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
 6   7   8   9   10 
STRATEGI VISUAL PADA PROMOSI DESA WISATA BATU AKIK MELALUI DESTINATION BRANDING DI DESA TIRTOMOYO WONOGIRI Andreas Slamet Widodo; Jazuli Abdin Munib; Ercilia Rini Octavia
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 (1849.191 KB) | DOI: 10.33153/glr.v14i1.1749

Abstract

Penelitian ini bertujuan merumuskan rancangan strategi visual bagi desa Tirtomoyo Wonogiri sebagai salahsatu daerah penghasil batu akik terbaik di dunia. Hasil rancangan ini akan diimplementasikan dalam bentukmedia, sehingga desa Tirtomoyo Wonogiri dijadikan sebagai destinasi wisata batu akik. Untuk mencapaitujuan ini, kegiatan penelitian akan dilaksanakan selama satu tahun. Kuartal I merupakan Tahap PerancanganStrategi Visual yaitu tahap untuk merancang strategi visual destinasi wisata batu akik unggulan di daerahTirtomoyo Wonogiri berdasar dari pemetaan aset wisatanya. Kuartal II merupakan Tahap PerancanganProgram Destination Branding yaitu tahap untuk merancang program destination branding berdasar dari analisisstrategi pengelolaan wisata yang telah dilakukan oleh Pemkab Wonogiri dan lembaga terkait sertamendeskripsikan tingkat keberhasilannya. Kuartal III merupakan Tahap Implementasi Rancangan yaitu tahapuntuk mengimplementasikan hasil rancangan ke dalam media komunikasi visual melalui destination brandingpada desa Tirtomoyo Wonogiri menuju desa wisata batu akik.Agar dapat menarik segmen wisatawan yangyang lebih luas, maka perlu adanya perancangan strategi visual melalui destination branding. Hal ini diharapkandapat memberikan dampak positif bagi perkembangan perekonomian daerah Wonogiri khususnya di desaTirtomoyo.Tujuan yang dicapai pada penelitian ini adalah merancang visual branding sebagai salah satu bagiandari program destination branding sebagai upaya promosi meningkatkan daya tarik wisatawan terhadap potensiyang dimiliki oleh desa Tirtomoyo di Kabupaten Wonogiri.Kata kunci: strategi visual, destinasi wisata, destination branding, desa wisata batu akik.
PERBANDINGAN BENTUK PERTUNJUKAN WAYANG KLlTIK UNDAAN KUDUS DENGAN NGEMPLAK SLEMAN Suwondo, Suwondo
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 (3854.419 KB) | DOI: 10.33153/glr.v9i1.1361

Abstract

Wayang klitik performance at Sleman, Yogyakarta has some differences and similarities with that  at Kudus, Central Java although they came from the same source. After a long period of time,  those who used to be the devotees of wayang klitik have lived in different places and the puppeteers  of wayang klitik have performed a different characteristic of performance. The story and function  of wayang klitik in Kudus are more dynamic because wayang klitik is thought not only as the only  entertainment but also as a ritual for the surrounding society. Wayang klitik at Kudus is always  performed annually as a sendang (spring) purifying ritual. Wayang klitik performance at Sleman,  Yogyakarta is held in the territory with limited devotees. The inhabitants of the territory coming  from the outside are usually the younger generation and educated people who are not familiar with  wayang klitik. The form of Wayang klitik performance at Sleman, Yogyakarta refers to the norm  (pakem) of wayang purwa that has been traditionally performed in puppetry. If there is a change in  the performance, it usually has something to do with a puppeteer's own version (sanggit) and the  characteristic of his performance. Wayang klitik performance at Sleman, Yogyakarta has a  tendency to contain aesthetic values and it is less communicative. During the last four years,  Wayang klitik at Sleman, Yogyakarta has been performed twice only so that the society tend to  have little interest in it. The similarity in the form of the performance between wayang klitik at  Sleman and that at Kudus is that the performance begins with a major scene (jejer). The  accompanying melody (gending) for wayang klitik at Sleman is relatively more dynamic and the  garap is more creative and inventive in nature. However, the performance has less close relation  with the audience so that there is an impression that the performance is separated from the  audience. On the other hand, wayang klitik performance at Kudus has close relation with the  society. Wayang klitik performance at Kudus is more simple and has a religious impression that  can be appreciated in many ways of communication and as may be required by the society. The  romantic scenes performed at wayang klitik performance at Kudus is very simple in line with the  society's homogenous thinking level.Key words: Wayang Klitik, function and form, comparison.
BUDAYA ADU ZATUA DI NIAS SUMATERA UTARA Maria Veronika Halawa; Aton Rustandi
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 (10031.901 KB) | DOI: 10.33153/glr.v15i2.2225

