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DESAIN INTERIOR KARATON KASUNANAN SURAKARTA PASCA KEBAKARAN TAHUN 1985 (STUDI KASUS INTERIOR SASANA HANDRAWINA) Agung Purnomo
SURYA SENI Vol 4, No 1: Februari 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i1.77

Interior Design of Karaton Kasunanan Surakarta, Post Conﬂ agration in 1985: Case Study of Sasana Handrawina’s Interior. Sasana Handrawina in Kedaton Karaton Kasunanan Surakarta has a function as a place for banquet foe royal guest and royal families. The existence of Sasana Handrawina is signiﬁcant and being one unity with anoyher building suchas Sasana Prasadya and Dalem Prabasuyasa. Built in 1745 by Pakubuwana V, this beautiful interior building had experienced conﬂ agration in 1985. The purpoe of this research is to know what the planningnconcet in Sasana Handrawina Interior’s reconstrusction as a place for banquet or royal dinner,involving, function, activities, room organization, element shaper of the room, aesthetic element, and condition order of the room. Beside, the purpose is also to know how the change of Sasaa Handrawina interior after being rebuilt and whatfactors forcing the change. Design approach needs to be done because the object of the research belongs tothe ﬁ eld of interior design, where thr element inside of it needs tobe seen from the approach. While sosiohistoric approach deals with Sasana Handrawina interior is realized at present.Changes happening to interior design elements of Sasana Handrawina are caused by several factors both internal and external. Revitalization as development concept of Karaton now to the future is an important element in controlingchange boundaries, which are still allowed. It is so relevant with the existence of Karaton as one running monument, which is one side must reserved as the sites in it considered important. While on the other side, Karaton is not only artifact but also the beat of cultural life growing and expanding continuosly in accordance with the change of era.Keywords: interior, reconstruction, and change

EIGHTEEN WHEELS of STEEL DALAM FOTOGRAFI SENI Aran Handoko
SURYA SENI Vol 4, No 1: Februari 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i1.78

“Eighteen of Wheels of Steel in Art Photography.” This project is aimed at expressing the photographer’s feelings and deepest aesthetic emotions based on his experiences with the existence of the heavy duty vehicles. The basis of photography is an expression media through the aesthetic and artistic instinct according to the elements of art and composition such as color, line, balance, light and dark, rhythm, and angle.The concept of this creation of photographic works is Eighteen (18) Wheels of Steel in art photography. The objects here are focused on heavy duty vehicles i.e. 18 Wheels of Steel, which are also or called trailers. The objects taken as the photography resources are presented in the representations of realistic forms as well as abstract patterns which can embody the artistic language of emotive expression using a creative and aesthetic approach. These works of photography therefore take the forms of expression based on the photographer’s experiences with the existence of the heavy duty vehicles which are cruisers or huge, strong, powerful vehicles. The creation of these photographicworks was based on the expression as a basic pattern of creation relying on the colors and forms of the objects with aesthetic considerations based on the creative ideas and technical competences. So that the results from thisphotographic creation are not just forms of documentations but forms of art work presentations on a creative-aesthetic level as well.The approach is focused on the creative-aesthetic aspect which emphasized composition manipulations and photographic techniques such as the selection of objects, using the exact exposures, using the picture formats, and the angle ofshooting. These techniques of course were used based on photographic technical considerations which were oriented to possibilities in practical implemen- tations. In this respect, therefore, in order to ﬁ t the works to the concepts, a thematic grouping of trailers was done, based on detail, reﬂ ection, on moving, and silhouette. The works of photography, therefore, will offer new experiences in perceiving trailers. In photographic view, trailers basically have distinct aestheticvalues as objects of photography which will enrich the spectators’ visual insight. Keywords : 18 Wheels of Steel, Fine Art Photography, and Creative-aesthetic

