Articles
11 Documents
Search results for
, issue
"Vol 4, No 2 (2006)"
:
11 Documents
clear
<![CDATA[KESENIAN PROPHETIK ]]>
<![CDATA[Wawan Kardiyanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (1372.016 KB)
|
DOI: 10.33153/glr.v4i2.1225
<![CDATA[Artistry is result of mind expression and human being kindness with all its process. Art represent someone soul expression. Result of the soul expression round into the part of human being culture. Artistic of identik with the beauty. Beauty of real of identik with truth. Both owning is same value that is eternity. real Eternity values ever flange to God Thereby artistry also a media and discourse to serve to God. Such Artistry of more precise mention for him is Artistry of Prophetik . Artistry of Prophetic is artistry bringing prophecy mission within reason religion teaching bringing devotion essence go to God. Artistry of Prophetic is not simply art to be is artistic of free value. Artistry of Prophetic very condition assess the infinite and hold highing it is high. Values Believing in god here is truth, kindliness, justice and beauty.Key Word Artistry, Prophetik]]>
<![CDATA[KEBERAGAMAN MEDIA KOMUNIKASI, SENI DAN KRIYA ]]>
<![CDATA[Agus Ahmadi]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (1621.323 KB)
|
DOI: 10.33153/glr.v4i2.1207
<![CDATA[Pluralism means that communication media and aft, are having so much variety. wide spread in society and having many different types. Arts are partola branch of communication media called recreation/entertainment media. In human live or society that plurality is seen much than homogeneity or uniformity. Communicating can be said as a language process by having a conversation, Interaction, and information, data and messages, exchanges through media, one of it is recreation media or arts including handicrafts. Beside the material or media used in arts, arts pluralistic can also be seen ;nets function, technique and message inside the ails. Hand/crafts pluralistic can be classified on their raw matenaiS, productions and functrons. ]]>
<![CDATA[TELAAH TENTANG TARI MINANGKABAU (The Study of Minangkabau Dance) ]]>
<![CDATA[Efrida -]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (1198.121 KB)
|
DOI: 10.33153/glr.v4i2.1217
<![CDATA[Minangkabau as an unity of tribe, geographical, and loaded culture with tradition values, istiadat adapt and fife of formed society and expand along with Minangkabau society growth alone. One of the uppermost matter at Minangkabau society [is] life [of] have their artistry [to], especially dance art. Divided Minangkabau society structure cause divided of embraced dance style become three, that is Target style, Surau style and Malay style. Third of style dance this embraced and developed by different faction so that cause difference also in the form of and its dance till. Nonetheless, that difference non meaning to indicate that dance style which is one more pre-eminent from other dance style. That difference show properties of multifarious creativity and tradition of faction inMinangkabau society in expressing artistic head in a life of have artistry to matching with life values which they embrace.]]>
<![CDATA[BATHIK SEBAGAI BUSANA DALAM TATANAN DAN TUNTUNAN (Resensi Buku) ]]>
<![CDATA[Dwi Wahyudiarto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (452.699 KB)
|
DOI: 10.33153/glr.v4i2.1227
<![CDATA[Infomasi tentang bathik banyak dibutuhkan oleh masyarakat, baik masyarakat domestik maupun manca negara, keadaan yang demikian menumbuh minatkan para ilmuan yang berlomba-lomba untukmenulis dan meneliti tentang batik. Buku berjudul Bathik Sebagai Busana dalam Tatanan dan Tuntunan yang disusun oleh KRT.DR. (HC) Kalinggo Honggopuro merupakan salah satu buku yang dapat meberi informasi tentang bathik, buku ini sangat menarik untuk dibaca dan dimiliki, balk di kalangan budayawan maupun masyarakat umun. Buku setebal 180 halaman ini berusaha untuk mengungkap kembali makna yang terkandung di dalam Bathik. Bathik yang merupakan sebagian dari budaya Jawa sampai sekarang masih cukup kuat mengakar dalam masyarakat. Berbagai upacara tradisi atau acara resmi, bathik masih dipakai oleh para pejabat maupun masyarakat luas dan selalu menjadi warna yang khas. Selain mengandung nilai estetis yang tinggi, bathikjuga mengandung filsafat yang mendalam serta memberikan ajaran-ajaran kebaikan.]]>
<![CDATA[ASPEK MORAL DALAM NOVEL SAMAN KARYA AYU UTAMI (SEBUAH PENDEKATAN SOSIOLOGI SASTRA) ]]>
