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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 12, No 2 (2014)" : 10 Documents clear
PERKEMBANGAN FUNGSI DAN BENTUK TARI ZAPIN ARAB DI KOTA PALEMBANG (1991-2014) N. Nurdin
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (678.556 KB) | DOI: 10.33153/glr.v12i2.1525

Abstract

The research discusses about the development of the function and form of dance Zapin Arab in Palembangcity (1991-2014), through the qualitative approach (the research is qualitative, what is the approach? It issociology, anthropology, history or others). The data is collected by the method of observation, depth interview,and library study. The data is analyzed descriptively and qualitatively, and the data validity is tested bytriangulation method. The result of this research shows that early, dance Zapin Arab acts as a complementof ritual ceremony. The function of dance Zapin Arab, then, develops to be a personal entertainment in 1991and as an instrument of aesthetic presentation in 2008 along with the development of the form of Zapin Arabperformance. The development can be seen in the movement that is more varied and more dynamics, themore harmonious costume and the more magnificent stage. The development makes dance Zapin Arabmore interesting and more aesthetic. The development of its function and form is influenced by social,cultural, economic, and tourism factors.Keywords: dance Zapin Arab, development, function and form
DONGENG MIRNA REFLEKSI KEJAHATAN SEKSUAL DALAM MONOLOG Nurul Huda
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1614.426 KB) | DOI: 10.33153/glr.v12i2.1513

Abstract

Dongeng Mirna (The story of Mirna) tells about an old man who kills his wife of her infidelity with their gardener,Sulaiman. The story that is packed in a monologue drama is inspired by the booming cases about sexualcrime that finally come to the murder. The work creator acts both as the teller as well as the main characterin the story that has love and fidelity even at the end he is dead because of drinking the poison. All of theprocess as well as the performance of Dongeng Mirna take place in Kemlayan Art Space belongs to thedance maestro, Sardono W. Kusumo.Keywords: love, devotion, sexual crime, monolog
MITOS TEMBANG DURMA KUNTILANAK PADA FILM KUNTILANAK Elara Karla N.
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2690.784 KB) | DOI: 10.33153/glr.v12i2.1527

Abstract

The article is the result of a research about mythos of a song Durma Kuntilanak in the film Kuntilanak byRizal Mantovani. Problem in the article is how film Kuntilanak describes about mythos of tembang DurmaKuntilanak. The research aims to learn the reality of film Kuntilanak that represents the song Durma Kuntilanakas a mythos created by the film maker. To analyze the sign and meaning in order to find understanding anddescription of the mythos in the story of film Kuntilanak, the research uses the semiotics approach ofChristian Metz. Metz said that the cinematographic indicator and sign have a “motivation” and “reasonable”relationship. It means that indicator and sign in cinematographic will always be diegesis with the referrednature (story). The paradigm will be applied in narrative structure of film Kuntilanak that has been divided intothree sessions and then classified to be sequences covering “cause-effect”. The result shows that themethod of storytelling in film Kuntilanak uses narrative conventional structure and “cause-effect” sceneswhen the song Durma Kuntilanak is presented by the repeated pattern. It makes the audience leaded to theunderstanding of story in accordance to “its path” and believed the mythos of song Durma Kuntilanak bystressing the “cause-effect” scene. Even though the “cause-effect” scene is presented by using symbolicpictures, the connotative signs in the symbolic pictures are no more arbitrary because of the narrativestructure used in the film. As if the audience is leaded to understand easily the meaning of story in accordanceto the presented pictures. The connotative sign can be no more given a meaning deliberately.Keywords: mythos of song Durma Kuntilanak, narrative conventional structure, semiotics of film Christian Metz
REKONSTRUKSI TARI SAMBUT SILAMPARI DI KABUPATEN MUSI RAWAS Stepanus Adi Pratiswa
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (727.394 KB) | DOI: 10.33153/glr.v12i2.1515

