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INDONESIA
Gelar : Jurnal Seni Budaya
Published by Institut Seni Indonesia Surakarta
ISSN : 14109700     EISSN : 26559153     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Gelar focuses on theoretical and empirical research in the Arts and Culture.
Arjuna Subject : -
Articles 10 Documents
 1 
Search results for , issue "Vol 10, No 1 (2012)" : 10 Documents clear
PERUBAHAN PEMENTASAN BEDHAYA KETAWANG PASCA KEMERDEKAAN REPUBLIK INDONESIA Hadawiyah Endah Utami
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1172.856 KB) | DOI: 10.33153/glr.v10i1.1367

Abstract

The change of the world happened along age. Human culture stated many important events in their lifetime. It was same as dance performance ofBedhaya Ketawang that has been major performance in event of king’s tingalan jumenengan. It was a phenomena cultur either political or art culture both of which nice to review. Its performance sometimes ago has evidenced many changes. The most issue was kasunanan palace lost its hegemony of power caused by independence revolution in 1945. Bedhaya Ketawang as a performance of political art related to the power has same effect. Bedhaya Ketawang was not symbol of political statement anymore, however, it was inclined be usual culture like other dance presented for audiences; that was a dance performance called pseudo-ritual. Key words :  the change, Bedhaya, ritual Pengantar
NASIB ANAK INDONESIA DI TENGAH KRISIS MORAL BANGSA Sigit Astono
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1750.707 KB) | DOI: 10.33153/glr.v10i1.1377

Abstract

This paper explores the deterioration of mental, moral and spiritual Indonesia swept this nation recently (2012). Like a disease, then the condition of Indonesia has become more acute and immediate treatment is needed and the right drug to cure the disease. Presumably this is because the orientation of people the wrong way in realizing the ideals of a just and prosperous as strong lately. The attitude of materialism, hedonism and spiritual arrogance crashing in almost all walks of life. Start of rural people to the power elite, all compete without feeling embarrassed, ashamed and willing degrading morals to get what they want. The process is bizarre and ridiculous thing to do, therefore, is not fighting over anything taboo thing to do. So greedy and fierce, until people forget that their ancestors have inherited a rich treasure inexhaustible to enjoy the arts and culture. Now is the time for awareness to be made by all components, ranging from the ordinary to the level of policy makers. The main source of this writing as a tool of analysis is the study of literature. In addition, supporting data was obtained through the print and electronic media sources and experience as participant observer. Key words : art education, moral, multiple intelligence theory, and the Book Wulangreh
PERKEMBANGAN GENJEK DI DESA SRAYA BALI I Nengah Muliana
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2889.148 KB) | DOI: 10.33153/glr.v10i1.1369

Abstract

The object of this paper is Genjek in the village of Sraya, Karangasem regency. The focus is on the development of form and function. The aim is to uncover why art Genjek at Sraya village had been developed, and what factors are causing.  This paper begins with an overview of data about the digging community, especially those related to regional situation, livelihood, education, and arts potential. This is done to get an idea of   the extent to which it affects the development of Genjek.  Genjek existence before 1996 and after 1996 are described in detail so clearly visible changes. This method can be known who is responsible, why the change was made  , how the impact of those changes on the form and functionGenjek in Sraya village. The data obtained for this paper using interviews, audio visual recordings, and writings in the form of a book or otherwise. The data is then broken down, identified, classified, and analyzed, so it gets a conclusion. Appropriate perspective of this paper, it is used to analyze the data change theory.                                                                     Changes will occur in any art when assessed was no longer relevant to society. Society as the owner arts have a considerable role to the process of change. Changes in the arts because of certain impulses both from within and from outside the arts are the arts. Encouragement of the arts can be extremely diverse forms ranging from the influence of individuals in the group, to the desire or communal group. The results of the analysis conducted in this study concluded that the changes in the village Sraya Genjek occurs because growth mindset people are influenced by internal and external factors. Key words : Genjek, development, community Pengantar
KARTUN KARIKATUR MEDIA KOMUNIKASI SOSIAL DALAM MEDIA CETAK Sri Indratmi Yudiarti
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1950.351 KB) | DOI: 10.33153/glr.v10i1.1379

