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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 19, No 1 (2021)" : 10 Documents clear
Visualisasi Penelitian Tentang Tembang Macapat dari Tahun 1981 – 2021 : Analisis Bibliometrik Oka Irmade; Winarto Winarto
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3789

Abstract

The macapat song in Indonesia has been widely studied and has become an interesting topic for international analysis. The purpose of this study is to provide an overview of the extent to which the tembang macapat has been researched and published in reputable international journals. This study analyzes the literature from 1981 to 2021, identifies the publications each year, the number of articles and their authors, the most researched topics, and how interested they are in those topics. The data came from the Scopus database which was analyzed by the bibliometric method. The results of this study found articles about tembang macapat were published in Scopus indexed journals and topics related to macapat, namely ketoprak, cross-cultural perspectives, social change perspectives, Javanese, writing, and a few others. From the results of this visualization, it is necessary to increase the publication of research results in the international arena so that everything contained in the macapat song can also be known not only in Indonesia.
Balet Rusia À La Indonesia: Sebuah Akulturasi Dalam Tari Kabaret Baliano Karya Rusdy Rukmarata Yunda Kenanga Valindyputri
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3285

Abstract

This study discusses about the Russian ballet which is acculturated with the Nusantara culture in Indonesia. This research uses acculturation theory by Readfiled, Linton, and Herskovits in The Cambridge Handbook of Acculturation Psychology (2006). The purpose of this study is to identify how acculturation occurs in Russian ballet with Indonesian traditional dances and what influences it. This study uses a qualitative method that uses the literature study method, and is supported by interview techniques. The results of this study identified that acculturation occurs in one of the many works that combine Russian ballet with Nusantara dance and that experience can also affect the acculturation results of the work.
Fungsi Ritual Tari Maulud Lengger Dalam Upacara Suran Di Desa Gandu Kecamatan Tembarak Kabupaten Temanggung Anim Kartika Dilla; Slamet MD
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3287

Abstract

This study explores the Maulud Lengger dance in the Suran ceremony. The problem is focused on discussing the form and function of the ritual. The problem of form is analyzed using Slamet MD's theory, while the problem of ritual function is analyzed using Soedarsono's theory. This research uses qualitative research methods. Data collection techniques were carried out by means of observation, interviews, and literature studies. The results of the study indicate that the Maulud Lengger dance has an important role in the implementation of the Suran ceremony, which is believed to have a major influence on the survival of the Gandu Village community. In terms of the form of the performance, this dance contains religious elements that can be seen from the poems that are played. 
Analisis Kosmologi Pola Tiga dalam Tradisi Nyeupah pada Masyarakat Sunda Ahda Yunia Sekar
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3509

Abstract

Nyeupah is a term in Sundanese society which means chewing betel leaves. Nyeupah itself has other terms such as nyirih for the Java area and Nginang for the Sumatra area. Consuming betel leaf has been done by our ancestors since the middle of 15th century, where the Chinese, Indians, Persians and Europeans had made transactions for herbs and spices in Nusantara. The Nyeupah tradition in Sundanese society has long existed and it is proved by the existence of Jangjawokan regarding Nyeupah. Jangjawokan is a Sundanese poem which can be interpreted as containing archaic or ajimantra. This article has been written to analyze the Nyeupah tradition in Sundanese society with a three-pattern cosmological approach to be able to give deeper meaning dealing with this tradition.
Pakeliran Sampakan “Sang Panggung” Sindhunata Gesit Widiharto; Trisno Santoso
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3534

Abstract

The combination of puppetry and theater creates an alternative offering a new style of treatment in the form of contemporary theater called “Pakeliran Sampakan”. Pakeliran sampakan carries the mission of modernizing traditional art with the hope of being able to answer the public's saturation regarding spectacle that smells Indonesian culture, especially wayang kulit with the target market the young people. “Sang Panggung” is an adaptation of a story from “Nyi Panggung” written by Eko Tunas which tells about the life behind the scenes of the group of tobong Ketoprak Eka Mardhika. The results of the work represent the form of performances by the tobong ketoprak artists, with the story "Sang Panggung". Like the marginalized who are alienated because of their deposed honour by the outside culture, it needs an action by doing 'transmigration'. It doesn’t only mean moving from one island to another but also a change in the human mindset to be renewed towards the sophisticated technology of mass media, in order that traditional arts can always involve in the international competitions. 
Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas Hasprita Restiamangastuti Boru Mangunsong; Djuli Djatiprambudi
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3410

