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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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TARIAN RITUAL, PESTA KOLEKTIF, DAN KONSERVASI LINGKUNGAN DALAM UPACARA MANGANAN DI BLORA Budi Setiyono
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 (3138.306 KB) | DOI: 10.33153/glr.v7i2.1277

Abstract

What today we call as  traditional arts, is often a form of ritual in the past  or part of it. A form of ritual is not only a human  activity to make a relation to transcendental being, but also as a way to create a balance and sustainable life. Based on Roy Rappaport’s thought, stating that rituals are modes of communication which transfers the  practical information of physiological, psychological and sociological condition of a certain group, the study attempts  to explain the rationalization of dancing and fertility ritual manganan in Blora in functionalism perspective. To Blora community, manganan ritual and buoh tradition that to be at its peak on tayuban performances are social and symbolic ways to perpetuate the natural as well as economic, and also to maintain  their  social resource  Key words : ritual, conservation, social resource, natural recourse
BUDI PEKERTI DALAM CERITA BINATANG MAHISHA JATAKA Titin Masturoh; Ana Rosmiati; Trisno Santosa
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 (890.895 KB) | DOI: 10.33153/glr.v13i2.1647

Abstract

Manusia merupakan makhluk yang diberi akhlak akal dan budi pekerti yang baik dibandingkan makhluk ciptaanTuhan yang lain. Tingkah laku dan perbuatan manusia sudah sewajarnya berada pada norma yang di aturdalam suatu tatanan. Penelitian ini menerapkan metode deskriftif kualitatif dan kaji tindak. Cara yang dilakukan:(1) studi pustaka mengenai cerita relief candi; (2) observasi dan dokumentasi cerita relief candi di Borobudurdan pusat-pusat Purbakala; (3) wawancara dengan para arkeolog dan budayawan; (4) analisis deskriptif kualitatifmengenai dongeng cerita relief candi. Budi pekerti dalam cerita binatang Mahisha Jataka mencakup dimensinilai-nilai keagaamaan (spiritual value) maupun nilai-nilai kemanusian.Kata kunci: budi pekerti, cerita binatang, Mahisha Jataka.
PENDEKATAN TARI KREATIF 01 SEKOLAH: SUATU TINJAUAN PROSES PEMBELAJARAN TARI SEBAGAI PEMERKARSA PEMANTAPAN JATI DIRI PELAJAR Muhammad Fazli Taib Bin Saearani
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 (5236.522 KB) | DOI: 10.33153/glr.v9i1.1351

Abstract

Creative dance approach for student who are involved in the creative dance activities can give the  appearance of happiness besides the unique potential of most creative dance while enhance  their self-esteem. This writing proposed creative dance activity should be develop in our education  system in both the academic module and eo-curriculum activities to generate creative minds,  colourful imagination and induce students dynamic intellectual capabilities.Key words: teaching creative dance, curriculum, self-esteem
SIRAMAN SEBAGAI INSPIRASI PENCIPTAAN KARYA BUSANA TAPESTRI Ima Novilasari
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 (457.608 KB) | DOI: 10.33153/glr.v15i2.2219

Abstract

Siraman adalah salah satu prosesi pokok pernikahan adat Jawa yang mengandung falsafah di dalamnya, yaitu agar calon pengantin membersihkan diri dan hati, sehingga semakin mantap dan yakin untuk melangsungkan pernikahan di keesokan harinya. Momen siraman memotivasi penulis untuk mengekspresikan apa yang dialami menjadi karya busana tapestri. Melalui siraman, penulis membangun suasana dengan simbol-simbol bersifat abstrak, kemudian dikorelasikan dengan pengalaman-pengalaman sosial penulis menjelang pernikahan. Tahap di mana penulis harus mulai menentukan sikap, menentukan pilihan, memantapkan hati untuk menghadapi kehidupan dan tanggung jawab baru. Penulis berusaha menyampaikan wujud keagungan tentang prosesi siraman ke dalam karya busana tapestry. Bentuk-bentuk yang penulis ciptakan lebih mengambil makna dari unsur air siraman yang mengalir, yang diwujudkan dalam bentuk tali-tali yang menggantung ke bawah. Proses pembuatan tapestry penulis rasakan memiliki kesamaan atau kemistri batin dengan prosesi siraman, yaitu sama-sama sebagai sebuah proses yang tidak instan, memerlukan berbagai pertimbangan sebagai puncak pencapaian agar menghasilkan karya yang syarat dengan makna.Kata kunci: Siraman, Sengalaman Sosial, Busana Tapestri.
GENDER WAYANG DALAM MESANGIH I Ketut Yasa
Gelar : Jurnal Seni Budaya Vol 10, No 2 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (992.96 KB) | DOI: 10.33153/glr.v10i2.1419

Abstract

Gender wayang is one of Balinese gamelan instruments made of bronze which has ten keys and five notes in slendro tuning. So there is a bass system. Mesangih is a ceremony for cutting teeth which aims to “kill” sad ripu (six enemies existing in human being) in order that it can be controlled. The ceremony is also meant to purify something leteh in order to be able to meet Mother and Father (Hyang Widhi) in the life after death. Mesangih is accompanied by gender wayang melodies in accordance  with the character of each melody to support the atmosphere needed. Key words : Gender wayang melodies, mesangih
ASPEK MORAL DALAM NOVEL SAMAN KARYA AYU UTAMI (SEBUAH PENDEKATAN SOSIOLOGI SASTRA) Ana Rosmiati
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 (1998.429 KB) | DOI: 10.33153/glr.v4i2.1209