Abstract

Caricature Cartoon, a whole word that can be realized in the picture. Pictures like this are usually found in the print media, newspapers, magazines and books. Some of the readers sometimes only a cursory look, if by chance they are definitely worth high humor laugh. And became interested to look at the message conveyed by the cartoon. In plain cartoon caricature does further highlight the value of humor, even if the message is a sad event. All sorts of events in the life of society; economics, politics and culture that is sad and happy is an object of interest to the caricaturist. Creative and emotional sensitivity is a challenge for the caricaturist, as they should be able to create an image of humor without any individuals, groups or institutions that offended and angry. Caricatures cartoon have always painted face figure distorted by the message object. So the face looks funny, still included the character or characteristics belong to the relevant figures. Through the approach of Communication Science, Psychology and Sociology gained Caricature Cartoon explanation that contributes role as media of social communication. Observations were made at random to caricature cartoons published in Jawa Pos Suara Merdeka and Kompas newspaper,. Thirdly the paper gives special place caricature cartoon images on the page that contains the public opinion. On these pages loaded freelance writing (essay), letters to the editor, opinion editor of the paper for a particular event. Conclusion of this observation is the existence of a caricature cartoon, that he was able to become the media of social communication, as an interpersonal communication media, broadcast media, and media storage. Cartoon caricatures are able to make the reader receives messages of social communication wise and high-minded, laughing even laugh at himself. Key words :  Cartoon caricature, media, social communications
BEBERAPA UNSUR PEMBENTUK ESTETIKA KARAWITAN JAWA GAYA SURAKARTA Joko Purwanto
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2556.154 KB) | DOI: 10.33153/glr.v10i1.1371

Abstract

This article was written based on a bibliographical study which used a number of references found in the library of Karawitan department at ISI Surakarta. An audio study was also carried out, using various references of Javanese karawitan from both commercial recordings and the writer’s own private collection. Other references were also downloaded from the internet, in particular those related to the topic of the study, namely the subject of aesthetics. From the results of the study it was discovered that there are at least two categories of elements which shape the aesthetics of karawitan, namely the primary elements and the special elements. The primary elements consist of 1) the infrastructure, 2) the tuning and melody, and 3) the artists. All three are equally important in creating the aesthetics of karawitan and all three are connected with one another. The other elements, which are no less important, are categorized as special elements. These include: irama, laya, cengkok, patterns, pathet, treatment, dynamics, time intervals, vocal elements, and culture. All of these elements are extremely important in relation to a karawitan performance. These special elements are also connected to each other. It is through these primary elements and special elements that a karawitan performance can be realized and the aesthetics of karawitan can take shape. Key words :  infrastructure, tuning and melody, artist Pengantar
WIRENG KALANA TOPENG DI ISTANA MANGKUNEGARAN SURAKARTA Suharji Suharji
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1376.615 KB) | DOI: 10.33153/glr.v10i1.1381

Abstract

Kalana Topeng at Mangkunegaran Palace called as wireng based on its heroism traits. Wireng Topeng Kalana included in heroic dance that represent personality of character who falling in love. Wireng Kalana Mangkunegaran is affected by its leadership spirit with glorious, authority, assertive, and energetic traits. Wireng Kalana Mangkunegaran has heroism traits. As one of single dances, it often accompanied with Javanese gamelan music sound Laras Pelog Patet 6, gendhing Pathetan, Ada-ada Greget Saut Sampak, Liwung, Ladrang Pucung Rubuh, Lancaran Bendrong, Ladrang Eling-eling Wantah and Sampak. There is topeng (mask) for make up. The wardrobe especially for head cover uses tekes malang, sumping, shoulder brace, bracelet, and ring. It also uses necklace in kace motive with pendok on back, complete clothes with red cinde pants, fabrics in rapekan, timing epek, boro samir and sampur model. There is binggel for ankle. Kalana character has rugged and awkward traits. The dance is begun with maju beksan, main beksan, and mundur beksan. Key words :  wireng, topeng, kalana, Mangkunegaran
KONSEP RASA DALAM KEHIDUPAN MASYARAKAT JAWA Katarina Indah Sulastuti
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3346.276 KB) | DOI: 10.33153/glr.v10i1.1373

Abstract

This paper discusses the concept of rasa/sense in Javanese society. Sense is a concept that is widely understood. The meaning is dependent on the text and contextual, that is related to the word sense of the term itself and understanding in the areas of individual and social area of   life. Domains are related to the problems associated with devotional activities, the human relationship with the forces outside of themselves (the supernatural-in the realm of religion), on issues related to social activities (humans with each other-in the realm of ethics) and the issue of aesthetics, as activities related to the issue of reflection on; Sang supernatural, the natural environment, others and himself, through artistic expression. Key words : concept, sense, Javanese
BAHASA UNGKAPAN DALAM PERTUNJUKAN WAYANG KULIT SEBAGAI CERMIN PANDANGAN HIDUP Tatik Harpawati; Jaka Rianto
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2000.835 KB) | DOI: 10.33153/glr.v10i1.1383

