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INDONESIA
Gelar : Jurnal Seni Budaya
ISSN : 14109700     EISSN : 26559153     DOI : -
Core Subject : Humanities, Art,
Gelar focuses on theoretical and empirical research in the Arts and Culture.
Arjuna Subject : -
Articles 233 Documents
PERKEMBANGAN FUNGSI DAN BENTUK TARI ZAPIN ARAB DI KOTA PALEMBANG (1991-2014) Nurdin, N.
Gelar : Jurnal Seni Budaya Vol 12, No 2 (2014)
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Abstract

The research discusses about the development of the function and form of dance Zapin Arab in Palembangcity (1991-2014), through the qualitative approach (the research is qualitative, what is the approach? It issociology, anthropology, history or others). The data is collected by the method of observation, depth interview,and library study. The data is analyzed descriptively and qualitatively, and the data validity is tested bytriangulation method. The result of this research shows that early, dance Zapin Arab acts as a complementof ritual ceremony. The function of dance Zapin Arab, then, develops to be a personal entertainment in 1991and as an instrument of aesthetic presentation in 2008 along with the development of the form of Zapin Arabperformance. The development can be seen in the movement that is more varied and more dynamics, themore harmonious costume and the more magnificent stage. The development makes dance Zapin Arabmore interesting and more aesthetic. The development of its function and form is influenced by social,cultural, economic, and tourism factors.Keywords: dance Zapin Arab, development, function and form
KLASIFIKASI KELAS PENARI WAYANG WONG MASA SULTAN HAMENGKU BUWANA V Supriyanto, Supriyanto
Gelar : Jurnal Seni Budaya Vol 7, No 2 (2009)
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Abstract

Names given to groups showing the levels of dancers are like social stratification of race in administrative law of foreign inhabitants in the territory  of Sultan palace. The first level to which the best dancers belong is called Ringgit Gupermen. The second level is the group of moderate dancers AND is called Ringgit Encik. The beginners are grouped into a class called Ringgit Cina. The naming is probably influenced by the social stratification of foreign inhabitants living in the territory of the palace. Similarities in a class of dancers are determined by class consciousness. Sociologically, class consciousness is obtained automatically through skills and collective goals. So, class consciousness is related to the orientation of status symbol. This is not a problem for a nobleman because the consciousness is accepted automatically. It is not true for bureaucrats and priyayi (upper-class man). Their orientation of status symbol is attached to promotion. Key words : classification, class, dancer
BENTUK TARI TEPAK KERATON DI KOTA PALEMBANG PROVINSI SUMATERA SELATAN Jiwanti, Surti; Chaya, I Nyoman
Gelar : Jurnal Seni Budaya Vol 14, No 1 (2016)
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Penelitian dengan judul “Bentuk Tari Tepak Keraton Di Kota Palembang Provinsi Sumatera Selatan” adalahpenelitian kualitatif menggunakan metode deskriptif analisis dengan pendekatan teori koreografi. Metodepengumpulan data dengan observasi, studi pustaka, dan wawancara.Tari Tepak Keraton merupakan bentukkoreografi kelompok yang berfungsi sebagai penyambutan tamu di Kota Palembang Sumatera Selatan. Dalamkoreografinya menyuguhkan tradisi yang telah diwariskan secara turun-temurun yaitu sekapur sirih. Sekapursirih merupakan simbol penghormatan dan penghargaan terhadap tamu kehormatan. Tema tari yang mengangkatkejayaan Kesultanan Palembang Darussalam sebagai kerajaan Islam di Palembang dan adanya gerakan silatmenjadikan tari ini lebih istimewa daripada tari penyambutan lainnya.Kata Kunci: bentuk, tari Tepak Keraton.