Abstract

The interaction of Nusantara with various  nations that has occurred since long ago led to the acculturation of local and immigrant cultures and produced a new culture. One of them is Wayang Potehi which comes from China and develops in Java. The purpose of this study is to find and describe the facial proportions of the female character of Wayang Potehi in Gudo, Jombang. The method used is a quantitative research method by measuring the facial proportions of several female characters of Wayang Potehi in Gudo with the golden ratio theory and calculating the average. In addition, this research also applies interviews with the chairman, Toni, and the puppeteer of Hok Ho An (Wayang Potehi Gudo group), Sonny, as well as direct observation. The golden ratio theory is not used to assess the proportion of Wayang Potehi but as a tool to find the average size of the proportion. The result of this study is the acculturation of Chinese and Javanese culture in visuals, language, stories, characters and characteristics as well as the artists behind the Potehi Wayang. The majority of Wayang Potehi are recognized by the symbols on their clothes and accessories, especially for female characters. Some of the female characters of Wayang Potehi created by the sculptor and Toni's team are quite different from the female characters of Wayang Potehi from China. This shows that the background of the artist (Javanese) influences the work of Wayang Potehi production.
Pengaruh Bonang Sekaten pada Bonang Barung: Kajian Garap Karawitan Teguh Teguh; Widiandari Widiandari
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3414

Abstract

Bonang barung is one of the ricikan found in the gamelan sekaten and gamelan ageng. It functions as ricikan garap, it means that bonang barung must work on balungan gending. The techniques or motifs of the wasps include: mipil, gembyang, imbal, and klenangan. Of the several wasps, many of the mipil wasps are adopted from the bonang sekaten wasps. This study aims to determine the relationship between wasp motifs and balungan gending. The method used is descriptive analytical. Data was collected through interviews with several interviewees. In addition to interviews, the literature study was also carried out based on references about musical knowledge and several writings related to the material. The final result of this study shows that there are two things happen because of the effect of bonang sekaten wasp on the bonang barung wasp, namely adoption and adaptation.
Estetika Keseimbangan dalam Wayang Kulit Purwa: Kajian Strukturalisme Budaya Jawa Slamet Subiyantoro
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3399

Abstract

The purpose of this study was to examine the aesthetic value of balance in Wayang Kulit Purwa from the perspective of Javanese cultural structuralism. This type of research is descriptive qualitative with data sources from informants, places/events, and documents/archives. The object of this research is Wayang Purwa with the profile of knight, giant, goddess, and civil servant who were selected by purposive sampling technique. Data were collected by using in-depth interviews, participatory observation, and document analysis. Data were analyzed using interactive techniques with data reduction procedures, data display and data verification. The result of the research shows that the Wayang Kulit Purwa is a picture of real human life. The puppet characters have their own characters which generally consist of good, evil, gentle, and simple characters. Humans created by God are not the same but with a variety of characters. The characters, characteristics, and other structures tend to be opposite, however, there is no attempt to negate each other, instead they complete each other.
Permasalahan Pancer dalam Karawitan Jawa Gaya Surakarta Djoko Purwanto
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3472

Abstract

This article discusses pancer in the Javanese traditional Javanese music presentation of the Surakarta style. The word pancer is also used in several Javanese philosophies of life. This paper tries to unravel the correlation of the concept of pancer in the life of the Javanese society with the Javanese traditional music of Surakarta style. In Javanese life, the concept of pancawara and saptawara are well known. Meanwhile, the Javanese karawitan of the Surakarta style uses the concept of five tones for sléndro and five tones for pélog although physically, in the pélog barrel it involves seven tones. The methods used in writing this article include literature study, musicology (karawitan) studies, social approaches, interviews, and observations as well as collecting several collections of recordings for analysis. In this case, the kempyung theory and the concept of Martopangrawit's tone strength as well as the pathet concept (biang pathet in the laras sléndro) by Sri Hastanto are used as analytical tools. The results of the analysis found that not all notes in karawitan can be used as pancer. Pancer in Javanese philosophy represents the life link of the Javanese people, while pancer in karawitan shows the character and the sense of gending.
Perbandingan Busana Arca Harihara Era Klasik Akhir (Koleksi State Hermitage Museum, Museum Nasional Jakarta, dan Balai Lelang Christie’s) Waridah Muthi'ah; Agus Sachari
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3533

Abstract

Harihara is the amalgamation of two great gods in Hinduism, Siva and Vishnu. During the Late Classical Era (Majapahit period, 13th-15th centuries AD) three deification statues which portrayed the kings as Harihara have been found. Out of these three, two of them are not located in Indonesia anymore, one is part of the collection of Hermitage Museum, St. Petersburg, and one is in Christie’s Auction Gallery. Since these two statues are not widely known, they are barely mentioned or studied in the field of classical archaeology and art. This research focuses on the physical attributes of those two statues, particularly the clothing elements and divine attributes, in comparation to the deification statue of Raden Wijaya as Harihara, which is originated from Candi Simping and now is located in National Museum, Jakarta. The research was conducted using a qualitative-comparative method with iconographic and historical approach. It is found that while these statues show the amalgamation of Siva and Vishnu’s attributes, the depiction of Harihara in those statues are not exactly following Harihara iconography as regulated in the canons of Silpasastra and Manasara. While the canon physical attributes of Shiva and Vishnu side by side equally, in the depiction of Harihara in Java, those attributes are mixed and not always follows a rigid pattern. It is suggested that the depiction of  kings as Harihara show an attempt to project them as the unifier of different factions and religious sects. The inequal depiction of Vishnu and Siva’s attributes in king’s deification statues indicates not only the dynamics of the religion in the era, but also as mean to build king’s image in the image of the God.

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