Garuda - Garba Rujukan Digital

Article Per Year (5 Year)

All

Gelar : Jurnal Seni Budaya

gelar
Website

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

3 4 5 6 7

EDHAYA SUKOHARJO PEMADATAN OLEH M.TH. SRI MULYANI Ika Ayu Kuncara Ningtyas; S., Slamet
Gelar : Jurnal Seni Budaya Vol 15, No 1 (2017)
Publisher : Institut Seni Indonesia Surakarta

Tari Bedhaya Sukoharjo garap padat merupakan bentuk tari bedhaya yang telah mengalami proses pemadatan.Â Tarian ini dipadatkan guna untuk memenuhi kebutuhan pertunjukan di luar tembok keraton, yang pertama kaliÂ dipentaskan di Taman Budaya Jawa Tengah. Koreografi tari Bedhaya Sukoharjo merupakan bentuk koreografiÂ yang digarap dengan kaidah-kaidah bedhaya, yang memiliki jumlah sembilan penari yang masing-msing memilikiÂ nama dan kedudukan masing-masing. Pada motif gerak telah mengalami pemadatan dengan mengurangiÂ durasi dari jumlah pengulangan motif gerak yang terkait dengan perubahan cakepan dan pengurangan jumlahÂ gong-an. Faktor-faktor yang mempengaruhi terjadinya pemadatan tari Bedhaya Sukoharjo terdiri dari faktorinternal dan eksternal. Faktor internal dari dalam diri senimannya yaitu pengalaman. M.TH. Sri Mulyani sebagaiÂ penari bedhaya yang ingin menampilkan tari bedhaya yang lebih singkat durasi pertunjukannya hal ini terkaitdengan kebutuhan pentas di luar tembok keraton. Faktor eksternal sangat terkait dengan kebutuhan pentasÂ dan masyarakat pada saat ini. Dipengaruhi juga oleh garap-garap pemadatan tari bedhaya lainnya yang jugamengalami pengurangan motif gerak. Hal ini mendorong untuk digarapnya pemadatan tari Bedhaya Sukoharjo.Â Sehingga pemadatan tari Bedhaya Sukoharjo secara eksternal banyak dipengaruhi oleh bedhaya-bedhayasebelumnya yang telah mengalami pemadatan yang fungsinya adalah digunakan sebagai suatu bentukÂ pertunjukan non ritual. Penelitian ini menggunakan metode yang bersifat kualitatif dengan bentuk deskriptifÂ analisis, sehingga ruang lingkup pembahasan meliputi 1) bagaimana proses pemadatan Bedhaya SukoharjoÂ oleh M.TH. Sri Mulyani, 2) bagaimana koreografi Bedhaya Sukoharjo hasil pemadatan oleh M.TH. Sri Mulyani,Â 3) bagaimana faktor-faktor yang mempengaruhi Bedhaya Sukoharjo hasil pemadatan oleh M.TH. Sri Mulyani.Analisis data dilakukan dari setiap bagian yang ditemukan. Data yang diperoleh dari observasi, wawancaraÂ dan studi pustaka dianalisis dengan menggunakan metode deskriptif analisis dan secara kualitatif sesuaiÂ dengan pokok bahasannya. Konsep yang digunakan dalam memadatkan tari Bedhaya Sukoharjo adalahÂ konsep bentuk dalam kajian tari: teks dan konteks dengan memberi inovasi yaitu pertunjukan yang singkat,Â padat dan menarik.Kata Kunci: Pemadatan, Tari Bedhaya Sukoharjo, Koreografi.The condensed style of dance Bedhaya Sukoharjo represents the form of dance Bedhaya that has beenÂ condensed. The dance is condensed to meet the performance outside the palace that firstly presented inÂ Taman Budaya Jawa Tengah. The choreography of Bedhaya Sukoharjo shows a choreography with BedhayaÂ rules telling that it has nine dancers with their own names and positions. The movement motive has beenÂ condensed by reducing the duration of repeating movement motive related to the change of cakepan as well asthe gong beating number. The factors that influence the condensing of dance Bedhaya Sukoharjo includingÂ internal and external factors. The internal factor comes from the artistâ€™s experience, whose name is M.TH.SriÂ Mulyani, as a Bedhaya dancer who wants to present a shorter dance Bedhaya. It is related to the need ofÂ performance outside the palace. The external factors are closely related to the presentation need and theÂ current society. It is also influenced by condensing treatments of other dance Bedhaya that reduce theirÂ movement motives. It leads to the condensing of dance Bedhaya Sukoharjo. It is used as a non-ritual performance. This research applies qualitative method with descriptive analysis. The scope of discussion includesÂ 1) how the process of condensing Bedhaya Sukoharjo by M.TH. Sri Mulyani is, 2) how the choreography ofBedhaya Sukoharjo condensed by M.TH. Sri Mulyani is, 3) how the factors that influence Bedhaya SukoharjoÂ condensed by M.TH. Sri Mulyani are. The data found through observation, interview, and library study isÂ analyzed by applying descriptive analysis and qualitative method according to the main problem. The conceptÂ used in condensingthe dance Bedhaya Sukoharjo is the concept of form in dance study covering text andÂ context innovation called a short, condensed and interesting performance.Keywords: condensing, dance Bedhaya Sukoharjo, choreography

