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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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Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas Mangunsong, Hasprita Restiamangastuti Boru; Djatiprambudi, Djuli
Gelar: Jurnal Seni Budaya Vol. 19 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3410

Abstract

The interaction of Nusantara with various  nations that has occurred since long ago led to the acculturation of local and immigrant cultures and produced a new culture. One of them is Wayang Potehi which comes from China and develops in Java. The purpose of this study is to find and describe the facial proportions of the female character of Wayang Potehi in Gudo, Jombang. The method used is a quantitative research method by measuring the facial proportions of several female characters of Wayang Potehi in Gudo with the golden ratio theory and calculating the average. In addition, this research also applies interviews with the chairman, Toni, and the puppeteer of Hok Ho An (Wayang Potehi Gudo group), Sonny, as well as direct observation. The golden ratio theory is not used to assess the proportion of Wayang Potehi but as a tool to find the average size of the proportion. The result of this study is the acculturation of Chinese and Javanese culture in visuals, language, stories, characters and characteristics as well as the artists behind the Potehi Wayang. The majority of Wayang Potehi are recognized by the symbols on their clothes and accessories, especially for female characters. Some of the female characters of Wayang Potehi created by the sculptor and Toni's team are quite different from the female characters of Wayang Potehi from China. This shows that the background of the artist (Javanese) influences the work of Wayang Potehi production.
Pengaruh Bonang Sekaten pada Bonang Barung: Kajian Garap Karawitan Teguh, Teguh; Widiandari, Widiandari
Gelar: Jurnal Seni Budaya Vol. 19 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3414

Abstract

Bonang barung is one of the ricikan found in the gamelan sekaten and gamelan ageng. It functions as ricikan garap, it means that bonang barung must work on balungan gending. The techniques or motifs of the wasps include: mipil, gembyang, imbal, and klenangan. Of the several wasps, many of the mipil wasps are adopted from the bonang sekaten wasps. This study aims to determine the relationship between wasp motifs and balungan gending. The method used is descriptive analytical. Data was collected through interviews with several interviewees. In addition to interviews, the literature study was also carried out based on references about musical knowledge and several writings related to the material. The final result of this study shows that there are two things happen because of the effect of bonang sekaten wasp on the bonang barung wasp, namely adoption and adaptation.
Permasalahan Pancer dalam Karawitan Jawa Gaya Surakarta Purwanto, Djoko
Gelar: Jurnal Seni Budaya Vol. 19 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3472

Abstract

This article discusses pancer in the Javanese traditional Javanese music presentation of the Surakarta style. The word pancer is also used in several Javanese philosophies of life. This paper tries to unravel the correlation of the concept of pancer in the life of the Javanese society with the Javanese traditional music of Surakarta style. In Javanese life, the concept of pancawara and saptawara are well known. Meanwhile, the Javanese karawitan of the Surakarta style uses the concept of five tones for sléndro and five tones for pélog although physically, in the pélog barrel it involves seven tones. The methods used in writing this article include literature study, musicology (karawitan) studies, social approaches, interviews, and observations as well as collecting several collections of recordings for analysis. In this case, the kempyung theory and the concept of Martopangrawit's tone strength as well as the pathet concept (biang pathet in the laras sléndro) by Sri Hastanto are used as analytical tools. The results of the analysis found that not all notes in karawitan can be used as pancer. Pancer in Javanese philosophy represents the life link of the Javanese people, while pancer in karawitan shows the character and the sense of gending.
Analisis Kosmologi Pola Tiga dalam Tradisi Nyeupah pada Masyarakat Sunda Sekar, Ahda Yunia
Gelar: Jurnal Seni Budaya Vol. 19 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3509

Abstract

Nyeupah is a term in Sundanese society which means chewing betel leaves. Nyeupah itself has other terms such as nyirih for the Java area and Nginang for the Sumatra area. Consuming betel leaf has been done by our ancestors since the middle of 15th century, where the Chinese, Indians, Persians and Europeans had made transactions for herbs and spices in Nusantara. The Nyeupah tradition in Sundanese society has long existed and it is proved by the existence of Jangjawokan regarding Nyeupah. Jangjawokan is a Sundanese poem which can be interpreted as containing archaic or ajimantra. This article has been written to analyze the Nyeupah tradition in Sundanese society with a three-pattern cosmological approach to be able to give deeper meaning dealing with this tradition.
Sekartaji Mask Ballet in Surakarta Darmasti, Darmasti; Prihantoro, Eko Wahyu; Suharji, Suharji; Setyastuti, Budi
Gelar: Jurnal Seni Budaya Vol. 19 No. 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i2.3514