<![CDATA[Ana Rosmiati]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (1998.429 KB)
|
DOI: 10.33153/glr.v4i2.1209
<![CDATA[Novel Saman Ayu Utami masterpiece represent a novel which dare to express problem of epoch by various cultural information traffic and also event. This novel represent categorized novel nicely so that become Romance Council sayembara winner Artistry onakarta. In this article of dkupas hit various problem ofthat good moral of powermoral and authority, political moral, religious moral, assocciation moral, and culturalmoralKeyword ; Moral]]>
<![CDATA[TATA CARA PELAKSANAAN LAMARAN DALAM UPACARA PENGANTIN TRADISI JAWA DI SURAKARTA ]]>
<![CDATA[Ning Hadiati]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (2067.576 KB)
|
DOI: 10.33153/glr.v4i2.1219
<![CDATA[This Research focussed at existing symbol meaning in Java nuptials. Procedures Custom Java in nuptials have many small ceremony network which must be conducted. One of the ceremony network that is lamaran. Ceremony Lamaran represent event which is very awaited by putri temanten candidate side. In Lamaran condition with seimbolis. Without meaning of is existence of lamaran event, all ceremony network will fail and even will make disappointed and feel small on the side of putri temanten family Peningsed in the nature of' Ubarampe: Marginally paningset ubarampe consist of 3 matte; that is paningset bakuning, paningset abon-abon and paningset pangiring. brought goods by man temanten candidate side family. brought goods among others in the form of a set dress woman, Pamesing cloth, properties estae, wedding ring and Abon - abon as lamaran medium complement Each nuptials network have meaning meaning to organizer family pengantin. Ceremony marriage network among others is kumbokarnan ceremony - Ceremony Jonggolan - Ceremony Install Tuwuhan - Ceremony Lamaran/srah-srahan - Ceremony Siraman, Ceremony Paes, Ceremony Midodareni, Ceremony Nebus Kembar Mayang, Ceremony Execution Marriage ( Oath in marriage of Moslems and Reception}. Among the tradition ceremony network]]>
<![CDATA[ASPEK GENETIK, OBJEKTIF DAN AFEKTIF DALAM PENERJEMAHAN ]]>
<![CDATA[Donie Fadjar Kurniawan]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (1089.906 KB)
|
DOI: 10.33153/glr.v4i2.1211
<![CDATA[Translation have been practiced and developed for approximately well over 5000 years as from the Egyptian Old Kingdom and the Greek philosophy. It is commonly said that translation refers to reproducing the closet natural equivalent message from source language into target language. The evolution of linguistic theories and transaltion studies comes to two important paradigms of translation researchs. First in product oriented translation. Here, the translator should successfully replace the message from source language into target language. Furthermore, the second paradigm is process oriented translation. In process oriented translation, the focus is on the process of producing the equivalent message cognitively, - in iblackbox' translator In order to get a good process translation, the translator at least have to explore the three aspects withn it The three aspect are Genetic (the producer of the translation) , Objective (transaltionas an object) and Affective (the affect of translation into the reader).Keywords : source language(SL), target language(TL), genetic, objective, affective aspects.]]>
<![CDATA[WAYANG ORANG PERKU M PU LAN MASYARAKAT SURAKARTA (PMS) EKSPRESI ETNIS CINA MENJAWA ]]>
<![CDATA[Nora Kustantina Dewi]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (964.7 KB)
|
DOI: 10.33153/glr.v4i2.1221
<![CDATA[Wayang orang or Javanese Stage Show has been spread out from the palace since the socio-structural changing in Javanese community in the end of 1.91' century, This circumstances brought to the influences of the development of wayang orang out side of Pura Mangkunegara Palace as a commercial art performance. In 1958, the members of People Community of Surakarta/ Perkumpulan Masyarakat Surakarta (PMS) built a group of wayang orang, which the players and the pang rawit/traditional music player 90% were the Chinese ethnic. Wayang Orang PMS has growth in acculturation process of _Javanese and Chinese Culture, which were completing each other in the successful of its arts work. Wayang orang has become the one of the way to express in Chinese ethnic mix in the melting pot of the beautifulness of the arts work. People Community of Surakarta as the place of socio cultural interaction includes its wayang orang, still exists and actives in the understanding of the state unity, assimilation in any natural and individual process.Key words: Chinese Ethnic 'Wayang Orang' to be likes Java]]>
