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pramesti
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bambangsunarto@isi-ska.ac.id
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INDONESIA
Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni
ISSN : 14124181     EISSN : 2685287X     DOI : 10.33153
Core Subject : Education, Art,
International Journal of Visual and Performing Arts draws its contributions from academics and practitioner-researchers at the interface of new visual and performing arts. It acts as a forum for critical scholarship, innovative practice, and creative pedagogy, addressing themes that may be domain-specific (e.g. theatre, dance, music, live art, visual arts) or situated at the convergence of two or more disciplines. The journal invites original, significant, and rigorous inquiry into all subjects within or across disciplines related to visual and performing arts. It encourages debate and cross-disciplinary exchange across a broad range of approaches. The spectrum of topics includes Ethnomusicology, Karawitanology, Music Education, Dance Theatre, Movie and Television, Interior Design, Industrial Design, Media Arts, Fine Arts, Photography. These topics are addressed in full-length academic articles, critical statements on current issues, developmental practice, and reviews of books and live/media-based visual and performing arts. The journal presents an innovative platform for researchers, students, practitioners and educators to both learn from and contribute to the field. All articles are subject to initial Editor screening and then a rigorous double-blind peer-review process before publication.
Articles 155 Documents
SENI LUKIS INDONESIA PROBLEM REFLEKSIVITAS DALAM PEMIKIRAN FILSAFAT POST-MODERNISMETERHADAP MASYARAKAT MULTIKULTURAL -, Dharsono
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 2 (2011)
Publisher : Program Pascasarjana Sekolah Tinggi Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3262.101 KB) | DOI: 10.33153/dewaruci.v7i2.999

Abstract

Perjalanan seni lukis sejak perintisan R. Saleh sampai awal abad XXI ini, terasa masih terombang-ambing oleh berbagai benturan konsepsi. Kemapanan seni lukis Indonesia yang belum mencapai tataran berhasil itu, sudah diporak-porandakan oleh gagasan modernisme yang membuahkan seni alternatif, dengan munculnya seni konsep (conseptual art): â??Instalasi Artâ?, dan â??Performance Artâ?, yang pernah menjamur di pelosok kampus perguruan tinggi seni sekitar 1993-1996. Kemudian muncul berbagai alternatif semacam â??kolaborasiâ? sebagai mode 1996/97. Bersama itu pula seni lukis konvensi dengan berbagai gaya menghiasi galeri-galeri, yang bukan lagi sebagai bentuk apresiasi terhadap masyarakat, tetapi merupakan bisnis alternatif investasi. Seniman dihadapkan dalam dua pilihan: pertama, tetap sebagai seniman idealis yang mencoba mempertahankan nilai, dengan mempertahankan seni sebagai terapi batin, sehingga mampu menjadi monometalitas zaman, seni senafas dengan zamannya, seni sebagai satu potret kehidupan. Kedua, masuk dalam blantika seni lukis Indonsia, yang cukup menggiurkan. Apabila  seniman modern mencoba menceritakan dirinya lewat  ekspresi pribadinya, dengan mengungkapkan atau mengekspresikan  pengalaman estetiknya dalam simbol-simbol ekspresi yang penuh realitas makna. Maka paradigma seni dalam fenomena kini  (kontemporer) menawarkan berbagai gagasan yang ia racik dalam multi media, multi-idea dan bahkan multi tafsir, menghasilkan  realitas wacana Kata kunci: pencarian identitas, dekontruksi dan sentuhan tradisi
TAYANGAN PROGRAM LUDRUK BANYOLAN KARTOLO DI JTV SURABAYA Wangi, Mega Pandan
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 2 (2013)
Publisher : Program Pascasarjana Sekolah Tinggi Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (557.243 KB) | DOI: 10.33153/dewaruci.v8i2.1115

Abstract

The directing of the program Ludruk Banyolan Kartolo (LBK) is carried out and influenced by elements of production, and itsaesthetic is formed in such a way that the LBK program can be packaged and broadcast in a way that is appropriate and canalso be enjoyed by the television audience. The directing of LBK is influenced by production elements such as the synopsis,program director, floor director, production assistant, camera operator, sound engineer, lighting engineer, and artistic arranger.The directing of this program can also be viewed from two strategies, namely the visual strategy, which is influenced by thecharacterization, dramatic plot, and the way in which the dramatic plot is created, and the media strategy, which is influencedby the techniques used for taking pictures and editing. The result of the LBK program, which is analysed and studied from theperspective of AAM Djelantikâ??s aesthetics, and viewed from the point of view of its form, quality, and appearance, shows thatthe properties used are still inadequate since the situation and conditions of every segment are the same. In addition, theuniformity of materials, costumes, and properties must also be addressed in order to improve the packaging and result of theshow.Keywords: show, program, Ludruk Banyolan Kartolo
RAJA, KARAWITAN, DAN UPACARA TRADISI KERATON SURAKARTA Daryanto, Joko
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 2 (2010)
Publisher : Program Pascasarjana Sekolah Tinggi Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1217.388 KB) | DOI: 10.33153/dewaruci.v6i2.937