SAMGITA PANCASONA KARYA SARDONO DALAM FENOMENA KONFLIK TRADISI – MODERN Budi Santosa
SURYA SENI Vol 4, No 1: Februari 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i1.79

Artistic journey of Surakarta dance, in its growth coloured by many various dynamic event, for example incidence of conﬂ ict. For example, event which enough the legend and have various dimension mean that is hard deduction of tradition society to show of dance Samgita Pancasona masterpiece of SardonoW. Kusumo in RRI Surakarta in the year 1970s. That ocurance generate hard collision among/between of tradition and modern movement. Afterwards, then is opened by the new ﬁ rmanent which open various possibility door to develop various concept and idea creation of dance, including use of modern dance motion material and technique. The interesting problems is Yayasan Seni Budaya Indonesia (YASBI) attitude which openly perform a deduction to movement renewal of Pusat Kebudayaan Jawa Tengah (PKJT) supporting modern movement. From that case there are two important matter which is properly noted is, First, is YASBI attitudeassuming taboo show of contemporary dance of Sardono W. Kusumo and assumed to endanger. Second, is historical side, specially related to effort to know renewal growth dance in Surakarta. On the basis of that importance, hence thisresearch was designed to know how occurrence of tadition – modern conﬂ ict in artistic society of show of Surakarta which is in the form of deduction to contemporary dance Samgita Pancasona masterpiece of Sardono in the year 1970in RRI Surakarta. So that is reaching critical reﬂ ectionof reasearch will be come near with Theory of Conﬂ ictof Ralp Dahrendorf which ever look into society always stay in change process, marked by continuous oposition amongits elements.Result of research to show of that all modern dance exponent in Surakarta, have surprised tradition society. On the other hand YASBI following movement of tfradition feel annoyed. In turn happened tradition-modern conﬂ ict causing at throwing of buthuk egg tos how of contemporary dance Samgita Pancasona. That occurrence as symbol that tradition society refuse attendance of modern dance inﬂ uence which destroy of the social order of the dance Surakarta. Its top is enragement of YABI head, Moedhakir Wiroguno then to attack PKJT,modern movement center by riding Jeep car climb Pendopo of Sasanamulya tha is as bravery symbol to defeat foreign inﬂ uence which destroy tradition values.That occurrence in the end open new awareness of tradition dance can be made by items for the basic of contemporary dance. That event, is short lived even if, undeniably have very long inﬂ uence to life Surakarta dance later on day. The inﬂuence for example, opening various possibility door, both for concerning idea, artistic creation, and also study to dance art, including also reinforcemnet of tradition, in consequence in Surakarta growth dance proportional contemporary dance and tradition. Thereby result of the reasearch in harmony with assumption which have been raised.Keywords: tradition and modernity conﬂ ict

EKSOTIKA AGROPOLITIKA Ms. Hasdiana
SURYA SENI Vol 4, No 1: Februari 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i1.80

The Exotic of Agropolita. Custom ceremony of Gorontalo bride is not just a ritual procession which interesting, but also can create sacred atmosphere, so that at the execution not only impressing the luxuriant and hilarious, but containsthe certain symbolic meaning as expression of message of lives for the routers generations and wide publics.Gorontalo is one of agrarian area in Indonesia. For sustaining of economic growth rate, Gorontalo most have rest on agricultural sectors. Realize this potency, hence government of Gorontalo Province targeting “Agropolitan Program” asdevelopment pillar. One of the pre-eminent commodities is corn. Agropolitan Program is able to increases corn production and productivity. Temporarily, exploiting of corn is focused at the seed only, the stem and leaf applied for livestockfood mixture, while the husk only becomes garbage (read: waste). The corn husk if tilled with creative tapped will produce functional and non-functional masterpieces which loaded with esthetic nuance, and the symbolic meaning. Even, can becomes pioneer in processing sector of the corn husk and mascot for Gorontalo.Manifestation of dressmaking masterpiece from this corn husks, is a moral responsibility and real contribution, as response to its problematic and dynamics.Visual materialization is crated in installation art which collaborated with fashion show. The beauty, potency of natural resources, and custom ceremony of Gorontalo bride becomes inspiration of creation of dressmaking and other visual artmasterpiece, and then entitled by “The Exotic of Agropolita”.Keywords: custom ceremony, corn husk, and modiﬁ cation of cloth.

