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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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WAYANG GOLEK MENAK SENTOLO Trisno Santoso
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 (1314.689 KB) | DOI: 10.33153/glr.v14i2.2082

Abstract

Asal usul dan perkembangan Wayang Golek Menak Sentolo tidak tercatat secara akurat seperti sejarah. Namun sebagian masyarakat di Kulon Progo khusunya di Sentolo selalu ingat dan merasakan kehadiran wayang golek pada masanya. Wayang Golek Menak Sentolo tampil sebagai seni budaya tradisional danmencapai puncak budaya daerah. Tahun 1960 sampai dengan tahun 1975 mengalami kejayaan, kini terpinggirkan hingga menjadi pertunjukan wayang langka.Kata kunci: Wayang Golek Menak, perkembangan.The origins and the development of Wayang Golek Menak Sentolo is not noted accurately in history. However, some people in Kulon Progo especially Sentolo always remember and can feel the existence of wayang golekin its period. Wayang Golek Menak Sentolo exists as an art of traditional culture and reaches the peak of local culture. It reaches the golden age in 1960 until 1975 and now, it is neglected that it becomes a rare wayangperformance.Keywords: Wayang Golek Menak, its development.
STRUKTUR DRAMATIK LAKON SEMAR MBANGUN GEDHONG KENCANA SAJIAN KI MUJAKA JAKA RAHARJO Titin Masturoh
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 (4551.189 KB) | DOI: 10.33153/glr.v9i2.1405

Abstract

This discussion aims to find answers to Question: what is the background for the preparation of the play Semar Mbangun Gedhong Kencana and how dramatic structure and characteristics pakelirannya. The problem with this approach will be described dramatic structure that includes text and text structure tekstrur. Based on the obtained results that the approach Mujaka Jakaraharja background in preparing the play Semar Mbangun Gedhong Kencana due order and to maintain the quality he has the motivation, either intrinsic or extrinsic. Dramatic structure of the play Semar Mbangun Gedhong Kencana there are two aspects, namely the aspect of text structure and texture aspects. Aspects of text structure includes plot (plot), character, background (setting), theme and message. While aspects of the textures include a description and analysis of each scene shows the benchmark opinion AL Becker.Key words : structure, dramatic, texture, puppet play
PROSES PENCIPTAAN FILM DOKUMENTER TOPENG PANJI INDRAMAYU Rina Yanti Harahap
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 (3785.201 KB) | DOI: 10.33153/glr.v12i1.1489

Abstract

Indramayu Panji Mask is a mask dance greatly developed in West Java, especially Indramayu. Historically,people in Indramayu, for a long time, have used Indramayu Panji Mask as religious dance, entertainmentdance, and dance for wedding ceremony. The contribution of Indramayu Panji Mask in Indramayu is not onlyas an art aspect but also as social aspect, religious aspect, and the culture itself. Film “Topeng PanjiIndramayu is an important media to contribute Indramayu Panji Mask for people in Indramayu so that panjimask becomes the important part in the development of Indramayu culture. The documentary film is madethrough narrative approach that is a documentary form that uses speech act and the sources or the mainsubject to convey the content and message in the film to the audience.Keywords: Indramayu Panji Mask, documenter, culture
INTERPRETASI KARAKTER KUNTHI OLEH TIGA PENARI PADA PERTUNJUKAN WAYANG ORANG SRIWEDARI Retno Purwanti; Sri Rochana Widyastutieningrum
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 (256.107 KB) | DOI: 10.33153/glr.v13i1.1543

Abstract

This study focuses on the characterization of figure Kunthi in the performance of traditional stage showWayang Orang Sriwedari. The research is based on the assumption that the character of Kunthi representsthe profile of a wise woman who deserves to be emulated by women today. The study describes the interpretationof the character of Kunthi by three dancers in Wayang Orang performances at Sriwedari. The implementationof the role by one performer and another shows a difference. The difference in the implementation of thesethree dancers formulates the problems to be addressed in the study including how the interpretation ofWayang Orang dancers at Sriwedari expresses the character of Kunthi in the story Kunthi Purwa. Theimplementation of the character of Kunthi by Darsi Pudyorini, Nanik Setyorini, and Sri Lestari (WayangOrang performers at Sriwedari) shows differences in the way they express the character of Kunthi.Keywords: character, Kunthi, Wayang Orang Sriwedari
WAYANG MBELING KREATIVITAS DALANG SEBAGAI KOMUNIKATOR SOSIAL Sri Indratmi Yudiarti
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 (4864.847 KB) | DOI: 10.33153/glr.v8i1.1317

