cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
pramesti
Contact Email
fadesti@gmail.com
Phone
-
Journal Mail Official
fadesti@gmail.com
Editorial Address
-
Location
Kota surakarta,
Jawa tengah
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
 5   6   7   8   9 
KELAHIRAN SEMAR; REPRESENTASI NALAR JAWA (SEBUAH ANALISIS STRUKTURALISME LEVI STRAUSS) Catur Nugroho; Heddy Shri Ahimsa-Putra
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 (913.096 KB) | DOI: 10.33153/glr.v14i2.2079

Abstract

Penelitian ini berusaha untuk mengungkap model struktur pada lakon Laire Semar yang secara khusus bermuarapada pencapaian makna kelahiran Semar. Penelitian ini menggunakan perspektif strukturalisme Levi-Straussyang berkembang dalam disiplin ilmu antropologi budaya untuk memahami model struktur berpikir orang Jawayang terdapat dalam lakon Laire Semar. Berpijak pada rangkaian peristiwa serta relasi yang muncul dapatditarik beberapa simpulan penting ke arah pemaknaan Semar. Pertama, lakon Laire Semar menampilkanadanya pertentangan antara sinkretisme Jawa-Hindu dan Jawa- Islam. Pertentangan inilah yang kemudianmenempatkan nalar Jawa pada posisi “antara” (liminal), yaitu adanya konsep sak madya yang mengarahpada pencapaian keselarasan. Kedua, lakon Laire Semar menunjukkan adanya sistem klasifikasi simbolikdalam budaya Jawa. Klasifikasi berunsur dua dapat dicermati pada adanya klasifikasi kosmologi mengenaioposisi sukma dan wadag. Klasifikasi ganda-tiga dapat dipahami pada rangkaian peristiwa kelahiran Tejamaya,Ismaya, dan Manikmaya. Adapun klasifikasi berunsur lima yang merujuk pada konsep keblat papat limapancer terimplikasi pada keberadaan Ismaya yang mampu “mengendalikan” empat unsur yang mengelilinginya,yaitu Sang Hyang Wenang, Sang Hyang Tunggal, Tejamaya, dan Manikmaya. Ketiga, kelahiran Semarmerupakan jawaban atas sumpah Sang Hyang Tunggal, yaitu berwujud sukma dan raga serta pada tataranyang lebih dalam perannya sebagai pamong sejati membawa pada kewenangannya atas tri loka. Keempat,kelahiran Semar adalah representasi idealisme nalar Jawa sak madya atau yang tidak berlebihan. Konsekuensilogis dari idealisme ini ialah terciptanya keselarasan dan keharmonisan. Semua ini terimplikasi pada kapasitasIsmaya atau Semar. Oleh karena itu, Semar adalah representasi nalar Jawa.Kata kunci: lakon Laire Semar, Strukturalisme Levi-Strauss, makna, kebudayaan Jawa.
REFLEKSI KONSEP MACAPAT PADA KARAKTERISTIK PENOKOHAN WAYANG TOPENG MALANG Robby Hidajat
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 (3794.681 KB) | DOI: 10.33153/glr.v9i2.1399

Abstract

Javanese cosmology called macapat, the awareness of the concept of the world (natural) consisting of macrocosm and microcosm. Cosmology that contains the values of local wisdom that forms the personality. Cosmological construct the world in the four winds, associated with the four central figures in Malang Mask Puppet serving Panji story. Linkage with Java cosmology living conception in the minds of his supporters. This understanding is intended to understand the value of education, personality, and culture, to do with the conception underlying the existence of the characters in the play Puppet Mask Malang. Findings in macapat concept is an understanding of the central figure, namely: Flag Asmarabangun, Galuh Candrakirana, Gunungsari, and Klana Sewandana.Key words : Characteristics, Concepts, Macapat, the play, Panji
PELESTARIAN DAN PENGEMBANGAN WAYANG GEDOG Sunardi Sunardi; Bambang Suwarno; Bagong Pujiono
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 (320.304 KB) | DOI: 10.33153/glr.v11i2.1481

