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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 296 Documents
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PERTUNJUKAN TAYUB SEBAGAI SARANA RITUAL PERNIKAHAN DI TUNJUNG SEMI MLALE JENAR SRAGEN Eko Wahyu Prihantoro
Gelar : Jurnal Seni Budaya Vol 10, No 2 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1148.808 KB) | DOI: 10.33153/glr.v10i2.1417

Abstract

Mlale Village, Sub District Jenar, District Sragen has a unique tradition, namely a ritual conducted  by a local community. This ritual is held to celebrate a wedding ceremony by performing Tayub. This research aims to:  a) describe the wedding ceremony at Mlale Village by performing Tayub as its ritual means, b) interprete the meaning of movements  and melody (gendhing) in Tayub dance. The style of this research is interpretative description of a qualitative nature. The first step in this research is data collection through field study, observation,and interviews, and the second step is data processing by analyzing qualitatively the form, function and meaning. Those steps are applied consecutively beginning from reduction, data reformation or display, and ending in conclusion. This research uses a holistic approach involving all aspects in performing art. The research results show that  the performance is meant as a gratitude and request  to God hoping that  wedding will  last eternally,  and be blessed, be protected against disturbance, be granted all desire, have a child  and happiness. Key words : ritual, Tayub, meaning, Sragen
KEBERAGAMAN MEDIA KOMUNIKASI, SENI DAN KRIYA Agus Ahmadi
Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006)
Publisher : 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

Abstract

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. 
MAKNA TIPOGRAFI ONOMATOPOEIA PADA KOMIK “TIGAN NGASAK BATAVIA” Peter Ardhianto
Gelar : Jurnal Seni Budaya Vol 12, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (14295.018 KB) | DOI: 10.33153/glr.v12i1.1501

Abstract

Typography is an element of study in visual communication design related to letter. One of the most uniqueapplications of typography is the combination of letter with sound (onomatopoeia). Typography of onomatopoeiain visual communication design can be found in comic. The font with its own characteristic is combined withthe sound effect and then visualized as a part of text in comic “Tigan Ngasak Batavia” by Bengkel QomikSurakarta. The problem discussed in this research is how the role of typography onomatopoeia in comicanalyzed through sound classification and semiotic approach of Roland Barthes that is denotative andconnotative. The method of qualitative research used includes interview, library study, and document. Theresult of research is that typography onomatopoeia has a function as the story determiner. The dividing ofsound source classification and sound effect in comic is completely spread. Not all of the sound effectpresented in comic “Tigan Ngasak Batavia” shows the original sound. It exactly becomes the attractivenessand stabilization of comedy when the conflict takes place. Typography onomatopoeia in “Tigan NgasakBatavia” has a very important function that is helping audience to hear by eyes. It shows the proof that text incomic has a strong power in conveying messages.Keywords: typography, onomatopoeia, comic, visual communication
KONTINUITAS DAN DIS-KONTINUITAS SENI PERTUNJUKAN WAYANG TOPENG DI MALANG Robby Hidajat
Gelar : Jurnal Seni Budaya Vol 7, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4118.28 KB) | DOI: 10.33153/glr.v7i1.1255

Abstract

Kontinuitas bersandar pada teori fungsional-struktural, yang menyatakan bahwa kesenian dalam masyarakat mempunyai fungsi tertentu dan sangat berkait dengan hajat hidup masyaraktnya. Tetapi tidak demikian dengan pandangan Des-Kontinuitas yang memandang bahwa seni pertunjukan hadir dari waktu-kewaktu berdasarkan kemampuan “negosiasi ruang-waktu”, sehingga hadir sebagai sebuah “frahmentasi” yang dari waktu kewaktu mempunyai “actor-aktor intelektual” yang mengimplementasikan hasrat, keinginan, motivasi, ilmu pengetahuan dan ketrampilan, dan berbagai kepentingan politis yang menggejala pada zamannya. Wayang Topeng di Malang jika dicermati dari prospeksif Des-Konstruksi akan menampakan sebagai mozaik, atau sebagai “laiyer” yang antar potongan satu dengan potongan lain sebenarnnya berdiri sendiri, satu sama lain tidak memiliki kaitan yang bersifat kontinuitas. Satu sama lain dapat disebut sebagai gejala adaptatif, difusi, atau kohesi budaya yang menggejala untuk membangun sebuah pengokohan. Tetapi pola-pola konstruksi sosial organisatoris tersebut tidak hadir sebagai sebuah diakronistik. Tetapi menunjukan sebuah potongan masa yang satu sama lain tidak saling berdiri atas kekuatan masing-masing.Keyword : Konstruksi, Seni pertunjukan, Wayang, Topeng.
PEMANFAATAN BOLA TENIS DAN LIMBAH KAYU SEBAGAI INOVASI PERAJIN FURNITURE DI DESA TEMUWANGI KECAMATAN PEDAN KABUPATEN KLATEN Siti Badriyah
Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4223.47 KB) | DOI: 10.33153/glr.v13i1.1553