Abstract

ABSTRAKSendratari  Topeng Sekartaji merupakan tari tradisi garapan baru yang diilhami oleh Serat Panji yang ditulis pada Jaman Jenggala Kediri abad XI-XII. Tujuan penelitian Sendratari  Topeng Sekartaji adalah untuk menggali kreativitas tari di sekitar Surakarta serta menemukan bentuk dan elemen-elemen pendukungnya. Metode penelitian yang digunakan meliputi pengumpulan data dengan tekhnik observasi, wawancara dan dokumentasi. Pengolahan data dilakukan dengan tekhnik analisis bentuk dan struktur. Evaluasi validitas data dengan tekhnik trianggulasi. Penelitian menggunakan pendekatan antropologi seni yang beranggapan bahwa karya seni merupakan ekspresi karya seniman. Hasil penelitian menunjukan Sendratari  Topeng Sekartaji merupakan karya tari kelompok bertema percintaan sebagai ungkapan kreativitas seni yang popular pada zaman akhir orde lama dan awal orde baru. Sendratari dalam kurun waktu, dipentaskan dengan berbagai variasi sesuai dengan pendukung, situasi dan kondisi serta waktu yang disediakan. Bentuk kreativitas seni dapat berupa frahmen, pethilan, tari tunggal  dan yang paling utama adalah sendratari. Tata urutan sajian tergantung pada bentuk pertunjukanya.  Gerak tari pada tokoh antagonis berupa gagahan gaya Surakarta, tokoh protagonis dengan alus luruh, sedang tari putri dengan putri luruh. Pada akhir pertunjukan selalu bermuara kepada keberhasilan hubungan cinta kasih. Kunci: sendratari, topeng, sekartaji, Surakarta.ABSTRACTThis research entitled “Sendratari Topeng Sekartaji” proposed exploring dance creativity in Surakarta and finding its formats and support elements. This research used data collection with techniques such as observation, interview and documentation as the research method. Data is processed by the technique of format and structure analysis. The technique of triangulation is used as a technique to evaluate data. This research used an art anthropological approach. It is assumed that an artwork is an expression of an artist’s work. Research results showed that Sendratari Topeng Sekartaji is a colossal dance with a romance theme. It was a representation of artwork that has been popularized since the end of the old order and early new order. During that time, sendratari has presented narratively, according to situation, condition and support elements. Art creativity manifested into fragment “pethilan”, single dance and especially “sendratari”. Its arrangement for presentation depends on its performance format. They have “gagahan” in Surakarta style for their dance moves, “alus luruh” and “putri lurah” for antagonist, protagonist, and female dance, irrespectively. The last performance always refers to romantic relationship successfully.Keywords:Sendratari Topeng; Sekartaji; Mask balet 
Perbandingan Busana Arca Harihara Era Klasik Akhir (Koleksi State Hermitage Museum, Museum Nasional Jakarta, dan Balai Lelang Christie’s) Muthi'ah, Waridah; Sachari, Agus
Gelar: Jurnal Seni Budaya Vol. 19 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3533

Abstract

Harihara is the amalgamation of two great gods in Hinduism, Siva and Vishnu. During the Late Classical Era (Majapahit period, 13th-15th centuries AD) three deification statues which portrayed the kings as Harihara have been found. Out of these three, two of them are not located in Indonesia anymore, one is part of the collection of Hermitage Museum, St. Petersburg, and one is in Christie’s Auction Gallery. Since these two statues are not widely known, they are barely mentioned or studied in the field of classical archaeology and art. This research focuses on the physical attributes of those two statues, particularly the clothing elements and divine attributes, in comparation to the deification statue of Raden Wijaya as Harihara, which is originated from Candi Simping and now is located in National Museum, Jakarta. The research was conducted using a qualitative-comparative method with iconographic and historical approach. It is found that while these statues show the amalgamation of Siva and Vishnu’s attributes, the depiction of Harihara in those statues are not exactly following Harihara iconography as regulated in the canons of Silpasastra and Manasara. While the canon physical attributes of Shiva and Vishnu side by side equally, in the depiction of Harihara in Java, those attributes are mixed and not always follows a rigid pattern. It is suggested that the depiction of  kings as Harihara show an attempt to project them as the unifier of different factions and religious sects. The inequal depiction of Vishnu and Siva’s attributes in king’s deification statues indicates not only the dynamics of the religion in the era, but also as mean to build king’s image in the image of the God.
Pakeliran Sampakan “Sang Panggung” Widiharto, Sindhunata Gesit; Santoso, Trisno
Gelar: Jurnal Seni Budaya Vol. 19 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3534