Abstract

Wayang gedog categorized as rare puppet that has uniqueness in the play genre, the puppets’forms, gending, sulukan, or form of the show. Wayang gedog had experienced glorious days inSurakarta Paku Buwana X Era, but today has suffered a setback. This is caused by the difficultyin dalang’s generation knowledge transfer; performance techniques is perceived difficult for newdalangs, the lack of public interest and the lack of administration elite’s support in developingwayang gedog. The attempts to revive can be done by revitalize the wayang gedog. How are takenby holding the conservation and development gedog puppet. The preservation and developmentof wayang gedog can be done by documenting the design and the show, as well as constructingwayang gedog’s performance development models.
BAHASA RUPA KOMIK WAYANG KARYA R.A. KOSASIH Sayid Mataram
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 (2565.446 KB) | DOI: 10.33153/glr.v13i1.1537

Abstract

Comic is a media of speech, like a language is, with the language system and individual application. Comicof puppet by R.A. Kosasih is one of the genres in constellation of Indonesia comic which is able to overcomethe influence of western comic. The problems analyzed in this research include how the form of visuallanguage and idiolect characteristics of puppet comic by R.A. Kosasih. This research aims to analyze thevisual language of puppet comic by R.A. Kosasih as well as the idiolect characteristic that is appeared to beits characteristic. The research uses an approach of language analogy using textual and contextual analysisof comic. The result shows that firstly, the visual language of comic is analog with language consisting oflanguage system and idiolect. The system of visual language in comic R.A. Kosasih consists of the basicelements of comic constituent covering panel and juxtaposition structure. Secondly, puppet comic by R.A.Kosasih uses stories based on Mahabarata epos and Ramayana in Indian version as well as Nusantarapuppet in which Sunda language is inserted. The picture and symbol in the comic is influenced by the realiststyle of Western comic and Indie Mooi stream and also the technology of the age. The relationship of puppetcomic juxtaposition is influenced by the story order and the session of lakon.Keywords: comic, language, visual, puppet, idiolect
BAHASA SAPAAN DALAM PERTUNJUKAN WAYANG KULIT PURWA GAYA SURAKARTA Purbo Asmoro
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 (3480.656 KB) | DOI: 10.33153/glr.v8i1.1311

Abstract

This research aims ta finding out the answers to the questions : (1) What are types of greetings  in wayang kulit purwa performance of  Surakarta style? Why are there many kinds of greeting types? and What are the functions and meaning of greetings? The research studying greetings in wayang kulit purwa performance of Surakarta style uses sociolinguistic approach, namely Dell Hymes’ theory of speech components. The factors which determine someone’s utterance are setting or scene (s), participants (p), end (e), act of sequence (a), key (k), instrumentalities (i), norm of interaction (n), and genre (g). The functions of greetings in context are analyzed using cognitive, evaluative, and a affective functions. Function analysis and the context meaning of greetings in wayang kulit purwa performance of Surakarta style encompass cognitive function which analyze the expression of  ideas, concepts, and thought of the dialogue and conversation between wayang figures; evaluative function which ensures, declares, conveys and delivers  attitudes and values contained in the dialogue between the figures; and affective funtion which transfers the emotion and feeling of the figures or participants of a dialogue in the wayang kulit purwa performance. The greetings of wayang kulit figures contain the elements of moral, ethic, social education, and philosophical principles of life. Key words : wayang kulit, performance, greeting
PAMOR KAWALI DALAM MASYARAKAT BUGIS S., Satriadi; Dharsono Sony Kartika
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 (818.902 KB) | DOI: 10.33153/glr.v15i1.2068

