bluuebunny/crossref_metadata_2025 huggingface dataset:
Topeng Cirebon Dalam Teori Fungsionalisme
Authors: Sudarto Toto
Published: May 2023

The word â€˜functionâ€™ has been elaborated in many aspects. In every single context it also has a different meaning. Despite having a specific meaning, the meaning of the word â€˜functionâ€™ differs from one discipline to another. A.R. Redcliffe Brown and Bronislow K. Malinowski are the pioneers of the theory of function amongst anthropologists. Their assumption, which is based on their theoretical constructs related to social and cultural integration, has an independent system andÂ consists of every single part or element, since every element or part is not autonomous but rather is connected to and even dependent on each other. On the other hand, every element or part of the system can exist because it is needed, or experiences an interdependency or inherence not by accident,Â and its whole appearance belongs entirely to the orientation of a living system. The changing of each element will have an impact on other elements. The Cirebonese masked dance can be studied from several disciplines. In this article, the Cirebonese masked dance is examined using a theory of function, especially functionalism of anthropology. In addition the dance is assumed to be a system of performance which consists of various elements that are related to each other. This article on the Cirebonese masked dance will explore its dance symbols through the mask, in relation to its religious, educational, socio-political, economic, bureaucratic, and aesthetical elements.Keywords : function, theory of function, Cirebonese masked dance, functionalism.Â
ANALISIS BAHASA PRAGMATIK ADEGAN MENAKJINGGA GANDRUNG DALAM LANGENDRIYAN RANGGALAWE GUGUR
Authors: Maryono Maryono
Published: May 2023

This paper aims to discover the meaning of the Menakjingga Gandrung scene inLangendriyan Ranggalawe Gugur through a study of the pragmatic language used. The researchuses a descriptive qualitative methodology. The theoretical basis used for analyzing the object ofthe study is a combination of pragmatic theories and performing arts theories. The target of thepragmatic theories is the types of linguistic texts while the performing arts theories are directedtowards physical elements of a non-linguistic nature.Based on a study of the verbal and non-verbal components in the Menakjingga Gandrungscene in Langendriyan Ranggalawe Gugur, it is evident that its theme is that of gandrungan orunrequited love. The story portrays the love of Adipati Menakjingga for Queen AyuKencanawungu. His love remains unrequited despite his power and supernatural abilities. Thereality of this situation is also contained in the words of the song Asmarandana which statesâ€œgegaranÃ© wong akrami dudu bandha dudu rupa among ati pawitanÃ©â€ (the main asset for aperson to love is not wealth, nor is it good looks, but rather comes from the heart). Therefore, a loveaffair is truly determined by the compatibility and harmony between two peopleâ€™s hearts whenthey are sincere in sharing their love for one another.Â
ANALISIS ESTETIS TARI DRIASMARA
Authors: Dwiyasmono Dwiyasmono
Published: May 2023

The dance Driasmara is a pasihan dance in traditional Surakarta style and a developmentof previous pasihan dances, including Karonsih, Lambangsih, Endah, and Enggar-enggar. Thisdance has a variety of moods for creating dramatic effect through its treatment of the movements,vocal melody, dance steps, levels, and musical accompaniment, so that it is interesting to analyzeits aesthetical formation. In order to discover the aesthetical formation of the dance Driasmara,tools for aesthetical analysis are required, including the concepts of wiraga, wirama, wirasa, andhasta sawanda as well as the concept of dramatic design. It is hoped that this study will bebeneficial for the development of the life of the arts, in particular aspects of aesthetical analysis.
PERTUNJUKAN KABARET OYOT GODHONG DI MIROTA BATIK YOGYAKARTA
Authors: Dewi Ni Luh Made Kartika Ratna
Published: May 2023

The research entitled â€œThe Performance ofOyot GodhongCabaret in Mirota BatikYogyakartaâ€ is in the form of a qualitative descriptive analysis which uses a creative approach.The goal of the research is to describe analytically the form of the performance and the creativework of all those who support the Oyot Godhong Cabaret in Miroto Batik Yogyakarta. By applying a qualitative method with an analytical descriptive approach, the research findings show thatthe performance of the Oyot Godhong Cabaret is in the form of a dance and musical performancewhich is performed mainly by transgender artists with a group of backing dancers who present agroup composition with many variations. The structure of the performance consists of anopening(traditional Javanese) dance, which is separate from the main part of the performance.This is followed by the opening section of the Cabaret and the main performance, which is mainlyperformed using lip-synch, and the final section. The mood of the performance is lively, joyful,and interspersed with laughter. Based on the characteristics and entertaining nature of the performance, Oyot Godhong Cabaretmay be described as a form of Kitsch performance.Keywords: Cabaret, Transgender, and Creativity.
STUDI KELAYAKAN TARI LEPAS REYOG PONOROGO SEBAGAI MODEL PENDIDIKAN DASAR DAN MENENGAH DI KABUPATEN PONOROGO
Authors: Maryono M.,
Published: May 2023

To day, the problem that we get is lower appreciation of youth as next generation towardtheir culture themselves. They very like, familiar and feel more as ancient tradition, out of dateand no prestige. Consequently, since people not be oriented any more to values of Javanese culture,costum, and leave the art containing adi luhung values, their attitude turn into brutal, emotional, do not have ashed culture ang less respect of older. Basically, our society life has experienced an apprehensive moral degradation. Therefore, we recently need art education to realizecharacter building among student, giving appreciation and understanding of art for them as nextgeneration. Using art education of reyog based on norms, values, ethics, and aesthetic of cultureenvironment containing adi luhung values, student character as leader generation with nationspirit and Indonesian characteristic will be built. Reyog is dance drama. To apply it to be art local subject matter, it needs for sufficientpackage that devide into some independent dance: Warok, Jathilan, Bujangganong, Kelana Sewandana, and dhadhak Merak. These dances are adapted with curricula guidance from National Education of Ponorogo. Elementery student are demanded to recognize and understandabout basic manner of reyog, however, high shool student are hoped know about basic manner andpresent independent dance of reyog based on valid rule in evaluation creteria of reyog.Keywords: education, local subject matter, reyog, and sufficiency.
SENI PERTUNJUKAN WAYANG TOPENG GAYA YOGYAKARTA
Authors: Supriyanto S.,
Published: May 2023