MEDIA PEMBELAJARAN VISUAL SENI RUPA PADA ANAK PAUD/TK Ana Rosmiati
Gelar : Jurnal Seni Budaya Vol 9, No 2 (2011)
Publisher : Institut Seni Indonesia Surakarta

Visual media is the most appropriate means to assist learning methods in early childhood. One way to use media arts to help young children develop skills abilities of children. Besides that, the media arts help educators and parents to facilitate a concrete method of teaching can stimulate studentsâ€™ motivation. This research will explore the use of models of visual media arts learning for children kindergarten and the impact of the use of visual media art in childrenâ€™s learning kindergarten. The method of this study include data collection, data analysis, and presentation of data analysis. This study used analysis techniques with step-by-step interactive model, which consists of three components analysis, namely data reduction, data presentation, and drawing conclusions or verification. Learning method that uses art media include drawing or painting, make a stamp from a variety of media, linking material by hand, drawing techniques with collage, and pin the pattern. Key words : media, art, model, learning.

ANALISIS PRAGMATIK TARI DRIASMARA Maryono Maryono
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

This paper aims to reveal the meaning of Driasmara dance presented in Javanese cultural weddingrituals ceremonies from a pragmatics perspective. The methodology used was qualitative research.Theoretical base utilized is pragmatic theory for analyzing its linguistic component and supportedwith performing arts theory to examine the nonâ€“linguistic components. Pragmatics is a subdisciplineof linguistics that linking language with the symbol system, linking with the languageusers. Pragmatics deals with the use of language, that is how the language is used by speakers ofthe language in the actual interaction situation, not in the abstracted situation, that were set up bylinguists (Asim Gunarwan, 2005: 1). In communication the language used can be both formal andpragmatic. Pragmatic language form is also used in daily communication along with the usageinthe arts environment such as wayangs, kethoprak, Langendriyan, dances, and others. The rationaleis that this form of dance consists of linguistic verbal and nonverbal components, both are symbolsystems . Based on a pragmatic analysis of the Driasmara Dance there is a finding that DriasmaraDance is a form of couples romance dance refers to the Panji Saga that are expected to befollowed by a bride and groom and the community as the large audiences. Romance that waspictured in the Driasmara Dance is directed to be more representing the life directed to therepresentative of the life of people in love. Hopefully the language will be easily captured andmodeled by the bride and the groom.

Tembang Dolanan Anak-anak Sri Hesti Heriwati
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

consciouslY makes every effort to express the sense. One can find an outlet for hisÂ estbetic sense through various kinds of means or media. A literary man will expressÂ his estbetic senseÂ through a means of language. A language is something that is notÂ separable from human lift. Children understand the realz!J around them, makeÂ social interaction and describe the reality again using a language.Â Tembang dolanan.Â a work of art with which children familiar, is an author's work containing estbeticÂ values.A literary text is a whole systemic unit of language taken the shape of oralÂ or writing utterance. A text specifically Â refers to a unitÂ syntactiÂ« or semantic strudllreÂ which coherentlY creates interrelated relations so it makes a full message/ injormation.Â A literary text contained in childrenÂ bembang dolananÂ is possible to be anaIYzedÂ from ma'!Y aspects depending on the study. In relation to the above problems, theÂ discourse of children'sÂ tembang dolananÂ will be closelY studied grammaticallY andÂ lexicallY.Keywords:Â TembangÂ (recited Javanese Poetry), discourse,Â grammatical, lexical.