Abstract

Artikel ini adalah hasil penelitian tentang senjata tradisional masyarakat Bugis di Sulawesi Selatan, yaitu senjata berupa kawali. Kawali merupakan warisan kebudayaan fisik dan juga merupakan produk kesenian berupa senjata tikam jarak pendek dengan bilah yang hanya memiliki satu sisi tajam dan ujung yang runcing. Kawali secara utuh memiliki tiga elemen pokok yaitu bilah, wanoa dan pangulu. Masing-masing elemen tersebut memiliki bentuk dan makna tersendiri. Bilah merupakan elemen paling pokok karena di dalamnya terdapatmotif pamor yang mengadung pesan atau makna simbolik yang dijadikan pedoman masyarakat pendukungnya, dalam hal ini masyarakat Bugis. Oleh karena itu, ada dua aspek kesenian yang perlu diperhatikan dalammenganalisis bentuk dan makna simbolik motif pamor pada kawali yaitu konteks estetika atau penyajian yang mencakup bentuk dan gaya, kedua adalah konteks makna (meaning) yang mencakup pesan dan kaitan dengan simbol-simbolnya (simbolic value). Penelusuran bentuk dan makna motif pamor melalui interpretasi analsis dengan pendekatan Estetika Nusantara dan penjelasan emik dalam kebudayaan, sehingga diketahui bahwa eksistensi pamor kawali adalah selain sebagai motif penghias bilah juga sebagai pesan yang menggambarkan kehidupan yang ideal dalam masyarakat Bugis.Kata kunci: kawali, pamor, Bugis, idealisme, simbol.This article tells the research finding about traditional guns in Bugis, South Sulawesi, called Kawali. Kawali represents a physical cultural heritage as well as an art product showing a short tikam gun with a bilah of one side sharp and sharp tip. Kawali, totally, has three elements covering bilah, wanoa, and pangulu.Each element has its own form and meaning. The bilah represents a main element for there is a pamor (prestige) motive inside containing message or symbolic meaning made to be a guide for the supportingsociety called Bugis.For the reason, there are two aspects of arts need to be discussed in analyzing the form and symbolic meaning of pamor motive of Kawali including,firstly, aesthetic context or the presentation covering the form and style; secondly, the context of meaning including message and its relationship with the symbols (symbolic value). The form and meaning of pamor motives is traced by analysis interpretation with Estetika Nusantara approach and emic description in culture. The result shows that the existence of Kawali pamor represents theaccessories of bilah as well as the message telling about the ideal life of Bugis people.Keywords: Kawali, pamor (prestige), Bugis, idealism, symbol.
KARTUN KARIKATUR MEDIA KOMUNIKASI SOSIAL DALAM MEDIA CETAK Sri Indratmi Yudiarti
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 (1950.351 KB) | DOI: 10.33153/glr.v10i1.1379

Abstract

Caricature Cartoon, a whole word that can be realized in the picture. Pictures like this are usually found in the print media, newspapers, magazines and books. Some of the readers sometimes only a cursory look, if by chance they are definitely worth high humor laugh. And became interested to look at the message conveyed by the cartoon. In plain cartoon caricature does further highlight the value of humor, even if the message is a sad event. All sorts of events in the life of society; economics, politics and culture that is sad and happy is an object of interest to the caricaturist. Creative and emotional sensitivity is a challenge for the caricaturist, as they should be able to create an image of humor without any individuals, groups or institutions that offended and angry. Caricatures cartoon have always painted face figure distorted by the message object. So the face looks funny, still included the character or characteristics belong to the relevant figures. Through the approach of Communication Science, Psychology and Sociology gained Caricature Cartoon explanation that contributes role as media of social communication. Observations were made at random to caricature cartoons published in Jawa Pos Suara Merdeka and Kompas newspaper,. Thirdly the paper gives special place caricature cartoon images on the page that contains the public opinion. On these pages loaded freelance writing (essay), letters to the editor, opinion editor of the paper for a particular event. Conclusion of this observation is the existence of a caricature cartoon, that he was able to become the media of social communication, as an interpersonal communication media, broadcast media, and media storage. Cartoon caricatures are able to make the reader receives messages of social communication wise and high-minded, laughing even laugh at himself. Key words :  Cartoon caricature, media, social communications
KONTRIBUSI SILAT TUO DALAM TARI RANTAK KARYA GUSMIATI SUID Efrida Efrida
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 (238.139 KB) | DOI: 10.33153/glr.v11i2.1453