Abstract

Social phenomena and affairs happened in the society evidently have an influence on work of art creation. Wayang Mbeling (Wayang against an established convention) is one of real examples. As a work of art, this work of art is thought to violate “pakem” (the rule) that has been the pattern for years. The violation is also committed when the puppeteer adapts the present social affair to the sphere of wayang life. The names of wayang figures and their characteristics are the same as those in “pakem”, taken from Mahabarata and Ramayana epics. The intelligent puppeteer uses his creative imagination and makes use of his inspiration in writing it. The violation of “pakem” is interesting enough to study as the object of this research. The texts of wayang mbeling stories  are studied using communication sociology approach in the form of mass communication endorsed with theories of sociology, Philosophy of art, and Cultural History. The result of this study shows that wayang mbeling can be utilized as  media for introducing wayang and finding an outlet for social criticism. On the other hand, wayang mbeling can be made use by the puppeteer as a means of actualizing himself as an artist. The puppetter can show that he is not only good at speaking but at writing as well. The puppeteer still has a chance of giving an entertainment to the reader because he writes the story in an informal style. The puppeteer can act as a social communicator because through his work of art he is able to convey his mission, express cultural values, and make constructive social criticism.  Key words : puppet, wayang mbeling, creativity, social communicator.
HUBUNGAN EKSPRESI PENUANGAN TARI BEDHAYA DENGAN KOREOGRAFI BEDHAYA SARPA RODRA SUSUNAN SARYUNI PADMININGSIH Ryndhu Puspita Lokanantasari; S., Slamet
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 (905.776 KB) | DOI: 10.33153/glr.v15i1.2072

Abstract

Tari Bedhaya Sarpa Rodra merupakan karya tari model bedhaya yang diciptakan di luar istana. Tari ini menggambarkan keserakahan manusia yang diwujudkan pada tokoh Sarpakenaka. Sajian koreografinya menghadirkan keunikan terutama pada gerak dan musik tarinya. Untuk itu, perlu dianalisis bentuk tari bedhayadan proses pembentukan koreografinya dengan pisau analisis konsep bentuk Suzanne K. Langer, konsep Hastasawanda, dan teori Effortshape, serta aspek koreografi kelompok Y. Sumandiyo Hadi.Kata kunci: bedhaya, Bedhaya Sarpa Rodra.The dance Bedhaya Sarpa Rodra is a dance work of bedhaya model created outside the palace. The dance shows human greedmanifested in the figureSarpakenaka. The choreography presents uniqueness especiallyon the movement and the dance music. For the reason, the form of dance Bedhaya and the composing process of choreography need to be analyzed by the concept of form by Suzanne K. Langer, concept of Hastasawanda, and Effortshape theory, as well as aspect of group choreography by Y. Sumandiyo Hadi.Keywords: Bedhaya, Bedhaya Sarpa Rodra.
KARYA MUSIK BAKISA DI LAPIAK NAN SALAI Alfalah Alfalah
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 (680.696 KB) | DOI: 10.33153/glr.v9i2.1387

