SURYA SENI
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DESAIN INTERIOR KARATON KASUNANAN SURAKARTA PASCA KEBAKARAN TAHUN 1985 (STUDI KASUS INTERIOR SASANA HANDRAWINA)
No full textInterior Design of Karaton Kasunanan Surakarta, Post Confl agration in 1985: Case Study of Sasana Handrawina’s Interior. Sasana Handrawina in Kedaton Karaton Kasunanan Surakarta has a function as a place for banquet foe royal guest and royal families. The existence of Sasana Handrawina is significant and being one unity with anoyher building suchas Sasana Prasadya and Dalem Prabasuyasa. Built in 1745 by Pakubuwana V, this beautiful interior building had experienced confl agration in 1985. The purpoe of this research is to know what the planningnconcet in Sasana Handrawina Interior’s reconstrusction as a place for banquet or royal dinner,involving, function, activities, room organization, element shaper of the room, aesthetic element, and condition order of the room. Beside, the purpose is also to know how the change of Sasaa Handrawina interior after being rebuilt and whatfactors forcing the change. Design approach needs to be done because the object of the research belongs tothe fi eld of interior design, where thr element inside of it needs tobe seen from the approach. While sosiohistoric approach deals with Sasana Handrawina interior is realized at present.Changes happening to interior design elements of Sasana Handrawina are caused by several factors both internal and external. Revitalization as development concept of Karaton now to the future is an important element in controlingchange boundaries, which are still allowed. It is so relevant with the existence of Karaton as one running monument, which is one side must reserved as the sites in it considered important. While on the other side, Karaton is not only artifact but also the beat of cultural life growing and expanding continuosly in accordance with the change of era.Keywords: interior, reconstruction, and chang
KANTATA NUSA LAWO PENGGABUNGAN MUSIK KANTATA DAN MUSIK KONTEMPORER BERDASARKAN IDIOM MUSIK SANGIHE
No full textCantata Nusa Lawo is a musical composition tells about Sangihe area which is a regency in North Sulawesi Province. Nusa Lawo comes from Sangihe language that means many islands, this is because Sangihe geography consists ofmany islands, either little islands or big ones. The livelihood of Sangihe society in religion, social, culture, and geography is told in this work of music Cantata Nusa Lawo. In this work the writer does the best to pour the poetical idea into music either narrative or descriptive. Cantata music is a musical work that sung and accompanied by instrument. Since 1620 in Italy, cantata is a polite form music but in its main characteristicthere is a series of contrast section, especially resitative, unisono, and aria that before eighteenth century becomes a free movement/self-standing one. Through analyse acts, Cantata Nusa Lawo is made, based on a contemporarysystem among others: tones that move with same intervals (parallelism), mode composition with 6 scales interval which is differed by interval with diatonical mode. There is also changing in symmetrical motives, changing in beat, rhytmicalalteration, melodical alteration, motive contraction perfoming, chromatical expansion of tones, 7 th major accord, 9th mayor, 11th accord, and 13th accord. Contemporary music is not always a new one and new music is not always contemporary.There are two waves that fi ght each other namely innovation wave and simplifi cation wave. When the innovation wave is higher, the music in that time becomes new music, when retrogretion wave appears, the music will goes backits history steps. The appearance of contemporary music does not free from the infl uence of world development in totality. The contemporary understanding in music world is more tendency as a new atmosphere discovery that is different with before discovery, this case is caused by technological progress that help the music development and as a result of development of understanding and contemplationsthat give a new concept about music.Keywords: Cantata, Nusa Lawo, Sangihe, and Contemporar
CEMPAKA: BUNGA RITUAL SAKRAL MASYARAKAT BALI
