Jurnal Kajian Seni
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Alam Pikir Masyarakat Madura yang Terepresentasikan Melalui Lagu Ta’ Andi’ Rokok (Cia-Cia)
Get PDFTa’ Andi’ Rokok (Cia-cia) is a Madurese dangdut song adaptated from Indian song entitledChaiyya-Chaiyya. The song lyrics are very infl uenced by the conception or perspective ofthe creator. This reasearch aims to understand paradigm of Madurese people representedthrough the song by using Foucault’s theory. The reasearch uses multidiscipline approachesby involving several different studies in order to reach comprehensive understanding.The research showsthat the Cia-cia song contains the discourse that consists of a groupof statements (speech) of debt and humour. Through the statements, the kinship andcharacteristic model of Madurese people may be taken as conclusion. Some discourse thenconstruct some dominant subjects which are,tarétan (cousins), kanca tatanggâ (neighbour),kanca main (friends), oréng teggâs (fi rm person), oréng sabbâr (patient person), humourist,and honest person. While some subordinate subjects are Bhâlâ Jâuh (extended family),moneylender, the other, oréng lécak (the indecisive), temperamental person, serious person,and deceitful
Dinamika Pergelaran Jaran Kepang di Kota Malang dalam Perspektif Antropologi
No full textThe hobby-horse dance as known as jaran kepang, jathilan or kuda lumping is the one of dance art performance from Javanese. It also know as well in Malang City. Jaran kepang is one of entertainment art which have magic dramatical as the climax in the end of performance. It happend when one of the jaran kepang dancer was trance. This jaran kepang performance was invited and entertain folks to see and, it potentially to be carnaval event. Before they perform, called gebyak, the jaran kepang dancer do some rites to called their danyang or perewangan, and prepare sesaji or sandingan. The dynamic of art performance both personal or collective grup reflected the reality of traditional art performance in Indonesia. Today, this jaran kepang performance who had ritual function was changed by entertainment. Jaran kepang as culture is one of Javanese rural rites in selamatan or bersih desa moment. This paper was done by through context perspective with life history analysis. The aim of research is to see the social-cultural phenomena behind jaran kepang performance
Membaca Makna Ruang dan Peristiwa pada Pertunjukan Saidja Karya Papermoon Puppet Theatre dan Het Volksoperahuis
Get PDFTulisan ini berangkat dari masih sedikitnya penelitian yang dilakukan pada bagaimana ruang difungsikan dan digunakan dalam seni pertunjukan Indonesia. Mengambil pertunjukan teater Saidja karya kolaborasi Papermoon Puppet Theatre dan Het Volksoperahuis, penulis melakukan analisis pada peran tubuh aktor dalam membangun ruang sebagai lokasi peristiwa. Pertunjukan Saidja menampilkan ruang bernama Kampung Tebu di masa lalu dan masa kini, penulis menelusuri makna tempat dan peristiwa-peristiwa yang terjadi di dalamnya dalam pertunjukan Saidja. Meminjam klasifikasi tanda-tanda yang digunakan dalam pertunjukan teater oleh Tadeusz Kowzan, relasi tubuh dan ruang yang ditempatinya oleh Setha Low, serta klasifikasi jenis-jenis pertunjukan yang mengangkat ingatan-ingatan tentang masa lalu, penulis menemukan bahwa di atas panggung tubuh para aktor-lah yang berperan besar menciptakan tempat-tempat yang menjadi lokasi peristiwa. Analisis pada pergerakan tubuh aktor dan tempat yang mereka ciptakan di atas panggung memungkinkan untuk membaca pula makna pertunjukan pada konteks yang lebih luas, yaitu pada konteks pandangan hubungan orang Indonesia dan orang Belanda pada relasi mereka di masa lalu
