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<![CDATA[KRESNA GUGAT DALAM PERTUNJUKAN WAYANG KULIT PURWA GAYA SURAKARTA ]]>
<![CDATA[M. Randyo]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v11i1.1437
<![CDATA[Kresna Gugat (Krishna sues) play is one of carangan leather puppet performance contains valueof justice. The main character in the plays has the character of a wise and determine the course ofthe next play. Krishna in his young likes to study to many Begawan /experts have an eyesight assharp as gods. Krishna in Kresna Gugat Play is a symbol that represents a range characters whokeep the world. The problem of this study is namely how is the structure of scene play and itssymbolic significance. The analysis showed that in the world there is a treatment that is less fair,which will make a destructive to the nature. Due to the lack of fair , unwise, there was negligence ofruler world namely Guru Dewa. The symbolic behavior that let Sela Mustaka, the king of MelasaPurathat is reign in border forest Trajutrisna means underestimates the power of Undraprasta led byPunta Dewa. The king of Melasa Pura is an enemy who infiltrated the border of Indraprasta andDwarawati that cause conflict. The tragedy of power struggle between Indraprasta and MelasaPura interesting to be revealed because of Krishna. The result belong to Pandawa who are knight,symbol of justice and dedication to help re settle Indraprasta from enemy interference. ThroughKresna Gugat the peace of the world can be sued because of the false and mistake from theleader.]]>
<![CDATA[MAKNA ETIS DAN ESTETIS TARI ADANINGGAR KELASWARA ]]>
<![CDATA[Darmasti Darmasti]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v11i1.1429
<![CDATA[Adaninggar Kelaswara dance performance is a creativity that comes from Hikayat Amir Hamzahepisodes Putri China (Princess of China). The fame of Wong Agung Menak affects Adaninggar toserve him to be his queen. Adaninggar does not know that a man may only have four wives incustom of Islam. Wong Agung Menak have already had the fourth wife who was also a soldiernamely Kelaswara. Burned by the feeling of owning Wong Agung, there is a duel betweenAdaninggar and Kelaswara Here, Adaninggar can be killed by Kelaswara caused byviolating Ethical value and Islam that is force something. Big jealousy and boastful resulted thedeath of Adaninggar. The dance of Adaninggar Kelaswara contains high aesthetic value that is acreativity of duel between two beautiful women who ignited blind -love emotion. The Aesthetic ofAdaninggar Kelaswara dance can be observed through ‘maju beksan, beksan and mundur beksan’]]>
<![CDATA[FENOMENA DESAIN BATIK SURAKARTA DAN YOGYAKARTA ]]>
<![CDATA[Pujiyanto Pujiyanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v11i1.1439
<![CDATA[Batik Surakarta and Yogyakarta has their own peculiarities in comparison with batik from otherregions. Batik Surakarta particular distinctiveness lies in the color batik background leads to ayellow wish brown. (soga genes,soga wonogiren and soga Java) while Batik Yogyakarta has aclean white background with white fabric fringe. The batik lovers of ancients times did not justcreate something beautiful to look at, but also gives meaning which are closely related to thephilosophy of life. They are created accordance with the motif of the message and hope thatsincere and noble. So that can bring good and happiness to the wearer. The use of decorativemotif often associated with the symbol as well as the overall shape of ornaments planned with aspecific purpose, such as esteem, welfare or wealthy. There is different between past and currentcondition that is influenced by contemporary circumstances. Change and shift of batik Surakartaand Yogyakarta are caused by various things such as aesthetic, technology, economy, social,cultural and political.]]>
<![CDATA[PENCIPTAAN SENDRATARI MALIN KUNDANG SANGGAR PINCUK BALEKAMBANG SOLO MELALUI PENDEKATAN KREATIVITAS ]]>
<![CDATA[Efrida Efrida]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v11i1.1431
<![CDATA[Malin Kundang legend is very popular in Minangkabau community West Sumatra. Traditionalliterary work is very interesting and can be source for a creation of sendratari. This creation isstarted by reinterpreted the story of Malin Kundang. The interpretation is the priority for the sake ofperformance in order to make more prominent meaning. It is needed a theoretical approach inprocess of creation. The theory used in the creation is the theory of creativity in which include theproperty of authenticity (originality), fluency, elasticity or flexibility and elaboration the ability tocomplete the details or parts of concepts or understanding. The result of this study are 1) examinethe original story of Malin Kundang legend, 2) reinterpreted Malin Kundang legend , 3) create ascript to suit the mindset of spectators and crews, 4)selecting or creating dance that suit to thestory, 5) the process of work formation.]]>
<![CDATA[FILSAFAT ILMU SEBAGAI LANDASAN PENGEMBANGAN ILMU PENDIDIKAN ]]>
<![CDATA[Setya Widyawati]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v11i1.1441
<![CDATA[The philosophy of science clarify the existence of science to the other science that requiresknowledge as a medium of thinking and means of scientific communication. These are language,logic, mathematics, statistics, and other data analysis techniques. Specifications and independencyscience faced by the increasing number problems that can not be answered by science, therefore,philosophy appears as the answer. Philosophy gives an explanation or an answer onthat problemssubstantial and radical, while the science continues to develop it self- in its limit , while still radicallycriticized, process or the interaction basically is a field of philosophy of science. Philosophy ofscience therefore can be put as an attempt to bridge the gap between the philosophy and science,so that science does not despise the philosophy, and the philosophy does not see science as asuperficial understanding of nature . Reality is “what is naturally “ or existence , while the appearanceis that “artificially real“. Also how the relationship to both with subject /human. Epistemology isconsidered synonymous with the theory of knowledge. At the present time theory of knowledgecan not be ignored. Epistemology of education science related to know how science educationobtaining gain processing, what is the procedure to get the true scientific knowledge. Axiologiyrelated to what is the advantages of science education, what ethical relationship with science andits application science education in daily life .]]>
