cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
-
Contact Email
-
Phone
-
Journal Mail Official
-
Editorial Address
-
Location
Kab. bantul,
Daerah istimewa yogyakarta
INDONESIA
SURYA SENI
Published by Institut Seni Indonesia Yogyakarta
ISSN : -     EISSN : -     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Arjuna Subject : -
Articles 32 Documents
 1   2   3   4 
SENI TEREBANG PADA UPACARA RUWATAN RUMAH DI DESA KARANG TUNGGAL KECAMATAN PASEH KABUPATEN BANDUNG Adang Kusnara
SURYA SENI Vol 3, No 2: September 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v3i2.68

Abstract

The blessings of a house, also called ‘Ruwatan rumah’ is a sacred ceremony which is still being celebrated by those who believed in it. The people of Karang Tunggal still do such ceremony today. There is an important aspect which wastried to be brought up in this celebration. The aspect is the effort to preserve the cultural values in heritaged by the ancestors. The blessing of a house gives chances to other arts to develop, such  ‘terebang’ a kind of tradisional art, therefore such art can take part on the ceremony. The ceremony itself producer lots different values and is nothing than just an ordinary ceremony. There are social, economical, entertaiment, aesthetical, cultural and educational  values in the ceremony.These values arise because there are different kinds of  erceptions from different kinds of people, and also dependson where the ceremony is being held. Terebang in Karang Tunggal in the beginning was a medium to teach Moslem, today the art itself is used as a requirement on celebrating the ceremony and also as a kind of entertainment for the people Terebangan involves  dancing, which is a very important aspect of the ceremony, because if the dancing areeliminated the ceremony will not be complete. Therefore, for the people of Karang Tunggal terebang functions as :(1) a medium to celebrate the ceremony,  it is mainly because this kind of art one of the requirements to accompany theceremony, especially the blessing of a house done by the people of Karang Tunggal.(2) a kind of entertaiment. Terebang is performed to the public to entertaint them. Terebangis also held during special ceremonies such as the circumcisionof a boy in wedding parties.    Keywords: Terebang and Ruwatan rumah
ARANSEMEN NICOLAI VARFOLOMEYEFF ATAS LAGU NYIUR HIJAU CIPTAAN MALADI: KAJIAN MUSIKOLOGIS Diah Uswatun Nurhayati
SURYA SENI Vol 3, No 2: September 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v3i2.69

Abstract

Nicolai Varfolomeyeffs arrangement on Maladi’s Nyiur Hijau is one of the products of this Russian musician since he resided in Indonesia during the national independence era. Maladi, who composed this song in 1945, was a nationalist fighter for national freedom, and he later became one of the ministers under Sukarno’s administration. The song of Nyiur Hijau is very popular in the community. As a national song, it is a cultural asset, which becomes a compulsory song in musical contests; it is sung in schools, college and universities; it is aregularly broadcasted by RRI and TVRI, and it was popular among the audience of musical concerts.Nicolai is very well know in the community, especially amongst the community of music educator, as a teacher of cello, a great composer, and a conductor.In fact, he was also very good at composing music, particularly of Russian  style.Due to some political consideration at that time, however,he chose to arrange Indonesia songs only.That’s why he was better known for his arrangement ofsong such as: Kupinta Lagi, Ati Raja and Bengawan Solo. Asa graduate of the famous Moscow Conservatory, Nicolai was very talented and at arranging music to enhance the music’sbeauty.As a music teacher, orchestra, and the science of orchestraat SMIND/AMI (Sekolah Musik Indonesia/Akademi Musik Indonesia) in 1952-1970. He received an art award from the provincial government of Yogyakarta Special Province in 1993, although he had already passed away and he was buried in Sasana Laya Yogyakarta.His life in Yogyakarta was totally dedicated to teaching and developing Western music and upgrading Indonesia music.There are plenty of Nicolai’s works, but most of whose documents are  missing. Apart from the fact that it is still played, Nyiur Hijau is selected as the object of this research because of several considerations, such as its existing score,its popularity, available resources, its creative arrangement, and the writer’s experience with the arrangement. Nicolai creativity was amazing when he worked on NyiurHijau, he was capable of illustrating various moods through the instruments, which ‘sing’ like human voice. This repertoire consist of orchestra and choir as a unity like a piece of symphony.Sound effect and voice in his arrangement can be imagined as Nicolai’s optimism, as a great musician whose ambition is to build Indonesia music to be equal to word-class music.Keywords: arrangement, creativity
UPAYA PENINGKATAN NILAI ESTETIK AKSESORI BUSANA DARI BAHAN TEMPURUNG KELAPA Enny Zuhni Khayati
SURYA SENI Vol 3, No 2: September 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v3i2.70

