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All Journal Corak : Jurnal Seni Kriya Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Jurnal Sejarah dan Budaya Panggung Sorai: Jurnal Pengkajian dan Penciptaan Musik Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi International Journal of Visual and Performing Arts PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Gestalt : Jurnal Desain Komunikasi Visual Human Narratives Jurnal Kajian Seni Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya
Bambang Sunarto
Institut Seni Indonesia Surakarta
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Journal : Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni

 1 
Adangiyah: Philosophy of Art in Tradition and Modernization Bambang Sunarto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 2 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i2.3983

Abstract

Dewa Ruci's journal on this edition is felt so special. Since volume 15 has been eager to target a wider audience. Many scientific idiographic concepts are important and need to be known by international readers. This edition is proud to present the most widely written articles by postgraduate students and lecturers from the Indonesian Institute of the Arts Surakarta, Universities of Education from Surabaya, and Malang (East Java). What is special about this edition of this journal is the participation of the second author, who comes from various countries who are very encouraging to the first author. The participating writers from abroad are Adzrool Idzwan Ismail (Malaysia), Michiyo Yoneno Reyes (Japan), Nazima Rangwala Kalita (India), Lee Yong-Shik (South Korea), Jody Diamond (United States).We above appear to have six collaboratively written articles to publish on this occasion. The first author, Soerjo Wido Minato, wrote an article entitled “Art, Nature, and Culinary As Leverages for Village Branding at the Foot of the Mountain.” He discussed that coastal tourism and coastal villages have always been attractions, especially mountain villages that have succeeded in branding themselves as tourist villages. The Malang State University research team conducted research activities to support the preparation of Benjor Village to become a tourist village. An effective strategy for branding Benjor Village as a tourist village at the foot of the mountain is to synergize art, nature, and culinary arts in logos, songs, dances, taglines, videos, and social media.Next is Yulela Nur Imama's article entitled "Masak, Macak, Manak” at this time through challenge-based research on the creation of Nol dance," discussing 3M (cooking, preening, give birth) as cultural values for Javanese women. This study aims to determine the existence and relevance of these 3M values in dance works and how these values must be maintained. Tari Nol interprets 3M's cultural values.Hanna Medita wrote the article “Self Me: interpretation of self-injury in the context of healing,” discussing modernization that affects human needs. Self Me is a work inspired by the author's experience of self-injury which is very common among teenagers towards adulthood. Many symptoms are very likely to affect one's mental health. The work of Self Me gives a message about the importance of knowing self-injury early on and knowing what the symptoms of self-injury are.Rian Prasetya's article entitled "Color Formation of Musical Compositions of Children's Choir "Vocalista Angels" discusses the choir resulting from intensive training in various competitions in the Vocalista Angels (VA) group. The group emphasizes unique performance with sound color processing that deviates from the conventions of music theory. At the heart of quality processing at VA is building a distinctive tone of voice, trying to avoid musical tendencies based on classical vocal theory. An important element to form distinctiveness is a musical work that puts forward the method of wording, processing articulation, resonance, and intonation.Izam Ismail wrote the article "Media Adaptation of Mask Making in Malang: Study of Functional and Process for Making Fiber Masks" which discusses the adaptation made by changing the media without changing the shape and visuals that appear in Topeng Malang. The mask in the Malang Mask performance is a sacred form used by dancers by bringing the Panji character into the show. Making fiber masks begins with practice, namely making molds without changing the shape and ornaments on Malang Masks.Harmanto’s article entitled "The Concept of Tumbuk in Javanese Gamelan Tuning" discusses the phenomenon of musical mash in the Javanese karawitan tradition. Tumbuk is more than just a scale between Sléndro and Pélog. Tumbuk acts as a synchronizer in frequency and range between notes and a tone coordinator or add-on in the tuning system. Tones that have the same frequency in the tone of nêm are nêm sléndro and nêm pélog, nêm sléndro and pélog stuff, and others.The last writer is Hasbullah, with an article entitled "The Meaning Of Bali Aesthetic Code In The Animated Film Si Uma." He discusses the meaning of the Balinese aesthetic code in the animated film "Si Uma." The animated film gives a message through semantic codes such as cloth poleng, which connotes a balance of life and perfection. The meanings found from studying the Balinese aesthetic code in the animated film “Si Uma” are beauty, concentration, and cultural identity.That is the essence of the issue of Volume 16 Number 2 (December Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of fine arts and performing arts in international networks, both in the arts. Creation and in the scientific research of art in general. We hope for the development of fine arts and arts.Thank you
Ga·ʼahʹ: Ekspresi Musikal Kisah Menara Babel dalam Kitab Kejadian Zwingli Tarigan; Bambang Sunarto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 1 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i1.2847