Wayang Topeng Pedalangan is one of the links in the chain of history of the performing arts in Java and is believed to have been in existence since the 7th century. The art oftopeng Panji, or the Panji masked dance, first emerged after the appearance of the Panji stories inthe middle of the 13th century during the era of the Singasari Dynasty. During the era of theDemak Dynasty, in the 15th century, topeng Panji was developed by a number of religious leaders,including Sunan Kalijaga. The 16th century marked the beginning of the masked dance beingpreserved and developed by traditional puppet masters, or dalang, and their relatives. These dalangpassed on the art of topeng from generation to generation through their network of relatives whoare referred to as Trah Dalang. The role and function of the dalang is connected with the style ofthe performance which is known as Pedalangan style. The influence of the dalang in topengPanji is still evident today in the areas of Yogyakarta, Klaten, Malang, and Cirebon, each of whichis of course adapted to suit its own regional style. Around the middle of the 20th century, the artof topeng pedalangan was revived and reinterpreted by Krida Beksa Wirama to become a classicalversion of topeng in Yogyakarta style. A number of refinements were made to the techniques andform of the dance which adopted the style of classical Yogyakarta dance. Over time, and with thegrowth of various dance groups which performed classical Yogyakarta style dance, such as YayasanSiswa Among Beksa, Mardawa Budaya, Pamulangan Beksa Ngayogyakarta, and Suryokencana,the classical style of masked dance was perfected by the artists of Yogyakarta.Keywords: Topeng, Dalang, Classical.
KARYA SASTRA AKSARA JAWA SEBAGAI EKSPEKTASI TARI AKSARA TUBUH KARYA BOBY ARI SETIAWAN
Authors: Hapsari Fani Dwi
Published: May 2023

Penelitian ini berjudul aksara Jawa sebagai inspirasi tari karya Boby ini berjudul karya sastra aksara Jawa sebagai inspirasi boby. Memfokuskan pada karya tari aksara tubuh sebagai bentuk transformasi aksara Jawa ke dalam bentuk sebuah karya tari. Permasalahan dalam tari ini bagaimana daya tarik karya sastra aksara Jawa sehingga menginspirasi Boby untuk melahirkan karya baru. Karya tari aksara Jawa ditransformasikan ke bentuk tari. Metode yang digunakan adalah metode penelitian kualitatif, dengan menggunakan teori kreativitas dari umar kayam tentang kreativitas dan keberbakatan. Hasil yang didapatkan dalam penelitian ini sastra aksara Jawaditransformasikan ke dalam gerak-gerak yang berupa simbolsimbol yang berbentuk aksara Jawa.Kata kunci: Sastra, Aksara Jawa, Aksara Tubuh.
KESENIAN CÃˆPÃˆTAN DALAM UPACARA KHITANAN DI DESA WATUAGUNG KECAMATAN TAMBAK KABUPATEN BANYUMAS
Authors: Yuniarsih Sastri
Published: May 2023

Permasalahan yang dibahas dalam penelitian ini adalah bentuk dan arti kesenian CÃ¨pÃ¨tan dalam upacara khitanan bagi masyarakat Desa Watuagung Kecamatan Tambak Kabupaten Banyumas. Penelitian ini bersifat kualitatif, data yang digunakan meliputi data tertulis dan lapangan. Pendekatan yang digunakan adalah pendekatan etnokoreologi. Pengumpulan datanya dilakukan dengan cara-cara: observasi lapangan, wawancara, dan studi pustaka. Hasilnya diantaranya, bentuk penyajian dari kesenian CÃ¨pÃ¨tan meliputi: gerak, rias busana, ruang dan waktu serta kelengkapannya, dimana secara bersama-sama elemenelemen itu saling terkait antara satu sama lain. Kesenian CÃ¨pÃ¨tan oleh sebagian besar masyarakat Watuagung masih dilestarikan karena keberadaannya masih memiliki arti yang penting bagi kehidupan masyarakat yaitu sebagai sarana dalam upacara khitanan untuk membuang sukerta atau keburukan dalam diri seseorang serta meminta keselamatan.Kata kunci: kesenian cÃ¨pÃ¨tan, khitanan, dan masyarakat Watuagung
TARI SORENG KELOMPOK SRI RAHAYU DI DESA LENCOH, KECAMATAN SELA, KABUPATEN BOYOLALI
Authors: Yuliastuti Puput
Published: May 2023