MITOS TEMBANG DURMA KUNTILANAK PADA FILM KUNTILANAK Elara Karla N.
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

The article is the result of a research about mythos of a song Durma Kuntilanak in the film Kuntilanak byRizal Mantovani. Problem in the article is how film Kuntilanak describes about mythos of tembang DurmaKuntilanak. The research aims to learn the reality of film Kuntilanak that represents the song Durma Kuntilanakas a mythos created by the film maker. To analyze the sign and meaning in order to find understanding anddescription of the mythos in the story of film Kuntilanak, the research uses the semiotics approach ofChristian Metz. Metz said that the cinematographic indicator and sign have a â€œmotivationâ€ and â€œreasonableâ€relationship. It means that indicator and sign in cinematographic will always be diegesis with the referrednature (story). The paradigm will be applied in narrative structure of film Kuntilanak that has been divided intothree sessions and then classified to be sequences covering â€œcause-effectâ€. The result shows that themethod of storytelling in film Kuntilanak uses narrative conventional structure and â€œcause-effectâ€ sceneswhen the song Durma Kuntilanak is presented by the repeated pattern. It makes the audience leaded to theunderstanding of story in accordance to â€œits pathâ€ and believed the mythos of song Durma Kuntilanak bystressing the â€œcause-effectâ€ scene. Even though the â€œcause-effectâ€ scene is presented by using symbolicpictures, the connotative signs in the symbolic pictures are no more arbitrary because of the narrativestructure used in the film. As if the audience is leaded to understand easily the meaning of story in accordanceto the presented pictures. The connotative sign can be no more given a meaning deliberately.Keywords: mythos of song Durma Kuntilanak, narrative conventional structure, semiotics of film Christian Metz

AKULTURASI GOSPEL DALAM MUSIK GEREJA KHARISMATIK DI INDONESIA Bayu Wijayanto
Gelar : Jurnal Seni Budaya Vol 8, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

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

MENGENAL KERAJINAN PAKAIAN ADAT PENGANTIN PAK SANGKONG DI SUMATERA SELATAN S., Susilawati; Bagus Indrayana
Gelar : Jurnal Seni Budaya Vol 14, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Penelitian ini bertujuan mendeskripsikan proses pembuatan dan makna motif hias pada pakaian pengantinPak Sangkong di Desa Tanjung Batu, Kabupaten Ogan Ilir, Sumatera Selatan. Metode penelitian menggunakandeskriptif analitis. Teknik pengumpulan data dilakukan dengan observasi, wawancara, telaah visual, dan studipustaka.Hasil penelitian menunjukkan bahwa pakaian pengantin Pak Sangkong di Tanjung Batu merupakankarya seni tradisional yang menjadi kebanggaan daerah dan bangsa Indonesia. Pakaian pengantin tersebutsampai saat ini masih digunakan oleh masyarakat Tanjung Batu sebagai pakaian adat perkawinan, bahkanmeliputi masyarakat Palembang, Sumatera Selatan. Pembuatan pakaian pengantin Pak Sangkong awalnyadidesain menurut pemesan. Namun, dalam proses pembuatannya, produk budaya itu tidak terlepas dari dayacipta, kepekaan rasa, dan karsa pembuatannya. Makna motif hias pada baju pengantin Pak Sangkong terlihatmelalui bahan, warna, struktur, dan bentuk motif yang bersumber pada objek di lingkungan sekitar, yangmenonjolkan kemewahan, kemegahan, kesucian, kerukunan, kebebasan, dan keluhuran budi warisan budayamasa lampau.Kata kunci: kerajinan, pembuatan pakaian, makna motif.