Abstract

Penelitian ini membahas mengenai bagaimana transformasi budaya adu zatua yang terjadi di Nias. Adu zatua pada awalnya adalah benda ritual kepercayaan suku Nias yang bersifat sakral. Memasuki tahun 2000-an muncul reproduksi adu zatua yang menjadi benda sekuler dan bersifat profan. Budaya tradisi di Nias perlahan mulai berubah dan berkembang menjadi budaya global. Penelitian ini bertujuan untuk menemukan transformasi budaya pada adu zatua, bentuk dan juga nilai yang diterapkan. Transformasi adu zatua menghasilkan benda pariwisata di Nias. Kuatnya pariwisata budaya ini menjadikan produksi adu zatua bersifat komersil dan komoditas benda budaya.Kata kunci: Transformasi, Adu zatua, Pariwisata.  This study discusses how cultural transformation adu zatua is taking place in Nias. Adu zatua was originally a ritual object of the Nias tribe that was sacred. Entering the 2000s came the emergence of substance reproduction which became secular and profane. Cultural traditions in Nias slowly began to change and develop into a global culture. This study aims to find cultural transformations of adu zatua, form and also the values applied. The transformation of zatua produces tourism objects in Nias. The strength of this cultural tourism makes the production of adu zatua, a commercial and cultural commodity.Keywords: Transformation, Adu zatua, Tourism.
PENCIPTAAN SENDRATARI MALIN KUNDANG SANGGAR PINCUK BALEKAMBANG SOLO MELALUI PENDEKATAN KREATIVITAS Efrida Efrida
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 (234.256 KB) | DOI: 10.33153/glr.v11i1.1431

Abstract

Malin Kundang legend is very popular in Minangkabau community West Sumatra. Traditionalliterary work is very interesting and can be source for a creation of sendratari. This creation isstarted by reinterpreted the story of Malin Kundang. The interpretation is the priority for the sake ofperformance in order to make more prominent meaning. It is needed a theoretical approach inprocess of creation. The theory used in the creation is the theory of creativity in which include theproperty of authenticity (originality), fluency, elasticity or flexibility and elaboration the ability tocomplete the details or parts of concepts or understanding. The result of this study are 1) examinethe original story of Malin Kundang legend, 2) reinterpreted Malin Kundang legend , 3) create ascript to suit the mindset of spectators and crews, 4)selecting or creating dance that suit to thestory, 5) the process of work formation.
TATA CARA PELAKSANAAN LAMARAN DALAM UPACARA PENGANTIN TRADISI JAWA DI SURAKARTA Ning Hadiati
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 (2067.576 KB) | DOI: 10.33153/glr.v4i2.1219

Abstract

This Research focussed at existing symbol meaning in Java nuptials. Procedures Custom Java in nuptials have many small ceremony network which must be conducted. One of the ceremony network that is lamaran. Ceremony Lamaran represent event which is very awaited by putri temanten candidate side. In Lamaran condition with seimbolis. Without meaning of is existence of lamaran event, all ceremony network will fail and even will make disappointed and feel small on the side of putri temanten family Peningsed in the nature of' Ubarampe: Marginally paningset ubarampe consist of 3 matte; that is paningset bakuning, paningset abon-abon and paningset pangiring. brought goods by man temanten candidate side family. brought goods among others in the form of a set dress woman, Pamesing cloth, properties estae, wedding ring and Abon - abon as lamaran medium complement Each nuptials network have meaning meaning to organizer family pengantin. Ceremony marriage network among others is kumbokarnan ceremony - Ceremony Jonggolan - Ceremony Install Tuwuhan - Ceremony Lamaran/srah-srahan - Ceremony Siraman, Ceremony Paes, Ceremony Midodareni, Ceremony Nebus Kembar Mayang, Ceremony Execution Marriage ( Oath in marriage of Moslems and Reception}. Among the tradition ceremony network
REKONSTRUKSI TARI SAMBUT SILAMPARI DI KABUPATEN MUSI RAWAS Stepanus Adi Pratiswa
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (727.394 KB) | DOI: 10.33153/glr.v12i2.1515