AbstrakÂ Tari Soreng adalah tari keprajuritan yang berpijak pada cerita Haryo Penangsang. Salah satu kelompok tari Soreng yang berkembang di Boyolali adalah Sri Rahayu di Desa Lencoh, Kecamatan Selo. Kelompok tersebut dibentuk tahun 1996, berdasarkan inisiatif warga Desa Lencoh. Tari Soreng kelompok Sri Rahayu memiliki garap koreografi yang berbeda dengan kelompok tari Soreng di daerah Magelang, perbedaan tersebut terlihat dari kostum, musik, gerak, dan properti sehingga menjadikan tari Soreng kelompok Sri Rahayu terlihat unik. Hasil penelitian yang diperoleh menunjukkan bahwa tari Soreng kelompok Sri Rahayu berfungsi sebagai sarana mempererat solidaritas, hiburan, bagian dari penyambutan tamu serta pendukung untuk menyemarakkan hajatan. Struktur tari Soreng terdiri dari tiga Â bagian yaitu bagian pembuka, inti, dan penutup.Â Kata kunci: Tari Soreng, Struktur, dan FungsiÂ Abstract Â The Soreng Dance is a military dance which is based on the story of Haryo Penangsang. One of the Soreng Dance groups that has developed in Boyolali is Sri Rahayu which is found in the village of Lencoh in the district of Selo. This group was formed in 1996 on the initiative of the people of Lencoh village. The Sri Â Rahayu Soreng Â Dance group uses a different kind of choreography from Soreng Dance groups in the Magelang area. The differences are in the costume, music,Â movement, and properties, all of which make the Sri RahayuSoreng Dance group unique. The results of the research show that the Sri RahayuSoreng Dance group functions as a medium to enhance solidarity, as a form of entertainment, as a way of welcoming guests, and as an attraction at various kinds of celebration. The structure of the Soreng Dance consists of three sections, namely the introduction, the main section, and closing section.Â Keywords: Soreng Dance, Structure, and Function
TARI PAKARENA LAIYOLO DI DESA LAIYOLO KECAMATAN BONTOSIKUYU KABUPATEN KEPULAUAN SELAYAR
Authors: Primasari Dewi , Prihatini Nanik Sri
Published: May 2023

AbstrakÂ Artikel ini hasil dari penelitian yang memfokuskan pada pokok permasalahan bagaimana latar belakang keberadaan tari Pakarena Laiyolo di desa Laiyolo kecamatan Bontosikuyu Kabupaten Kepulauan Selayar serta bentuk penyajian tari Pakarena Laiyolo. Tujuan penelitian ini untuk memahami dan menjelaskan latar belakang keberadaan tari Pakarena Laiyolo, memahami dan menjelaskan bentuk penyajian tari Pakarena Laiyolo. Metode penelitian yang digunakan adalah metode penelitian kualitatif, dengan pendekatan interaksi analisis. Secara struktur meliputi tahap kajian historis, bentuk penyajian, dan dilanjutkan dengan simpulan. Hasil penelitian yaitu memaparkan hasil kajian berupa asal muasal tari Pakrena pada umumnya dan menggambarkan hubungan latar belakang dan bentuk penyajian tari Pakarena Laiyolo.Kata kunci: Tari Pakarena Laiyolo, latarbelakang, bentuk penyajian.Â AbstractÂ This article is the result of a research study which focuses primarily on the background of the PakarenaLaiyolo dance in Laiyolo Village, in the BontosikuyuDistrict ofKepulauanSelayar, as well as on the form of performance of the PakarenaLaiyolo dance itself. The goal of the research is to understand and explain the background of the PakarenaLaiyolo dance and also to understand and explain the form of performance of this dance. The research method used is qualitative, with an interaction approach of analysis. Structurally, the research includes a historical study, a de- scription of the performance form, and a conclusion. The results of the study present the origins of the Pakarena dance in general and describe the relationship between the background and the per- formance form of the PakarenaLaiyolo dance.Keywords: Pakarena Laiyolo Dance, background, form of performance.
PROSES KREATIF EKO SUPRIYANTO DALAM KARYA TARI CRY JAILOLO
Authors: Riyanto Pipin
Published: May 2023

AbstrakÂ Penulisan ini mengungkap tentang proses kreatif Eko Supriyanto dalam karya tari Cry Jailolo. Skripsi ini menggunakan metode penelitain Kualitatif dengan pendekatan koreografi dan deskriptif analitis, dengan mendiskripsikan koreografi tari Cry Jailolo mulai dari gerak, pola lantai, iringan, rias dan busana, dan waktu dan tempat pertunjukan. Untuk prosses kreatif menggunakan teori Alma M. Hawkins. Untuk membahas masalah bentuk pertunjukan menggunakan teori Soedarsono Hasil penelitian ini menunjukkan bahwa karya tari Cry Jailolo ini merupakan karya yang digarap Eko Supriyanto melalui proses kreatif dengan tahapan-tahapan yaitu riset, training, conditioning, rehearseal dan performing.Kata kunci: Proses kreatif dan koreografi tari Cry JailoloÂ AbstractÂ This paper discusses the creative process of Eko Supriyanto in the Cry Jailolo dance. The dissertation uses a qualitative research method with a choreographic and analytical descriptive approach, describing the choreography of the Cry Jailolo dance with regard to aspects of movement, floor pattern, accompaniment, make-up and costume, and time and place of performance. Alma M. Hawkinsâ€™ theory is used to discuss the creative process and Soedarsonoâ€™s theory is used to discuss the form of the performance. The results of the research show that the Cry Jailolo dance was composed by Eko Supriyantoby means of a creative process which involved the stages of research, training, conditioning, rehearsing, and performing.Keywords: Creative process and choreography of the Cry Jailolo dance.
KESENIAN RAKSASA DALAM UPACARA BERSIH DESA DI DESA SALAMREJO KECAMATAN BINANGUN KABUPATEN BLITAR
Authors: Fitriana Rifa
Published: May 2023

