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INDONESIA
SURYA SENI
Published by Institut Seni Indonesia Yogyakarta
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Core Subject : Humanities, Art,
Arts Humanities
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Articles 32 Documents
 1   2   3   4 
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

Abstract

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

Abstract

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

Abstract

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

Abstract

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

Abstract

“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

Abstract

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

Abstract

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
BERMAIN PERSEPSI DAN TANDA Adam Wahida
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.86

Abstract

Playing with Perception and Sign. The art creation aims at making art works based on the spirit of playing with perception and sign, criticizing mass  culture phenomena and giving new alternative in the creative process of making visual arts. The author uses the approach of lateral thinking method, brainstorming and playing in making the art work. The creating stages include exploration, improvisation and forming. The exploration is conducted to directly gather the information of mass culture in both printed or electronic media. The improvisation is made to find out various possible ideas and concepts found in the exploration stage, while the forming stage is conducted to materialize the concept into theplanned art work. The spirit of playing in the creating process of the art work can bring mental enlightenment and joyful and pleasing atmosphere. The playing with perception and sign can help construct idea and open freedom space that results in variousalternative manifestations not bound by conventional and standard norms.Playing with perception and sign enables free selection of cultural signs in order to construct the perception building. The resulting work is two-dimension painting with realistic painting technique. The painting represents the perception of thephenomena and the sign of the mass culture, while its subject matter may be classifi ed into some categories such as fashion trend phenomena, idol, communication technology, consumerism, and education as the symbol of prestige andappearance dominance. Keywords: playing, perception, sign, and mass culture
TARIAN CAHAYA DALAM FOTOGRAFI Dody Doerjanto
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.87

Abstract

Light Dance in Photography. Light dance is a theme of creation that is based on the art of photography. The photographic technique is done directly  on the stage. Therefore, the capture of the aesthetical moment is determined by intensive observation, time availability, and the perception of the photographer.The purpose is to explore and to present the unique and surprising visual aspect of the dancer’s body movement through photographic technique such as static camera, mobile camera, lenses manipulation and any possible kind of photographic technique.The methods are: (1) tangram and quantum approaches (2) trial and error and (3) observation and lateral thinking. The psychological aspect contributesin capturing a scene. Emotional feeling such as joy, happiness, and motivation mix with fear, depression, and worry. This, in fact, generates  different passion.It seems that the event can cause the greater effect of the quantum leap. Thus all creation became more unique and interesting.The result of shows that the camera capture to ward the light refl ection of the acting dancer can generate new image other than the image of the dancer.The new image can be alike the movement of water, wind, dust, dew, fi re, stone, tree and abstract.Keywords : dance and lightI.   PENDAHULUANA. Latar Belakang Penciptaa
FUNGSI ALAT MUSIK SULIM DALAM PESTA PERKAWINAN ADAT MASYARAKAT BATAK TOBA Eva Florida Simanjuntak
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.88

Abstract

Sulim is bambo fl ute of Batak Toba society, is one of many traditional music instrument of Batak Toba society. It must combine ceremony. This instruments be close to the Batak Toba people since Opera Batak ceremony by Tilhang OberlinGultom. After that, Batak Toba people always use the sulim on some of the traditional ceremony.There are three questions that need explanation thy are: (1) How is the chronology of traditional wedding ceremony of Batak society, (2) What is the function of sulim in the traditional mariage ceremony of Batak Toba society, and (3) Whythe Batak Toba people use the sulim in their traditional mariage, in this problem to be explain by multi diciplined approach. Resuld of this reseach aprove that traditional mariage ceremony performed closely by the people. Music ansambel with the sulim instruments after to accompanyitems of ceremony. Sulim as the main choise to accompany the ceremony because it has the register of note that longer than another instruments, for example hasapi, sarune etek, sarune bolon, and garantung; sulim has specific expression and style.Keyword: Sulim

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