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<![CDATA[PROPAGANDA IKLAN LAYANAN MASYARAKAT (ILM) PADA MASA KEMERDEKAAN HINGGA MASA REFORMASI ]]>
<![CDATA[Pujiyanto Pujiyanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v8i1.1309
<![CDATA[Public service advertisement (ILM) is the one delivering information, persuasion or educating the public through advertising media in order to increase the people’s knowledge, attitude awareness and behavior change to the problem delivered, as well as to get the good image in the people mind. ILM occurs based on the state/people condition suffering from a social problem, so that the messages delivered is mostly social in nature. Viewed from Indonesian struggling history dialectics: 1) In Independence colonialism age with cooperative and revolutionary country because of ideology difference, ILM was the struggle political propaganda for uniting the nation and country. 2)In Old Order age with nationalism politics because of the confuse occurring among the rulers inclining to support the dominating; thus ILM is nationalist political propaganda in nature function to eradicating the separatism movement. 3) In New Order age with paternalistic, that is, to look for people’s sympathizing to the governmental program, ILM is development political propaganda in nature functioning to support the successful governmental program. 4) In reformation age with pluralist liberalism, with nationality freedom, ILM is the critique for development functioning as the supervisor or monitor for the country’s condition. ILM always develops along with the development of people civilization, technology and problem occurring within the society. Key words : Independence age, Old Order, New Order, Reformation, Media, Public Service Advertisement, Propaganda.]]>
<![CDATA[PERBANDINGAN STRUKTUR ADEGAN PAKELIRAN WAYANG KULIT PURWA GAYA SURAKARTA DAN YOGYAKARTA ]]>
<![CDATA[Sudarko Sudarko]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v8i1.1319
<![CDATA[This paper will seek for similarities and diversities of scene structures in shadow puppet pakeliran, Surakarta and Yogyakarta styles. Besides, it also explains the causes that make similarities and diversities in shadow puppet pakeliran of the two styles. The writer uses comparative approach in finding similarities and diversities of scene structures in shadow puppet pakeliran of the two styles and historical approach in seeking causes that make similarities and diversities in scene structures. The similarities of scene structures in shadow puppet pakeliran, Surakarta and Yogyakarta styles include (1) the two styles consist of three pathet: pathet nem, sanga, and manyura, (2) each pathet consists of three kinds of scenes, they are (a) jejer, (b) two or more scenes caused by jejer, and (c) war. The cause of similarities is that the two styles come from the same culture, Mataram. The difference of scene structure in shadow puppet pakeliran of Surakarta and Yogyakarta styles is: (1) shadow puppet pakeliran of Surakarta style has limbukan but Yogyakarta style doesn’t have it, (2) the scene og gara-gara has to be executed in Yogyakarta style but it doesn’t have to be in Surakarta style. The differences emerge because of the break of Mataram Palace becomes two palaces, Surakarta Hadiningrat and Yogyakarta Hadiningrat. For the next, each palace eagerly shows its own identity by developing their local cultures. Key words : pedalangan, shadow puppet, style]]>
<![CDATA[AKULTURASI GOSPEL DALAM MUSIK GEREJA KHARISMATIK DI INDONESIA ]]>
<![CDATA[Bayu Wijayanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v8i1.1301
<![CDATA[This article cope to elaborate an perception to aspect of influence Gospel as cultural element of Afro-Amerika, specially influence Gospel to culture of music of Christian Charismatic church in Indonesia. Aspect of Influence Gospel which require to be studied are elements of what entering as influence, where that elements enter, and also any kind of later on happened to the cultural elements of Gospel in Indonesia, specially in community of Christian Charismatic church. Cultural of music discussed in this case is music of Christian Charismatic church at a period of last two decade expanding at the time of Gospel start to look its influence. Approach Etnomusikologi done/conducted with the descriptive model analysis qualitative and comparability. Hereinafter subject of related to music aspect analysed and attributed to assorted of phenomenon, background, function, form the (structure) and its correlation with the structure ritual (divine liturgy). Analyse with the comparison and interpretation[of playing important role in this case. Especially to see the elements of according to, adaptation, variation and modify from element and music structure. Visible hereinafter there is change and continuity from element of music Gospel having an effect on to the church music elements. Key words : acculturation, music, gospel, charismatic church]]>