<![CDATA[RUWATAN: A RITUAL IN TRANSITION ]]>
<![CDATA[Eddy Pursubaryanto]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (1694.177 KB)
|
DOI: 10.33153/glr.v4i2.1213
<![CDATA["Where are you going, Wayang?" This question was raised by the late Umar Kayam in 1969 (Kayam 1981: 129-135) in his article as a speculative note after a Wayang Festival in Jakarta in the same year. In the article he pointed out that when the Wayang Festival started, Wayang was already very old and weak, because it had undergone a very long journey through various eras and dimensions, Its presence in its old age and at the crossroad of a changing society must have created one or two consequences. The first, Wayang was forced to arrive at new idioms. The second, it must shift emphasis, such as including new images or new identifications because at this point the time and language dimensions had so demanded. He was also predicting that the audience would change and the new audience would have different perceptions towards the characters in Wayang in general [including Wayang Kulit]. They would humanize the characters more. The audience probably would no longer use Wayang as a frame of reference in their life. Wayang would become a modern drama that avoided giving advice, but it would provide several alternatives of life. When future audiences went to a Wayang Kulit, they would no longer search for any symbolism in it. They would rather prepare to enjoy "aesthetical experiences which are full of pleasure". His writing was like a warning about the life of Indonesian Wayang if it wanted to survive and cope with the modernization era where the agricultural life was bit by bit replaced by urban life. However, Umar Kayam did not specifically look at the future Wayang Kulit in the context of ritual ceremonies, such as Ruwatan. Therefore this paper will look at some tendencies at its performance today, especially in the so-called Ruwatan Masa/(Mass Ruwatan), a new trend in Indonesia. This paper has used the data from various written resources, interviews with dalang ruwat(a dalang who has the right to perform a ruwatanceremony), and several families that participated in ruwatan. Beside that, I was involved through participatory observation as a member of the Organizing Committee of a Ruwatan Massal, and as pengrawit (gamelan player) in both regular performances and some ruwatanceremonies.]]>
<![CDATA[TARI PASIHAN BHONDAN SAYUK SEBUAH MAKNA TEKS ]]>
<![CDATA[Slamet MD]]>
<![CDATA[ Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (980.425 KB)
|
DOI: 10.33153/glr.v4i2.1223
<![CDATA[Bondhan Sayuk compiled to be inspired by Enggar-Enggar dance which have preexisted. Sunarno as orderer dance conscious Bondhan Sayuk that this dance in the begining fill compiled karawitan song music by Marto Pa ngrawit, what motivat desire have baby. Studying Bondhan Sayuk can be understood if in the theatre of him between dancer which is one with other experience of different motion variation of. This matter happened caused by text meaning of different accompaniment music song text especially at middle Javanese song. This Research is more focused by about how audience and dancer mean song text in music dance related to dance motion expression. involved in Audience of complex situation that where they get " inspiration" momentary to determine the meaning. Dancer as perpetrator in text meaning of song text in his danced dance motion. Process giving mean text take place in complicated situation that, which realized or do not, re/ate to experience before audience see Dance Pasihan Bondhan Sayuk. Related to Text show dance Pasihan represent story or the dance story, usually such text here is]song which is there are in dance music. Show text dance Bondhan Sayuk, residing in in loaded musical context of meaning, hereinafter get form in show of dance will give framework think to dancer to express into dance form, and audience get meaning from show dance Bondhan Sayuk from song text and dance as a show which is global and go into effect at the time of show take place. In context this is text meaning become important because interaction from various above mentioned factor reach form finallyKeyword: Pasihan, Bondhan Sayuk, Meaning Text.]]>