Abstract

Novel Saman Ayu Utami masterpiece represent a novel which dare to express problem of epoch by various cultural information traffic and also event. This novel represent categorized novel nicely so that become Romance Council sayembara winner Artistry onakarta. In this article of dkupas hit various problem ofthat good moral of powermoral and authority, political moral, religious moral, assocciation moral, and culturalmoralKeyword ; Moral
KERAJINAN BATIK KAYU KREBET Dyah Yuni Kurniawati
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 (12407.289 KB) | DOI: 10.33153/glr.v12i1.1503

Abstract

The article of “Keberadaan Kerajinan Batik Kayu Krebet” (the existence of Krebet wood batik craft) is theresult of a research to know the existence, various products, and the process of wood batik. The methodused is descriptive qualitative that describes a phenomena. The research uses historical approach while theresearch location is Krebet, Sendangsari village, Pajangan, Bantul Residence. The research problems include:1) how the history of wood batik in Krebet area, and 2) what the various forms of wood batik in Krebet area.The research is supposed to give a description and literature contribution concerning wood batik craft thatbecomes one of the batik arts developments in Indonesia. The result of research shows that the existence ofwood batik craft in Krebet area appears through the impressive history. Before the wood batik craft appears,there have been developing a leather and wood craft in Krebet that is mask and wayang klithik popularized byGunjiar, Kemiskidi and Anton. In 1990s, the wood batik craft in Krebet got the development in coloringtechnique that is batik technique on wood by Windarti. The craft development in Krebet is influenced byinternal as well as external factors among other things are the craftsmen and the agents’ will to support thecraft existence. The wood batik craft has a function as an aesthetic element, practical function, and as toys.The practical function can be changed into aesthetic element because of the aesthetical decorations inbatik.Keywords: craft, wood batik, Krebet
TAYUB DI BLORA JAWA TENGAH PERTUNJUKAN RITUAL KERAKYATAN Edi Wahyono
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 (4079.199 KB) | DOI: 10.33153/glr.v7i1.1257

Abstract

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BENTUK DAN GAYASANDIWARA AMAL DI DESA PULAU BELIMBING KABUPATEN KAMPAR H., Hasan
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 (733.9 KB) | DOI: 10.33153/glr.v13i2.1627

Abstract

Sandiwara Amal merupakan seni pertunjukan yang lahir dari kreatifitas masyarakat. Diperkirakan tumbuhsekitar tahun 1950-an hingga hari ini. Pertumbuhannya diproduksi dalam kerangka tradisi Masyarakat Ocu/Kampar. Ada pun bentuk produksi tersebut berpijak dari main-main siang atau main alek-alek (permainananak-anak pada masyarakat Kampar dalam bentuk bercerita). Ditransformasi menjadi bentuk pertunjukanSandiwara Amal oleh masyarakat Ocu. Sandiwara Amal merupakan kreasi baru masyarakat Desa PulauBelimbing dalam bentuk teater rakyat. Sandiwara Amal biasa dilaksanakan pada Pasca Bulan Suci Romadhan,bertepatan pada hari raya Idul Fitri. Penelitian ini berusaha menggali dan menganalisis bentuk dan gayaSandiwara Amal di Desa Pulau Belimbing Kabupaten Kampar. Dramaturgi digunakan sebagai pijakan gunamengupas bentuk dan gaya Sandiwara Amal. Untuk menjawab permasalahan tersebut maka terdapat rumusanmasalah, yaitu: Permasalahan yang diajukan, hingga terbentuknya jurnal ini yaitu meliputi bagaimana bentukdan perkembangan gaya Sandiwara Amal. Penelitian ini adalah penelitian kualitatif menggunakan pendekatanemik berdasarkan analisis deskriptif interpretatif pada Sandiwara Amal berdasarkan proses observasi danwawancara yang peneliti lakukan di lapangan. Metode deskriftif analisis dengan pendekatan teori struktur.Metode pengumpulan data dengan, observasi, studi pustaka, wawancara, dan dokumentasi.Kata kunci: sandiwara amal, gaya, bentuk, kualitatif, masyarakat desa.
RICIKAN KETHUK PADA KARAWITAN JAWA GAYA SURAKARTA Joko Purwanto
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 (6712.458 KB) | DOI: 10.33153/glr.v8i2.1333

Abstract

To date, apart from being recognized as one of the structural instruments of the Javanese gamelan, the kethuk has rarely been a topic fordiscussion. It is as though its existence is no more than a  supplementary instrument in a gamelan ageng ensemble. This article is a development of the works by Djojomlojo and Sunardi Wisnusubroto which discuss the function of the ricikan kethuk,  or kethuk instrument in Surakarta style Javanese karawitan. This article attempts to discover the technique, function, and existence of the kethuk ina gamelan ageng ensemble. The ideas presented  in this article are developed through a bibliographical study, observation, and interviews, together with a study of commercial cassette recordings and the writer's own private collection of recordings. The results of this study show that the kethuk can be played using three different patterns,namely limrah, salahan, and banggen. There are two techniques used for producing sound, which result in either a long or short sound. Pitch 2 (gulu) on the kethuk is ideal for all pathet in the slendro tuning, and pitch y (nem) is ideal for all pelog gending. The kethuk, with its own technique, supports the tempo set by the pamurba irama, or the instrument which controls the tempo, namely the kendang. In Surakarta style Javanesekarawitan, the kethuk is also important in connection with  the title of a gending, in that it guides the other musicians in terms of their concept and patterns of treatment applied to the other instruments, in particular the kendang.Key words: kethuk, Djojomlojo and Sunardi, Surakarta Style Javanese Karawitan.

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