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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 414 Documents
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PROPAGANDA IKLAN LAYANAN MASYARAKAT (ILM) PADA MASA KEMERDEKAAN HINGGA MASA REFORMASI Pujiyanto Pujiyanto
Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v8i1.1309

Abstract

Public service advertisement (ILM) is the one delivering information, persuasion or educating the public through advertising media in order to increase the people’s knowledge, attitude awareness and behavior change to the problem delivered, as well as to get the good image in the people mind. ILM occurs based on the state/people condition suffering from a social problem, so that the messages delivered is mostly social in nature. Viewed from Indonesian struggling history dialectics: 1) In Independence colonialism age with cooperative and revolutionary country because of ideology difference, ILM was the struggle political propaganda for uniting the nation and country. 2)In Old Order age with nationalism politics because of the confuse occurring among the rulers inclining to support the dominating; thus  ILM is nationalist political propaganda in nature function to eradicating the separatism movement. 3) In New Order age with paternalistic, that is, to look for people’s sympathizing to the governmental program, ILM is development political propaganda in nature functioning to support the successful governmental program. 4) In reformation age with pluralist liberalism, with nationality freedom, ILM is the critique for development functioning as the supervisor or monitor for the country’s condition. ILM always develops along with the development of people civilization, technology and problem occurring within the society. Key words : Independence age, Old Order, New Order, Reformation, Media, Public Service Advertisement, Propaganda.
ANALISIS KOREOGRAFI SRIKANDI BISMA KARYA DARYONO Pujiyani -
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 (1273.804 KB) | DOI: 10.33153/glr.v15i1.2067

Abstract

Penelitian dengan judul “Analisis Koreografi Srikandi Bisma Karya Daryono” ini mengungkap tentang tari Srikandi Bisma. Persoalan yang menjadi pokok bahasan adalah koreografinya. Pemikiran ini disinergikan dengan teori Sumandiyo Hadi, bahwa koreografi merupakan proses perencanaan, penyeleksian sampai kepada pembentukan gerak tari dengan maksud dan tujuan tertentu. Pengumpulan data dilakukan dengan mengikuti prosedur penelitian kualitatif. Hasil penelitian ini menunjukan bahwa koreografi Srikandi Bisma dibentuk oleh ketubuhan penari, tema, dan dinamika. Diawali dengan tubuh penari, koreografer menuangkan bentuk sesuai dengan tema sehingga terwujud motif gerak yang perwujudannya terbentuk oleh dinamika. Bentuk gerak yang dihasilkan oleh ketiga aspek tersebut memiliki warna dan corak sendiri. Adapun corak motif gerak tari Srikandi Bisma cenderung tegas dan dinamis dengan karakter antara halus dan gagah (magak). Hal itu ditandai dengan jangkauan gerak yang cenderung mengarah ke sedang dan besar. Melalui tari Srikandi Bisma, Daryono menerapkan gaya madya taya dengan menitikberatkan pada gerak tangan dan kaki sebagai pokok pengekspresiannya.Kata kunci: Analisis, Koreografi, Srikandi Bisma.The research entitled “Analisis Koreografi Srikandi Bisma Karya Daryono” reveals the dance Srikandi Bisma. Problem of this research is the choreography. The ideais adjusted to the theory of Sumandiyo Hadi telling that choreography includes the process of planning, selection up to the composing dance movements with certain purpose and meaning. Data collecting is executed through the procedure of qualitative research. The research finding tells that choreography of Srikandi Bisma is formed by the dancer’s embodying, theme, and dynamic. Started by the dancer’s embodying, the choreographer conveys the form in accordance to the theme so that the movement motives are visualized through the dynamics. The form of movements resulted by the threeaspects has special motives and colors.The motive and color of Srikandhi Bisma tend to be firmed and dynamic betweenfine and strong (magak) characters. It can be seen from the middle and large movement range. In the dance Srikandi Bisma, Daryono applies madya taya style by stressing on the arms and footmovements as the main expression.Keywords: Analysis, choreography, Srikandi Bisma
NASIB ANAK INDONESIA DI TENGAH KRISIS MORAL BANGSA Sigit Astono
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 (1750.707 KB) | DOI: 10.33153/glr.v10i1.1377