Abstract

The article is meant to describe dance Sambut Silampari in Musi Rawas Residence that previously has afunction as a formal guest welcoming dance, then it is reconstructed through (1) dance digging, (2) dancecompacting, (3) increasing and disseminating the dance works. The dance digging is supposed to reconstructdance that comes from folk dance. It includes the dancer, musician, and dress maker, as well as Musi Rawasartists. The research uses qualitative method in form of descriptive analysis. The discussion scope includes1) how the process of dance Sambut Silampari reconstruction, 2) how the form resulted from the reconstruction,and 3) whatever factors that support the reconstruction. Data analysis is done in every element founded. Thedata collected from library study, observation, and interview is analyzed using the method of descriptiveanalysis and qualitatively in condition with the main problem. The concept used in the reconstruction of danceSambut Silampari is the concept of form in dance study: text and context by giving innovation to concept oftourism art that is brief, compacted, interesting, and commercial. Based on the concept, then, dance SambutSilampari can be the asset of performing arts in Musi Rawas Residence.Keywords: reconstruction, dance Sambut Silampari, tourism art
DEOLOGI PATRIARKI DALAM IKLAN AXE EFFECT ‘CALL ME’ VERSI SPECIAL NEEDS DAN LOST Ercilia Rini Octavia
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1808.77 KB) | DOI: 10.33153/glr.v12i2.1529

Abstract

The advertisement through its sign and code brings a certain meaning that is personally interpreted by theaudience based on their own cultural experiences. As a text, advertisement which is shown in a set of signand code from the addresser to the addressee expresses the ideological practice. The act of reading televisionadvertisement can be meant as an effort to convey the ideological practice working manipulatively in a certainsocial condition. Axe with the advertisement series Axe Effect Call Me especially Special Needs and Lostversion carries the ideology of patriarchy. Patriarchy is all forms of man mastery /upon/over/towards woman.The man superiority towards woman is presented in a story and visual performance that exploits the appeal ofwoman sensuality.Keywords: Axe, semiotics, sensuality, advertisement, ideology
PENCIPTAAN KARYA SENI PERTUNJUKAN BERBASIS SUSASTR A “DANG, LAMPUNG GHAM KARAM” Goesthy Ayu Mariana Devi Lestari
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (833.838 KB) | DOI: 10.33153/glr.v12i2.1517

Abstract

“Dang, Lampung Gham Karam” is a title chosen to represent the whole content of this literary work of performingart. The terms come from Lampung language that means “Janganlah, Lampung Kita Karam” (Don’t be sunkour Lampung). Interpretation of a literary work “Lampung Karam” produces other idea in creating a work“Dang, Lampung Gham Karam” that means the sink of Lampung physically at the time of Krakatau eruptionin 1883 doesn’t make Lampung socially as well culturally sunk. The multi ethnics in Lampung have beenexisted since the natural event of Krakatau and getting more advanced to color the identity of Lampungnowadays. This work uses the element of traditional arts in Lampung culture that is potentially supported bythe physical empiric memory of creator. The cultural reaction between Lampung and other culture and alsothe various branches of arts (not only dance art) supports to enrich this work of art. The performance work ofart is not only supported by the various forms of dance but also the other art field covering the arts of music,literature, and the various traditional theater of Lampung. The work presentation is executed in a close as wellas open room. The change of performance place becomes the dynamics and color in the performance.Keywords: Krakatau, Lampung, sink, literature, performance
PERUBAHAN BENTUK PERTUNJUKAN TARI SEMBAH DALAM KONTEKS PARIWISATA DI KABUPATEN MUARA ENIM SUMATERA SELATAN Treny Hera
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1131.026 KB) | DOI: 10.33153/glr.v12i2.1531

Abstract

Dance Sembah is a dance for welcoming the bridegroom’s parents in the wedding ceremony that early appearedin the village of Lubuk Empelas, Muara Enim, South Sumatra in 1956 by M. Natar. In 1989, the dancefunction changed to be a welcoming dance of a great guest. The dance, then, is creatively treated by Rasyid,one of dance artists from Muara Enim. He makes the choreography more interesting because the dance is inthe context of welcoming a guest. The change is focused on the movement, make up, and floor design.Dance Sembah has been continuously developing for the local government places it as their tradition inwelcoming important guests and in tourism sector, as the identity of Muara Enim residence.Keywords: dance Sembah, change of form
MODEL ALTERNATIF FILM PENDEK ANIMASI 3D BAGI ANAK-ANAK Alfan Setyawan
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1481.255 KB) | DOI: 10.33153/glr.v12i2.1523