PERKEMBANGAN GENJEK DI DESA SRAYA BALI I Nengah Muliana
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

The object of this paper isÂ GenjekÂ in the village of Sraya, Karangasem regency. The focus is on the development of form and function. The aim is to uncover why artÂ GenjekÂ at Sraya village had been developed, and what factors are causing.Â This paper begins with an overview of data about the digging community, especially those related to regional situation, livelihood, education, and arts potential. This is done to get an idea ofÂ Â the extent to which it affects the development ofÂ Genjek.Â Â GenjekÂ existence before 1996 and after 1996 are described in detail so clearly visible changes. This method can be known who is responsible, why the change was madeÂ , how the impact of those changes on the form and functionGenjekÂ in Sraya village. The data obtained for this paper using interviews, audio visual recordings, and writings in the form of a book or otherwise. The data is then broken down, identified, classified, and analyzed, so it gets a conclusion. Appropriate perspective of this paper, it is used to analyze the data change theory.Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Changes will occur in any art when assessed was no longer relevant to society. Society as the owner arts have a considerable role to the process of change. Changes in the arts because of certain impulses both from within and from outside the arts are the arts. Encouragement of the arts can be extremely diverse forms ranging from the influence of individuals in the group, to the desire or communal group. The results of the analysis conducted in this study concluded that the changes in the village SrayaÂ GenjekÂ occurs because growth mindset people are influenced by internal and external factors.Â Key words : Genjek, development, community Pengantar

FENOMENA DESAIN BATIK SURAKARTA DAN YOGYAKARTA Pujiyanto Pujiyanto
Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Batik Surakarta and Yogyakarta has their own peculiarities in comparison with batik from otherregions. Batik Surakarta particular distinctiveness lies in the color batik background leads to ayellow wish brown. (soga genes,soga wonogiren and soga Java) while Batik Yogyakarta has aclean white background with white fabric fringe. The batik lovers of ancients times did not justcreate something beautiful to look at, but also gives meaning which are closely related to thephilosophy of life. They are created accordance with the motif of the message and hope thatsincere and noble. So that can bring good and happiness to the wearer. The use of decorativemotif often associated with the symbol as well as the overall shape of ornaments planned with aspecific purpose, such as esteem, welfare or wealthy. There is different between past and currentcondition that is influenced by contemporary circumstances. Change and shift of batik Surakartaand Yogyakarta are caused by various things such as aesthetic, technology, economy, social,cultural and political.

BATHIK SEBAGAI BUSANA DALAM TATANAN DAN TUNTUNAN (Resensi Buku) Dwi Wahyudiarto
Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006)
Publisher : Institut Seni Indonesia Surakarta

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.

Page 5 of 30 | Total Record : 296

3 4 5 6 7

Filter by Year

2006 2023

Filter By Issues

All Issue Vol 21, No 2 (2023) Vol 21, No 1 (2023) Vol 20, No 2 (2022) Vol 20, No 1 (2022) Vol 19, No 2 (2021) Vol 19, No 1 (2021) Vol 18, No 2 (2020) Vol 18, No 1 (2020) Vol 17, No 2 (2019) Vol 17, No 1 (2019) Vol 16, No 2 (2018) Vol 16, No 1 (2018) Vol 15, No 2 (2017) Vol 15, No 1 (2017) Vol 14, No 2 (2016) Vol 14, No 1 (2016) Vol 13, No 2 (2015) Vol 13, No 1 (2015) Vol 12, No 2 (2014) Vol 12, No 1 (2014) Vol 11, No 2 (2013) Vol 11, No 1 (2013) Vol 10, No 2 (2012) Vol 10, No 1 (2012) Vol 9, No 2 (2011) Vol 9, No 1 (2011) Vol 8, No 2 (2010) Vol 8, No 1 (2010) Vol 7, No 2 (2009) Vol 7, No 1 (2009) Vol 5, No 1 (2007) Vol 4, No 2 (2006) More Issue

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name
pramesti

Contact Email
fadesti@gmail.com

Phone
-

Journal Mail Official
fadesti@gmail.com

Editorial Address
-

Location
Kota surakarta,

Jawa tengah

INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name pramesti

Contact Email fadesti@gmail.com

Phone -

Journal Mail Official fadesti@gmail.com

Editorial Address -

Location Kota surakarta, Jawa tengah INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
pramesti

Contact Email
fadesti@gmail.com

Phone
-

Journal Mail Official
fadesti@gmail.com

Editorial Address
-

Location
Kota surakarta,

Jawa tengah

INDONESIA