PERUBAHAN PEMENTASAN BEDHAYA KETAWANG PASCA KEMERDEKAAN REPUBLIK INDONESIA Utami, Hadawiyah Endah
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
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Abstract

The change of the world happened along age. Human culture stated many important events in their lifetime. It was same as dance performance ofBedhaya Ketawang that has been major performance in event of king’s tingalan jumenengan. It was a phenomena cultur either political or art culture both of which nice to review. Its performance sometimes ago has evidenced many changes. The most issue was kasunanan palace lost its hegemony of power caused by independence revolution in 1945. Bedhaya Ketawang as a performance of political art related to the power has same effect. Bedhaya Ketawang was not symbol of political statement anymore, however, it was inclined be usual culture like other dance presented for audiences; that was a dance performance called pseudo-ritual. Key words :  the change, Bedhaya, ritual Pengantar
KRESNA GUGAT DALAM PERTUNJUKAN WAYANG KULIT PURWA GAYA SURAKARTA Randyo, M.
Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013)
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Kresna Gugat (Krishna sues) play is one of carangan leather puppet performance contains valueof justice. The main character in the plays has the character of a wise and determine the course ofthe next play. Krishna in his young likes to study to many Begawan /experts have an eyesight assharp as gods. Krishna in Kresna Gugat Play is a symbol that represents a range characters whokeep the world. The problem of this study is namely how is the structure of scene play and itssymbolic significance. The analysis showed that in the world there is a treatment that is less fair,which will make a destructive to the nature. Due to the lack of fair , unwise, there was negligence ofruler world namely Guru Dewa. The symbolic behavior that let Sela Mustaka, the king of MelasaPurathat is reign in border forest Trajutrisna means underestimates the power of Undraprasta led byPunta Dewa. The king of Melasa Pura is an enemy who infiltrated the border of Indraprasta andDwarawati that cause conflict. The tragedy of power struggle between Indraprasta and MelasaPura interesting to be revealed because of Krishna. The result belong to Pandawa who are knight,symbol of justice and dedication to help re settle Indraprasta from enemy interference. ThroughKresna Gugat the peace of the world can be sued because of the false and mistake from theleader.
KESENIAN PROPHETIK Kardiyanto, Wawan
Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006)
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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
ORNAMEN KACA PADA INTERIOR BANGUNAN TRADISIONAL DI SURAKARTA Purnomo, Agung
Gelar : Jurnal Seni Budaya Vol 7, No 2 (2009)
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Glass is kind of material often used in building planning including in the interior part. Glass, with several characteristics and special qualities, is able to give beauty and comfortable atmosphere in a room. This recearch aims at the application the material of glass in the common building interior which characterize Javanese traditional house, viewed from the meaning of ornamentation and its function. Recearch locates in Surakarta possessed of many common building with architecture characterizing Javanese tradisional house. The research is descriptive qualitative analytic bu applying design approach in this matter related to the function and fine arts language (semiotic fine arts language) to analyze its ornamentation side. The sources of data are books and artifact. Technicque of collecting data is conducted by book study, observation, and dokumentation. Analyzing technique uses interactive analytic miodel and drawing conclusion or its verification, the activity is conducted interactively by using data collection process as taken purposively by using creteria wich is glass element applied having ornamentation form, meaning and fungtion. Sample chosen are Pendapi Gede Balaikota (City Hall) which is part of complex of local government office of Surakarta and Sasana Handrawina Kasunanan Palace of  Surakarta as a tourism attraction wich is able to be visited and utilized  by public. The ornament applied in Pendapi Gede Balaikota (City Hall) of Surakarta is a symbol of the local government of Surakarta, while the ornament used in Sasana Handrawina is a symbol called Radya Laksana. Inside the symbol used as ornaments of both buildings, there are various raut or shape having meaning related to cosmos, food dan clothing, hassle, and culture. For example is the shape of   of the sun having meaning that a person having cultural spirit must be able to engraft power and must be able to shine a light of life without expecting for the return. The function of ornaments in the shape of the symbols is not addressed for sacred importance but to fullfill the profane needs wich ae beauty or aesthetic value and used an identity. Key words :  interior, glass, ornament
