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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 12 Documents
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Search results for , issue "Vol 11, No 2 (2013)" : 12 Documents clear
DESAIN WAYANG PADA BATIK RAKYAT EKS-KARESIDENAN SURAKARTA YANG BERNILAI JUAL DAN BERMUATAN EDUKATIF Sugeng Nugroho; Muh. Arif Jati Purnomo; Kuwato Kuwato
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (395.862 KB) | DOI: 10.33153/glr.v11i2.1479

Abstract

This study tried to elevate wayang as a folk pattern design. It is intended to remind people of thevalues of local wisdom implicitly written in wayang figures. Folk’s batik was chosen as the producttarget, based on the consideration that the pattern in it is highly varied; depend on the culturalbackground of each region. This study is also intended to elevate the economy of the batik crafternot only depend on the brokers, the expectation is to develop national character and to improvethe welfare of common people. The research is targeting the batik centrals in six districts of ex-Surakarta region: Boyolali, Sukoharjo, Karanganyar, Wonogiri, Sragen, and Klaten. The result ofthe research shows that Sukoharjo, Karanganyar, Wonogiri, Sragen, and Klaten have clusters ofbatik crafters that sufficient enough to be empowered. Wayang designs on batik patterns in the sixregion showed less commercial value since the shapes and colorings were unattractive, hence,the researcher tried to create a wayang design that is worth selling and contain educational content.
PERMAINAN RICIKAN KENONG DALAM KARAWITAN JAWA GAYA SURAKARTA Djoko Purwanto
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (382.657 KB) | DOI: 10.33153/glr.v11i2.1449

Abstract

Kenong is one of structural ricikan, along with other ricikans such as kethuk, kempul, and gong,fill–in reciprocally guiding and creating the tradition of gending karawitan forms Surakartan style.This study will not elaborate the making of kenong with good quality, instead, it will elaborate theperforming techniques in Javanese karawitan. The studies that been done in libraries in IndonesiaArt Institute of Surakarta (Central Library, Karawitan Department Library, Post Graduate Library)and personal collections, also audio record collections that been sold commercially or been keptas personal properties had elaborated several ricikan kenong’s performing techniques. The resultof the study, according to Djojomlojo, kenong performing techniques using terms such as tunggalrasa, kempyung, salah gumun, tuturan, plesetan, goyang, kerepan, ngganter, and nitir. Theperforming or knocking techniques applied in Javanese karawitan, but it is not performed in onesingle gending. Instead, they are performed in some separates gending. Besides, there are twokenong performing techniques that are not categorized on the previous. They are (1) performingtechnique in gending Loro–loro Topeng; (2) kenong performing technique in gending palaran.Through understanding and learning several kenong performing techniques, we will find the morekomprehensive karawitan aesthetic in Javanese tradition karawitan surakarta style.
ANALISIS PRAGMATIK TARI DRIASMARA Maryono Maryono
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (473.297 KB) | DOI: 10.33153/glr.v11i2.1467

Abstract

This paper aims to reveal the meaning of Driasmara dance presented in Javanese cultural weddingrituals ceremonies from a pragmatics perspective. The methodology used was qualitative research.Theoretical base utilized is pragmatic theory for analyzing its linguistic component and supportedwith performing arts theory to examine the non–linguistic components. Pragmatics is a subdisciplineof linguistics that linking language with the symbol system, linking with the languageusers. Pragmatics deals with the use of language, that is how the language is used by speakers ofthe language in the actual interaction situation, not in the abstracted situation, that were set up bylinguists (Asim Gunarwan, 2005: 1). In communication the language used can be both formal andpragmatic. Pragmatic language form is also used in daily communication along with the usageinthe arts environment such as wayangs, kethoprak, Langendriyan, dances, and others. The rationaleis that this form of dance consists of linguistic verbal and nonverbal components, both are symbolsystems . Based on a pragmatic analysis of the Driasmara Dance there is a finding that DriasmaraDance is a form of couples romance dance refers to the Panji Saga that are expected to befollowed by a bride and groom and the community as the large audiences. Romance that waspictured in the Driasmara Dance is directed to be more representing the life directed to therepresentative of the life of people in love. Hopefully the language will be easily captured andmodeled by the bride and the groom.
PELESTARIAN DAN PENGEMBANGAN WAYANG GEDOG Sunardi Sunardi; Bambang Suwarno; Bagong Pujiono
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (320.304 KB) | DOI: 10.33153/glr.v11i2.1481