No full textCempaka: Sacred Ritual Flower of Balinese People, recounts about ritual dialogue of human being to nature, spirits, and gods. This is a performance art that locates and signifi es the concept of space and time as a holistic unit toward movement arrangement upon artistic awareness and event creation.The Choreography of Cempaka is a revitalization of Puri Anyar palace as a space governed by the concept of Tri Hita Karana (three causes harmony) and Tri Mandala (three integrated spaces) as a space that instigates choreographer’screative ideas to interact with the nature of Balinese cultural environment. This choreography integrates various aesthetic elements: dance, tembang song, music, decoration, and symbol of Balinese traditional house in the primary form ofpalace. Concept of the dance is derived from the function of space available in Puri Anyar palace.Puri Anyar palace has an historical and aesthetic values, which is traditional palace that observes the concept of Tri Mandala and in accordance with Asta Kosala-Kosali. The size dimension is suffi cient and has a complete facility for a performance site of milieu choreography. As a performance site, Puri Anyar palace is employed for performance without border between dancers and audience. The performance is presented for the entire social levels of local community, which is an integrated parts of the performance structure.Keywords: Performance arts, Cempaka fl ower, Puri Anyar environment
BERMAIN PERSEPSI DAN TANDA
No full textPlaying with Perception and Sign. The art creation aims at making art works based on the spirit of playing with perception and sign, criticizing mass culture phenomena and giving new alternative in the creative process of making visual arts. The author uses the approach of lateral thinking method, brainstorming and playing in making the art work. The creating stages include exploration, improvisation and forming. The exploration is conducted to directly gather the information of mass culture in both printed or electronic media. The improvisation is made to find out various possible ideas and concepts found in the exploration stage, while the forming stage is conducted to materialize the concept into theplanned art work. The spirit of playing in the creating process of the art work can bring mental enlightenment and joyful and pleasing atmosphere. The playing with perception and sign can help construct idea and open freedom space that results in variousalternative manifestations not bound by conventional and standard norms.Playing with perception and sign enables free selection of cultural signs in order to construct the perception building. The resulting work is two-dimension painting with realistic painting technique. The painting represents the perception of thephenomena and the sign of the mass culture, while its subject matter may be classifi ed into some categories such as fashion trend phenomena, idol, communication technology, consumerism, and education as the symbol of prestige andappearance dominance. Keywords: playing, perception, sign, and mass cultur
KOMPOSISI MUSIK BATU NISAN KARYA F.X. SUTOPO Ditinjau Dari Aspek Rasa, Referensi, Dan Bentuk Musik
No full textBatu Nisan Music Composition by FX Sutopo: Studied Based on the Aspect of the Mood, the Reference, and the Music Form. Batu Nisan is a complete masterpiece music composition composed by FX Sutopo in the form of orchestra and choir. It was composed in the unity of music form (Duchkomponirent).The process composistion went on for a year from 1962 to 1963 in Yogyakarta.The composition describes about gravestone without identityfounded oudtside of resting place, and it was believed that the man burried under the gravestone was one of Indonesia independence heroes.The composition is worthy because of its creation concepts and historical background. To understand needs the Batu Nisan composition comprehensively, it needs to be studied by using qualitative method with the arstistic approach, and based on the three aspects of the Mood. the Reference, and the Music Form.Keywords: Batu Nisan, the Mood, the Reference, and the Music form
GAGASAN KREATIF BAMBANG SURYONO DALAM BEDAYA LAYAR CHENG HO
No full textBedaya Layar Cheng Ho is a product of dance which to unify between the essence of Bedaya dance from Surakarta style with China Beijing Opera. The bedaya takes theme of Cheng Ho sea voyage story. This bedaya is served in symbolic form with drama dance type, so that seen as the original product of the dance composer. The objective of this research of art study is to know the dance composer background, choreography and aesthetic of Bedaya Layar Cheng Ho, beside to make documentation and reference for the next art study. The research uses sociology, choreography and aesthetic approach. The background of the dance composer begins from Indonesia Karawitan High School (SMKI) which based on tradition of Surakarta