Abstract

The article discusses about the form of Sendratari Mahakarya Borobudur (the ballet of Borobudur great work)that is used to be a model in the making of 3D animation short film for children. The problem of research isthe alternative model of 3D animation for children towards Sendratari Mahakarya Borobudur. The researchuses qualitative method. The research data is collected from written sources, art works, key persons, and theaudio video documentation of Sendratari Mahakarya Borobudur. Data is collected by library study, works,observation, interview, and documentation. Data analysis process covers several stages including datacollecting, reduction, data presentation, and summary. Based on the research, it shows that SendratariMahakarya Borobudur is chosen to be an alternative model of 3D animation short film. The story of SendratariMahakarya Borobudur has moral values packed as the alternative model of 3D animation short film andsupposed to have an important role in making the native characteristic in order to become a completelyIndonesian people. The recommended model of 3D animation short film has duration of 15 minutes and it isa story of visual design and storyboard.Keywords: Sendratari (ballet), Mahakarya (great work) Borobudur, 3D animation
KARAKTER DALAM TARI GAYA SURAKARTA Silvester Pamardi; Timbul Haryono; R.M. Soedarsono; AM. Hermien Kusmayati
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (336.366 KB) | DOI: 10.33153/glr.v12i2.1533

Abstract

This writing is aimed at explaining characters in Surakarta style dance rooted at the palace. In Indonesiandance knowledge it is known as classic dance. Surakarta style dance has developed so long that has builtsystematized patterns of move and been fully fledged based on pakem beksa containing with many rules andtechniques of movements of palace dance. Javanese society believes that palace dance is a cultural heritagecontaining both values of guidance and entertainment as well. The concept of beauty of palace dance hasthree norms. Those are Hastakawaca, Kawaca, and Hastakawaca Gendhing. The norms show that the dancehas soul and movement such as container and content unified in inner and outer life. The masters (empu) ofJavanese dance believe that dance movement expressed through the body of dancer will produce innerattitude. Some people are able to find its philosophy at the time of dance appreciation. This paradigm can bedefined as an implementation of functional values of palace dance giving characters guidance and good soul.Identified through dance forms perspective, palace dance is a collective soul expression. In relation tomovement, palace dance expresses the soul of Javanese personality. In the sense of being a collective expression related to customary structures, the movement of palace dances covering the whole body meansbuilding up good soul. The character of palace dances is constructed with typology, temperament, and dispositionderived from or transformation of the forms of shadow play. The forms of shadow play have physical size(typology), motion puppet play (temperament), and wanda (character) in different visual appearance for eachcharacter or role. The characters structured in the forms of dance movement serves as the values of guidancethrough appreciation towards the values of nature and the roles of motion expressing bad and good teaching.Keywords: dance, character, philosophy, aesthetic, Surakarta style
KEBUDAYAAN LOKAL SEBAGAI SUMBER INSPIRASI (Tinjauan Antropologi Visual pada Pelukis di Kota Makassar) Karta Jayadi
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1448.32 KB) | DOI: 10.33153/glr.v12i2.1511

Abstract

The article talks about local culture in South Sulawesi as the inspiration source for the painters in Makassarin visual anthropology point of view. The local culture consists of material as well as non material cultureincluding Perahu Pinisi (Pinisi Boat), Baju Bodo,Aksara (Bodo Aksara Dress), Mythos and legend, and alsoPesona Alam (the beauty of nature). The culture is expressed in the work of representational as well as nonrepresentationalpainting. The visual anthropology analysis is used to help understanding the phenomena of“new visual” presented by the painters as an effort to present the new element and form of the imaged localculture. The form of representational work can be seen in the cultural themes such as Perahu Pinisi, BajuBodo, and Pesona Alam. The work also presents the complete and proportional visual elements so thatcultural objects can be photographically imagined even in different situation. For the reason, the closerelationship between the inspiring local culture and the inspired painting symbolically has an equal value,while non-representational work is imaginatively described by the painter. The visual values are illustratedbased on aesthetic fiction, experience, and the deep information from alphabet, mythos, and legend. In thispainting, the painter has different interpretation in visualize the information in case of form, color, andcomposition. Thus, the imagination and reality of culture cannot be separated from the owner’s community sothat it will always appear as the new identity and personality through the new visualization product.Keywords: culture, local, inspiration, anthropology, visual

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