Abstract

Fashion accessories made from coconut shells that is unique,  distinguishable, and simpel have a limited function, hence the customer does not like it. This research  was made of fi nd any alternatives to improve the aestethic value of fashion accessories made from coconut shells and also to fi nd the  interest rate of consumer towards the application of the  coconut shells accessories  design.This research was done by using quasi experiment approach to make the sample consists of three sets of fashion accessories (necklace, bracelet and earrings) that are different in style and form. To fi nd the interest rate of the consumer, survey was done towards female consumers. The sample taking was being done accidentally and we got 75 responders. The data  was gathered with questionaire technique fi lled when the responders looked at the sample of fashion accessories made from coconut shells.The result of the research shows that to improve the aestethic values of the fashion accessories  made from coconut shells can be done by giving more modern details and the plays of the color that has a parallel tone with the occasion.Beside, the interest rate of the consumer towards the fashion accessories made from coconut shells is considered high. In a rank, the application of the accessories that consumers like the most is the accessories with the basic shape ofa ros, supported with pearl beads in salmon pink; have a feminin style, classy and etnically modern. The second one is the accessories with the basic shape if diamondcompleted with a spiral-look capper wire as its supporting matter. It has a style of simpel, casual and trendy.The last is the accessories with the basic shapeof oval with a creamy brown sea shell as its supporting matter,and has a style of traditional and classic.Keywords: Aestethic value, the consumer’s interest rate, fashion accesso- ries, and coconut shells.
CITARASA JAJAN PASAR YOGYAKARTA DALAM DESAIN GRAFIS Hartono Karnadi
SURYA SENI Vol 3, No 2: September 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v3i2.71

Abstract

People in Yogyakarta truly respect cultural inheritance and the ancestors’ tradition. The existence of Yogyakarta Palace truly supports the development of its culture. The various kinds of traditional events continually develop in the society, such as marriage, pregnancy, birth ceremony, and so forth. On thoseevents, there will be specifi c snacks and meal that are often called as “sesaji”. One of them is “jajan pasar”. In fact, “jajan pasar” that develops in the society is very unique and varied.In spite of the fact of many reasons, there are things which are diffi cult to fi nd or no longer produced anymore, furthermore some kinds of snack are no longer available and consequently forgotten. Regarding to above mentioned problems it is necessary to do research and documenting such ‘jajan pasar’ as complement to a number of books of food making which are mostly exposing modern food recipes. As a matter of fact publication on Yogyakartan traditional food-making and recipes is very rare, ifnot available.This book entitled entitled “Citarasa Jajan Pasar Yogyakarta” (Flavour of Yogyakartan ordinary snacks) is one of the efforts to preserve cultural heritage of Yogyakarta. The design of the book not only cover the aesthetic and functional aspects to promote the jajan pasar as cultural heritage to preserve, but also taps visual potentials of the food as graphic elements to communicate.Keywords: Jajan pasar, cultural heritage.
KEINDAHAN DI BALIK TRAGEDI I Made Saryana
SURYA SENI Vol 3, No 2: September 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v3i2.72

Abstract

The use of transportation facilities represents the metaphor of “double-sides sword”, on the one hand it gives usefulness, on the other hand it gives destruc- tiveness. An ideal dualism of modern culture achievement, and the tragedy in- herently implied. While the comfort of traveling embodies the positive side, the pollution and car accident represent the negative side. We have no other alternative, nevertheless, since the modern culture demanded such a high mobility that the use of modern transportation is unavoidable. Almost everyday we heard and read in mass media about various accident of car crashes. Even in minor cases, the victims or damages are always unavoidable. In a huge scale, the accident of transportation might take a great many victimsand material damages. Consequently, the survivors or the relatives of the casualties might experience mourning and sadness, even trauma. These are what we might call tragedies, the ones causing human suffering.Viewed as an event, accident left at least two realities: the one associated with mental/psychological implication and the other related to the factual objects that create automatically new “meaning”, even transformation to other “meaning”.In my opinion, the wrecked cars, or those with the paint peeled off, or the chassis detached, or the whole body burnt out, represent the factual reality of the objects undergone the transformation of “meaning”. A paradoxical reality ofmeaning: between the one referring to the traumatic side, and the other that signify the visually artistic side. It is on this paradoxical meaning that I based my creative exploration to create my photographic artworks. Observation mightinspire an unexpected visual composition. For example, a vehicle with its fabulous design might experience a sudden crash that creates effects such as dented or broken into pieces, while at the same time it creates something unique or fascinating. Here, I saw “the meaning of the beauty” behind the tragic outcome.  By photographing the most unique and the most interesting of the broken  pieces of the wrecked cars using the close-up function, an artistic and aesthetical photographic artwork might be created. That is the reason for me to choose the title “Beauty behind Tragedy”. Keywords: photographic artworks, tragedy and beauty.
POSTER HAK ASASI ANAK Prayanto Widyo Harsanto
SURYA SENI Vol 3, No 2: September 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v3i2.73