AbstrakÂ Kesenian Raksasa adalah kesenian rakyat yang disajikan dalam upacara bersih desa sejak tahun 2005. Kesenian Raksasa ada karena kepercayaan masyarakat Desa Salamrejo mengenai kehadiran Eyang Genderuwo Senin sebagi danyang penunggu desa. Kesenian ini dipertunjukan dalam bentuk arak-arakan dan memakai kostum butho. Penelitian ini bersifat kualitatif menggunakan pendekatanetnokoreologi dengan metode etnografi tari yang ditulis secara deskriptif analisis. Hasil penelitian ini dapat diperoleh gambaran bahwa kesenian Raksasa dalam upacara bersih desa, memiliki arti sebagai sarana penyempurna dari upacara bersih desa. Bagi masyarakat desa Salam rejo hingga sekarang percaya bahwa upacara bersih desa dengan menyajikan kesenian Raksasa, desa mereka dapat terlindungi dari segala musibah dan mampu meningkatkan perekonomian masyarakat.Kata kunci: Raksasa, upacara, bentuk dan fungsi.Â AbstractÂ Raksasa is a folk art that has been performed in village cleansing rituals since 2005. The art of Raksasa exists because of the belief of the Salamrejo village community in the presence of Eyang Genderuwo Senin, a spirit (danyang)who guards the village. The performance takes the form of a procession and uses the costume of an ogre or butho. The research is qualitative, using an ethnochoreological approach with an ethnographical dance method, and is written in the form of a descriptive analysis. From the results of the research it can be seen that the art of Raksasa in village cleansing ceremonies is significant as a medium for perfecting the ceremony. The commu- nity in Salamrejo still believes that holding a village cleansing ceremony with a performance of Raksasa will protect them from all kinds of disaster and help improve the economic situation of the community.Keywords: Raksasa, ceremony, form, and function.
TARI PAGAR PENGANTIN PADA UPACARA PERNIKAHAN DI KOTA PALEMBANG
Authors: Aprizal Damri
Published: May 2023

AbstrakÂ Penelitian ini mengkaji Tari Pagar Pengantin pada upacara pernikahan di Kota Palembang. Fokus utamanya dari aspek bentuk beserta unsur-unsur penyajiannya. Penelitian ini menggunakan landasan teori bentuk dari Suzzane K. Langer. Penelitian menggunakan penelitian tekstual untuk analisisnya menggunakan analisis bentuk. Tari ini ditarikan oleh lima orang penari yaitu penari utama pengantin sebagai primadona dan ke empat penarinya sebagai dayang, dengan penari utama yaitu pengantin menari di atas nampan yang terbuat dari kuningan emas yang berada di atas pelaminan pengantin sebagai tempat pertunjukan dengan fungsi untuk memberikan sajian kepada tamu undangan. Hasil pembahasan skripsi ini menunjukan bahwa wujud tari Pagar Pengantin merupakan media penghormatan tuan rumah terhadap tamu undangan yang datang.Kata kunci: Bentuk, Unsur-unsur penyajian, Tari Pagar Pengantin.Â AbstractÂ This research investigates the Pagar Pengantin dance in wedding ceremonies in the city of Palembang. The main focus is on aspects of form and elements of performance. The research uses Susanne K. Langerâ€™s theory of form. A textual method is used to analyze the form. This dance is performed by five dancers. One dancer is the prima donna and acts as the bride, while the other four dancers are her ladies-in-waiting. The main dancer (portraying the bride) dances on top of a brass tray on the ornately decorated stage where the bride and groom are seated,performing to entertain the guests at the wedding. The results of the research show that the form of the Pagar Pengantin dance is a medium through which the host honours the guests who attend the wedding ceremony.Keywords: Form, elements of performance, Pagar Pengantin dance.
ESTETIKA ISLAM DALAM KONTEKS KEHIDUPAN SOSIAL
Authors: Widyawati Setyo
Published: May 2023

The aim of this writing is to give commentary on Islamic Aesthetics In the frame of sicial life. The con.sequency of this is that islamic Aesthetics fixes two goals, worldly and heavenly goals. Moslems believe that heavenly goal is important than the worldly one, and to achieve this goal moslems need dzikrullah in any activity including working with arts. Dzikrullah means remembering A118h in an intense Consciousness with persistent intensity (istiqomah).Man needs art to express his feeling of beauty which is inherently born with him, while an expression of art becomes one of the manifestations of dzikruliah itself. Beauty is identified asÂ artÂ Islamic Aesthetics offers a concept of how to work with art in an Islamic way, and how to express beauty which contains truth and goodness. The supreme source of beauty is Allah Himself and He, too, the destination of beauty. The essence of art gets its reality in the brilliant brain of Allah. Consequently,Â artisticÂ creativity generating from Allahâ€™s beauty gives out spiritual values in broad spectrum.Islamic spirituality as an essence of islamic art has a close relation with the dimension of Islamic inner spirit, the dimension of inferiority of/slam. Al Quran and Al Hadits supply resources which inspire artists to get forms of Islamic inner dimension, the inspiration if which has the quality of supreme individual. Two examples of these forms are the calligraphy which is the art of writing Arabic characters and ten architecture of mosques.Calligraphy and the architecture of mosque are artistic works of supreme individual quality with the beauty reflected by Allahâ€™s inspiration. Calligraphy reflects two kinds of beauties, the aesthetic and the trancendental ones. Islamic artistic objects show the values of beauty in themselves as far kinds of nd the trancendental ones. Islamic alues of beauty in themselves as faras generated from perpetual source of inspiration which will never stop flowing. Islamic spiritual message is the presence of consciousness of The One God through the beauty of artistic expressions formed by the artists.Keywords:Islamic art, dzikrullah, lslamic spirituality
EKOKRITIKISME KOREOGRAFI SATU MILIAR TOKEK KARYA AYU TITIS RUKMANA SARI
Authors: Wulansari Dewi , Mulyadi Tubagus
Published: May 2023

Satu Miliar Tokek by Ayu Titis Rukmana Sari, was inspired by the phenomenon of the Kedung Monggo community towards the price of a billion geckos. This phenomenon has an impact on the burning of the banyan tree where the gecko resides. This research has the problem of how to choreograph one billion geckos and how to ecocriticism in the work of one billion geckos. To answer the problem of choreography, Slamet Md's concept of dance formation consists of motion, rhythm, expression, or feeling, costumes, stage, and dancers. To explore ecocriticism, the opinion of F.X. Widaryanto. The manifestation of eco-criticism in performing arts products of past creative traditions is heavily influenced by natural phenomena. This shows that the works of art in the past gave direction to the audience to protect the environment. The method used in this research is a qualitative research method with a choreographic approach. The results of this study indicate that the work of one billion geckos is a work of art as a form of social criticism, especially in the Kedung Monggo community, which is manifested in the flow of dance choreography.Keywords: Satu Miliar Tokek, Choreography, and Ecocriticism
TARI SEBIMBING SEKUNDANG SEBAGAI TARI PENYAMBUTAN TAMU DI KABUPATEN OGAN KOMERING ULU SUMATERA SELATAN
Authors: Dari Ani Mandam , Pramutomo RM
Published: May 2023