Abstract

Rantak is a dance choreography created by Gusmiati Suid on 1987. The dance is still beenlearned at schools, colleges, and dance studios in West Sumatra. Beyond West Sumatra, thedance also often becomes a learning material in creating Minangkabau style dance. Rantak Dancehas become a well–known Minangkabau cultural icon in Indonesia and abroad. The Rantak Danceadapted Minangkabau’s silat tuo moves as the choreography idea. Not only the moves, the danceadapted the essence and the philosophy of silat tuo, these facts distinguish Rantak Dance fromother Minangkabau dances. The creation process that was taken by Gusmiati Suid was veryamazing. She was doing silat tuo in–depth learning process for six years at several nagari iniMinangkabau. Her seriousness showed that Rantak Dance was a legitimate monumental danceby a choreographer named Gusmiati Suid.    
WAYANG ORANG SEBAGAI PERTUNJUKAN TEATER TRADISIONAL DALAM TINJAUAN SEMIOTIKA : (Sebuah kajian awal) Eko Supendi
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 (5601.732 KB) | DOI: 10.33153/glr.v5i1.1237

Abstract

Wayang wong, as a genre included in dance drama, is in fact the  personification of wayang kulit purwo of which the stories come from the Ramayana  and Mahabarata. The existence of wayang wong in Mangkuneagaran Palace and  in the Sultanate of Jogjakarta in second half of the 18th century was the renaissance  of wayang wong which had developed in the time of the empire of Majapahit.  Even it was supposed to have developed before that time because in the year of 930  the term of wayang wong was discovered in the inscription of Wimalasrama.Semiotics can be defined in a simple way as knowledge of signs and system  of signs. Some People say that semiotics is knowledge dealing sistematically with  signs,  symbols and process of symbolism. This simple definition will turn into complex ·  one when there is a demand to define a sign. The difficulty in coming to an agreement  on the definition of signs can make the agreement on the definition of semiotics  difficult.Keywords: Wayang orang, Traditional Theatre, Semiotics
BENTUK SIMBOLIS ESTETIKA JAWA PADA PERTUNJUKAN WAYANG PURWA Robby Hidajat
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 (6398.358 KB) | DOI: 10.33153/glr.v7i2.1289

Abstract

Javanese aesthetics is closely related to Javanese performing art, especially wayang. Due to that, “Javanese aesthetics” can be understood through the performing art in practice. The lesson that can be obtained is morality that can be completely understood in a cosmic sphere the nature of which is paradoxical  and opposing. It is still possible to carry out an in-depth study to Javanese aesthetics and this preliminary study puts an emphasis on symbolic aspects on wayang purwa performance. Key words : wayang, aesthetics, paradoxical, philosophy 

Page 7 of 42 | Total Record : 414

 5   6   7   8   9 

Filter by Year

2006 2025


Reset
Filter By Issues
All Issue Vol. 23 No. 1 (2025) Vol. 22 No. 2 (2024) Vol. 22 No. 1 (2024) Vol. 21 No. 2 (2023) Vol. 21 No. 1 (2023) Vol 21, No 1 (2023) Vol 20, No 2 (2022) Vol. 20 No. 2 (2022) Vol 20, No 1 (2022) Vol. 20 No. 1 (2022) Vol. 19 No. 2 (2021) Vol 19, No 2 (2021) Vol 19, No 1 (2021) Vol. 19 No. 1 (2021) Vol 18, No 2 (2020) Vol 18, No 1 (2020) Vol 17, No 2 (2019) Vol 17, No 1 (2019) Vol 16, No 2 (2018) Vol 16, No 1 (2018) Vol 15, No 2 (2017) Vol 15, No 1 (2017) Vol 14, No 2 (2016) Vol 14, No 1 (2016) Vol 13, No 2 (2015) Vol 13, No 1 (2015) Vol 12, No 2 (2014) Vol 12, No 1 (2014) Vol 11, No 2 (2013) Vol 11, No 1 (2013) Vol 10, No 2 (2012) Vol 10, No 1 (2012) Vol 9, No 2 (2011) Vol 9, No 1 (2011) Vol 8, No 2 (2010) Vol 8, No 1 (2010) Vol 7, No 2 (2009) Vol 7, No 1 (2009) Vol 5, No 1 (2007) Vol 4, No 2 (2006) More Issue