Abstract

Karawitan (gamelan music and singing accompanied by a gamelan) is an integral part of court activities. The very large role of karawitan makes the court karawitan an integral part of court traditional life. The large role of court karawitan is closely related to the traditional ceremonies. The importance of karawitan in the court traditional life finally makes the karawitan one of power legitimacy tools to confirm the kingâ??s power and authority. Thus, there is a unity between the court tradition and karawitan, in other words, karawitan cannot be apart from the court tradition. In other words there is reciprocal and mutual relation between the king, karawitan and court tradition. Such relationship between king, karawitan and court tradition is called system. It is named system because there is a strong reciprocal relationship and the loss of one such element will harm the court traditional life survival.Keywords : king, karawitan, court tradition, system
PERUBAHAN DAN KEBERLANGSUNGAN MUSIK KATUMBAK DI LIMAU PURUIK PARIAMAN SUMATRA BARAT -, Yurnalis
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 7, No 3 (2012)
Publisher : Program Pascasarjana Sekolah Tinggi Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3619.132 KB) | DOI: 10.33153/dewaruci.v7i3.1037

Abstract

Artikel ini adalah hasil penelitian tentang perubahan dan keberlangsungan musik Katumbak di Limau Puruik Pariaman Sumatra Barat. Kejayaan musik Katumbak  mengalami pasang surut seiring dengan perkembangan zaman, khususnya musik organ tunggal mampu menggeser keberadaaannya. Dalam rangka mengidentifikasi penyebab terjadinya kemun­duran musik katumbak dan menemukan usaha pengem­bangannya, maka dilakukan penelitian kualitatif, sehingga permasalahan inti dapat dideskripsikan secara detail untuk keperluan analisis. Dukungan pengumpulan data tetap mengandalkan teknik observasi dan wawancara, serta mendokumentasikan pertunjukan di lapangan untuk mengetahui gambaran tentang terpuruk dan bangkitnya musik katumbak dalam kehidupan masyarakat pendukungnya. Hasil dari penelitian adalah perubahan yang dilakukan seniman katumbak berupa penambahan instrumen, repertoar lagu, dan menghadirkan musisi atau penyanyi muda telah mendapat dukungan dari pemuka adat. Perubahan ini berdampak positif terhadap keberlanjutan kehidupan musik katumbak, pertunjukan musik menjadi lebih menarik, para penikmat â??generasi mudaâ?? tidak merasa ketinggalan jaman, karena materi musikal  yang disajikan sesuai dengan nilai-nilai sosial kehidupan masyarakat Nagari Limau Puruik. Alhasil, semenjak tahun 2005 musik katumbak mulai meraih kejayaannya kembali hingga sekarang. Kata Kunci: musik katumbak, perubahan dan keberlangsungan, Limau Puruik.
STUDI BENTUK, FUNGSI DAN MAKNA ORNAMEN MAKAM DI KOMPLEKS MAKAM RAJA-RAJA BUGIS Ashari, Meisar
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 3 (2013)
Publisher : Program Pascasarjana Sekolah Tinggi Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (601.811 KB) | DOI: 10.33153/dewaruci.v8i3.1135

Abstract

This article is the result of a study about a physical cultural legacy that is also an artistic product left over from the heydayof the Islamic dynasty from the 17th to the 19th century. For this reason, there are two artistic aspects that need to be observedclosely in the analysis of the form, function, and meaning of grave ornaments, namely the aesthetical context or the presentationof the ornaments, including the form and expertise which gave rise to the style, and secondly the context of meaning,including the message and connection of the symbols on the ornaments, or the symbolic value. The investigation of theaesthetical value of the form and function of grave ornaments aims to discover the meaning that has become associated witha particular work, and as such, the existence of the ornaments is analyzed based on an interactional and interpretationalanalysis through an archeological aesthetical approach. The interactional analysis is carried out in order to gain an intersubjectiveinterpretation of the data that is obtained by using ethical research or based either on the data in a bibliographicalstudy or on the knowledge and opinion of the researcher. The goal of the analysis is to discover the form, function, andmeaning of the ornaments on the graves in the cemetery of Bugis kings. The benefit of the analysis is that it shows that theexistence of grave ornaments is not only a form of cultural identity of the local community but also provides a wealth ofinformation that is communicated through the visual symbols found in the patterns or motifs contained in the grave ornaments.Keywords: Form, function, meaning, and grave ornaments.
Internalisasi dimensi interkultural permainan gendang dalam komunitas Dangdut Koplo: Sebuah kajian konstruksi sosial Setiaji, Denis; Mulyana, Aton Rustandi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 1 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (544.979 KB) | DOI: 10.33153/dewaruci.v14i1.2533