Abstract

The work, entitled “Bakisa in Lapiak Nan Salai” is presented in order to complete the study in Post- Graduate Program on Art Study and Composition at ISI Padangpanjang. This work was performed on January 1, 2011 in the Auditorium building Bustanoel Arifin Adam ISI Padangpanjang. The idea of this work is the description of the cultural life of the community charge Singgalang Tanah Datar, West Sumatra Province are always equal and balanced between earthly life and the hereafter. The balance can be seen in economic activity and religious traditions that are still patterned. In general, people Singgalang work in the fields or in the fields and mangilang taboo. From these observations, the phenomenon raised performer as basic starting point of departure or the creation of composition “in Lapiak Nan Bakisa Salai”. were poured through both sound sources in the form of non-traditional instruments and traditions. Source of creation of this work are artt works and some of the paper, namely: Work of Elizar Koto “ Dialog Without Theme” in 2000 (the writer has role as one of the musicians), “Encari Alternative 1”, 1994 and “Water”, 1996 . The work of Pande Made Sukerta “If Music In ....”, in 2008, the work of M. Halim “Kraying Samail”, in 2007, by I Wayan Sadra titled “Drone”, in 2008, and works Asril Mukhtar titled “Genta”, in 2010. In addition there are several posts as a source of study, namely: description of work tasks Akhitr M. Halim titled “Fanatic Bagurau Darek Minang people,” Mukhtar Asril entitled “Saluang and sang” , Suka Harjana’s writings titled “The writing of Contemporary Music, past and now, and the writing of Y. Sumandio Hadiyo Hadi ‘The Art in Religion Ritual’. The preparation of this work done the last ten stage works approved by the supervisor to be submitted as a final exam. The work is divided into 3 (three) parts, each of which has a different atmosphere, namely: the first part, has the atmosphere of peace, the second part of the atmosphere has faltered, and the third had a persistent atmosphere. Key words : “Bakisa di Lapiak Nan Salai”, Singgalang.
TELEVISI MEDIA APRESIASI SENI MASYARAKAT Mardjono Mardjono
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 (247.315 KB) | DOI: 10.33153/glr.v11i2.1465

Abstract

People’s appreciation in performing arts especially the traditional arts is still very low. Generally,people were more accustomed to popular arts which easily can be enjoyed daily on television,radio, and other mass medias. The youngsters are not appreciative of traditional performing artsthat are considering as ancient, not interesting, boring, etc. the technologies of mass medias suchas television have superiority as the media in communicating every art events to the societyhence the society can easily appreciate thus the sense of belonging will grow. In this context,television has strategic role as communication media in developing the society’s appreciation inarts. The symptom shows mass media’s, television’s particularly, role progress as an importantinstitution in society.
Wali Dalam Pandangan Jawa Qomari Qomari
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 (5466.708 KB) | DOI: 10.33153/glr.v5i1.1245

Abstract

The background of this research was the fact that wali (the saint of Islam)  was a problem that had long existed in the history of Islam. The problem often  brought diffmnt opinions and disputes in the Moslems circle, and even ended in  conflict between Moslems. The cause was that wali was not onlY as the type and  substance of a good knowledge of Tr1ligion but it could also lead to superstition which  might mislead the Moslims.The modern lift provided many facilities in one hand, and made some people  fmstrated on the other hand so that some people tended to find an alternative way 10  give their peaceful life back.The problems discussed wm :1.     How the opinion of Javanese satiety on wali was.2.     Why the socie(y had that kind of opinion.3.How the opinion was seen from Islam point of view (tasawuf/ mysticism)  The answers to the problems uer« expected to be able to broaden our horizon andto Tr1vise the false opinion on wali.       This research takes the form of literary study and the tasawuf (IJ/am  mysticism) and historical approach was used. The data was collected by means of  documentation and interviews, and an analYtic descriptive analYsis was used.The Tr1sults of the researdi showed that:1.      The socie(y had a positive opinion on wali due to the wisdom of wali when they  spread Islam in Java.2.      The social condition and background in the past had a gTr1at influence on the  opinion of the socie(y on wali.3.      The opinion of the socie(y was parallel to and on the basis of wali.4.      The development of the opinion of Javanese socie(y on the problem showed tbat  the social background and way of thinking had a great influence on the social  way of thinking in the past.Keyword: Wali, Tasawuf, society
PROSES PENCIPTAAN MUSIK SUARA SINDHEN: INTERPRETASI GENDHING GINONJING KARYA NUR HANDAYANI Nur Handayani
Gelar : Jurnal Seni Budaya Vol 16, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (338.102 KB) | DOI: 10.33153/glr.v16i1.2344