This article examines the form of Seguid Sekundang dance presentation in Ogan Komering Ulu Regency, South Sumatra. Problems regarding form are discussed using the theory of R.M Soedarsono in the book Diktat Pengantar Pengetahuan dan Komposisi Tari. This article uses a qualitative research method with descriptive analysis. The collection of data and information is done by observing or observing the object of research, interviews, and literature studies. Sebimbing Sekundang dance was made at the request of Regent Ogan Komering Ulu as as guest welcome dance in 1971. This dance is the result of observations in several sub-districts in Ogan Komering Ulu Regency by combining various cultural forms, especially traditional dance from five tribes (Daye, Komering, Ogan, Ranau, and Semende) in Ogan Komering Ulu Regency.This dance uses properties of a fan, tepak sirih, umbrella, and spear. However, it is the use of distinguishes this dance from the welcoming dance in South Sumatera. The music accompanying the Sebimbing Sekundang dance is another song entitled Ribu-Ribu originating from the Ogan area. Then the arrangement itself by Z. Khusni Karana became the music to accompany the Sebimbing Sekundang dance. This dance reflects the majesty of universe which uses many forms and motifs of plants.Keywords :Form, Analysis of The Movement of The Sebimbing Sekundang Dance.
MAKNA HOLISTIK TARI KETHÈK OGLÈNG KARYA GUNTUR TRI KUNCORO
Authors: Mustika Prismadianto Firdauzhi Nuzulla , Maryono Maryono
Published: May 2023

This writing aims to reveal the meaning of the Kethek Ogleng dance by Guntur Tri Kuncoro by examining the problems formulated, namely the concept of the emergence of the Kethek Ogleng dance, the form of the Kethek Ogleng dance, the audience's response, and the meaning of the Kethek Ogleng dance by Guntur Tri Kuncoro. The analysis uses a holistic art criticism approach that is based on three main factors, namely genetics related to the concept of the appearance of the work, objective in the form of works and affective as a response or emotional response of the audience who are all sources of value flow. The form of writing is qualitative with data collection strategies through: observation, interviews and literature study. The results show that holistically the Kethèk Oglèng dance is meaningful as an entertainment medium, as a promotional event for cultural tourism, and is expected to be used as a means of student education and as an icon or identity of the City of Kediri.
FUNGSI TARI NADRAK PAGUYUBAN RUKUN SANTOSA DESA BRONGKOL KABUPATEN SEMARANG
Authors: Murti Karinsa Krisna , Slamet Slamet
Published: May 2023

The article entitled Functions of the Nadrak Dance Association of Rukun Santosa, Brongkol Village, Semarang Regency aims to determine the function of Nadrak Dance. Nadrak dance is one of the folk dances in the Rukun Santosa Association which is danced in groups. The main problem of this research is the function of the Nadrak Dance. This research uses function theory. The theory of function was expressed by Bastomi. This research is qualitative. The data were collected through observation, interviews, and literature study. The results of this study the authors reveal the form and function of the Nadrak Dance. Form includes elements of motion, rhythm, expression or feeling, costumes, stage, and dancers. Nadrak Dance functions as a sacred art (religious interests) and secular art (a means of communication, education, and recreation).
GARAP TARI SANG KARTINI KARYA RAJENDRO SUMARJONO DI KABUPATEN REMBANG
Authors: Anita Anita , Soemaryatmi Soemaryatmi
Published: May 2023

The Kartini Dance in Rembang Regency is a work created by Rajendro Sumarjono to participate in the National Student Art Festival and Competition (FLS2N) for the Rembang Regency Junior High School in 2011. Then in 2014 the Sang Kartin Dance was requested by the Rembang Regency Culture and Tourism Office to performed regularly on April 20 in commemoration of the Berthday of RA Kartini at the Rembang Regency Hall. The problems in this study are (1) how to form of Sang Kartini’s dance, (2) how to work of Sang Kartini’s dance. This study uses qualitative research methods, through the stages ofobservations, literature study and interviews. Toreveal the form of Sang Kartini’s dance work, using the Slamet MD’s theory which discusses the elements of dance formation which include motion, rhythm, expression or feeling, costumes, stage, and dancers. Meanwhile, to reveal the dance work using the Rahayu Supanggah’s theory includes working elements such as working material or working area, cultivator, working facilities, working equipment or tools, working determiners, and working considerations. The result of this study indicate that the Kartini Dance is agroup dance presented by 5 female dancers. The structure of the work cinsists of 3 parts that describe the atmosphere of sadness and fighting spirit. The accompanying music is a type of pentatonic music as an atmosphere builder and as a motion amplifier. The motion work used refers to the dance Putri Gaya Surakarta which are developed in terms of volume, rhythm and pressure. While the property in the form of red cloth being explored symbolized the blazing spirit of RA. Kartini. This dance work is presented by female dancers with the same body posture and is dominantly performed with the compact movement technique aimed at presenting the spirit of struggle. The elements in this dance work are knitted in one interrelated plot that describes the struggle for women’s emancipation.
BENTUK DAN MAKNA SIMBOLIK TARI SEBLANG DI DESA OLEHSARI KABUPATEN BANYUWANGI JAWA TIMUR
Authors: Subagyo Hadi
Published: May 2023