Aspek Perkembangan Historis dan Inter Relasi Gatra Wayang Kulit Purwa ‘Kyai Jimat’ Gaya Pakualaman dengan Ilustrasi Wayang dalam Manuskrip Skriptorium Pakualaman
No full textDalam dunia pewayangan, wujud boneka wayang merupakan salah satu unsur yang penting digunakan sebagai sarana cerita pada setiap pertunjukan yang dimainkan oleh dalang. Pada setiap wilayah di mana kebudayaan dan kesenian wayang tumbuh dan berkembang, dipastikan muncul sebuah gaya atau gagrag. Keberadaan gaya ini biasanya dipakai sebagai penanda aspek kewilayahan dan identitas sistem budaya yang berlaku di sekitarnya. Wayang kulit purwa merupakan jenis wayang yang paling banyak dikenal dan diminati oleh masyarakat Jawa pada umumnya, selain aspek naratifnya. Berbagai macam gaya wayang kulit purwa di wilayah Jawa berkembang sedemikian rupa hingga merambah ke wilayah-wilayah kerajaan. Pakualaman, sebagai salah satu kerajaan di Jawa yang mengembangkan sistem kebudayaannya sendiri. Termasuk kesenian wayang yang diyakini mempunyai bentuk dan karakteristik tersendiri dan dikenal dengan wayang kulit purwa gagrag Pakualaman. Perangkat wayang kulit purwa gagrag Pakualaman dikenal dengan nama perangkat ‘Kyai Jimat’ yang diciptakan sejak era Paku Alam II hingga Paku Alam VII. Kekhususan wayang gaya Pakualaman ini banyak terlewat dari pengamatan Ppara peneliti wayang. Keunikan dan kekhasan wayang kulit purwa ‘Kyai Jimat’ diduga berkaitan dengan aspek naratif hingga aspek iluminatif serta sejumlah ilustrasi bergaya wayang yang terdapat pada bidang kesusastraan. Tentu saja kesusastraan skriptorium Pakualaman. Meskipun sekedar sebagai sebuah hiasan, iluminasi dalam manuskrip wayang skriptorium Pakualaman mempunyai kaitan yang cukup dapat dirunut latar belakang historis yang perlu dilihat melalui kajian sejarah mikro, secara bentuk dan perubahannya. Kajian ikonografis akan digunakan untuk membedah aspek bentuk gatra wayang kulit purwa ‘Kyai Jimat’ sebagai objek materialnya. Adapun pendekatan intertekstualitas akan digunakan merunut makna secara simbolik dan naratif serta pertalian antar kedua bidang tersebut, yaitu bidang seni rupa dan aspek susastranya. Setidaknya inter-relasi kedua objek ini akan diinterpretasikan dengan jelas.Kata kunci: Wayang kulit purwa ‘Kyai Jimat’, gagrag Pakualaman, inter relasi, aspek historis, ikonografis, dan intertekstualita
Mencermati Transit dan Transition Teks Aransemen Musik Nyanyian Negeriku Karya Singgih Sanjaya ke Pergelaran
No full textNyanyian Negeriku merupakan karya arasemen musik yang dibuat oleh Singgih Sanjaya dengan memiliki dua materi musik di dalamnya, yaitu sembilan lagu daerah dan musik orkestra. Sembilan lagu daerah tersebut dipindahkan (transit dan transition) oleh Singgih Sanjaya ke dalam bentuk karya musik, yang berwujud teks musik yaitu fullscore. Teks musik tersebut menjadi sebuah karya yang untuh yang tidak dapat dimainkan secara individual dari kesembilan lagu daerah tersebut. Sembilan lagu daerah yang dipindahkan ke dalam karya musik yang berwujud teks yang selanjutnya berpindah ke sebuah pergelaran.Selanjutnya mengenai peristiwa perpindahan dari teks musik ke dalam sebuah pergelaran yang menjadi fokus selanjutnya dalam penelitian ini dengan mencermati teks pergelaran seperti tubuh kondakter dan musisi.