Abstract

The art work about the use of tennis ball and wood waste has a strategic purpose and is social constructive.The orientation of using not used material has economic values. Besides, application in the chair design willgive an innovative view to the craftsmen in Temuwangi village which has been weary and stagnant in production.The wood material (Jati) is very expensive that it loosens the craftsmen’s creativity that, rata2, belongs tolower class. The idea of an art work about chair design by using tennis ball and wood wastes has opened thecraftsmen’s mindset not to rely on the wood material that its price becomes higher. The work’s target ismodification of raw material with special design that is able to stimulate innovation and root in the craftsmen’sunderstandings even it needs the right design sensitivity and a consideration that can pass through nationalor even international furniture market. An effective method in the work is applied to monitor the controlledprogram and run on the right and systematic framework. The method used to reach the purpose includes:firstly, preparation covering observation, documentation, introduction, and interview. Secondly, the workexecution including: a) designing covering programming, design schematic, the work image, and financialestimation; b) production consists of discussion, assembling, and finishing; c) socialization. The work resultis innovative design for example the product of lounge chair and its table. Each phase needs accuracy thatrefers to the basic concept of design that has been considered with mature so that the gap which isdisadvantage can be minimized in man power as well as the financing.Keywords: the use, the waste of tennis ball and wood waste, stimulus, innovation
KENYAMANAN BUS KOTA 01 SURAKARTA DITINJAU DARI ASPEK DESAIN INTERIOR (Studi Kasus Bus Kota Jalur Kartasura-Palur) Agung Purnomo
Gelar : Jurnal Seni Budaya Vol 8, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (10284.376 KB) | DOI: 10.33153/glr.v8i2.1323

Abstract

Not only does the discipline of interior design cover static interior such as houses and buildings,  but also dynamic interior like the interior of land, sea and air transportation. The interior design in  these two scopes must consider the comfort factor for the user besides the aesthetic aspect and  function. A city bus as a means of public transportation should take the comfort for the user into consideration as a public service. The interior condition of the city bus can indicate the comfort  and this can be seen from the condition of a space forming element, a space filler element, and  space layout. The object of this study is the interior of city buses in the direction of Kartasura-  Palur in Surakarta. The approach used is numerical quantitative, that is, a data analysis based on a quality realized in the form of numbers in atable to measure the level of comfort. The variables  measured cover: (1) the element of space forming (sub variable: floors, walls, and ceilings), (2) the element of space filler (sub variable: seats and supporting facilities) and (3) space condition  (sub variable: lighting, ventilation and acoustic). The population of this research is the entire fleet of a number of transportation company operating in Surakarta. The sample is taken using cluster random sampling, that is, covering all the companies of city bus in Surakarta consisting of PO Surya Kencana, PO Nusa, an Perum Damri. A check list is used to analyze the comfort level of the city bus in Surakarta. The result of the research showed that the comfort level of the city bus in Surakarta was still low assessed from the aspect of interior design. The space forming element has some shortcomings, among others, the material usage is not optimal and its condition is not  well maintained and even some have broken. The space forming element has also some shortcomings, for instance, 'the number of the seats does not meet the standard and some have broken. Besides that, the arrangement of other facilities is not well planned. The arrangement of space condition is not supported by proper ventilation, lighting and acoustic.                             Key words: comfort, city bus, and interior elements
ESTETIKA TATA SUSUN KOSTUM SOLO BATIK CARNIVAL (STUDI KASUS: SBC KE-5 TAHUN 2012 TEMA METAMORFOSIS) Quintanova Rizqino; T. Slamet Suparno
Gelar : Jurnal Seni Budaya Vol 14, No 2 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1927.869 KB) | DOI: 10.33153/glr.v14i2.2078

Abstract

Solo Batik Carnival (SBC) merupakan wadah kegiatan kreatif berkarya untuk masyarakat Solo di bidang fashion Carnaval. SBC sendiri sudah menjadi kalender kegiatan budaya dan pariwisata kota Surakarta. Dari awalpenyelenggaraan SBC ke-1 hingga SBC ke-4 terjadi kejenuhan dalam proses kreatif sehingga tidak sejalan dengan visi dan misi SBC. Maka pada penyelenggaraan SBC ke-5 tahun 2012 terjadi perubahan dalampenggarapan konsep tema yang menjadi acuan dasar membuat bentuk-bentuk kostum. Dengan tema Metamorfosis tahap-tahap pembuatan batik diekplorasi menjadi kostum karnaval dengan kekayaan bentukbentuk geometris dari motif-motif tradisi batik Surakarta, terbentuklah berbagai macam bentuk kostum SBCke-5 yang mengandung estetik. Penelitian ini menggunakan pendekatan estetika, dengan metode kualitatif interpretatif. Pengumpulan data dilakukan dengan teknik observasi, wawancara dan dokumen. Dengan meminjamteori estetika Djelantik, kostum-kostum SBC ke-5 dianalisis. Berdasarkan tema Metamorfosis di atas dan kajian estetika menurut Djelantik, akhirnya penulis menemukan 16 macam bentuk kostum SBC ke-5 beserta unsur estetiknya masing-masing. Bentuk-bentuk yang mengandung unsur estetik ini dapat dijadikan dasar acuan untuk pembuatan kostum-kostum karnaval bagi semua orang.Kata kunci: estetika, Solo Batik Carnival, metamorfosis.Solo Batik Carnival (SBC) is a media of creative activities in fashion carnival for people in Solo. SBC has been listed in the agenda of cultural and tourism events in Surakarta. There is saturation in case of creative process from the first SBC until the fourth SBC that it cannot go along with SBC vision and mission. For the reason, the theme concept that is used to be a reference in designing the costumes forms is changed in the holding of the fifth SBC in 2012. By Metamorphosis theme, the steps in batik making are explored to be carnival costumes that are rich of geometric forms from the traditional motives of batik Surakarta. Then it comes to the various forms of costumes in the fifth SBC containing aesthetic values. This research utilizes aesthetic approach andqualitative interpretative method. Data collecting is executed by technique of observation, interview, and document. The costumes of the fifth SBC are analyzed by aesthetics theory of Djelantik. Based on the Metamorphosis theme and the aesthetic study of Djelantik, the writer finds 16 forms of costumes in the fifth SBC along with their aesthetic elements. The aesthetic forms can be used as a reference in designing carnival costumes for other people.Keywords: aesthetics,Solo Batik Carnival, metamorphosis.
KENYAMANAN FURNITUR KELAS B DI TK AISYIYAH 61 SERENGAN BERDASAR ERGONOMI DAN ANTROPOMETRI Putri Sekar Hapsari
Gelar : Jurnal Seni Budaya Vol 9, No 2 (2011)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3214.926 KB) | DOI: 10.33153/glr.v9i2.1397

Abstract

Tables, chairs and shelves son is a furniture that is used as a means of supporting a very important role in the smooth implementation of the child’s learning process. Inconsistency between the size of the furniture to the size of a child’s body is one of the obstacles in improving the quality of human resources. As a result of the tables and chairs are not in accordance with the child’s body size can lead to children experiencing rapid fatigue, impact for long periods can also cause health problems. This study aims to determine the extent of the child’s body size in accordance with furniture provided. Anthropometric measurements are very important to see if the furniture is ergonomic. Furniture tables, chairs and shelves children the focus of research because it is the furniture that intersect directly with the children when they make the learning process in class. The method used in descriptive qualitative and quantitative approaches, or can also be called a dual research strategy using a variety of methods to solve a research problem. Quantitative here uses numerical data observations in the field of measurement, then being compared with the references that used and next it is analyzed based on researchers interpretation that are from field analysis. The results showed that anthropometry size in use in the manufacture of furniture in general is in conformity with the size of children aged six to seven years, there is little record of the width of the table needs to be added, as well as the pelvis and the seat backrest seat needs to be adjusted to the shape of the bone pelvis and spine, or given soft foam to make it more comfortable to wear in a longer time. Rack size is in accordance with a range of children.Key words : Anthropometry, Ergonomics, Furniture, early childhood
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.
KEBERADAAN BATIK KEDIRI JAWA TIMUR M. Mujiono; D. Dharsono
Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1511.293 KB) | DOI: 10.33153/glr.v13i1.1535

Abstract

The article entitled “Keberadaan Batik Kediri Jawa Timur” (The Existence of Batik Kediri East Java) coversthe appearance and the development of batik in Kediri Residence. The analysis result uses qualitativemethod. Theories concerning culture and history are used to solve problems of the existence and characteristicsof batik Kediri in relation to the presence and the activities of batik making in Kediri through the culturalapproach, aesthetic approach by AAM, and Djelantik is applied to analyze the forms of batik Kediri motives.Analysis process is executed in two steps covering interactive and interpretative developed by Miles andHuberman. The characteristics of batik Kediri can be reviewed from the shape and the structure of batik withthe technique of natural and synthetic coloring. The values contained in batik Kediri show the condition ofKediri area. It can be seen from the several forms of batik pattern and motive made by batik maker in Kediri.The aesthetics of batik Kediri can be seen and felt from the pattern of tourism and local culture, abstractpattern, the creative pattern of natural suggestion, classic pattern, and the unity of classic pattern andnatural suggestion.Keywords: batik, aesthetics, motive, Kediri

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