Abstract

Kisah mengenai menara Babel merupakan salah satu kisah yang telah banyak diceritakan dalam berbagai kalangan masyarakat. Di dalam umat Kristiani, kisah menara Babel ditulis dalam kitab Kejadian 11:1-9. Peristiwa menara Babel menceritakan bagaimana umat manusia mencari tempat di mana mereka bisa hidup bersama selamanya dan tidak tercerai berai lagi. Selain itu, pembangunan menara Babel juga bertujuan untuk memberikan tempat yang aman bagi segala musibah yang akan datang. Tetapi di atas semuanya itu, tujuan akhir manusia dan yang pada akhirya mendatangkan dosa dan murka Allah bagi manusia itu sendiri ialah keinginan manusia yang hendak menyamai dan mendatangi tempat Allah yang mereka yakini berada di langit. Kisah menara Babel menjadi obyek dalam penyusunan karya ga·ʼahʹ ini. Kata ga·ʼahʹ sendiri diambil dari bahasa Ibrani yang berarti ‘menjadi lebih tinggi’. Bentuk karya musik ga·ʼahʹ disusun dengan menggunakan media paduan suara teatrikal yang digabungkan dengan ansambel musik. Bentuk paduan suara teatrikal digunakan untuk memberikan ruang terhadap kemungkinan adanya eksplorasi dalam beberapa hal yang dapat mendukung terwujudnya suasana maupun simbolisasi yang ingin dibangun. Sedangkan bentuk instrumen ansambel digunakan sebagai media musik yang menguatkan suasana yang dibangun dari paduan suara teatrikal. Selain paduan suara teatrikal maupun ansambel musik, karya ga·ʼahʹ ini juga melibatkan beberapa hal untuk mendukung terwujudnya karya ini. Penyesuaian kostum, penataan panggung, penggunaan sound maupun lighting menjadi beberapa hal yang digunakan untuk membangun suasana yang diinginkan. Ga· ʼahʹ: Musical Expressions of the Tower of Babel in Genesis  Abstract: The story of the tower of Babel is one that has been told in various circles of society. In Christians, the development of the tower of Babel is written in the book of Genesis 11: 1-9. The Tower of Babel incident tells how humankind looks for a place where they can live together forever and not be separated anymore. Besides, the construction of the Tower of Babel also aims to provide a safe place for all future calamities. But above all that, the ultimate goal of a man and what ultimately brings sin and God's wrath to the man himself is the desire of humans to emulate and come to the place of God which they believe to be in the sky. The story of the tower of Babel is the object of the preparation of this ga·ʼahʹ work. The word ga·ʼahʹ itself is taken from the Hebrew which means 'to become higher'. The form of ga·ʼahʹ musical works is composed using a theatrical choir combined with a musical ensemble. The theatrical choir form is used to provide space for the possibility of exploration in several ways that can support the realization of the atmosphere and symbolization to be built. Meanwhile, the form of the ensemble instrument is used as a musical medium that reinforces the atmosphere built from the theatrical choir. Apart from the theatrical choir and musical ensemble, this ga·ahʹ work also involves several things to support the realization of this work. Adjustment of costumes, stage arrangement, use of sound, and lighting are some of the things that are used to build the desired atmosphere.
Adangiyah Bambang Sunarto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 1 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i1.3601

