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All Journal Capture : Jurnal Seni Media Rekam Greget
Nanik Sri Prihatini
Institut Seni Indonesia (ISI) Surakarta
Arts Humanities

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KREATIVITAS DWIYASMONO DALAM KARYA TARI HARJUNA KERATARUPA Fitri Monika Sari; Nanik Sri Prihatini
Greget Vol 18, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1159.321 KB) | DOI: 10.33153/grt.v18i1.2643

Abstract

This research focuses on Dwiyasmono’s creativity in creating Harjuna–Keratarupo Dance. Harjuna–Keratarupo Dance is a phetilan dance two adult males. Issues raised in the research is about the form of Harjuna–Keratarupo Dance. And about Dwiyasmono’s creativity in the Creations of Harjuna–Keratarupo Dance. This research is a Qualitative research using descriptive methods of analysis and the technical collection of observations, interviews, bibliography studies and Documents. To analyse the shape of the dish using form concepts expressed by Suzane K. Langer and its elements the constituent was outlined using Soedarsono’s theory. To Explain Dwiyasmono’s creativity analyzed using theory Rhodes that creativity there are four elements, namely person, press, process, product. The results of the research known as Harjuna-Keratarupo Dance in the form of a divided into three parts, namely the Maju Beksan, Beksan and Mundur Beksan. This dance has the merging of two styles of dance motion. Dwiyasmono’s creativity in the cupping section of the Surakarta movement is combined with the movement of Yogyakarta style. The dance music in the dance is colored with a leather puppet pack. The development of the garage is influenced by external factors and internal factors, especially for its withdrawal.Keywords: Harjuna Keratarupo, form, Dwiyasmono, creativity.
SOEGIJA BIOPIC FILM, POLITICAL AFIRMATION, AND POLITICAL IDENTITY: DECONSTRUCTION OF INDONESIAN HISTORIOGRAPHY Bambang Aris Kartika; Nanik Sri Prihatini; Sri Hastanto; Dharsono Dharsono
Capture : Jurnal Seni Media Rekam Vol 12, No 1 (2020)
Publisher : Jurusan Seni Media Rekam, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia (ISI) Sur

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i1.3111

Abstract

Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.
Co-Authors Bambang Aris Kartika, Bambang Aris Dharsono Dharsono Fitri Monika Sari Sri Hastanto