background of the formulation of this writing problem: 1) What is the process of Koeboe Sarawan’s painting art creation ?; 2) What is the aesthetic form of painting by Koeboe Sarawan? This research is a qualitative research, using a creative approach. The method in this study, which is descriptive analysis and supported by interpretive analysis. The findings in this study are that Koeboe Sarawan’s painting is a form of self-actualization of the artist (Koeboe Sarawan) in understanding the journey and meaning of true life. The works of painting by Koeboe Sarawan have presented aesthetic values; unity, complexity, and intensity.Keywords: creation, creativity, and aesthetic concepts.
KONFIGURASI KARAWITAN JAWATIMURAN Aris Setiawan
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 (451.571 KB) | DOI: 10.33153/glr.v11i1.1427

Abstract

Jawatimuran karawitan/ east Java musicians during its development become into a sub dominantwhen compared with Surakarta or Yogyakarta. Jawatimuran said often as a complement to thewriting of that two major genres of the musical. As a result, many ordinary people who think KarawitanJawatimuran is not somewhat different with style from Surakarta and Yogyakarta . This article triesto use descriptive analysis, ie, classifying data related to the uniqueness Karawitan Jawatimuranthen assembled , analyzed, presented in a coherent and deeply. Thus ,to bring back its configuration(appearance of ) musical Jawatimuran not merely re- describe, but as an attempt to make senseof today’s its appearance increasingly not find space discourse. The result can be seen thatJawatimuran musicians have different specifications, namely forms, techniques, terminologyand so forth.
PENERAPAN TEORI FUNGSI UNTUK MENGANALISA KEHIDUPAN MASYARAKAT Edy Wahyono
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 (613.414 KB) | DOI: 10.33153/glr.v4i2.1215

Abstract

Pendahuluan Pada suatu hari beberapa tahun yang lalu, saya didatangi oleh seorang mahasiswi dari jurusan tari yang diantar oleh dua orang temannya yang ingin menanyakan mengenai permasalahan dalam penulisan skripsi. Dirinya ingin menulis skripsi mengenai kehidupan tari dengan analisa dari teori fungsionlisme khususnya mengenai fungsi nyata ( manifest function )dan fungsi sembunyi ( latent function). Mereka bertiga menemui saya, karena disuruh oleh dosen pembimbingnya. Ada beberapa hal yang disampaikan kepada saya antara lain: 1. Mohon penjelasan mengenai teori tersebut 2. Buku-buku (referensi) apa yang dapat dibaca, dan 3. Apakah boleh meminjam buku-buku yang saya miliki. Semua permohonan tersebut saya penuhi sebatas kemampuan, sehingga mahasiswi tersebut nampak puas. Ada beberapa hal yang menarik dari kejadian tersebut, karena pada saat saya mengajukan pertanyaan kepada mereka tentang permasalahan yang dihadapi pads penulisan skripsi, ada beberapa jawaban yang sekiranya perlu mendapat perhatian dengan sungguh-sungguh. Ternyata dosen pembimbingnya belum memahami dengan baik mengenai teori tersebut dan tidak mengerti pula mengenai buku referensi yang berkaitan dengan teori tersebut. Demikian pula mahasiswi tidak mengerti, sebagaimana dosen pembimbingnya, karena selama menempuh kuliah belum pernah mendapat mata kuliah yang berkaitan dengan teori fungsi seperti tersebut di atas. Kesimpulan secara singkat dari ilustrasi tersebut adalah: saya menghargai dan merasa salut terhadap keberanian dosen pembimbing dan mahasiswi yang mau mencoba memahami dan menggunakan teori yang belum dimengerti dengan bertanya kepada orang yang dianggap mampu untuk mencapai kemajuan. Pada saat yang sama saya merasa prihatin, karena selama menempuh kuliah mahasiswa hanya mendapat teori yang relatif sedikit.Penerapan Arti Fungsi Sebelum membicarakan mengenai Teori Fungsi dari Robert K. Merton, ada baiknya untuk mengetahui terlebih dulu mengenai penerapan anti fungsi
KEBUDAYAAN LOKAL SEBAGAI SUMBER INSPIRASI (Tinjauan Antropologi Visual pada Pelukis di Kota Makassar) Karta Jayadi
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 (1448.32 KB) | DOI: 10.33153/glr.v12i2.1511