This (is] Study Article [is] more focused (by) (at) Seblang dance in countryside ritual ceremony [in] Olehsari district (ofJ executed Amaryllis Banyuwangi sub-pmvince one year once. This dance function as symbolic communications [among/bet ween] perpetrat or with audience, perpet rator with perpetrator, and also audience with audience, so that in show activity or this Seblang ceremony happened a social interaction, and even become symbolic communications (among/between] society with its ancestor, so that give meaning which enough komplek in lifeÂ Keyword: Seblang, ritual.
TARI KERAWUHAN DI BALI : SANGHYANG DEDARI SEBUAH KAJIAN SOSIAL
Authors: Prihatini Nanik Sri
Published: May 2023

Dance kerawuhan (trance dance) is one of permorming art for the ritual event who stile a life in Bali. Sanghyang Dedari dance for its example, and used by Balinese society to ritual dance. Now that ritual art changed to be performance for tourisme.Key word: trance, wali, Sanghyang Dedari.
Wayang Wong Lakon Lumbung Tugu Mas dalam Ritus Suran Desa Tutup Ngisor, Magelang
Authors: Wahyudiarta Dwi
Published: May 2023

The story of Lumbung Tugu Mas in the Javanese stage show (wayang wong) in the Suran ceremony in Tutup Ngisor village, Magelang, is believed to have the power to expel evil spirits, and has an important meaning for the community, giving them the hope of prosperity. The figure of Semar in this story has an important symbolic value, which is still adhered to by the supporting community. The other function of the story is to fulfil social and aesthetical needs.Â Keywords: Lumbung Tugu Mas story, meaning, and symbol.
TARI BEGALAN DI TENGAH PERUBAHAN SOSIAL MASYARAKAT BANYUMAS.
Authors: Karyono Karyono
Published: May 2023

The Begalan tradition perfotming art Banyumas is sprit of life cultural Banyumas peole. Begalan is communal performing art in Banumas cultural not haven use people life in Gotong Royong. Begalan in people spirit to be change social process, because this Begalan develop changing is fungtional social cultural Keyword : Begalan, social change
PENCAK SILAT DALAM TARI WIRENG DI SURAKARTA
Authors: Supriyanto Mathias
Published: May 2023

The Art tradition life residing in kraton environment, is in general influened by king power, because result of tradition in this dance tradition diffused many by top kick king his day. One example Bedhaya Anglir dance, this dance have heroic theme to depicting Raden Said (Mangkunegara I) fight against Pangeran Mangkubumi I. Besides Overcast Bedhaya Anglir still many other soldier dances, that is type dance Wireng. Type dance its Wireng composition using many taken away from pencak silat. In composition dance Wireng there is two form move pencak silat, first pencak silat motion which have distilisasi; both pencak silat motion which still purification (wadag), like Bogis danceKeyword : Wireng, Heroic, pencak silat.
TOPENG BABAKAN
Authors: Sudarto Toto
Published: May 2023

Throughout the course of its journey, topeng babakan Cirebon has become a milestone, which has coloured the course of the history of dance in West Java. This research discovers the changes and developments in topeng babakan from 1900 to 1990. The study of the subject of this tesis uses a historical approach, with the aid of social and cultural studies. Topeng Babakan is a performing folk art, the performance of which is still related to traditional ceremony such as ngunjung, mapag sri, ngarot, and so on. It spread through West Java, begining as a a traveling show or bebarang (troupe of performing beggars) at the start of the 20th century. This drew the attention of the aristocrats or menak, to learn the art of Cirebon masked theater. In it subsequent development, this dance greatly infuenced other dance forms in the Priangan region and in West Java in general. The rise and fall of topeng babakan performance activities was largely infuenced by developments in siciety, ehich constantly changed with the developments of the age, and developments in information technology and communication.Keyword : topeng babakan, bebarang, changes, and developments
Karya â€œLorongâ€ Sebuah Eksperimentasi Penataan Ruang Pentas
Authors: Padminingsih Saryuni
Published: May 2023

In its beginning, Indonesian dance was born out of a variety of spaces, ranging from communal areas to one occupied by royalty. Communal spaces as according to Ashadi Siregar (1991) forms an integral and import part of the basic conventions of communicative art. In the context of Javanese areas itself. Unmistakenly, the highly populated Kemlayan village is made accessible through narrow roads called lorong, The narrow lorong(s) of Kemlayan then forms the basis of a new dance choreography. Placed in an open area, the work begins with the belief that spatial settings should be able to stand on its own as a piece of visual art. Due to this nature, the work seeks to manifest itself as an alternative work in the global development of dance.The concept is approached through observational means as well as through direct involvement with the environment in order to have a phenomenal experience of the society.On the same page, the spatial setting is approached through various theoretical and practical studies to the point of the actualization of the project.In tandem with such a notion, bodily movements are explored through various movement experiments and exploration that are backed by a sense of aesthetics developed through theoretical approaches and temporal experiences.The workâ€™s development undergoes a process that involves imagination, interpretation, and creativity which can be further understood through : 1. The soul of the work is engendered through the choreographerâ€™s experience with the complexity, grind, guts, and gumption of life as well as the problems that affects oneâ€™s inner being, 2. The form of the work takes upon the tugs of visual aesthetics that is experienced on a daily basis by viewers such as the acts of sitting, walking, jumping, climbing, shivering and many others. Along with such a notion, the music is built unto each dancerâ€™s everyday auditory experiences such as talking and shouting as well as media derived sounds such as the radio or bamboo being struck. Staged on an open plane, the spatial setting is composed of narrow lorong(s) made of bamboo, glass, and pellucid plastic arranged in such a manner that it can be seen through from various viewpoints. The artistic lighting concept then summarizes the presence of visual aesthetics and displays a myriad of effects through 7 different performances, namely, Lorong Kemlayan, Lorong Anyaman, Lorong Kerumunan, Lorong Transparan, Lorong Lumpur, Lorong Jalan Setapak, Lorong Gelap.Keywords:Â  Lorong, passage, experimental, form, Kemlayan
Fungsi Ritual Tari Ngrengkau pada Masyarakat Dayak Benuak di Kalimantan Timur
Authors: Muttaqin Muhammad
Published: May 2023