<![CDATA[PENANAMAN BUDI PEKERTI MELALUI PERTUNJUKAN WAYANG GOLEK GARAP PADAT ]]>
<![CDATA[Jaka Rianta]]>;
<![CDATA[Titin Masturoh]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v11i1.1433
<![CDATA[The implanting of character or morals can be achieved through art appreciation and activity, forexample through the puppet show performance. Within performance art of puppet show, manyelements of moral education can be provided. This discussion promotes the problems about “howthe character /moral elements in the puppet show performance can be used as the implanting ofmoral education for elementary students?â€. The goal of this research is to identify the moral elementsin the puppet show performance that can be seen though Sabet and vocabulary of utterance alongwith music accompaniment. This research also tries to describe the moral elements in the puppetshow performance as the moral teaching for elementary students. Based on the discussion, thereis a result that moral elements in wayang golek performance in shortened production can be seenon lakon element is chosen by suitable with the age from child to adult, sabet element by avoidingthe pornographic and sadism movement, utterance/ catur element by avoiding the harsh and dirtytalk and choose the respectful words. And music accompaniment /iringan elements by choosingthe respectful lyric and good songs.]]>
<![CDATA[KESELARASAN ALAM DALAM PENCITRAAN ]]>
<![CDATA[Sukirno Sukirno]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v11i1.1443
<![CDATA[Nature is one of God’s unique creations. Nature, with its perfect structure and balanced system, isable to maintain the continued survival of all creatures in the earth and to offer a variety of possiblecultivation for human welfare. On the other hand, nature also becomes the reference of people inresponding to life. Nature, with its phenomena, becomes an unwritten reference which can be readby anyone who is willing to read it. It is also true in the life of art that nature becomes the referenceand the source of inspiration in creating a work of art. Nature as man’s environment is made useas a sery theme, espeeidlly when the destruction of nature and its environment is getting worse atpresent. Nature gradually sustdins destruction because of human behavior. Consequently, naturewhich should be a blessing turns to be a disaster for human beings. This could happen as theeffect of improper behavior of a creature named a man to his environment. The relation of natureto human beings presented above forms the principle of the idea in creating the painting entitled“The Harmony of Nature in lmage†in the form of an interesting visual image which represents acertain meaning symbolically. The painting is visualized using kerok (scraping) technique andrefers to the combination of natural and expressive style although it seems to be decorativedepending on the idea so that an artistic, symbolic and representational form is created. Throughnew metaphors, the writer improvised innovatively based on the metaphors and then representedit in painting. In other words, the creation of the painting “The Harmony of Nature in lmage†is theresponse to the phenomenon of natural destruction existing in the writer’s surroundings.]]>
<![CDATA[FAKTOR-FAKTOR YANG MEMPENGARUHI KUALITAS RASA DALAM TARI JAWA GAYA SURAKARTA ]]>
<![CDATA[Katarina Indah Sulastuti]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v11i1.1435
<![CDATA[This article discusses the factors that affect the quality of taste/ rasa In Surakarta Style Javadance. The quality of the taste in dance has subjective nature that arise a various interpretation ofeach individual. The differences that appear to be an obstacle in communication. The discussionis analyzed using the communication psychology theory, especially symbolic communication.The result of discussion is explained by several factors namely: emotional mood, cognitive scheme,atmosphere exposure, individual predisposition, and the level of character/ theme identification. Inthe following discussion also raise the essential elements as the determinants of quality of taste orrasa in Surakarta style Java Dance, which consist material and immaterial elements.]]>
<![CDATA[RINGGIT GUPERMEN, ENCIK DAN CINA KERATON YOGYAKARTA MASA SULTAN HAMENGKU BUWANA V ]]>
<![CDATA[Supriyanto Supriyanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v11i1.1445
<![CDATA[In Yogyakarta Palace during The Sultan Hamengku Buwono V (1823-1855), there was an interestingphenomenon around the formation of dancers classification of wayang wong as human actorsthat replaced the role of puppets. Giving the name to group dancers above look like giving levelof social stratification by race in the administrative law of foreign residents in the Sultan Palace.The first class is called Ringgit Gupermen, where there is the best dancers. The second calss isEncik Ringgit which is the middle class dancers. While the last class is Ringgit Chinese as anovice dancers. Class consciousness of Wayang wong dancers on such condition, has a dualtendency at the time of Sultan Hamengku Buwono V. On one hand the class is a bureaucraticframework in political mainstream devices, while on the other hand is a frame work class artistic,cultural tendency in the devices. In the pursuit of political tendency, class dancers into structuralbalance, the balance of class dancers into civilization.]]>
<![CDATA[KONFIGURASI KARAWITAN JAWATIMURAN ]]>
<![CDATA[Aris Setiawan]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v11i1.1427
<![CDATA[Jawatimuran karawitan/ east Java musicians during its development become into a sub dominantwhen compared with Surakarta or Yogyakarta. Jawatimuran said often as a complement to thewriting of that two major genres of the musical. As a result, many ordinary people who think KarawitanJawatimuran is not somewhat different with style from Surakarta and Yogyakarta . This article triesto use descriptive analysis, ie, classifying data related to the uniqueness Karawitan Jawatimuranthen assembled , analyzed, presented in a coherent and deeply. Thus ,to bring back its configuration(appearance of ) musical Jawatimuran not merely re- describe, but as an attempt to make senseof today’s its appearance increasingly not find space discourse. The result can be seen thatJawatimuran musicians have different specifications, namely forms, techniques, terminologyand so forth.]]>