Abstract

ABSTRAK Karya “Suara Sindhen: Interpretasi Gendhing Ginonjing”, dilatarbelakangi oleh hasil olah pikir sekaligus interpretasi atas Gendhing Ginonjing. Bermula saat pengkarya membaca surat Kartini yang berkisah tentang Gendhing Ginonjing. Kegelisahan Kartini sepurnanya mendengarkan Gendhing Ginonjing, dituangkan lewat surat tersebut dengan sangat dramatis. Esensi surat tersebut, memberikan stimulan kepada pengkarya untuk membuat karya berdasarkan Gendhing Ginonjing. Jika Kartini dapat menuangkan kembali Gendhing Ginonjing secara sastrawi melalui suratnya, pengkarya sebagai pesindhen juga ingin mengungkapkan ulang Gendhing Ginonjing melalui olah pikir musikal dan diwujudkan dengan karya seni orkestrasi sindhen. Dari hasil pengamatan dan analisis, Gendhing Ginonjing dapat dipilah menjadi tiga konsep musikal. Pertama adalah andegan sindhenan Gendhing Ginonjing yang dikembangkan melibatkan wangsalan, abon-abon, parikan, senggakan, serta sekar bebas sebagai unsur teks. Dari unsur lagu, menyajikan perbenturan harmoni adumanis, salahnggumun, kempyung, pendawan, serta gembyang sehingga menciptakan harmoni unik atau nada yang membuat bunyi musik menjadi khas. Kedua adalah komposisi yang berakar dari selingan Gendhing Ginonjing berjudul Lelagon Lelo Ledung, yang digarap dan disajikan dengan model uro-uro atau akapela, dikemas dengan paradigma sindhenan gaya Surakarta, dengan menonjolkan dinamika power suara pesindhen serta memanfaatkan aspek keruangan dengan teknik akustika bunyi surround. Ketiga adalah komposisi yang berakar dari surat Kartini tentang Gendhing Ginonjing. Karya ini merepresentasikan perasaan Kartini yang tertuang dalam surat. Bagian ini menggarap elemen vokal melalui perpaduan berbagai gaya sindhenan meliputi: Jawa Barat, Banyumas, Jawa Tengah, serta Banyuwangi, yang kemudian diformulasikan kembali menjadi konsep musik garapan baru. Penyusunan karya ini menggunakan beberapa metode sebagai langkah penciptaannya, meliputi: menentukan bahan, mencari bahan, mengolah bahan, mengemas bahan, serta mempergelarkannya. Rangkaian tersebut adalah proses dari lahirnya karya “Suara Sindhen: Interpretasi Gendhing Ginonjing”. Kata kunci: Suara Sindhen, Gendhing Ginonjing, Komposisi Musik.  ABSTRACT The work of “ Suara Sindhen: Interpretasi Gendhing Ginonjing “ is based on the analysis and interpretation of Gendhing Ginonjing. It started when the creator read Kartini’s letter about Gendhing Ginonjing. Kartini’s anxiety was as easy as listening to Gendhing Ginonjing, written in the letter dramatically. The essence of the letter gives stimulants to the creator to create works based on Gendhing Ginonjing. If Kartini can rewrite Gendhing Ginonjing literally through his letter, a sindhen also wants to reveal Gendhing Ginonjing through musical thought and embodied through the sindhen’s orchestral artwork. From the observation and analysis, Gendhing Ginonjing can be divided into three musical concepts. The first is adegan of Gendhing Ginonjing which is developed involving wangsalan, abon-abon, parikan, senggakan, as well as sekar bebas as the text elements. The elements of song presents a mix of harmoni adumanis, salahnggumun, kempyung, pendawan, serta gembyang and thereby creating a unique harmony or tone that makes a special music sounds. Sec-ondly, the composition is rooted from Gendhing Ginonjing interval entitled Lelagon Lelo Ledung, which is treated and presented with uro-uro or akapela model, packed in Surakarta style paradigm, focusing on the dynamic power of pesindhen voice and utilizing the spatial aspect with the surround sound acoustic tech-niques. The third is a composition based on the Kartini letter about Gendhing Ginonjing. This work represents Kartini’s feeling written in the letter. This section deals with the vowel elements through a combination of various sindhenan styles including: West Java, Banyumas, Central Java, and Banyuwangi, which are then formulated into the concept of new music. The composition of this work uses several methods in its creation, including: determining materials, finding materials, processing materials, packaging materials, and then presenting them. The series tells about the process of the work of “Sindhen Voice: Gendhing Ginonjing Interpretation”. Keywords: Sindhen Voice, Gendhing Ginonjing, Music Composition

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