MENGADILI SANG SAPURBA BERDASARKAN MITOS SANG SAPURBA Muhammad Kafrawi
SURYA SENI Vol 4, No 1: Februari 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i1.81

The manuscript of “Mengadili Sang Sapurba” is a process by the writer in creating a theater play. The play inspired by the reality of people’s life and poverty the of Riau using two old Malay manuscipts of Malay History and The Tale of Hang Tuah, the writer try to “embrace” these issues. Sejarah Melayu or The Malay History describes an agreement between a king called Sang sapurba and a Malay leader named Demang Lebar Daun. This agreement gave the king power that made him stand above the law. Even when the king and his family did wrong things, his people could not stop them. Meanwhile Hikayat Hang Tuah, represented by main character of Hang Jebat, struggled against the cruelty and arbitrariness of the ruling king. The rebellion started when Hang Jebat disagrees with an unjust death penalty delivered bythe king to his best friend Hang Tuah. Nowadays, writer sees the agreement between Sang Sapurba and Demang Lebar Daun is still hunting Malay (Riau) people. This can be seen in the current condition in Riau, where the Malays have no courage to ﬁ ght their rights. In theplay of Mengadili Sang Sapurba, the writer feels the needs of embracing the past in order to learn and take a lesson from it.Keywords: Sang Sapurba, Hang Jebat, and Agreement.

GAGASAN KREATIF BAMBANG SURYONO DALAM BEDAYA LAYAR CHENG HO Nunik Widiasih
SURYA SENI Vol 4, No 1: Februari 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i1.82

Bedaya Layar Cheng Ho is a product of dance which to unify between the essence of Bedaya dance from Surakarta style with China Beijing Opera. The bedaya takes theme of Cheng Ho sea voyage story. This bedaya is served in symbolic form with drama dance type, so that seen as the original product of the dance composer. The objective of this research of art study is to know the dance composer background, choreography and aesthetic of Bedaya Layar Cheng Ho, beside to make documentation and reference for the next art study. The research uses sociology, choreography and aesthetic approach. The background of the dance composer begins from Indonesia Karawitan High School (SMKI) which based on tradition of Surakarta style and then continues at Indonesia High School of Art (STSI) at Surakarta. His ability of the Java tradition increases after he gets dance skill from Gendhon Humardani, and active in Mangkunagaran palace as a dancer, choreographer, costume designer and also dance teacher. His concepts of tradition more develop after he joins withSardono’s dance theater.From the changes of Bambang Suryono his self, he has found personal expression on Bedaya Layar Cheng Ho. Bedaya Layar Cheng Ho uses Javanese dance media in form of bedayan, potehi puppet and Beijing opera. The bedayan seen as the uniﬁ cation between Hastha Sawanda and aesthetics of Beijing opera, and shows the innovation and creative idea from the dance composer. This research also shows that tradition can be maintained with changes and development of their elements respectively. Keywords: Bedaya Layar Cheng Ho, Aesthetics, and Creative Idea.