Abstract

This paper explores the deterioration of mental, moral and spiritual Indonesia swept this nation recently (2012). Like a disease, then the condition of Indonesia has become more acute and immediate treatment is needed and the right drug to cure the disease. Presumably this is because the orientation of people the wrong way in realizing the ideals of a just and prosperous as strong lately. The attitude of materialism, hedonism and spiritual arrogance crashing in almost all walks of life. Start of rural people to the power elite, all compete without feeling embarrassed, ashamed and willing degrading morals to get what they want. The process is bizarre and ridiculous thing to do, therefore, is not fighting over anything taboo thing to do. So greedy and fierce, until people forget that their ancestors have inherited a rich treasure inexhaustible to enjoy the arts and culture. Now is the time for awareness to be made by all components, ranging from the ordinary to the level of policy makers. The main source of this writing as a tool of analysis is the study of literature. In addition, supporting data was obtained through the print and electronic media sources and experience as participant observer. Key words : art education, moral, multiple intelligence theory, and the Book Wulangreh
PERMAINAN RICIKAN KENONG DALAM KARAWITAN JAWA GAYA SURAKARTA Djoko Purwanto
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 (382.657 KB) | DOI: 10.33153/glr.v11i2.1449

Abstract

Kenong is one of structural ricikan, along with other ricikans such as kethuk, kempul, and gong,fill–in reciprocally guiding and creating the tradition of gending karawitan forms Surakartan style.This study will not elaborate the making of kenong with good quality, instead, it will elaborate theperforming techniques in Javanese karawitan. The studies that been done in libraries in IndonesiaArt Institute of Surakarta (Central Library, Karawitan Department Library, Post Graduate Library)and personal collections, also audio record collections that been sold commercially or been keptas personal properties had elaborated several ricikan kenong’s performing techniques. The resultof the study, according to Djojomlojo, kenong performing techniques using terms such as tunggalrasa, kempyung, salah gumun, tuturan, plesetan, goyang, kerepan, ngganter, and nitir. Theperforming or knocking techniques applied in Javanese karawitan, but it is not performed in onesingle gending. Instead, they are performed in some separates gending. Besides, there are twokenong performing techniques that are not categorized on the previous. They are (1) performingtechnique in gending Loro–loro Topeng; (2) kenong performing technique in gending palaran.Through understanding and learning several kenong performing techniques, we will find the morekomprehensive karawitan aesthetic in Javanese tradition karawitan surakarta style.
Berbahasa Inggris Melalui Teater Wayang Eddy Pursubaryanto
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 (2438.499 KB) | DOI: 10.33153/glr.v5i1.1235

Abstract

This article presents an example of how a script of Wayang Kulit in English version  is used to provide more English exposure for English learners. It offers a strategy for  English instructors and anyone who is learning English.
KEINDAHAN PENGALAMAN PADANG GURUN DRUPADI Rahno Triyogo
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 (5578.722 KB) | DOI: 10.33153/glr.v7i2.1287

Abstract

This article aims at describing a leading figure’s suffering responded as blessing. The result of the analysis shows that the failure in overcoming various problems of life is determined by a person’s attitude toward the problems themselves. The various problems of life are called the desert of life. Submission to God’s will brings in blessing. People with divine blessing show kindness in accordance with God’s disposition. Key words :  desert, submission, blessing
ESENSI DAN NILAI SENI POSTER PAGELARAN WAYANG KULIT KARYA GESTISUTIS Ryan Sheehan Nababan; G., Guntur; Aton Rustandi Mulyana; 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 (931.365 KB) | DOI: 10.33153/glr.v14i1.1745

Abstract

Poster tidak hanya sebagai media publikasi acara maupun media kampanye. Poster dapat menjadi mediaekspresi estetis yang mencitrakan pengalaman dan ideologi seniman. Poster Pagelaran Wayang Kulit merupakansalah satu bentuk poster yang diciptakan atas dasar persepsi, pengalaman estetis, serta ideologi dari kelompokGestiSutis. Masalah yang dikaji dalam penelitian ini adalah bagaimana latar belakang pengalaman, ragambentuk visual poster, serta esensi dan nilai dari pengalaman GestiSutis dalam karya-karya posternya. Penelitianini menggunakan pendekatan fenomenologi dengan menggunakan analisis fenomenologi persepsi dari Merleau-­Ponty. Hasil menunjukkan bahwa: pertama, dalam pembentukan persepsi dan pengalamannya terhadap duniaseni tradisi pertunjukan wayang kulit dan dunia seni poster, GestiSutis dipengaruhi oleh faktor historisitas dantemporalitas. Kedua, ragam bentuk Poster Pagelaran Wayang Kulit disusun oleh GestiSutis atas dasar prosespersepsinya yang kreatif, yaitu imajinasi, ekspresi, gaya visual, dan bahasa visual. Ketiga, GestiSutis memilikipengalaman estetis terhadap dunia pewayangan dan dunia poster. Dalam kontruksi nilai, GestiSutis memaknaiPoster Pagelaran Wayang Kulit sebagai kualitas ekspresi estetis, kualitas dokumentasi dan informasi budaya,kualitas edukasi, dan kualitas artist merchandise.Kata kunci: seni poster, wayang kulit, fenomenologi persepsi, Merleau-Ponty.
PENGEMBANGAN SOFT SKILL DALAM PENDIDIKAN SEBAGAI BEKAL KEWIRAUSAHAAN Setya Widyawati
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 (8784.194 KB) | DOI: 10.33153/glr.v9i1.1359

