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 426 Documents
 7   8   9   10   11 
EFEKTIVITAS PEMBELAJARAN OLAH TUBUH BAGI SEORANG PENARI (Sebuah Penelitian Tindakan Kelas) Budi Setyastuti
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 (1410.42 KB) | DOI: 10.33153/glr.v10i2.1411

Abstract

The aim of physical exercise learning is to prepare one’s body for being a dancer. Besides maximum quality in movement, a dancer also needs a strong body. Learning effectively is a must in view of limited time. To achieve effectiveness in physical exercise learning, data collection by observation and interview is needed. Technique of data processing is conducted by structure analysis covering a concept, method, approach, and theory. The research results show that physical exercise has used theory based on self-defense called karate since the beginning of 1980. A new method of physical exercise according to the dancer’s need is required. There are many steps in physical exercise such as warming up, movement variation and cooling down ; generally, all of them can be applied. Some movements which are compatible with a dancer’s demand need interpreting to make them more effective. It means the training takes less time but the result will support  the endurance of a   prospective dancer. Key words : physical exercise, effectiveness, dancer, method
ANALISIS HUBUNGAN ANTARA KEGIATAN MELUKIS DENGAN KEBUTUHAN PSIKOLOGIS PADA REMAJA Nunuk Nur Shokiyah
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 (230.749 KB) | DOI: 10.33153/glr.v12i1.1495

Abstract

This research aims to learn the correlation between painting activities and psychological needs to the teens.There are two variables in this research covering painting activities as the independent variable and psychologicalneeds as the dependent variable. The correlation technique of Product Moment Pearson is used to know thecorrelation between painting activities and the psychological needs to the teens, while the calculation usesthe computer program SPSS 15 for windows release. Subject of this research is all active students of thePure Fine Arts Department in Institut Seni Indonesia Surakarta. All data that is collected covers 61 subjects.The measuring instrument that is used is the intensity scale of painting activities and the scale of psychologicalneeds. The result of this research shows the coefficient correlation (rxy = 0,746; p = 0.000), it means thatthere is a significant correlation between the painting activities and the psychological needs to the teens.Meanwhile, the determination coefficient of the correlation is R2 is 0,556. It means that the painting activitiesgive the effective contribution to the psychological needs to the teens as much as 55,6 % while the rest of44,6 % is determined by other variables.Keywords: painting activities, psychological needs.
KAJIAN SENI LUKIS KARYA YUNUS SUNARTO S. Suyadi; D. Dharsono
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 (1551.233 KB) | DOI: 10.33153/glr.v13i1.1547

Abstract

The research entitled “Kajian Seni Lukis Karya Yunus Sunarto” (A Study in Paintings Arts by Yunus Sunarto)aims: to know about the background of creative process in painting arts by Yunus Sunarto; to analyze theform of paintings art by Yunus Sunarto using analysis interpretation with aesthetic approach by MonroeBeardsley; and to learn the observer’s view towards paintings art by Yunus Sunarto. Data is collected byobservation, interview, and library studies. The six paintings by Yunus Sunarto, with the studies of analysisinterpretative and aesthetic approach by Monroe Beardsley, refer to the three aesthetic characteristics ofarts: unity, there are visual and design elements well composed in the paintings; complexity, an art is not sosimple but it is rich of content and contains a smooth difference. Intensity, an art has an outstanding qualityeven in a bleak, happy, soft and rough condition. In reconstructing natural events, the aesthetic form ofYunus Sunarto’s paintings has a proportional form of anatomy, gradation, and volume in painting an object incanvas even the color sometimes seems tacky.Keywords: paintings art, works, aesthetic, creativity
MLESET DALAM KARAWITAN: KASUS PADA GENDING PANGKUR Hanggar Budi Prasetya; Adhi Susanto
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 (4915.735 KB) | DOI: 10.33153/glr.v8i2.1327

Abstract

This article discusses rnleset phenomena in gamelan music. The main research question is why kenong and kempul instruments are played inmleset style. Acoustic and karawitanology approaches were used to analyze the problem. Two data type, qualitative and quantitative, were employed in this research. The recording of each gamelan pieces and the common gending (gamelan piece) constituted the quantitative data. These recordings were then analyzed through a computer  program, Wavelab 7. The qualitative data-experiences of the musicians were obtained through in-depth interview and observation done to the informants. The research revealed that rnleset is  classified as mleset nuntuni and mleset ngempyungi. Mlasat nuntuni is determined by the melody, while mleset ngempyungi is determined by patet(mode) and fundamental frequency of gamelan  instruments. Common instruments for plesetan are kenong and kempul, both with their unique sound frequency. Each of the instruments possesses fundamental frequency producing main  tone and overtone frequency, resulting in kernpyunq (kwint) orgembyang (octave) specific tone. The overtone frequency results in tonal interference which is culturally accepted as nice melody  by the listeners and the musicians.Key words: mleset, karawitan, gamelan, overtone
MISE EN SCENE PROGRAM JAGONGAN SAR GEDHE DAN PEMAKNAANNYA Citra Ratna Amelia; D., Dharsono
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 (1073.193 KB) | DOI: 10.33153/glr.v14i2.2074