Abstract

Wayang gedog categorized as rare puppet that has uniqueness in the play genre, the puppets’forms, gending, sulukan, or form of the show. Wayang gedog had experienced glorious days inSurakarta Paku Buwana X Era, but today has suffered a setback. This is caused by the difficultyin dalang’s generation knowledge transfer; performance techniques is perceived difficult for newdalangs, the lack of public interest and the lack of administration elite’s support in developingwayang gedog. The attempts to revive can be done by revitalize the wayang gedog. How are takenby holding the conservation and development gedog puppet. The preservation and developmentof wayang gedog can be done by documenting the design and the show, as well as constructingwayang gedog’s performance development models.
KONTRIBUSI SILAT TUO DALAM TARI RANTAK KARYA GUSMIATI SUID Efrida Efrida
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (238.139 KB) | DOI: 10.33153/glr.v11i2.1453

Abstract

Rantak is a dance choreography created by Gusmiati Suid on 1987. The dance is still beenlearned at schools, colleges, and dance studios in West Sumatra. Beyond West Sumatra, thedance also often becomes a learning material in creating Minangkabau style dance. Rantak Dancehas become a well–known Minangkabau cultural icon in Indonesia and abroad. The Rantak Danceadapted Minangkabau’s silat tuo moves as the choreography idea. Not only the moves, the danceadapted the essence and the philosophy of silat tuo, these facts distinguish Rantak Dance fromother Minangkabau dances. The creation process that was taken by Gusmiati Suid was veryamazing. She was doing silat tuo in–depth learning process for six years at several nagari iniMinangkabau. Her seriousness showed that Rantak Dance was a legitimate monumental danceby a choreographer named Gusmiati Suid.    
BERBAGAI RAGAM SAJEN PADA PEMENTASAN TARI RAKYAT DALAM RITUAL SLAMETAN Mukhlas Alkaf
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (386.012 KB) | DOI: 10.33153/glr.v11i2.1469

Abstract

This paper is an attempt in providing the existence exposure of folk dances phenomenon whichstill survive in rural areas. The research that has been done in Kecamatan Selo, Kabupaten Boyolali,Central Java proved that folk dance has become part of people’s daily life. Folk dance motionforms even adopted many daily activities such as plowing motion, shouldering the grass, holdingyields, and so on. Folk dance even become part of various traditional ceremonies and religiousrituals. Society even believe that dancing activity is part of a devotion effort (bhakti) to God, as away in honoring the ancestral spirits, as a witchcraft or disaster repellents (sukerta). One interestingphenomenon that proves the relation between folk dance with elements of religion is the existenceof sajen (offerings) which is still often found in every performance , especially in the stage that hasa ritual function. Sajen or offerings almost certainly always be found in the dressing room of thefolk dancers. Sajen often have mystical properties at the same symbolic meaning. Mystical inthis context is a term used to refer to the unseen entities those cannot be reached by the mundaneminds. The entire exposure in this paper is the result of research that has been done by the writer. 
NILAI-NILAI ESTETIS BENTUK WAYANG KULIT Timbul Subagya
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (232.654 KB) | DOI: 10.33153/glr.v11i2.1483