The performance of the Ngerangkau dance in the Kwangkai ritual is a re-actualization of the mystic relationship between the Dayak Benuaq community and the spirits of their deceased ancestors. This community becomes afraid if this ritual is not performed, since they believe that by performing the Ngrengkau dance ritual, they will be protected and kept away from any danger. For this reason, the ritual has been preserved, due to its close connection with various concerns of the Dayak Benuaq community, such as its function in escorting the souls of the dead to heaven, entertaining the spirits, keeping away evil spirits, ensuring fertility, and honouring the ancestors of the local community, in addition to other functions in the life of the community. Keywords : Ngrengkau dance, function, and ritual.
PENYUTRADARAAN KOMEDI SATIRE MELALUI TOKOH PROTAGONIS PADA FILM SMART?
Authors: Bilal Muhammad , Rahmad Cito Yasuki
Published: May 2023

Is the film SMART? is a fictional film with the genre of comedy satire delivered through the protagonist. SMART film? tells the story of Shabrina, a teenager who is overused in using a smartphone and has an impact on everyday life. Through the Comedy satire genre approach on SMART films? expected to be easily accepted by the audience. SMART film? conveying messages to the audience will have a negative and positive impact on using smartphones excessively among teenagers. Through narrative and mise en scene elements, the director tells the story by dividing it into three rounds, the comedy satire scene, setting, make up, wardrobe, and player movements. Through the message conveyed by the director invites the audience to reflect on themselves in addressing smartphone use.Keywords: Directing, Comedy Satire, Protagonist Figure, Smartphone.
TUMBUHAN TERATAI SEBAGAI IDE PENCIPTAAN PERHIASAN PADUAN PERAK DAN KAYU
Authors: Ari Lilik Istria , Supriyanto Ari
Published: May 2023

This artistic research aims to (1) carry out exploration of designs with lotus plant ideas, (2) realize jewelry works based on selected designs that have been designed. The works produced are lotus-themed jewelry. Lotus plants not only have beauty but also philosophical and great benefits for humans. Lotus is a sacred plant for Hindu-Buddhist religion. Even for some countries lotus plants are used as a symbol of the country which means purity, humility, as well as a symbol of God. The process of making jewelry works using filigree and cutting techniques with the main ingredients of silver metal and Trembesi wood. Each work of art contains its own meaning, function and aesthetics. The jewelry is functioned as a complement to womenâ€™s clothing. The jewelry that have been made are necklaces, earrings, bracelets, hairpin, and brooches. The aesthetics of jewelry are described based on Monroe Bardsleyâ€™s theory, namely unity, complexity and sincerity.Â Keywords: lotus plants, jewelry, aesthetics
KAJIAN SIMBOL VISUAL PAWUKON
Authors: Dhamastuty Mutiara Putri , Adisukma Wisnu
Published: May 2023

Culture is dynamic in the form of humans and vice versa with a value system. One of them is Pawukon, originating from the science of titen and then manifested in the manuscript. In the case of the RadyaPustaka Museumâ€™s collections, inseparable from the history and myths of Watugunung. Interaction and interpretation of analysis are used in historical studies, influences on Javanese people, symbols of Pawukon in the manuscript and the importance of its presence in contemporary society. Mandhasiya and Kuruwelut were chosen as sample of 30 wuku and provided guidance on the existence of the manuscript.Keywords: Kuruwelut, Mandhasiya, Symbol, Wuku
TOKOH PENDUKUNG SEBAGAI TANDA PENGUAT PESAN PADA FILM TALAK 3
Authors: Ramadhani Sri Rahayu , Adji Titus Soepono
Published: May 2023

Supporting actors and supporting actresses in films have an important influence on the course of the story. Their presence is able to strengthen the messages conveyed through scenes in the film. The formulation of the problem of this research is how to read the supporting cast as a message reinforcement on the film Talak 3. Film Talak 3 by Hanung Bramantyo and Ismail Basbeth tells the story of the desire of a divorced couple to reconcile. The supporting figures in the film Talak 3 were used as the focus of the study. The study was conducted using a type of qualitative descriptive research, while the approach method applied the semiotic theory of Roland Barthes to analyze the supporting characters who had the role of signaling the message in the scene. The results of this study show that the budhe Ratna as a supporting actress strengthens the message using marriage life and the meaning of true love that appears throughout the film. Messages related to bureaucracy in government agencies are strengthened by the presence of figures Basuki, Hasmi, Jonur and Ical.Keywords: message, supporting actor and actress, Roland Barthesâ€™s semiotics, Film Talak 3
PENGAMBILAN GAMBAR HANDHELD SEBAGAI PEMBENTUK KETEGANGAN PADA FILM MODUS ANOMALI
Authors: Rochmat Zain Arifin , Rahmad Cito Yasuki
Published: May 2023