Abstract

Artikel ini merupakan hasil dari penelitian yang ingin mengungkapkan makna yang terkandung dalam mise en scene program Jagongan Sar Gedhe. Permasalahan yang dikaji dalam penelitian ini diantaranya adalahbagaimana latar belakang penciptaan program Jagongan Sar Gedhe?, bagaimana mise en scene program Jagongan Sar Gedhe? Bagaimana makna yang terkandung dalam mise en scene program Jagongan SarGedhe?.Penelitian ini menggunakan pendekatan semiotik Roland Barthes dengan melakukan pendekatan signifikansi dua tahap, yaitu tahap denotatif dan konotatif terhadap mise en scene program Jagongan Sar Gedhe. Hasil penelitian ini diantaranya: program Jagongan Sar Gedhe diciptakan sebagai sebuah wadahkomunikasi dan wadah pengkritisan bagi para pemangku kebijakan. Budaya lokal disisipkan dalam unsur mise en scene program Jagongan Sar Gedhe, di mana setting yang digunakan menggunakan ikon pasar Gede sebagai background, setting tempat duduk dibuat lesehan dengan menambahkan gerobak HIK dan alat musik gamelan sebagai backdropnya, kostum yang digunakan para pengisi acara antara lain kemeja batik, lurik, dan kebaya dengan tata rias yang natural. Makna dalam unsur mise en scene program Jagongan Sar Gedhe antara lain makna kebebasan berdemokrasi dan toleransi, makna keegaliteran, makna kesederhanaan dan keakraban, serta makna harmoni.Kata Kunci: Mise En Scene, Program Jagongan Sar Gedhe.The article constitutes a research finding trying to reveal the meaning contained in mise en scene of the program Jagongan sar Gedhe. The problem studied in the research includes how the background of creating the program Jagongan sar Gedhe is, how mise en scenein Jagongan Sar Gedhe is, and how the meaningcontained in mise en scene of program Jagongan Sar Gedhe is. This research applies semiotic approach of Roland Barthes by conducting two stages of significant approach including denotative and connotative stagestowards mise en scene in program Jagongan Sar Gedhe. The research finding shows that program Jagongan Sar Gedhe is created as a media of communication and criticizing the decision makers. Local culture is inserted in mise en scene of program Jagongan Sar Gedhe where the setting uses the icon of Pasar Gedhe as background. The seat setting is lesehan (sits at plaited mat or floor) added by a cart of HIK and gamelan instruments as backdrop. The costumes used by the event participants among other things are batik, lurik(cloth with small line motive), and kebaya (usually worn with a sarong) with natural make up. The meaning of elements in mise en scene program Jagongan Sar Gedhe covering the meaning of freedom of democracy and tolerance, the meaning of egalitarian, simplicity and intimacy, and also the meaning of harmony.Keywords: Mise En Scene, program Jagongan Sar Gedhe.
AZAS LUDIC DALAM KERAMAIAN BUNYI RITUS NGAROT Aton Rustandi Mulyana
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 (2048.27 KB) | DOI: 10.33153/glr.v9i2.1391

Abstract

This paper questions the relationship between sound crowd and the principle of ludic that is present in a rite Ngarot, one of a series of rites farmers in Lelea Indramayu, West Java. Based on Homo Ludens by Johan Huizinga’thoughts and supported by its liminality by Victor Turner. many ludic nature shown through its playing principles, that is free, temporary, closed, tense, but at the same order. The nature of liminality is revealed through the presence of a celebrated rite ngarot sometime before the growing season in the early half of the rainy season, as well as celebrations carried on the threshold between the two events daily, or between an unusual event with a regular event. Key words : sound, ritual, ngarot, ludic, liminality.
BERBAGAI RAGAM SAJEN PADA PEMENTASAN TARI RAKYAT DALAM RITUAL SLAMETAN Mukhlas Alkaf
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 (386.012 KB) | DOI: 10.33153/glr.v11i2.1469