<![CDATA[BAHASA SAPAAN DALAM PERTUNJUKAN WAYANG KULIT PURWA GAYA SURAKARTA ]]>
<![CDATA[Purbo Asmoro]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v8i1.1311
<![CDATA[This research aims ta finding out the answers to the questions : (1) What are types of greetings in wayang kulit purwa performance of Surakarta style? Why are there many kinds of greeting types? and What are the functions and meaning of greetings? The research studying greetings in wayang kulit purwa performance of Surakarta style uses sociolinguistic approach, namely Dell Hymes’ theory of speech components. The factors which determine someone’s utterance are setting or scene (s), participants (p), end (e), act of sequence (a), key (k), instrumentalities (i), norm of interaction (n), and genre (g). The functions of greetings in context are analyzed using cognitive, evaluative, and a affective functions. Function analysis and the context meaning of greetings in wayang kulit purwa performance of Surakarta style encompass cognitive function which analyze the expression of ideas, concepts, and thought of the dialogue and conversation between wayang figures; evaluative function which ensures, declares, conveys and delivers attitudes and values contained in the dialogue between the figures; and affective funtion which transfers the emotion and feeling of the figures or participants of a dialogue in the wayang kulit purwa performance. The greetings of wayang kulit figures contain the elements of moral, ethic, social education, and philosophical principles of life. Key words : wayang kulit, performance, greeting]]>
<![CDATA[BENTUK SAJIAN TARI SRIKANDHI CAKIL ]]>
<![CDATA[Dwi Maryani]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v8i1.1303
<![CDATA[Srikandhi Cakil dance has the theme of heroism using antawecana (dialogues) and tembang (Javanese songs). Javanese gamelan is used to accompany the dance and at the beginning the accompaniment is ada-ada, Srepeg, ketawang teplek, and then the second srepek, and ada-ada jugag is used before dialogues. In the dialogue, Cakil sits with the knees bent after knowing that he is facing Dewi Woro Srikandhi. To show that Cakil is surprised and gives a respect to Dewi Woro Srikandhi, this scene is accompanied by pathetan jugag. The dialogue is continued to the conversation on the king Jungkung Madiyo’s proposal which is rejected by Srikandhi. The accompaniment of ada-ada jugag is used to make the atmosphere that Cakil is angry. Key words : dance, Srikandi, Cakil]]>
<![CDATA[KINJENG TRUNG GENDING KERAMAT DARI DUKUH MAJAPAHIT ]]>
<![CDATA[Rabimin Rabimin]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v8i1.1313
<![CDATA[This writing gives an information on gending (melody) Kinjeng Trung thought to be sacred by the people of Dukuh Majapahit (Sambungmacan – Sragen) and its surroundings. When the invited guests from Dukuh Majapahit attending a banquet are not welcome with the presentation of gending Kinjeng Trung, the one who holds a banquet will get an accident or feel ashamed and will not feel safe because there will be an unnatural circumstance such as the food cooked is not done, dominated by an evil spirit, getting ill suddenly, and so on.   Kinjeng Trung gending has been known in Dukuh Majapahit and its surroundings since about the 15th century. In addition to being a gending for accompanying Tayub and Badhutan, the main function of Kinjeng Trung gending is to render honors so that it is everlasting. Recently the gending has been making rapid progress in cakepan, the instruments, garap and function. This writing gives some information on problems such as: historical background, notation of gerongan and sindenan. This writing aims to help the reader to understand the content and practice. Key words : kinjeng trung, sacred, Majapahit]]>
<![CDATA[KRITIK UNTUK KRITIK TARI†MINAT YANG TERJAUHI OLEH PENGGIAT TARI ]]>
<![CDATA[Eko Supriyanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v8i1.1305
<![CDATA[Dance critic in the performing arts becoming a rare field, which people in performing arts are more concern on keen observers and practitioners. In the dance world, the Republic of Dance open many possibilities including the field of dance critic to delivered the ideality to critic of dances. Thus, it should be more established on writing not only as reviews, description, nor personal experiences; but also, the depth of intuition, sense of aesthetic, expertise on the field of performing arts, evaluation, and technique of choreography, dance, music and state production. This field of study is open many opportunities for dancer and choreographer to challenge the continuity and life of the dance world in Indonesian performing arts. Key words : dance, critic, performing art]]>