ABSTRACT Shooting techniques in films are needed so that the storyline can be continuous between actors and audiences. The action in the Modus Anomali film is visualized through shots, scenes, and sequences in the structure of the film in harmony with causation. Through shooting techniques can create a tension that affects the anxiety of the audience awaiting the risk that befalls the protagonist. The shooting technique in this film is dominant by using handheld techniques in realizing an action. The emergence of interesting and important handheld movements is assessed to form tension. The analysis technique used is descriptive qualitative. While the sampling technique uses purposive sampling in several sequences that focus on the protagonist. The results showed that the appearance of the handheld was able to form tension with the support of camera angle technique, type shot, camera movement, long take and canted angle, which created a conflict that peaked as a form of tension.Keywords: Film Mode Anomaly, Handheld, TensionABSTRAK Teknik pengambilan gambar dalam film diperlukan agar alur cerita dapat berkesinambungan antar pemain dan penonton. Aksi dalam film Modus Anomali divisualisasikan melalui shot, scene, maupun sequence dalam struktur film selaras dengan sebab-akibat. Melalui teknik pengambilan gambar dapat mewujudkan suatu ketegangan yang berpengaruh terhadap rasa cemas penonton menanti risiko yang menimpa pada tokoh protagonis. Teknik pengambilan gambar dalam film ini dominan dengan menggunakan teknik handheld dalam mewujudkan suatu aksi. Kemunculan pergerakan yang dihasilkan handheld menarik dan penting dikaji untuk membentuk ketegangan. Teknik analisis yang digunakan berbentuk deskriptif kualitatif. Sedangkan teknik pengambilan sampel menggunakan purposive sampling pada beberapa sequence yang fokus pada tokoh protagonis. Hasil Penelitian menunjukkan bahwa kemunculan handheld mampu membentuk ketegangan dengan dukungan teknik camera angle, tipe shot, pergerakan kamera, long take maupun canted angle, yang menciptakan suatu konflik memuncak sebagai wujud ketegangan.Kata kunci: Film Modus Anomali, Handheld, Ketegangan
KISAH KELUARGA YANG TERPISAH AKIBAT PEMANASAN GLOBAL SEBAGAI IDE PENCIPTAAN DALAM PENULISAN NASKAH FILM FIKSI ILMIAH “ING KALA”
Authors: Ariyanto Priyagung Nur , Adji Titus Soepono
Published: May 2023

ABSTRAC “Ing Kala” is a science fiction film script that presents the phenomenon of family separation and global warming. It tells about family separation due to drought caused by global warming. The science fiction film script is realized by describing the impact of global warming in the form of drought in the future. In addition, it features characters of science fiction such as cyborg (human robots) and mutants. The story begins with a village hit by a drought caused by global warming. The disaster then separated a father from his child and wife. The premise of this story is “a disaster can separate someone from his family”. The process of making this manuscript goes through two stages, namely the preparation stage and the cultivation stage. The target of this script story is for teens (13+) and adults (17+). This text has three concepts, namely global warming, a separate family, and science fiction. The result is a 100-minute film scenario with 106 scenesKeywords: global warming, drought, separate family, science fiction scenario, Ing KalaABSTRAK“Ing Kala” adalah naskah film fiksi ilmiah yang mengangkat fenomena perpisahan keluarga dan pemanasan global. Mengisahkan tentang perpisahan keluarga akibat bencana kekeringan yang disebabkan oleh pemanasan global. Naskah ini bergenre fiksi ilmiah yang diwujudkan dengan penggambaran dampak pemanasan global yang berupa kekeringan di masa depan. Selain itu, karakter-karakter fiksi ilmiah seperti cyborg (manusia robot) dan mutan juga akan diwujudkan dalam naskah ini. Kisah berawal dari sebuah desa yang dilanda bencana kekeringan akibat pemanasan global. Bencana tersebut kemudian memisahkan seorang ayah dengan anak dan istrinya. Premis dari cerita ini adalah “sebuah bencana dapat memisahkan seseorang dengan keluarganya”. Proses pembuatan naskah ini melewati dua tahap, yaitu tahap persiapan dan tahap penggarapan. Sasaran cerita naskah ini ditujukan untuk remaja (13+) dan dewasa (17+). Naskah ini memiliki tiga konsep yaitu pemanasan global, keluarga yang terpisah, dan fiksi ilmiah. Hasil dari karya ini berupa naskah film berdurasi 100 menit dengan 106 scene.Kata kunci: pemanasan global, bencana kekeringan, keluarga yang terpisah, skenario fiksi ilmiah, Ing Kala
KEMUNCULAN KOMIK ADIPAHLAWAN INDONESIA DAN FAKTOR YANG MEMPENGARUHINYA
Authors: Kurniawan Rendya Adi
Published: May 2023

ABSTRACTComic is a visual product that is quite popular in Indonesia. The popularity of comics in Indonesia cannot be separated from the development of comics in the West. One effect felt was the emergence of comics with the superhero genre. However, superheroes in the West and adipahlwan in Indonesia are the result of a dynamism of very different creative processes. Superheroes emerged in the West as a new form of mythology for their people, while the Indonesian adpahlawan emerged precisely by exploring the values of classical mythology that had long existed in Indonesia. These traditional values are explored to be used as basic ideas for the design of a super hero character in Indonesia. This research tries to apply the visual methodology of Gillian Rose to examine how this super hero emerged as a comic genre in Indonesia and what factors influence it.Keyword : Comics, Superhero, Character Design, Mithology, Visual MethodologyABSTRAKKomik merupakan suatu bacaan yang cukup popular di Indonesia. Kepopuleran komik di Indonesia tidak bisa dilepaskan dengan perkembangan komik di Barat. Salah satu pengaruh yang dirasakan adalah munculnya komik dengan genre superhero. Namun begitu, superhero di Barat dan adipahlwan di Indonesia merupakan hasil dari suatu dinamika proses kreatif yang sangat berbeda. Superhero muncul di Barat sebagai suatu bentuk mitologi baru bagi masyarakatnya, sedangkan adipahlawan Indonesia muncul justru dengan menggali nilai-nilai mitologi klasik yang sudah lama ada di Indonesia. Nilai-nilai tradisi tersebut digali untuk dijadikan gagasan dasar perancangan desain karakter adipahlawan di Indonesia. Penelitian ini mencoba mengaplikasikan metodologi visual dari Gillian Rose untuk mengkaji bagaimana adipahlawan ini muncul menjadi genre komik di Indonesia dan faktor apa saja yang mempengaruhinya. Keyword : Komik, Superhero, Desain Karakter, Mitologi, Metodologi Visual