Abstract

The article is meant to describe dance Sambut Silampari in Musi Rawas Residence that previously has afunction as a formal guest welcoming dance, then it is reconstructed through (1) dance digging, (2) dancecompacting, (3) increasing and disseminating the dance works. The dance digging is supposed to reconstructdance that comes from folk dance. It includes the dancer, musician, and dress maker, as well as Musi Rawasartists. The research uses qualitative method in form of descriptive analysis. The discussion scope includes1) how the process of dance Sambut Silampari reconstruction, 2) how the form resulted from the reconstruction,and 3) whatever factors that support the reconstruction. Data analysis is done in every element founded. Thedata collected from library study, observation, and interview is analyzed using the method of descriptiveanalysis and qualitatively in condition with the main problem. The concept used in the reconstruction of danceSambut Silampari is the concept of form in dance study: text and context by giving innovation to concept oftourism art that is brief, compacted, interesting, and commercial. Based on the concept, then, dance SambutSilampari can be the asset of performing arts in Musi Rawas Residence.Keywords: reconstruction, dance Sambut Silampari, tourism art
IKLAN TELEVISI SEBUAH PRODUK KARYA SENI DALAM KOMUNIKASI MASSA Sri Indratmi Yudiarti
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 (5294.481 KB) | DOI: 10.33153/glr.v7i1.1267

Abstract

Iklan di media televisi merupakan pesan komunikasi yang bertujuan untuk memperkenalkan produk barang atau jasa. Tujuan selanjutnya adalah memotivasi dan mempersuasi para pemirsa atau audience untuk mencari, membeli dan menjadi pelanggan tetap. Selanjutnya dari fihak media televisi sendiri menggunakan iklan sebagai sumber income untuk kelangsungan hidup perusahaan media. Iklan televisi dapat dibedakan sebagai iklan bisnis, iklan layanan masyarakat dan iklan yang sifatnya gabungan antara bisnis dan layanan masyarakat. Sebagai bagian dari komunikasi massa media televisi mempunyai ciri khas cepat, selintas dan umum, hal inilah yang dimanfaatkan secara maksimal oleh para pemasang iklan. Karya iklan dikreasi oleh team kreatif biro iklan. Gagasan iklan mungkin datang dari produsen produk, team kreatiflah yang menerjemahkan ide tersebut ke dalam bahasa audio visual. Cara kerja team kreatif ini seperti para seniman menciptakan karya, mengembarakan imaginasi, menggali informasi serta mempelajari karakter unsur-unsur sosial budaya masyarakat. Hasil karya mereka yang berbentuk iklan merupakan salah satu bentuk seni visual, yaitu suatu karya seni yang khusus untuk dilihat mata. Kata kunci: Iklan, Karya seni, Komunikasi massa.Keyword :Iklan, Karya Seni, Komunikasi Massa
PERMAINAN TRADISIONAL MENJAGA WARISAN DI PENGHUJUNG SENJA Benyamin Satria Agni
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 (2844.544 KB) | DOI: 10.33153/glr.v13i2.1639

Abstract

Salah satu dari sekian banyak budaya di Nusantara yang dikenal dan diwariskan secara turun temurun adalahpermainan tradisional. Dahulu, pada kurun waktu tertentu, permainan tradisional cukup populer dan seringdimainkan oleh anak-anak. Namun saat ini, seiring dengan perkembangan jaman dan teknologi, permainantradisional sudah jarang dimainkan lagi oleh anak-anak. Hal ini patut disayangkan, karena sebenarnya permainantradisional memiliki nilai-nilai pendidikan yang baik dan juga manfaat yang dapat diserap oleh anak-anakketika memainkannya. Film dokumenter yang dibuat dengan pendekatan ekspositori ini, pada akhirnyamemberikan solusi bagaimana upaya yang bisa dilakukan untuk menjaga agar permainan tradisional tetapdikenal oleh anak-anak di jaman sekarang. Melalui kegiatan di sekolah, guru masih relevan untukmengupayakan dan merealisasikannya.Kata kunci: permainan tradisional, dokumenter, nilai-nilai, film, budaya.
OPTIMALlSASI BATIK TRADISIONAL SURAKARTA IMPLEMENTASINYA PADA ASESORIS BERBASIS TRADISI SEBAGAI UPAYA PENGOKOHAN BUDAYA LOKAL SURAKARTA DI ERA GLOBAL Sunarmi Sunarmi
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v8i2.1343