style and then continues at Indonesia High School of Art (STSI) at Surakarta. His ability of the Java tradition increases after he gets dance skill from Gendhon Humardani, and active in Mangkunagaran palace as a dancer, choreographer, costume designer and also dance teacher. His concepts of tradition more develop after he joins withSardono’s dance theater.From the changes of Bambang Suryono his self, he has found personal expression on Bedaya Layar Cheng Ho. Bedaya Layar Cheng Ho uses Javanese dance media in form of bedayan, potehi puppet and Beijing opera. The bedayan seen as the unifi cation between Hastha Sawanda and aesthetics of Beijing opera, and shows the innovation and creative idea from the dance composer. This research also shows that tradition can be maintained with changes and development of their elements respectively. Keywords: Bedaya Layar Cheng Ho, Aesthetics, and Creative Idea
SAMGITA PANCASONA KARYA SARDONO DALAM FENOMENA KONFLIK TRADISI – MODERN
No full textArtistic journey of Surakarta dance, in its growth coloured by many various dynamic event, for example incidence of confl ict. For example, event which enough the legend and have various dimension mean that is hard deduction of tradition society to show of dance Samgita Pancasona masterpiece of SardonoW. Kusumo in RRI Surakarta in the year 1970s. That ocurance generate hard collision among/between of tradition and modern movement. Afterwards, then is opened by the new fi rmanent which open various possibility door to develop various concept and idea creation of dance, including use of modern dance motion material and technique. The interesting problems is Yayasan Seni Budaya Indonesia (YASBI) attitude which openly perform a deduction to movement renewal of Pusat Kebudayaan Jawa Tengah (PKJT) supporting modern movement. From that case there are two important matter which is properly noted is, First, is YASBI attitudeassuming taboo show of contemporary dance of Sardono W. Kusumo and assumed to endanger. Second, is historical side, specially related to effort to know renewal growth dance in Surakarta. On the basis of that importance, hence thisresearch was designed to know how occurrence of tadition – modern confl ict in artistic society of show of Surakarta which is in the form of deduction to contemporary dance Samgita Pancasona masterpiece of Sardono in the year 1970in RRI Surakarta. So that is reaching critical refl ectionof reasearch will be come near with Theory of Confl ictof Ralp Dahrendorf which ever look into society always stay in change process, marked by continuous oposition amongits elements.Result of research to show of that all modern dance exponent in Surakarta, have surprised tradition society. On the other hand YASBI following movement of tfradition feel annoyed. In turn happened tradition-modern confl ict causing at throwing of buthuk egg tos how of contemporary dance Samgita Pancasona. That occurrence as symbol that tradition society refuse attendance of modern dance infl uence which destroy of the social order of the dance Surakarta. Its top is enragement of YABI head, Moedhakir Wiroguno then to attack PKJT,modern movement center by riding Jeep car climb Pendopo of Sasanamulya tha is as bravery symbol to defeat foreign infl uence which destroy tradition values.That occurrence in the end open new awareness of tradition dance can be made by items for the basic of contemporary dance. That event, is short lived even if, undeniably have very long infl uence to life Surakarta dance later on day. The influence for example, opening various possibility door, both for concerning idea, artistic creation, and also study to dance art, including also reinforcemnet of tradition, in consequence in Surakarta growth dance proportional contemporary dance and tradition. Thereby result of the reasearch in harmony with assumption which have been raised.Keywords: tradition and modernity confl ic
VISUALISASI MITOS DEWI SRI DALAM SENI LUKIS