PERKEMBANGAN FUNGSI SENI PERTUNJUKAN YAKSO JATI DI DESA SUKABUMI KECAMATAN CEPOGO KABUPATEN BOYOLALI Kojatsiwi, Hantin
Gelar : Jurnal Seni Budaya Vol 13, No 2 (2015)
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Artikel ini adalah hasil penelitian yang dilakukan atas fenomena perkembangan fungsi pada seni pertunjukanYakso Jati di Desa Sukabumi Kecamatan Cepogo Kabupaten Boyolali. Penjelasan mengenai faktor-faktoryang mempengaruhi terjadinya perkembangan fungsi maupun dampaknya merupakan capaian yang diharapkanuntuk dipaparkan dalam artikel ini. Penelitian ini berjenis kualitatif dengan menggunakan metode deskriptifanalisis yang ditunjang dengan teori dan konsep mengenai perkembangan fungsi.Analisis mengenai terjadinyaperkembangan fungsi pada Yakso Jati berusaha untuk menguak sebuah produk budaya yang secara fleksibelmenyesuaikan diri untuk menjaga eksistensinya agar selalu tetap terjaga dan bertahan dalam era globalisasisekarang ini. Terjadinya perkembangan fungsi tersebut akan berdampak pada perubahan bentuk serta masyarakatpendukungnya. Perubahan bentuk secara tidak langsung akan mengubah Yakso Jati untuk menampilkanperforma maksimal, untuk memunculkan kesan positif dari orang lain dengan tujuan meningkatkan minatmasyarakat serta nilai jual seni pertunjukan tersebut. Selain itu dampak perkembangan fungsi juga mengarahkepada nilai sebuah seni pertunjukan yang hambar, tidak ada rasa seni serta kesakralan yang merupakancerminan bagi masyarakat pendukungnya.Kata kunci: seni pertunjukan, Yakso Jati, perkembangan fungsi.
WAYANG SENI PERSEMBAHAN MENJADI SENI PERTUNJUKAN POPULER Mardjono, Mardjono
Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011)
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Wayang has been known by Javanese society since olden times before Hindu culture although it was very simple in shape. The main basis why Javanese society performed wayang kulit in olden time was that they believed that the ancestral spirit could be brought back through a magicalreligious ritual hoping that they could help the living. Therefore, the existing wayang kulit performance that has become a spectacle used to be aseries of religious ceremony. Over time wayang kulit performance gradually turns to be an entertainment although the traces of religious ceremonycan be felt. This research does not have an orientation towards the history and development of wayang stories that have developed rapidly because of the puppeteer's creativity. This research is more oriented to wayang performance which was at first a very simple shadow play intended to worship the ancestral spirit. The performance has now developed into a popular performance that remains containing invaluable values.Nowadays it turns to be a commercial performance. To analyze the problems, a historical approach dealing with the growth and development of wayang performance as a means of worship is used.                 .Key words: wayang, worship, popular.
MEMUDARNYA WIBAWA NINIAK MAMAK SEBAGAI URANG NAN GADANG BASA BATUAH DI MINANGKABAU Putra, Teguh Haniko; Supanggah, Rahayu
Gelar : Jurnal Seni Budaya Vol 15, No 2 (2017)
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Gadang, basa, batuah. Demikianlah niniak mamak di Minangkabau. Gadang berarti orang yang dituakan dan jadi panutan dalam kaumnya. Basa berarti menjadi pemimpin dan pengatur dalam sukunya. Batuah mengandung arti sebagai orang yang bijaksana, segala perbuatan dan ucapannya menjadi acuan sehingga sangat dihormati dalam nagari. Niniak mamak bukan hanya sekedar gelar yang disematkan kepada seseorang. Lebih dari sekedar gelar, niniak mamak adalah tampuk pimpinan adat dan tiang penyangga dalam nagari. Orang yang teguh dalam berpendirian, berprinsip dalam bersikap, konsisten dalam bicara, dan bertanggung jawab dalam bertindak. Betapa pentingnya peranan niniak mamak dalam tatanan adat Minangkabau dan betapa besarnya tanggung jawab niniak mamak dalam membina, mengayomi dan menuntun anak kemenakan, serta mengatur pemanfaatan harta pusaka tinggi dan tanah warisan kaum untuk anak kemenakannya.Kata kunci: Niniak mamak, pemimpin, Minangkabau.

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