Pola Karya Konvensi pada Film Sekuel Studi Kasus Film Ada Apa Dengan Cinta? 2
Get PDFFilm Ada Apa dengan Cinta? 2 is a romance drama genre fi lm that was released in 2016. This study will identify the characteristics of the genre of the fi lm Ada Apa Dengan Cinta? 2 as drama romance. Dilakuakan identifi cation process using the basic scheme of the genre. The analysis aims to look at the depth of a movie as a genre film drama romance. The theory used is a genre theory drama by Jane Stokes as the main genre and romance as a sub-genre. The results of the research will be found pieces of pictures depicting scenes drama become romance film characteristics are becoming a common convention in the fi lm Ada Apa Dengan Cinta? 2. Characteristics of the setting and location diantanya is commonly used in everyday life, using the iconography in the form of specifi c causal fashion, narrative events culinary journey, locations and adventurous vacation, the whole character is the protagonist, and the structure of the plot told a farewell and an encounter back in love triangle. As a sequel, the film has differences with its predecesso
Can You See What I See, Mata sebagai Objek Penciptaan Seni Fotografi Ekspresi
Get PDFThe human eye holds a beauty potential that is rarely seen. In contrast to the eyes of animals such as insects and reptiles that are almost the same in the preparation and shape, the human eyes are composed of a different variety of patterns and textures even right and left eye on each person. In this paper, the photographs are presented using the conceptual techniques of macro photography and photographic expression. By using macro photography techniques that can magnify an object and capture the details of the beauty of the human eye, it can be seen clearly. The creation process concist ofexploration, experimentation, and formation. Taking picture was done by using DSLR camera and helped by the lighting from studio. Selection of the human eye as an object in photography using macro technique is a new thing. The results obtained in each image capture raise an unexpected impression
Ideologi dan Identitas Dalang dalam Seleksi Dalang Profesional Yogyakarta
Get PDFThis study discusses a shadow puppet show packaged in a format in the Yogyakarta Professional Puppeteer Selection Year 2008. This research data is very unique because this kind of event does not happen again until 2016. Data were collected with audio visual recordings and direct observations. Data analysis uses formal analysis to review the performance structure, and content analysis based on various theories to reveal the ideology and identity that play a role in the show. The results of this study shows that the structure of the performance is not the same as that of the common shadow puppet show due to the adjustment of the puppeteers to the rules set by the organizers. Personal and collective identity appeared in the puppet show. Here, the puppeteers could express their personal ideas without eliminating their collective identity. There were three puppeteer ideologies: conservative, development and competitive ideologies, and the ccompetitive ideology is the dominant ideology
Presentasi Sinematik melalui Kontribusi Elemen Audio dalam Film Babi Buta yang Ingin Terbang
Get PDFFilm became concrete presentation of reality. Indonesian fi lm title Babi Buta yang Ingin Terbang was produced in 2006. Directed by Edwin, this fi lm focuses on the issue of Chinese families in Indonesia were giddy at her own identity when it comes to clash with the social environment. The fi lm uses the song I Just Call to Say I Love You, from Stevie Wonder were repeated in some parts of the fi lm, and sung in many different ways by almost all the characters. On the other hand, Film is basically elaborate audio and visual elements. Babi Buta yang Ingin Terbang has not attractive visual displays, the picture that appear with a static camera movement and shot in a long duration, this way extremely provoke boredom for the audience, in this position audio elements are present to contribute. Represent the viewpoint of the audience, this paper examines the technical side of cinematic presentations using audio elements as the medium, starting from how the fi lm uses the audio aspects of the cinematic presentation in its purpose narrating the premise
Wayang Onthel Komunitas Old Bikers Velocipede Old Classic (VOC) Magelang
Get PDFThis article is a study on “Wayang Onthel”, a created by an Old-Bikers community calledVelocipede Old Classic (VOC) in Magelang, which utilizes the old bicycle spare partsas the wayang-making materials. The study focuses on “Wayang Onthel” as a work ofart. It is aimed at investigating the background of the creation of “Wayang Onthel”, itsshapes and characterization, as well as the relation between its forms and the identityof VOC community. This study employs sociology of art and aesthetics approaches,supported by the studies on creativity, identity, and semiotics. The creative process inthe making of this wayang resulted in such unique forms of wayang made of old bicycleparts being compiled and put together. The wayang’s characterization is obtained throughdifferentiating the use of spare parts and its arrangement patterns. The constraint ofspare parts in accommodating visual markers in characterizing the wayang could behandled by the addition of non-spare parts materials. Under semiotic perspective, theoverall shape of “Wayang Onthel” is an iconic symbol referring to human fi gures thewayang wants to portray. Meanwhile, in its forming elements lies an indexical symbolto maintain the “Onthel” image as the identity of VOC community