No full textThe Myth of Devi Sri in Painting. Most Javanese, Balinese, Kalimantanese and people in other areas believe that Dewi Sri is the goddess of rice and fertility. Earth is the place where Dewi Sri’s soul lives and resides. No other goddess the farmers adore and love like Dewi Sri who is also Nyi Pohaci asthe farmers’ mother. Soil is often disturbed by the power that will facilitate her existence. In Java, the violence against the earth is told in Dewi Sri fairy tale. In many mythologies woman is described as the fertility symbol. Dewi Sri’s death is like Jesus’ death, her death enlivens. Dewi Sri’s death gives the farmers life-energy. Coconut tree emerges from her head, rice plant grows from her navel, sugar palm tree grows from her vagina and papaya tree grows from her breast. Mango tree grows from her hands and edible tuber and cassava grow from her feet.Visualization of Dewi Sri Myth in the art of painting is a concept of representing the myth of Dewi Sri . Based on the creative idea and perspective, the writer tries to treat, to transform the figure of Dewi Sri Myth in the current context. In this concept, Dewi Sri is represented through the painting using impasto,underpainting and rendering techniques. Here Dewi Sri is presented symbolically so that the visualization emerging can remain to be perceived as work representing its age.Visualization of Dewi Sri’s symbols is the manifestation of the author in two-dimensional work through canvas, wood, and oil paint media with pallet knife and brushes, and other mixed media material to give new motif and colour in the art world, particularly in the creation of painting.Keywords: Dewi Sri and myt
DUR ARI KAPIJI (HARI TERPILIH YANG PENUH KEMURKAAN)
No full textDur Ari Kapiji (The Elected Angrily Day. Play of “Dur Ari Kapiji”(DAK) forms a play that has as a starting point of an investigation history of Jayakatwang’s rebellion which is related with a confl ict of “Monsserat” created by Emanuel Robles. This investigation compares heroism between Jayakatwang’sand Simon Bolivar’s. Eventually, both of the characters inspire the play of DAK apparently with theme and confl ict which are the same more or less but with new invention characters.In addition to be inspirited that matters, the play of DAK is also formed in tragedy. The tragedy forms a play about human sufferings in order to realize their desires or to face their reality fate. While the play of DAK is a tragedy which experiences the top of esthetic achievement in the past, but the tragedy inthe play of DAK is also appeared in critical spirit to face nowadays problems.Afterwards the play of DAK will be formed into a realism staging through representation approach. The realization of the elected representation approach is guided by confl ict combination from ‘authentic’ DAK manuscript which is the source of directing creativity. Besides that, addition and modifi cation of themanuscript occur as an effort in ‘sharpening’ the play dynamics. Hence, the forms in ‘radically’ adapting and processing of the manuscript are not become a part of modifi cation concept at all. The approach or representation form occurs through represents a visual form as the ‘selected’ realism which is guided by outwardly of ‘impression’ and not only displace the reality on the stage.Keywords: Jayakatwang, Monsserat, and Representatio
SENI TEREBANG PADA UPACARA RUWATAN RUMAH DI DESA KARANG TUNGGAL KECAMATAN PASEH KABUPATEN BANDUNG
No full textThe blessings of a house, also called ‘Ruwatan rumah’ is a sacred ceremony which is still being celebrated by those who believed in it. The people of Karang Tunggal still do such ceremony today. There is an important aspect which wastried to be brought up in this celebration. The aspect is the effort to preserve the cultural values in heritaged by the ancestors. The blessing of a house gives chances to other arts to develop, such ‘terebang’ a kind of tradisional art, therefore such art can take part on the ceremony. The ceremony itself producer lots different values and is nothing than just an ordinary ceremony. There are social, economical, entertaiment, aesthetical, cultural and educational values in the ceremony.These values arise because there are different kinds of erceptions from different kinds of people, and also dependson where the ceremony is being held. Terebang in Karang Tunggal in the beginning was a medium to teach Moslem, today the art itself is used as a requirement on celebrating the ceremony and also as a kind of entertainment for the people Terebangan involves dancing, which is a very important aspect of the ceremony, because if the dancing areeliminated the ceremony will not be complete. Therefore, for the people of Karang Tunggal terebang functions as :(1) a medium to celebrate the ceremony, it is mainly because this kind of art one of the requirements to accompany theceremony, especially the blessing of a house done by the people of Karang Tunggal.(2) a kind of entertaiment. Terebang is performed to the public to entertaint them. Terebangis also held during special ceremonies such as the circumcisionof a boy in wedding parties. Keywords: Terebang and Ruwatan ruma