Abstract

Penelitian ini difokuskan untuk melihat proses terkonstruksinya dimensi interkultural pada pola permainan gendang terhadap pelaku dan para pecinta Dangdut Koplo. Pendekatan yang digunakan mengadopsi dari Ilmu Sosial yakni teori konstruksi sosial Peter L. Berger yang terdiri dari eksternalisasi, objektivasi, dan internalisasi. Penelitian yang dilakukan menggunakan metode fenomenologi dengan melakukan studi lapangan ke sejumlah wilayah pertunjukan Dangdut Koplo di Solo Raya terutama Taman Hiburan Rakyat (THR) Sriwedari dengan objek kelompok musik Areva sebagai bahan studi kasus. Proses konstruksi sosial masyarakat Dangdut Koplo dideskripsikan melalui analisis pada transkrip pola-pola gendang dan dampak musikalnya. Tahap eksternalisasi melibatkan konsep dan kreativitas Areva dalam menghasilkan serta mengembangkan dimensi interkultural pada pola permainan gendang. Kreativitas dalam bentuk pola-pola gendang bermuatan proses interkultural dihadirkan dengan melibatkan interaksi intersubjek sehingga menghasilkan produk interaktif berupa senggakan dan gerak-gerak komunitas joged pada proses objektivasi. Media pentas dan konser menjadi proses sosialisasi yang membuat masyarakat dari satu kolektif ke kolektif lain, melihat Areva Musik sebagai manifestasi dari Dangdut Koplo, pada tahap internalisasi. ABSTRACTThis research focused on the construction process of the intercultural dimension of the drums pattern among Dangdut Koplo’s society. The approach used to adopt from the social sciences, that was social construction theory from Peter l. Berger consist of externalization, internalization, and objectivation. Research conducted using the method of Phenomenology by doing fieldwork to several areas performing Live of Dangdut Koplo in Solo and surroundings especially on Taman Hiburan Rakyat (THR) Sriwedari with Areva Music group as a case study. The process of the social construction of society Dangdut Koplo described through analysis on transcripts of drum patterns and the impact of its. Externalization stage involves the concept of creativity from Areva Music in generating and developing intercultural dimension on the drum pattern of the gendang’s player. Creativity in the form of many drum patterns featured an intercultural process involving the subject to subject interaction to produce interactive products in the form of senggakan and some motion from joged’s community on the process of objectivation. The medium of performances and concerts into a process of socialization that make communities from one another, the collective to collective see that Areva Music group as a manifestation of Dangdut Koplo, at the process of internalization.
FUNGSI TARI RAPA'I GELENG PASCA TSUNAMI DAN PASCA KONFLIK DALAM MASYARAKAT ACEH BARAT DAYA Setiabudi, Anton
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 6, No 3 (2010)
Publisher : Program Pascasarjana Sekolah Tinggi Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4093.032 KB) | DOI: 10.33153/dewaruci.v6i3.961

Abstract

The essence of this research is to discuss about what the function of Rapaâ??i Geleng Dance in the North West Aceh Tribe in time after tsunami and conflict are. Based on the matter, this research aims to find out the system of socio-culture of the North West Aceh Tribe specifically as a representation of the social value system in time after conflict and tsunami, (2) to describe the function of Rapaâ??i Geleng Dance in reconstructing and rehabilitating the social regulation in the society deeply as a consequence of the conflict and tsunami happened in Aceh. A qualitative approach using the interconnection model is the contextual study of ethnochoreology, sociology, and anthropology. The approach is conducted by describing and analyzing the contextual phenomenon of Rapaâ??i Geleng Dance by mean of revealing the existing function in social activities dealing with the esthetic activity of the society. To analyze the function of Rapaâ??i Geleng Dance in the time after tsunami and conflict, the researcher uses Talcott Parsons theory of â??functionalism structuralismâ? which has four concepts; they are adaptation, the realization of aims, integration, and license or the pattern development. The result of the research related to Rapaâ??i Geleng Dance in time after tsunami and conflict has the functions on the social regulation, social integration development, new vision development, social psychotherapy, and socialization media of reconcilement, the formation of social institution structure of the North West Aceh Tribe. The Rapaâ??i Geleng Dance is a cultural identity of the coastal area which reflects both the personal and communal life. Basically, it has a form developed through the standard pattern originally coming from the religious social activity based on the texts of Al- Qurâ??an and Hadist. The performance of Rapaâ??i Geleng Dance can encourage the emergence of the intensive relationship through the combination of choreographic elements of the performance which is dynamic and esthetic in society widely.Keyword: Rapaâ??i Geleng Dance, function
INOVASI ALAT MUSIK KONVENSIONAL BERBAHAN DASAR BAMBU OLEH INDONESIAN BAMBOO COMMUNITY Nurmala, Mirna
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 13, No 1 (2018)
Publisher : Program Pascasarjana Sekolah Tinggi Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1166.872 KB) | DOI: 10.33153/dewaruci.v13i1.2501