Abstract

This research is entitled "Optimizing Tradisional Batik of Surakarta: its Implementation to Traditional Based Accessories as an Effort to Strengthen local Culture of Surakarta in the Globalization Era".  The research aims at analyzing and realizing traditional batik of Surakarta as a traditional-based interior element to support the district tour and to strengthen the local culture in the era of  globalization. The problems of this research are as follows: 1) to optimize the utilization of batik of Surakarta as a souvenir of the district tour; 2) to make the craftsman more sensitive to the cultural  richness in Surakarta as a work of design and 3) to recommend to the authority. The activities will be carried out for two years. The results of the research in the first year were the identification of  the forms of batik of Surakarta and the map of design offered. The existence of batik should be developed and the concept of the development should be based on batik characteristics, especially  the element of batik surface design, namely, batik motif and batik as a technique. There are five activities in the second stage, that is, the experiment for developing, training for the craftsman, try out of the result, the completion of batik developing concept, and the recommendation.The strategy used was actively programmed by making use of modality: hearing, visual, kinesthetic. Brainstorming is used as a response to the strategy design. Try out is carried out using drill method and assistance. The result of the experiment is the combination of parang batik with tenun lurik (hand-woven cotton with a stripped pattern) which has shortcomings and advantages.  The advantages are that the innovative design of the surface appearing as tenun lurik with batik motif made by batik technique is easily adjusted to the need for interior elements; the cloth used  is hand-woven cotton with a stripped pattern; the natural dye is that is used for batik which is environment-friendly. The shortcomings of this design are as follows: the cost is higher than that of traditional batik; to combine batik with tenun lurik needs substance used to remove the colour of tenun lurik and it takes a long time. To make the cost cheaper so that it is affordable for anyone, we need to make plans for the cloth size and the dyeing both of which should be considered at the time of weaving process. Due to that the activities should be supported by all sides especially the financier.Key words: Batik, tenun lurik, elements interior, and inovation
FILM FIKSI PENDEK “LELANA” Arie Surastio; Rahayu Supanggah
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 (634.197 KB) | DOI: 10.33153/glr.v14i2.2084

Abstract

Memandang tanpa dualitas merupakan kesadaran yang penting bagi suatu pikiran ketika ingin membebaskan diri dari permasalahan relatif, pandangan tanpa kemelekatan (detachment) dari tradisi filsafat timur ,JalanTengah berfungsi utamanya untuk menyadari adanya ilusi. Film fiksi pendek Lelana mengungkapkan dan menghadapkan penonton pada dualitas-dualitas dari konstruksi pikiran subjek- objek, penonton dengandemikiandiharapkan memiliki pengalaman atau kesempatan untuk berada di antara permasalahan relatif, sebuah tahap penting dan menentukan karena adanya godaan yang dapat membuat seseorang melekat secara emosionaldan intelektual pada sesuatu. Tema tersebut kemudian dijangkarkan pada soal pertanian yang sekaligus telah menjadi latar budaya. Bangsa agraris yang sudah berabad-abad berkultivasi secara strategis ini seolah hanyapuas memiliki pandangan superior; bahwa petani pada basisnya membutuhkan bantuan karena terlihat pasif, kurang modal dan gagap teknologi. Inisiatif negara berupa pemberian pendampingan petani melalui pelibatanmiliter (babinsa) sebagai penyuluh, merupakan salah satu hal yang rentan memposisikan petani selamanya menjadi objek pembangunan, lalu sebaliknya bahwa aparat sebagai penyuluh adalah subjek yang sah danberhak mengatur tanpa perlu sedikit pun mempersoalkan faktor-faktor penghambat eksternal. Dengan menggunakan pendekatan realisme-fantasi dan struktur naratif alternatif, film pendek Lelana mengajukanperenungan yang tidak hanya membahas kontradiksi atau absurditas yang diproduksi oleh politik, melainkan juga disiplin dan pengembangan diri sebagai persoalan mendasar yang signifikan membentuk karakter. Dapat diibaratkan bahwa disiplin dan pengembangan diri merupakan pencarian pengetahuan dan wawasan sebagai hal yang paling hakiki, suatu pengelanaan yang dalam pengertian ini bukan beroperasi secara geografis melainkan terutamanya pemikiran dan perasaan.Kata kunci: Film, Jalan Tengah, Pertanian, Fiksi, Alternatif.Viewing without duality represents an important awareness in self releasing from relative problems, viewing without detachment from East philosophy”middle way” with the main function to realize illusion. The short fiction film Lelanareveals and brings the audience to the dualities of subject-object constructions so that they, supposedly, have experience or chance to face the relative problems. It is an important moment and determining for there is a temptation that can make someone emotionally and intellectuallyattached to something. The theme, then, is based onagricultural problems as the cultural background. This agrarian nation that has cultivated for centuries is as if satisfied of having superior view; that the farmer, basically, needs a help for they seem to be passive, lack of modal and technological ability. The government idea of giving guidance to the farmer through military involment (babinsa) as the instructor becomes one thing that is positioning the farmerto be object of development. On the contrary, the military as the instructor becomes the legitimate subject and has the right to rule without dealing with the external troubles.By using realism-fantastic approach and narrativealternative structure, the short film Lelanaprovidescontemplation that does not only discuss about contradiction or absurdity produced by politics but also discipline and self-building as a basic problem significantly build the character. It can be told that discipline and self-building represent the knowledge and insight learning as an essential case. It is not only a geographic journey but also dealing with ideas and feeling.Keywords: film, jalan tengah, agriculture, fiction, alternative.

Page 8 of 42 | Total Record : 414

 6   7   8   9   10 

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