Abstract

This paper is an attempt in providing the existence exposure of folk dances phenomenon whichstill survive in rural areas. The research that has been done in Kecamatan Selo, Kabupaten Boyolali,Central Java proved that folk dance has become part of people’s daily life. Folk dance motionforms even adopted many daily activities such as plowing motion, shouldering the grass, holdingyields, and so on. Folk dance even become part of various traditional ceremonies and religiousrituals. Society even believe that dancing activity is part of a devotion effort (bhakti) to God, as away in honoring the ancestral spirits, as a witchcraft or disaster repellents (sukerta). One interestingphenomenon that proves the relation between folk dance with elements of religion is the existenceof sajen (offerings) which is still often found in every performance , especially in the stage that hasa ritual function. Sajen or offerings almost certainly always be found in the dressing room of thefolk dancers. Sajen often have mystical properties at the same symbolic meaning. Mystical inthis context is a term used to refer to the unseen entities those cannot be reached by the mundaneminds. The entire exposure in this paper is the result of research that has been done by the writer. 
TRANSFORMASI BAGAWADGITA DAIAM LAKON BISMA DAN DURNA GUGUR PADA PEWAYANGAN JAWA SURAKARTA (Bagawadgita Tranformation in the episude Death of Bisma and Durna on J avaness Surakarta puppetry ) Subandi -
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 (6123.676 KB) | DOI: 10.33153/glr.v5i1.1249

Abstract

Bagawadgita is a literary work f!i India which has been adapted into old  Javanese language with the title Gitaning Bagawan meaning Kidungan Gusti.  Bagawadgita has been adapted into ma'!} International la'!guages among others  English, Dutch, French, and regional languages such as old Javanese langllage which  later was transformed into pedalanganjiteratllre. Bagawadgita amstitutes phi/oJop~y  and art. Bagawadgita contains Kresna's teaching to Arjllna when the war ~l  Baratayuda was in progress. .Arfuna being one of commanders-in-chief of .Amarta  was doubtflll after having known that his enemies were pepunden / parents he  respected very mllch, teachers who had tallght him and his own relatives. As a  nobleman, .Arjuna actuallY had not been capable for differentiating dury, task and  service. .Arjuna still needed Kresnas advice when he was facing his enemies. In the  war f!i Baratayuda, pepunden, teachers, relatives were not taken into consideration.  The opponents faced were the enemies who had evil characters and belonged 10 Kurawa.  There was no choice in the war, to kill or being killed Life or death is the same. In  Baratqyuda, those who won led to the bonorable wqy in the world that is power,  cOllntry and richness; those who died were believed to go into Heaven. As God's  messenger for jllstice, a nobleman had to destroy greed existing in the enemy. As the  enemies were those who had provided great merit to him, a nobleman had to carry ota  his dllry and differentiate right and dury exactlY. The wise Kresna had ma'!} accurate  wqys in giving adoices so .Arjuna had strong enthllsiasm to destroy his enemies. In the  episode f!i the death of Bisma and Durna, .Arfuna was given mucb advice how to  lead to glory.Keywords: Bagawadgita, teaching, a nobleman's duty
DEOLOGI PATRIARKI DALAM IKLAN AXE EFFECT ‘CALL ME’ VERSI SPECIAL NEEDS DAN LOST Ercilia Rini Octavia
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 (1808.77 KB) | DOI: 10.33153/glr.v12i2.1529

Abstract

The advertisement through its sign and code brings a certain meaning that is personally interpreted by theaudience based on their own cultural experiences. As a text, advertisement which is shown in a set of signand code from the addresser to the addressee expresses the ideological practice. The act of reading televisionadvertisement can be meant as an effort to convey the ideological practice working manipulatively in a certainsocial condition. Axe with the advertisement series Axe Effect Call Me especially Special Needs and Lostversion carries the ideology of patriarchy. Patriarchy is all forms of man mastery /upon/over/towards woman.The man superiority towards woman is presented in a story and visual performance that exploits the appeal ofwoman sensuality.Keywords: Axe, semiotics, sensuality, advertisement, ideology
BENTUK SAJIAN TARI SRIKANDHI CAKIL Dwi Maryani
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 (3527.605 KB) | DOI: 10.33153/glr.v8i1.1303

Abstract

Srikandhi Cakil dance has the theme of heroism using antawecana (dialogues) and tembang (Javanese songs). Javanese gamelan is used to accompany the dance and at the beginning the accompaniment is ada-ada, Srepeg, ketawang teplek, and then the second srepek, and ada-ada jugag is used before dialogues. In the dialogue, Cakil sits with the knees bent after knowing that he is facing Dewi Woro Srikandhi. To show that Cakil is surprised and gives a respect to Dewi Woro Srikandhi, this scene is accompanied by pathetan jugag. The dialogue is continued to the conversation on the king Jungkung Madiyo’s proposal which is rejected by Srikandhi. The accompaniment of ada-ada jugag is used to make the atmosphere that Cakil is angry. Key words : dance, Srikandi, Cakil

Page 9 of 43 | Total Record : 426

 7   8   9   10   11 

Filter by Year

2006 2025


Reset
Filter By Issues
All Issue Vol. 23 No. 2 (2025) 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