Abstract

The combination of puppetry and theater creates an alternative offering a new style of treatment in the form of contemporary theater called “Pakeliran Sampakan”. Pakeliran sampakan carries the mission of modernizing traditional art with the hope of being able to answer the public's saturation regarding spectacle that smells Indonesian culture, especially wayang kulit with the target market the young people. “Sang Panggung” is an adaptation of a story from “Nyi Panggung” written by Eko Tunas which tells about the life behind the scenes of the group of tobong Ketoprak Eka Mardhika. The results of the work represent the form of performances by the tobong ketoprak artists, with the story "Sang Panggung". Like the marginalized who are alienated because of their deposed honour by the outside culture, it needs an action by doing 'transmigration'. It doesn’t only mean moving from one island to another but also a change in the human mindset to be renewed towards the sophisticated technology of mass media, in order that traditional arts can always involve in the international competitions. 
Surabaya Arts Center: A Formation of Musical Orchestration Taste in Balai Pemuda (Youth Hall) Wardhana, Muhammad Kusuma; Young, Yoongjun
Gelar: Jurnal Seni Budaya Vol. 19 No. 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i2.3540

Abstract

AbstractThis research aims to understand how taste can be formed and developed from a musical arts community called Pusat Olah Seni Surabaya (POSS). This community always holds practices in musical arts in the Balai Pemuda area. The study applied Bourdieu's concept of thinking about taste. Pierre Bourdieu first revealed this concept in his book “Distinction: A Social Critique of Judgement of Taste”, which explains how a person's social strata can be judged by which society he or she comes from and refutes a notion that pure subjective truth will never exist because the truth will always be dialectical.  The findings show that by using Pierre Bourdieu's aesthetic taste, formed through the aspects of habitus, capital, and the realm contained in this phenomenon. The researcher sees POSS activity attempt to build a taste for music orchestration as a form of resistance from the lower class to upper-class culture.Keywords: Habitus; Capital; Domain; Taste; Subculture
Feminism in song of jineman kenya ndesa laras slendro pathet sanga Rahayu, Sukesi; Emerson, Katrhryn; Sittiprapaporn, Phakkharawat
Gelar: Jurnal Seni Budaya Vol. 19 No. 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i2.3558

Abstract

AbstractFeminism in Sukesi Rahayu's Jineman Kenya Ndesa laras slendro pathet sanga is a study that reviews feminist discourses on the creation of gamelan music based on the issues of gender equality between women and men. The purpose of this research is to prove and show that the creation of Javanese karawitan is not only based on male paradigm domination, but women also have a role in speaking out about feminism through karawitan works. The research methodology used is descriptive qualitative by positioning the object of study as the primary focus and writings on feminism as supporting sources. The results of this study indicate that in Sukesi Rahayu's Jineman Kenya Ndesa Slendro Sanga, there is feminist content, namely an attempt to elevate the dignity of women, which in this case is sindhen, within the scope of Javanese art culture as well as women in general.Keywords: Feminism; Sindhenan; Javanese culture
Virtual Art Innovations for Maintaining the Existence of Riau Malay Culture Utami, Rizkiki; Wahdini, Andra; Yoshuhiro Prakoso, Augusto Prastyo
Gelar: Jurnal Seni Budaya Vol. 19 No. 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i2.3591

Abstract

AbstractThe COVID-19 pandemic affects all aspects, including cultural arts. Cultural arts have an important role in human civilization as a result of thoughts and traditions from ancestors. The existence of the cultural arts of Malay Riau is decreased during the pandemic. All cultural arts activities have been shifted from the offline stage to the online stage so that the efforts to inherit and develop the cultural arts of Malay Riau are hampered. This research aims to determine the differences in the existence of Malay Riau cultural arts before and after the pandemic in Riau students at the Malay Riau Cultural Unit, Bandung Institute of Technology (UKMR ITB) and in Riau people in general. This research also aims to gather the opinions from Riau students and Riau people about innovations to inherit the Malay Riau cultural arts during the pandemic. The methods which are used in this research to gather the data: study literature, interviews, and questionnaires. Based on this research, Malay Riau Cultural Unit has made an innovation to inherit the values of Malay Riau cultural arts through making cultural archives so that the inheritance of traditions can be carried out, even though the pandemic is still undergoing. Through this research, we hope that the existence of Malay Riau cultural arts can be maintained through continuous innovation, especially in Riau students at the Malay Riau Cultural Unit and in the Riau people.Keywords: Cultural arts; Malay Riau; Existence, pandemic; Innovation

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