Abstract

The history of wayang (Javanese leather puppets) had through a long process and was influencedby many religions and beliefs. At the beginning, the function of wayang was as a worship tool to theancestral spirits or Hyang, and developed into attraction show today. Leather wayang was drawnen face and converted became en trios quart. Now it became en profil. The revision and thedevelopment of wayang’s forms stillation is synchronized with the social conditions of the society,from their beliefs in animism, Hinduism, and Islamic. The depictions of puppet forms that existtoday are influenced by Islamic sculpture and technical demands to perform the show on a screen.Depictions of leather wayang in en profile forms were done to avoid realistic human portrayal thatis prohibited in Islam.
KOHESI DAN KOHERENSI TEKS SANDOSA LAKON SOKRASANA DALAM PENELITIAN KUALITATIF Endang Retnaningdyah Elis NM.
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (269.432 KB) | DOI: 10.33153/glr.v11i2.1455

Abstract

Discourse analysis is one of the analytical models which based on the assumption that life with itsentire cultural phenomenon is a text, discourse. Discourse analysis seeks to understand paaroleie. speech, the use of language that can individually be recorded, printed. Parole language isconsidered as an action, and representation mode, and associated with the social structure. Theplay script is a, utterance text that be spoken by a show dalang as the adaptation of the role’scharacters. Parole is the speech of the characters which are interrelated. In a show parole is asocial phenomenon that produce language, as social identity, social relations, and social ideas. Inthe analysis it was performed through several stages of vocabularies, grammar, cohesion, andtext’s structure and architecture. Each text contained form and content. The shape is somethingthat can be sensed, meanwhile the content is the hidden meaning. Each text is always in touchwith form and content.
MAKNA SIMBOLIK TARI REYOG GEMBLUK TULUNGAGUNG Nur Rokhim
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (363.076 KB) | DOI: 10.33153/glr.v11i2.1473

Abstract

Reyog Gembluk Dance was a tradiotional performing art that raised and developed and belongsto Tulungagung society. The dance was performed by six dancers carrying Gembluk as the portraitwarriorss sent by of the king of Bugis’s to propose Kediri Proncess, Dewi Kilisuci. Reyog GemblukDance moves was full of symbols in interpreting the moves of Bugis warriors carrying task fromtheir king. The instruments of Reyog Gembluk Dance were the symbols of Bebana from the kingof Bugis for Dewi Kilisuci. The symbols in Reyog Gembluk Dance were society convention as theaesthetic expressions tool to strengthen interaction weaves among them. Symbolic expressionsin arts were the communication medium to ourselves, society, and environment. The meaning ofReyog Gembluk Dance was based on an event or story that happened in society as the symbolismtradition in arts and culture. In arts, historical facts was not meant to be proven. The most importantwas there were space for symbolized message deliverance. Moral messages that being expressedin a fine and beautiful way through arts were more acceptable as a way of life. Reyog GemblukDance was full of symbols with moral messages, motivation, and spirit in dealing with life problems.
POTENSIALITAS UNSUR KOMUNIKASI SOSIAL DRAMATARI TOPENG BABAD I Nyoman Putra Adnyana Adnyana; R.M. Pramutomo
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (195.692 KB) | DOI: 10.33153/glr.v11i2.1457

Abstract

This article originally based on a research’s results in the first years of the drance drama genre inBali called Topeng Babad dance drama performance. In the first year this article tried to concentrateon the Topeng Babad dance drama as a media of social communication amongs both theperformers and the audience either. The urgency of this article focussed on the identificationpropose to the dramatic materials sources of the performance, a choreographycal aspect as aprototype on the performance, and a guiding book based on chooreographycal aspects on thedance drama itself. For this reason this article will examine a descriptive method which is exposeof the basic materials in Topeng babad tradition related to its function to the media of socialcommunication. While this article exploring the descriptive method, one of the important resultswas also related to the action research through the several ways like library review, observation inTopeng Babad dance drama dance style, interview with some informan, and focus group discussionamong experts and artist in the Topeng Babad dance drama.

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