RUANG Mr. Syafrinaldi
SURYA SENI Vol 4, No 1: Februari 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i1.83

“Space” is a choreography inspiration by a story Pendam Tujuh of Kerajaan Kingdom in Riau Province. Pendam Tujuh means in ground keeping ground. It tells about seven girl who are kept in gound because of their act of disseminating information about the out-of marriage pregnancy of Batin Betina(a governor in Keritang Kingdom). The story is passed on orally among Riau people. The choreographer sees the story in comparison with the present condition of prisoners. They are imprisoned because of certain guilt and must live in a jail. The author got the idea of the creation a year ago when he saw the occurrences taking place amidst the people. When we observe, there are many news in television and magazine about violence, drugs abuse, robbery, rape, riots, and murderthat inﬂ ict a loss on others and on the criminals. The criminals are punished in jail because of the guilt, they committiet. The “Space” consideret to be a chorographical exposure is interpreted to be a violence space in the attitude andbehavior with the burying spirit. It means that whoever is in the burying space or the jail, he or she will be fettered, conﬁ ned and loss the space to have certain attitude and behavior as decent human being.Keywords: Pendam Tujuh and space.

PERMAINAN Totok Priyoleksono
SURYA SENI Vol 4, No 1: Februari 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i1.84

The Game.The process of art creation in general includes (a) to realize self-existence in life (culture); (b) to respond the real life (local and global) as a sculptor (artist); (c) to visualize the respose in an art work; (d) to realize the desire to communicate self by the relevant means and ways; (e) to realize that visual objects consist of a series of human signs that keep, process, and obtain meaningful information through objective and subjective description; (f) to realize that each individual has different patterns of social, political, and culturalgames.In particular, we seek possible types of game we commonly ﬁ nd to be combined with social, political, and cultural conﬂicts. The role of playing and being played among humans in the world is symbilized in the art work.This is an observativory and exploratory study. Observation was conducted to collect scientiﬁ c verbal and visual facts and information. The observed games and dynamics of humans are taken to be the idea of the sculpture. Exploratory method is employed to express possible visual symbols in sculpture. It can be concluded that: (1) there are different ways and means of games in the society; (2) the games that people play are full of conﬂ icts; (3) the work of sculpture can be used to communicate the real games containing moral values ofhuman in a constructive way.Keywords: Games and Moral Values

KANTATA NUSA LAWO PENGGABUNGAN MUSIK KANTATA DAN MUSIK KONTEMPORER BERDASARKAN IDIOM MUSIK SANGIHE Yohan C. Tinungki
SURYA SENI Vol 4, No 1: Februari 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i1.85

Cantata Nusa Lawo is a musical composition tells about Sangihe area which is a regency in North Sulawesi Province. Nusa Lawo comes from Sangihe language that means many islands, this is because Sangihe geography consists ofmany islands, either little islands or big ones. The livelihood of Sangihe society in religion, social, culture, and geography is told in this work of music Cantata Nusa Lawo. In this work the writer does the best to pour the poetical idea into music either narrative or descriptive. Cantata music is a musical work that sung and accompanied by instrument. Since 1620 in Italy, cantata is a polite form music but in its main characteristicthere is a series of contrast section, especially resitative, unisono, and aria that before eighteenth century becomes a free movement/self-standing one. Through analyse acts, Cantata Nusa Lawo is made, based on a contemporarysystem among others: tones that move with same intervals (parallelism), mode composition with 6 scales interval which is differed by interval with diatonical mode. There is also changing in symmetrical motives, changing in beat, rhytmicalalteration, melodical alteration, motive contraction perfoming, chromatical expansion of tones, 7 th major accord, 9th mayor, 11th accord, and 13th accord. Contemporary music is not always a new one and new music is not always contemporary.There are two waves that ﬁ ght each other namely innovation wave and simpliﬁ cation wave. When the innovation wave is higher, the music in that time becomes new music, when retrogretion wave appears, the music will goes backits history steps. The appearance of contemporary music does not free from the inﬂ uence of world development in totality. The contemporary understanding in music world is more tendency as a new atmosphere discovery that is different with before discovery, this case is caused by technological progress that help the music development and as a result of development of understanding and contemplationsthat give a new concept about music.Keywords: Cantata, Nusa Lawo, Sangihe, and Contemporary

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Abstract

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Contact Name
-

Contact Email
-

Phone
-

Journal Mail Official
-

Editorial Address
-

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA