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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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TELAAH TENTANG TARI MINANGKABAU (The Study of Minangkabau Dance) Efrida -
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 (1198.121 KB) | DOI: 10.33153/glr.v4i2.1217

Abstract

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.
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
EKSPRESI SEBAGAI WAHANA PEMBENTUK FOTOGRAFI POTRET YANG FOTOGENIK Mujisoewasta Mujisoewasta
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 (3096.289 KB) | DOI: 10.33153/glr.v7i1.1265

Abstract

Selection of a subject in a photographic activity, that a human being is a most interesting subject to pay attention. Actually, it is not seen from her or his physical appearances such as his handsome face or her pretty face, her elegance and so forth. These are physical in nature and they have small attractive features, whereas the truly strongest attraction will appear from his or her poses or styles and expressions. A human being is a dynamic, ever-changing, ever-styled subject in expressing his or her feelings through his other faces and it is often attractive. It is frequently inciting a photographer to document it into an attractive photographic work (photogenic). An expression that is selected carefully and properly and by waiting and observing the subject patiently and thoroughly, and then a quick and accurate reaction is needed to determine timing of picture taking, because the expressions that area facial expression (mimic), movement or style may last for a few seconds. The most interesting expression is a dynamic one. However, it is very difficult to obtain because an acute and smart observation of a photographer is needed in graphically documenting the subject. A photographic work would be considered successful if it was able to document an interesting mimic or expression (photogenic). Without expression, a photographic work or portrait will appear to be rigid, insipid and unimpressive for people who look at it.Keyword : Expression, photographic capability, subject pose
KEBERADAAN RAGAM HIAS RELIEF CANDI BUMIAYU III KABUPATEN MUARA ENIM PROVINSI SUMATERA SELATAN M., Mainur
Gelar : Jurnal Seni Budaya Vol 13, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1858.042 KB) | DOI: 10.33153/glr.v13i2.1637

Abstract

Penelitian ini berisi tentang sejarah Keberadaan Candi Bumiayu III Kabupaten Muara Enim Provinsi SumateraSelatan. Penulisan ini bertujuan untuk mengembangkan dan memberikan wawasan serta informasi tentangkeberadaan Candi Bumiayu III. Dalam kajian budaya Nusantara, Keberadaan Candi Bumiayu III KabupatenMuara Enim tergolong langka di daerah Sumatera Selatan. Oleh karenanya Keberadaan Ragam Hias padaRelief Candi Bumiayu III Kabupaten Muara Enim di sini diurai secara ringkas dan dipaparkan secara interaktifkualitatif dengan pendekatan estetika Nusantara. Dari hasil analisis keberadaan ragam hias relief Candi BumiayuIII yaitu antara lain; pemaparan mengenai Latar Belakang Candi Bumiayu III, asal mula sejarah Candi BumiayuIII, dilanjutkan pemaparan tentang struktur banguanan candi, jenis motif ragam hias relief candi, di samping itudiuraikan juga mengenai motif dan pola ragam hias candi pada Candi Bumiayu III Kabupaten Muara EnimProvinsi Sumatera Selatan.Kata kunci: Candi Bumiayu, ragam hias, relief.
NUKSMA DAN MUNGGUH DALAM PERTUNJUKAN WAYANG PURWA GAYA SURAKARTA Sunardi Sunardi
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 (14125.04 KB) | DOI: 10.33153/glr.v8i2.1341

Abstract

Nuksma and mungguh are the aesthetic orientation of wayang purwa performance of Surakarta style. Nuksma (expressive) gives an understanding that the shadow play the puppeteer performs  has the impression of life. Mungguh (logic) shows that the wayang performance that the puppeteer expresses has a conformity with the rules of puppetry. The concepts ofmungguh andnuksma are  formed by three elements, that is, (a) medium; expression, and (c) a pattern of suitability. Medium is the raw material processed into a variety ofgarap material. Expression is understood as the  puppeteer's strength in performing antawecana (dialogues), sabetan, and vocal-instrumental. The pattern of suitability refers to the creation of synergistic relationship between matter, expression,  and the rules of puppetry. The implementation of nuksma and mungguh concepts at the Samodera Mingkalbu scene, the story of Bima Sekti perfomed by Nartasabda can be known through the  expression of catur (talk), sabet and karawitan for wayang performance, the response of the audience and social context of Javanese culture.Key words: nuksma and mungguh, matter, expression, pattern of suitability, puppeteer, wayang performance.
BEKSAN LAWUNG AGENG PADA UPACARA PERNIKAHAN AGUNG KRATON YOGYAKARTA R.M. Kusmahardika Tinarsidharta; R.M. Pramutomo
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 (876.194 KB) | DOI: 10.33153/glr.v14i2.2083

Abstract

Beksan Lawung Ageng Kraton Yogyakarta tidak hanya kinerja, tetapi juga bimbingan. Ini bimbingan baik untuk para pemain dan audiances. Mereka bisa dilihat dari gerakan heroik. Mereka juga dapat dilihat dari perubahankoreografi yang menceritakan tentang perjalanan hidup manusia dengan masalah. Di masa lalu, Beksan Lawung Ageng adalah media pembangunan karakter satria tama melalui disiplin latihan spiritual dan fisik yang parapenari harus memiliki. Tulisan ini mencoba untuk mengeksplorasi dan memperkenalkan nilai-nilai luhur yang terakumulasi dalam nilai-nilai etika dan estetika tari keraton. Hasil penelitian menunjukkan bahwa cara berpikir,situasi sosial, politik, ekonomi, dan perubahan budaya mempengaruhi kreativitas dan fungsi tarian ini. Namun, bimbingan kehidupan orang Jawa masih prioritas dalam perubahan nilai-nilai tari dan fungsi, perubahan dariistana ritual danceto kesuburan ritual perkawinan anak sultan yang akhirnya dianggap sebagai kinerja yang unik dan artistik. Dari diskusi para pemain dan analis budaya makna, kesinambungan dan perubahan kinerjaistana tari estetik adalah representasi disimbolkan yang harus dipahami dan preservedthat harus menjadi wakil untuk memperkuat karakter bangsa dan iman mulai dari kehidupan pernikahan .Kata kunci: tari Lawung Ageng, simbol, bentuk, fungsi, dan perubahan.The dance Lawung Ageng Kraton Yogyakarta is not only a performance but also as guidance. It is a good guidance for dancers and audiences. It can be seen from the heroic movements and the change of choreography that tells about human life and its problems. In the past, the dance Lawung Ageng represents amedia of character building for the major knight through the disciplined spiritual and physical exercises that the dancers should have. The article tries to explore and introduce noble values accumulated in aestheticvalues and the aesthetics of palace dance. The research finding shows that the mindset, the social, politic, and economic situation, and the cultural change influence the dance creativities and function. But, the guidance to Javanese life still become a priority in the change of dance values and function, the change of palace ritual dance to thefertility of ritual wedding for the Sultan’s son supposed to be a unique and artistic work. The discussion of dancers, the cultural analysis of meaning, the continuity and the change ofthe palaceperformance of aesthetic dance represent a symbolized representation that must be understood and preserved to reinforce the nation characteristic and confidence starting from the wedding life.Keywords: dance Lawung Ageng, symbol, form, function, change.
DAMPAK PERKEMBANGAN IKLAN MAKANAN RINGAN BAGI ANAK-ANAK Ana Rosmiati
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 (1197.576 KB) | DOI: 10.33153/glr.v10i2.1407

Abstract

Childhood  is the most vulnerable time to try something new  especially food and drink. Children are easily interested in snacks advertized in television. They do not know how dangerous it is to health if manufacturers do not pay a close attention to the composition of the snack. It is their parents who should monitor the child’s behavior in consuming the snack. This paper aims to find out the impact of advertisement  on snacks to children’s health.  The data was collected through literary study such as books, journals and so on. An advertisement is very influential to children’s behavior in choosing their snack. Children do not know the danger of consuming the snack. Parents should monitor the snack bought by children. Key words : children, snack, advertisement, television
PERKEMBANGAN BENTUK KERAJINAN CUKLI DI LINGKUNGAN RUNGKANG JANGKUK DESA SAYANG-SAYANG KOTA MATARAM Pyo Apriliana Munawarah
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 (624.361 KB) | DOI: 10.33153/glr.v12i1.1491

Abstract

The article is the research result about the form of cukli craft in Rungkang Jangkuk, village of Sayang-Sayang, Cakranegara, Mataram City, Nusa Tenggara Barat. The research problems include the existence orthe appearance as well as the development of form in cukli wood craft. A term of cukli means a process ofholing or picking a bit of the wood surface to insert the seashells that is formed in accordance to theornament style wanted. The research uses qualitative method. Interactive analysis is used for data stabilizationand exploration then compared with the related data in accordance to the research aim. Interpretation analysisrefers to the development of the form of cukli craft especially in Rungkang Jangkuk area. The creatingprocess is precisely influenced by internal and external factors. The form of cukli craft has many benefits aswell as function values that meet the buyers’ taste. The product of cukli can be categorized as a craft thathas aesthetic values which uses technique of cukil in the making process. Cukli craft becomes moreinteresting for the actors and lovers of the classical ethnic model that it gets to be an image of Lombokculture and it becomes more developing in its form as well as ornament. The existence of all products of cukliin Lombok that is still developing until now is a process of creativity that has a wonderful attractiveness forthe domestic as well as foreign country tourists who come to LombokKeywords: development, creativity, form, ornament, cukli craft
GAYA SÉNGGOL CUCU S. SETIAWATI DALAM PENYAJIAN SEKAR KAPASINDÉNAN Rina Dewi Anggana; S. Santosa
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 (766.502 KB) | DOI: 10.33153/glr.v13i1.1545

Abstract

The style senggol of a pasinden can be shown through a special song performance as a form of creativitythrough the development of the main melody or basic melody that is standard or not standard with a certainreureueus (ornamentation) technique supported by musical reference and self-potency. The journal is arrangedby using qualitative research method and musical approach that is more comparative in order to compare thesenggol of Cucu S. Setiawati with the senggol of Yoyoh S. Asih and Neni Hayati in the presentation of sekarkepasindenan entitled Kastawa, especially analyze about the form and the style of Cucu S. Setiawati’stypical senggol. By transcription and study of melody plot belongs to the song Kastawa presented by thethree pasinden, it can be concluded that the form of senggol Cucu S. Setiawati is different from the otherpasinden compared. The characteristic of Cucu S. Setiawati can be seen from the development of melodyand the use of reureueus technique based on her self-potency. She tends to confine herself in the presentationand it can be found in the using of the less and simple tone values and legato. The laras (barrel) used byCucu S. Setiawati is more various, laras rotation tends to be done at the end of song especially at matra 3-4 or at the last bait of song. Her typical Senggol also can be seen through the using of certain melodies whenshe faces nada kenongan and goongan, when nada is wider and its reach is higher. From the side of vocaltechnique, she uses masiep sora technique which is not used by the pasinden compared.Keywords: style, sénggol, sekar kapasindénan, Kastawa, Cucu S. Setiawati
PERBANDINGAN STRUKTUR ADEGAN PAKELIRAN WAYANG KULIT PURWA GAYA SURAKARTA DAN YOGYAKARTA Sudarko Sudarko
Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5942.063 KB) | DOI: 10.33153/glr.v8i1.1319

Abstract

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

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