Abstract

Directorate of Academic and Directorate of Institutional, Directorate-General of Higher Education  has launched Soft Skills Developing Program awarded on a competitive basis to the circle of  higher education. In this period of intense competition, the development of hard skills should be in  line with that of soft skills in higher education as an institution that turns out steadfast and excellent  human resources. To instill soft skills needs some exemplars, ranging from university leaders,  lecturers, and supporting staffs as the front liners who have direct contacts with students. If  students are accustomed to be treated well and respected, sooner or later they will be good servants  in society. This is meant by a simple transmission. The alternative transmissions of soft skills,  among others, are through 1) teaching method called Student Centre Learning (SCL) implemented  in teaching process by three ways, namely, Lecture role model, Message of the week, and Hidden  curriculum; 2) Student Extracurricular Activity Units covering spirituality, art, sports, and so on.  As the domain of emotional quotient, soft skills have an important role in entrepreneurial spirit.  Entrepreneurial spirit has nothing to do with academic intelligence, with the skill to get the job done  perfectly, but entrepreneurial spirit is a dynamic spirit to turn a challenge into an opportunity.Key words: soft skills, education, entrepreneurship.
TARI TOPENG IRENG BANDUNGREJO, NGABLAK, MAGELANG Budi Setyastuti
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 (5036.603 KB) | DOI: 10.33153/glr.v15i2.2224

Abstract

Penelitian bertujuan menggali bentuk dan fungsi sosial seni dalam adat budaya Bandungrejo. Penelitian menggunakan pendekatan kualitatif yang bersifat deskriptif. Metode pengumpulan data yang digunakan meliputi observasi, wawancara, dokumentasi dan studi pustaka. Teknik analisis data menggunakan deskriptif interpretatif. Penarikan simpulan melalui verifikasi, yang aktifitas terdiri dari reduksi data, sajian data dan laporan hasil penelitian. Hasil yang dicapai Topeng Ireng memiliki makna penting bagi kehidupan masyarakat Bandungrejo. Banyak fungsi yang berperan aktif kesenian rakyat Topeng Ireng bagi masyarakat di antaranya fungsi estetis, hiburan, perlambang, pengesahan lembaga sosial dan ritus kehidupan, pengintegrasian masyarakat, ritual, dan pendidikan. Faktor-faktor pendukung dan penghambat baik secara intern dan ekstern meliputi kondisi dan situasi masyarakat setempat dan kehadiran masyarakat desa sekitar.Kata kunci: topeng ireng, upacara adat, fungsi, faktor pendukung dan penghambat. The research aims to explore the form and function of social arts in Bandungrejo cultural customs. The Research uses qualitative approaches that are descriptive. The method of collecting data used includes observations, interviews, documentation and literature review. The data analysis uses descriptive and interpretive. Conclusion withdrawal through verification, the activity consists of data reduction, data presentation and research report results. The results achieved by Topeng Ireng have an important meaning for the life of Bandungrejo. Many functions that play an active role in the folk art of Topeng Ireng are among others aesthetic functions, entertainment, symbolism, ratification of social institutions and rites of life, integration of society, rituals, and education. Supporting and inhibiting factors both internally and externally include the conditions and situation of the local community and the presence of the surrounding village community.Keywords: ireng mask, traditional ceremony, function, supporting and inhibiting factors.
MAKNA ETIS DAN ESTETIS TARI ADANINGGAR KELASWARA Darmasti Darmasti
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 (240.661 KB) | DOI: 10.33153/glr.v11i1.1429

Abstract

Adaninggar Kelaswara dance performance is a creativity that comes from Hikayat Amir Hamzahepisodes Putri China (Princess of China). The fame of Wong Agung Menak affects Adaninggar toserve him to be his queen. Adaninggar does not know that a man may only have four wives incustom of Islam. Wong Agung Menak have already had the fourth wife who was also a soldiernamely Kelaswara. Burned by the feeling of owning Wong Agung, there is a duel betweenAdaninggar and Kelaswara Here, Adaninggar can be killed by Kelaswara caused byviolating Ethical value and Islam that is force something. Big jealousy and boastful resulted thedeath of Adaninggar. The dance of Adaninggar Kelaswara contains high aesthetic value that is acreativity of duel between two beautiful women who ignited blind -love emotion. The Aesthetic ofAdaninggar Kelaswara dance can be observed through ‘maju beksan, beksan and mundur beksan’

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