Abstract

Adanya asumsi bahwa bambu merupakan material dasar yang murah dan tidak memiliki harga jual,memicu kegelisahan beberapa kalangan untuk berinovasi menggunakan bambu sebagai bahan dasar. Salah satunya adalah Indonesian Bamboo Community yang dipimpin oleh Adang Muhidin yang mencoba berinovasi dengan membuat alat musik konvensional berbahan dasar bambu. Tulisan ini akan membahas proseskreatif yang dilakukan oleh sebuah komunitas bambu dengan metode penelitian kualitatif, yaitu penelitian yang menekankan pada kualitas atau hal terpenting dari sifat suatu benda, yang didalamnya tidak hanyameliputi pertunjukan musik saja tapi bagaimana membuat alat musik yang berbahan dasar bambu. ABSTRACTThe assumption that bamboo is a material cost basis and does not have a selling price, triggers anxiety in some quarters to innovate using bamboo as raw material. One of them is the Indonesian Bamboo Community led by Adang Muhidin who tried to innovate by creating a conventional musical instrument made from bamboo. This paper will discuss the creative process undertaken by a community of bamboo with qualitative research methods, the research emphasizes on the quality or the most important thing of the nature of an object, in which not only includes music performances alone but how to make a musical instrument made from bamboo.
PERILAKU RITUAL MITIS ABDI DALEM KERATON KASUNANAN SURAKARTA (SEBUAH DIALEKTIKA SOSIOLOGI BUDAYA) Prabowo, R. Adi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Program Pascasarjana Sekolah Tinggi Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (518.352 KB) | DOI: 10.33153/dewaruci.v8i1.1085

Abstract

The palace, or keraton, which is recognized as a Javanese cultural centre, requires rituals in order to increase itsspiritual power and also to be used as ameans of preserving the Javanese culture. The courtiers in the keraton, whoare a subservient social group (acting as servants), have a greater portion in the spiritual actions that take place insidethe keraton environment. They are the true executors of this culture since in carrying out their duties, they have nodesire formaterial reward; they wish only for blessings fromGod â?? their source of power and strength. These acts ofdedication and surrender provide a large contributionto the keraton, and are not only a vehicle for cultural legitimacybut also contain noble and honourable teachings for the benefit of society. This cultural phenomenon was chosen asthe topic to be analyzed froma sociological and cultural approach, with the aimof gaining an understanding of thestructure andway of thought of the executors of this culture. It is hoped that this paperwill provide knowledge andinformation about an original Javanese cultural practicewhich continues to exist and develop to this day, and is stillrelevant to be implemented as a ritual cultural teaching.Keywords: Courtiers, keraton, ritual.
MACO MAULUD: TRADISI MASYARAKAT INDONESIA KETURUNAN ARAB DI PALEMBANG Soetopo, Sungkowo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Program Pascasarjana Sekolah Tinggi Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (745.904 KB) | DOI: 10.33153/dewaruci.v5i2.783

Abstract

This article contains the description of Maco Maulud, the tradition of Indonesian society  of Arab clan in Palembang.   Maco Maulud comes from the word macoâ??readingâ?? and maulud.   Maulud means â??being born.â?Â   Maco-maulud in this case, means reading the history of the Prophet Mohammed existing inMajemuk-Maulid written in Arabic and red like poetry reading or singing.   There are four maulid scripts in Majemuk-Maulid, maulid of Syarafal anam, maulid of al Barzanji, maulid of Diba, and maulid of Azab.  Maco maulud, made as routine activity for Indone- sian societies of Arab clan.  It is used as a tradition which almost resembles ritual activities.   A party, e.g.  wedding party, and circumcision, are not perfect (afdal) without maco-maulud  ceremonies. Key words: maco, maca, maulud, maulid.

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