Abstract

This edition is the first issue of Dewa Ruci’s Journal, in which all articles are in English. We deliberately changed the language of publication to English to facilitate information delivery to a wider audience. We realize that English is the official language for many countries rather than other languages in this world. The number of people who have literacy awareness and need scientific information about visual and performing arts regarding the archipelago’s cultural arts is also quite large.The decision to change the language of publication to English does not mean that we do not have nationalism or are not in love with the Indonesian language. This change is necessary to foster the intensity of scientific interaction among writers who are not limited to Indonesia’s territory alone. We desire that the scientific ideas outlined in Dewa Ruci’s Journal are read by intellectual circles of the arts internationally. We also want to express our scientific greetings to art experts from countries in New Zealand, the USA, Australia, Europe, especially Britain, and other English-speaking countries such as the Philippines, India, Pakistan, Zimbabwe, the Caribbean, Hong Kong, South Africa, and Canada. Of course, a change in English will also benefit intellectuals from countries that have acquired English as a second language, such as Malaysia, Brunei, Israel, Malaysia, and Sri Lanka. In essence, Dewa Ruci’s Journal editor wants to invite writers to greet the scientific community at large.We are grateful that six writers can greet the international community through their articles. The first is Tunjung Atmadi and Ika Yuni Purnama, who wrote an article entitled “Material Ergonomics on Application of Wooden Floors in the Interior of the Workspace Office.” This article discusses office interiors that are devoted to workspaces. The purpose of this study is to share knowledge about how to take advantage of space-forming elements in the interior design of a workspace by utilizing wooden floors like parquet. The focus is on choosing the use of wood by paying attention to the elements in its application. This research result has a significant meaning in the aesthetics, comfort, and safety of wooden floors in the workspace’s interior and its advantages and disadvantages.The second writer who had the opportunity to greet the Dewa Ruci Journal audience was intellectuals with diverse expertise, namely Taufiq Akbar, Dendi Pratama, Sarwanto, and Sunardi. Together they wrote an article entitled “Visual Adaptation: From Comics to Superhero Creation of Wayang.” This article discusses the fusion and mixing of wayang as a traditional culture with comics and films as contemporary culture products. This melting and mixing have given birth to new wayang creations with sources adapted from the superhero character “Avenger,” which they now call the Avenger Wayang Kreasi. According to them, Wayang Kreasi Avenger’s making maintains technical knowledge of the art of wayang kulit. It introduces young people who are not familiar with wayang kulit about the technique of carving sungging by displaying the attributes in the purwa skin for Wayang Kreasi Avenger. This creativity is an attempt to stimulate and show people’s love for the potential influence of traditional cultural heritage and its interaction with the potential of contemporary culture.The next authors are Sriyadi and RM Pramutomo, with an article entitled “Presentation Style of Bedhaya Bedhah Madiun Dance in Pura Mangkunegaran.” This article reveals a repertoire of Yogyakarta-style dance in Mangkunegaran, Surakarta, namely the Bedhaya Bedhah Madiun. The presence of this dance in Mangkunegaran occurred during the reign of Mangkunegara VII. However, the basic character of the Mangkunegaran style dance has a significant difference from the Yogyakarta style. This paper aims to examine the Bedhaya Bedhah Madiun dance’s presentation style in Mangkunegaran to determine the formation of its presentation technique. The shape of the Bedhaya Bedhah Madiun dance style in Mangkunegaran did not occur in an event but was a process. The presentation style’s formation is due to a problem in the inheritance system that has undergone significant changes. These problems arise from social, political, cultural, and economic conditions. The responses to these problems have shaped the Bedhaya Bedhah Madiun dance's distinctive features in Mangkunegaran, although not all of them have been positive.Hasbi wrote an article entitled “Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting.” This article reveals Hasbi’s creative process design in creating three-dimensional works of art, named Sappo. He got his inspiration from the ancient manuscripts written in Lontara, namely the manuscripts written in the traditional script of the Bugis-Makassar people on palm leaves, which they still keep until now. Sappo for the Bugis community is a fence that limits (surrounds, isolates) the land and houses. Sappo’s function is to protect herself, her family, and her people. Sulapa Eppa means four sides, is a mystical manifestation, the classical belief of the Bugis-Makassar people, which symbolizes the composition of the universe, wind-fire-water-earth. Walasuji is a kind of bamboo fence in rhombus rituals. Eppa Walasuji’s Sulapa is Hasbi’s concept in creating Sappo in the form of three-dimensional paintings. The idea is a symbolic expression borrowing the Lontara tradition's idiom to create a symbolic effect called Sappo.Mahdi Bahar and his friends wrote an article entitled “Transformation of Krinok to Bungo Krinok Music: The Innovation Certainty and Digital-Virtual Contribution for Cultural Advancement.” Together, they have made innovations to preserve Krinok music, one of Jambi’s traditional music themes, into new music that they call Bungo Krinok. He said that innovation is a necessity for the development of folk music. In innovating, they take advantage of digital technology. They realize this music’s existence as a cultural wealth that has great potential for developing and advancing art. The musical system, melodic contours, musical grammar, and distinctive interval patterns have formed krinok music’s character. This innovation has given birth to new music as a transformation from Jambi folk music called “Bungo Krinok” music.Finally, Luqman Wahyudi and Sri Hesti Heriwati. They both wrote an article entitled “Social Criticism About the 2019 Election Campaign on the Comic Strip Gump n Hell.” They explained that in 2019 there was an interesting phenomenon regarding the use of comic strips as a means of social criticism, especially in the Indonesian Presidential Election Campaign. The title of the comic is Gump n Hell by Errik Irwan Wibowo. The comic strip was published and viral on social media, describing the political events that took place. In this study, they took three samples of the comic strip Gump n Hell related to the moment of the 2019 election to analyze their meaning. From the results of this study, there is an implicit meaning in the comic strip of pop culture icons' use to represent political figures in the form of parodies.That is the essence of the issue of Volume 16 Number 1 (April Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of visual and performing art science in international networks, both in the science of art creation and in scientific research of art in general. We hope that the development of visual and performing art science can reveal the various meanings behind various facts and phenomena of art life. Therefore, the growth of international networks is an indispensable need.Thank you.
The Aesthetics of Surakarta Palace’s Karawitan According to Serat Sri Karongron Joko Daryanto; Rustopo Rustopo; Bambang Sunarto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 1 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i1.2766