<![CDATA[NILAI-NILAI YANG TERKANDUNG DALAM APRESIASI TEMBANG-TEMBANG JAWA ]]>
<![CDATA[S. Hesti Heriwati]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v8i1.1315
<![CDATA[Javanese songs (tembang) have their own charisma as educational as well as entertaining media. In the society that has not been influenced by diatonic songs and music, tembang is used as a popular media or means of rocking to sleep. However, in line with technological advance and information progress, the position of tembang is pushed aside from top position to the edge. The advancement of science and technology has an impact on all elements of life, including the existence of tembang. Starting from those facts, this writing aims at revealing the values contained in Javanese tembang as an effort for preserving Javanese culture. The appreciation of Javanese tembang is hoped to be a corridor to popularize Javanese culture we own. Understanding values will lead us to have a good knowledge of a value which can be a guideline for the society, especially the younger generation as the cultural continuer. With this kind of understanding, the younger generation are hoped to be able to show respect for the cultural heritage full of philosophical values (like religious, moral, social, heroism, tangible values). Key words : appreciation, Javanese songs, values]]>
<![CDATA[ASPEK DRAMATIK LAKON KRESNA DUTA SAJIAN NARTASABDA ]]>
<![CDATA[Mardjono Mardjono]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v8i1.1307
<![CDATA[Puppet world, especially Lakon Kresna Duta, has two main suppression, characterization and symbolization of Kurawa Pandawa, which can be a reflect on our lives. Kurawa is reflecting antagonist (insolence) while Pandawa is reflecting protagonist (goodness). In personality we can find not only badness and goodness but also variety. We can take the wisdom from the vary character in our lives. Problem of this paper is why Duryudana denies the King’s utterance and what tendency is behind his decision. Based on the problems, this paper aims to search and describe dramatic aspects that is theme, messages conveyed by the dalang, braided of events, the appeared controversy or conflict and the role of key character in the lakon. To reach the purpose, the writer uses approaches from performing arts, especially puppetry, and humaniora as well as social science. The result of the dramatic analysis is that Pandawa’s deeds in Lakon Kresna Duta is aimed to uphold the justice and truth in order to realize prosperity and it is not based on their ambitions. The wisdom that can be found is that it is very important for a leader to be honest, wise, and berbudi bawa leksana. A leader who propose virtue, berbudi bawa leksana will produce togetherness and tranquility, on the contrary, a leader who ignores virtue and always breaks his promise will lead to dispute and unpeacefulness which finally lead to destruction. Key words : shadow puppet, social, dramatic, lakon]]>
<![CDATA[WAYANG MBELING KREATIVITAS DALANG SEBAGAI KOMUNIKATOR SOSIAL ]]>
<![CDATA[Sri Indratmi Yudiarti]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/glr.v8i1.1317
<![CDATA[Social phenomena and affairs happened in the society evidently have an influence on work of art creation. Wayang Mbeling (Wayang against an established convention) is one of real examples. As a work of art, this work of art is thought to violate “pakem†(the rule) that has been the pattern for years. The violation is also committed when the puppeteer adapts the present social affair to the sphere of wayang life. The names of wayang figures and their characteristics are the same as those in “pakemâ€, taken from Mahabarata and Ramayana epics. The intelligent puppeteer uses his creative imagination and makes use of his inspiration in writing it. The violation of “pakem†is interesting enough to study as the object of this research. The texts of wayang mbeling stories are studied using communication sociology approach in the form of mass communication endorsed with theories of sociology, Philosophy of art, and Cultural History. The result of this study shows that wayang mbeling can be utilized as media for introducing wayang and finding an outlet for social criticism. On the other hand, wayang mbeling can be made use by the puppeteer as a means of actualizing himself as an artist. The puppetter can show that he is not only good at speaking but at writing as well. The puppeteer still has a chance of giving an entertainment to the reader because he writes the story in an informal style. The puppeteer can act as a social communicator because through his work of art he is able to convey his mission, express cultural values, and make constructive social criticism. Key words : puppet, wayang mbeling, creativity, social communicator.]]>