Abstract

Talking about children world is always fun because there is innocence, cheerfulness, honesty, and a lot of hope. Since the future of our nation and country is on their shoulders.  But, in everyday life, a lot of children cannot enjoy the  beautiful “Garden of Eden”. Not only few children that are in fact fl ung away in  the “sick world”. They have to live their days with pains, have no hope, and their rights are taken by force.On television and other various media, we can almost see and read everyday that children become violent victim in family (KDRT). The violent criminal can be the closest ones (father, mother, older brother/sister, uncle, aunty), and canbe also foreign people (in kidnapping case, children exploitation). The Law of Children’s Rights Protection seems to be powerless. The clauses that threaten the criminals do not make them frighten or deterred. Not all children of courseundergo bad experiences. There are still a lot of children who can grow and develop in conducive environment. They feel love as they should have and their basic rights are fulfi lled.By taking the subject of children world, and in purpose taking pictures of children world from two different sides as mentioned above, the aim of  designing this poster is to remind, make society realize, especially them who care of children,to see the reality around us. In fact, there are a lot of children who need our hands, attention, and deserve our fightagainst some factors that take their rights by force.Through poster media with photographic approach, we can show the reality that will easily be understood by society. It is real photos that show the real condition so that they can convince and awaken those who see the photos.Keywords: Poster, Children’s  right, and Photography
Kinanthi untuk Solo Gendèr dan Orkestra Singgih Sanjaya
SURYA SENI Vol 3, No 2: September 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v3i2.74

Abstract

Kinanthi adalah sebuah judul komposisi musik, yang merupakan eksperimentasi penciptaan komposisi untuk gendèr solo dan orkestra.Dalam karya ini dilakukan dua eksperimentasi, yang pertama penalaan gendèr barung (gendèr besar) ke sistem tangga nada diatonis (musik Barat), dan yang kedua memfungsikan instrumen gendèr sebagai instrumen solo, yang berarti instrumen utama yang diiringi orkestra.Salah satu konsep yang harus dipahami dalam proses penciptaan ini adalah memahami kaidah-kaidah dan elemen-elemen musik dan gamelan. Tulisan ini akan sedikit membahas mengenai hal tersebut.Kata kunci: gendèr, orkestra, eksperimen.
CEMPAKA: BUNGA RITUAL SAKRAL MASYARAKAT BALI Ni Wayan Suartini
SURYA SENI Vol 3, No 2: September 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v3i2.75

Abstract

Cempaka: Sacred Ritual Flower of Balinese People, recounts about ritual dialogue of human being to nature, spirits, and gods. This is a performance art  that locates and signifi es the concept of space and time as a holistic unit toward movement arrangement upon artistic awareness and event creation.The Choreography of Cempaka is a revitalization of Puri Anyar palace as a  space governed by the concept of Tri Hita Karana (three causes harmony) and Tri Mandala (three integrated spaces) as a space that instigates choreographer’screative ideas to interact with the nature of Balinese cultural environment. This choreography integrates various aesthetic elements: dance, tembang song, music, decoration, and symbol of Balinese traditional house in the primary form ofpalace. Concept of the dance is derived from the function of space available in Puri Anyar palace.Puri Anyar palace has an historical and aesthetic values, which is traditional palace that observes the concept of Tri Mandala and in accordance with Asta Kosala-Kosali. The size dimension is suffi cient and has a complete facility for a performance site of milieu choreography.  As a performance site, Puri Anyar palace is employed for performance without border between dancers and audience. The performance is presented for the entire social levels of local community, which is an integrated parts of the performance structure.Keywords: Performance arts, Cempaka fl ower, Puri Anyar environment.
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

Abstract

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

Abstract

“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

Page 1 of 4 | Total Record : 32

 1   2   3   4 

Filter by Year

2007 2009


Reset
Filter By Issues
All Issue Vol 5, No 1: Februari 2009 Vol 4, No 2: September 2008 Vol 4, No 1: Februari 2008 Vol 3, No 2: September 2007