Abstract

Aesthetics is an observation of beauty, values, and judgments that view human works from the perspective of whether they are beautiful and not—Serat Sri Karongron by R. Ng. Purbadipura was written during the reign of Paku Buwana X, releasing a pulse of musical life in the Surakarta Palace, which implies the artistic content of the Surakarta Palace’s karawitan. Serat Sri Karongron explicitly mentions the atmosphere of the Seger sumyah karawitan feeling. The phrase Seger sumyah can be interpreted as something that can make someone feel happy because Seger sumyah refers to an excellent or delicious taste. Purbadipura notes that Seger sumyah refers to the gobyog karawitan presentation at the Surakarta Palace. On the other hand, Purbadipura reported that the gobyog karawitan presentation still refers to the karawitan presentation with three parameters of tan sora swaranira, rampak-rempeg, and sajanturing ringgit. The aesthetics of the Seger sumyah karawitan, which refers to karawitan composition with the nuances of gobyog, had a chance to live and develop during the reign of Paku Buwana X.
Nuutsih: interpretation of Celuk village revival via soundscape as a cultural phenomenon Ni Nyoman Srayamurtikanti; Bambang Sunarto
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 17, No 1 (2022)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v17i1.4074

Abstract

This article discusses the process of creating a work of performing arts entitled "Nuutsih" as an artistic interpretation of cultural phenomena and social phenomena that occur in Celuk Village. Celuk Village is the centre of silver handicrafts in Bali. The village that culturally colours life and economy in Bali experienced a fluctuating event due to the community's attitude towards local wisdom. The local wisdom is in the form of a soundscape in producing silver handicraft motif designs characteristic of Celuk village. This article aims to report on creative activities in creating Nuutsih's musical works. The writing method is an informative reflection of the creative activity the author undertakes as an artist. This method ultimately produces a picture of the artist's creative process in developing a strategy for creating artwork. Mainly with the object of the phenomenon of cultural sounds and the attitude of life of the Celuk village community. The artist sees this object from the perspective of restoring the collective memory of a happy community. Another result is the birth of Nuutsih ontology which will appear described in the discussion of this article. The significance of this article is to demonstrate the application of the rules that artists must adhere to in the creative process of art creation to produce works that the audience can enjoy
Co-Authors Ade Kurniawan Suhardi Ahmad Faiz Muntazori Andhika Putra Herwanto Arif Suharson Ario Wibisono Asep Saepul Haris Asep Saepul Haris, Asep Saepul Dharsono Dharsono Dharsono, Dharsono Harun Isma'il Indra Gunara Rochyat Irawati Kusumorasri Iwan Budi Santoso Joko Daryanto Joko Daryanto Joko Suranto Kiswanto Kiswanto Kiswanto Kiswanto Midhang Langgeng Sembodo Nanang Bayu Aji Nanik Sri Prihatin Nanik Sri Prihatini Ni Nyoman Srayamurtikanti Pande Made Sukerta Pande Made Sukerta, Pande Made Pujiyanto Pujiyanto Rahayu Supanggah Rahayu Supanggah, Rahayu Rustopo Rustopo Rustopo Rustopo Rustopo Rustopo Santosa Soewarlan Santosa Soewarlan Sri Rochana Widyastutieningrum Sunarmi Sunarmi Sutrisno, Andika Agung Sutrisno, Andika Agung Tommy Christomy Zulkarnain Mistortoify Zwingli Tarigan