Abstract

Expression language is a product of Javanese culture. Therefore, the expression for the Java  language is a reflection of local wisdom . Expression language in the realm of Javanese literature has variations designations, such proverbs, peribahasan, bebasan, saloka, and pepindhan. Expression language in the Wayang indeed a product so as to interpret the      Javanese to be seen by the Javanese worldview. The use of the expression language puppet show scattered in chess (Janturan, pocapan, and ginem). The problem in this article, namely how to form a language expression, functions, and values   of life contained therein. The goal is to describe, an explanation of the expression language function, and get an explanation of the values   of life contained therein. Based on the key word  metaphors, expression language in the Wayang classified into eight types, namely:  animals, plants, people, body parts, relatives, things in heaven, things in earth, and water. Based on the study of the meaning of the obtained results that address how people live in harmony with family, friends, community, neighborhood, country, and God. Different outlook on life is packaged in the form of language and expression when applied in chess puppet show that will add weight to the aesthetic presentation.      Key words : expression language, puppet show, the value of life
MELUKIS SEBAGAI MEDIA PENGEMBANGAN PENDIDIKAN KREATIVITAS PADA ANAK-ANAK Ana Rosmiati
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1528.93 KB) | DOI: 10.33153/glr.v10i1.1365

Abstract

Painting is an activity full of stimulation of the growth and development of children. As well as writing and playing activities, painting has benefits for child development. Painting has benefits that help activate the right brain ‘creativity can thrive. The problem in that will be described in this paper is the development of alternative methods of painting as a medium of education. This paper aims to discover the impact of media use to paint on children’s learning. The benefits of this research are: (a) help the child is able to create something based on imagination; (b) can be adopted by teachers and parents as a means of education, particularly early childhood, (c) can be used as a source of material and inspiration for performers (d) to motivate young children to get to know and appreciate the works of art, especially the art of painting; (e) assist early childhood to develop sensitivity, and (f) to motivate young children to express themselves using a variety of media through painting. Sources of data in this study were collected through (1) the study of literature contained in many libraries as in Play Group and workers, library Surakarta, (2) direct observation to see learning methods, and (3) are supported by in-depth interviews conducted sound recording the informant. Painting for children will learn to invent or create, pouring his ideas, as well as visualize and realize the imagination in a work; help the development of the cognitive, emotional intelligence and intelligence their motor; Hone talents of children who may have a significant impact on the ability and the skills they in the future, and to foster interest in learning, as well as methods of learning and creativity-based education, providing children allowed to express their thoughts and feelings through images without always given mock object. Key words :  painting, children, creativity Pengantar
GAMELAN LUNTHUNG KARYA WIDODO DONOSUKARTO DESA KADOKAN, KECAMATAN GROGOL, KABUPATEN SUKOHARJO Panggiyo Panggiyo
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1384.681 KB) | DOI: 10.33153/glr.v10i1.1375

Abstract

According to the empirical experience, basically all metals can be used as materials for gamelan. However, the resulting master gamelan been generally designed for adults. Form and larasan (steming) gamelan often cause problems when used for the race musical elementary school children (SD). In terms of shape and size, posture mean that small children will find it difficult at times to reach Ricikan (instrument) bonang. On the side of the barrel (scales) ambitus child becomes a fairly complicated issue for children. At the till, backgrounds aged children who are close to the joyous feeling of typical children become its own problems when faced with factors belonging gending garap from parents (adults). In a situation like this came the idea to create a gamelan Suroso that can meet the needs of standard forms, tunings and feeling young. Tit for tat, Suroso ideas taken seriously by Widodo Donosukarto, a master craftsman from the village gamelan reliable Kadokan,  Grogol, Sukoharjo. In 2002 Widodo Donosukarto began his experiments made gamelan largely shaped kemanak. At the beginning of the process of manufacture gamelan Widodo Donosukarto often fails. But with unyielding spirit, finally in 2005 Widodo Donosukarto succeeded in realizing the coveted gamelan. Since the technique of making the model gemelan kemanak by way lunthung (rolled), the new gamelan called Gamelan Lunthung. During the experiment (2002-2005) Widodo Donosukarto only able to make two sets of Gamelan Lunthung. Gamelan The first was in the child’s home law (the Netherlands) in Amsterdam, the orchestra both at home Widodo Donosukarto. Data obtained through the study of literature and interviews. The analysis was conducted mostly take the data obtained from interviews with sources that Widodo Donosukarto. Interviews were conducted in 2009-2011 at home Widodo Donosukarto, Kadokan Village, District Grogol, Sukoharjo. Key words :  Widodo Donosukarto, Gamelan Lunthung

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