Abstract

The article talks about local culture in South Sulawesi as the inspiration source for the painters in Makassarin visual anthropology point of view. The local culture consists of material as well as non material cultureincluding Perahu Pinisi (Pinisi Boat), Baju Bodo,Aksara (Bodo Aksara Dress), Mythos and legend, and alsoPesona Alam (the beauty of nature). The culture is expressed in the work of representational as well as nonrepresentationalpainting. The visual anthropology analysis is used to help understanding the phenomena of“new visual” presented by the painters as an effort to present the new element and form of the imaged localculture. The form of representational work can be seen in the cultural themes such as Perahu Pinisi, BajuBodo, and Pesona Alam. The work also presents the complete and proportional visual elements so thatcultural objects can be photographically imagined even in different situation. For the reason, the closerelationship between the inspiring local culture and the inspired painting symbolically has an equal value,while non-representational work is imaginatively described by the painter. The visual values are illustratedbased on aesthetic fiction, experience, and the deep information from alphabet, mythos, and legend. In thispainting, the painter has different interpretation in visualize the information in case of form, color, andcomposition. Thus, the imagination and reality of culture cannot be separated from the owner’s community sothat it will always appear as the new identity and personality through the new visualization product.Keywords: culture, local, inspiration, anthropology, visual
PENERAPAN UNSUR-UNSUR ARSITEKTUR TRADISIONAL JAWA PADA INTERIOR PUBLIC SPACE DI SURAKARTA Joko Budiwiyanto
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 (4552.476 KB) | DOI: 10.33153/glr.v7i1.1263

Abstract

This article represents observation result towards traditional architecture elements of Java on public space interior in Surakarta. Observation is carried out to the public buildings as a hotel, museum, restaurant, office, etc. It can be found from the observation that there are some public buildings in Surakarta which adopted the traditional architecture elements of Java as room shaping element and aesthetic element in creating room interior nuance of Javanese style.Keyword : application, traditional, architecture, Java, interior
RNAMEN MENDALE KENCANE MANDULIKE PADA GHUMAH BAGHI BESEMAH: SEBUAH KAJIAN ESTETIKA Robert Budi Laksana
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 (797.41 KB) | DOI: 10.33153/glr.v13i2.1635

Abstract

Ornamen mendale kencane mandulike pada ghumah baghi Besemah di Dusun Pelang Kenidai merupakanartefak budaya yang masih dapat dinikmati sampai saat ini. Ghumah baghi dan ornamen mendale kencanemandulike dengan bentuk yang khas, menjadi sebuah penanda eksistensi budaya Besemah. Permasalahanpenelitian ini terletak pada bentuk dan pemaknaan ornamen mendale kencane mandulike pada ghumah baghiBesemah di Dusun Pelang Kenidai. Metode penelitian menggunakan metode penelitian kualitatif. Prosesanalisis data menggunakan interaksi analisis data melalui beberapa tahapan, yaitu pengumpulan data, reduksi,sajian data, serta kesimpulan. Berdasarkan hasil penelitian, diperoleh simpulan keberadaan ghumah baghiBesemah di Dusun Pelang Kenidai merupakan suatu bagian dari konsep kosmologi pemukiman masyarakatBesemah. Tokoh puyang Serunting Sakti sebagai tokoh pendiri pemukiman di Dusun Pelang Kenidai telahmemberikan tata aturan/petatah-petitih yang mengatur aktivitas sosial dan kekerabatan pada masyarakat.Keberadaan ornamen mendale kencane mandulike pada ghumah baghi merupakan bentuk penggambarandari pola perilaku masyarakat Besemah yang hidup selaras dengan alam dan sesama manusia, yangdianalogikan seperti tumbuh-tumbuhan. Bentuk dan pemaknaan ornamen mendale kencane mandulikemenggambarkan sebuah ajaran “Mandala Konsep” yang berisi tentang hubungan mikrokosmos danmakrokosmos yang mana keduanya merupakan kesatuan yang utuh. Keberadaan bentuk mandala merupakanpenyeimbang, pada dasarnya manusia untuk hidup di dunia ini membutuhkan keseimbangan sehingga hidupnyamenjadi harmoni, baik seimbang dengan yang di atas maupun seimbang dengan yang ada di bawah.Kata kunci: ornamen mendale kencane mandulike, ghumah baghi Besemah.
PERKEMBANGAN MACAPAT DAN KONTRIBUSINYA DALAM KARAWITAN JAWA Sugimin Sugimin
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 (8807.261 KB) | DOI: 10.33153/glr.v8i2.1339

Abstract

Macapat is a Javanese poem having the following rhymes: guru wilangan (numbers of syllables in every line), guru lagu (vocal of the syllable at the last line), and guru gatra (numbers of lines in  every kind of macapat). Each macapat has a different kind of guru wilangan, guru lagu and guru gatra. These three elements differ one kind of macapat from the others. Serat and Babad in  Javanese literature are written in the form of macapat. These two works of literature are recited in a singing voice. Tembang macapat which firstly had the function of reading has developed and  taken the form of a various musical works such as ketawang, ladrang, palaran, bawa gendhing and gendhing laras madya. The development of the musical work on tembang macapat into a  variety of musical works has something to do with the artist's creativity. In addition to aesthetic demands, the development is caused by the changes of function of musical performance. This  shows that when the society's demand for the use of a work of art changes, it is time for the artist to re-interpret the existing works of art, including macapat.Key words: Javanese poems, reading, creativity, changes, function, rhymes

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