Interior Pracimayasa Di Pura Mangkunegaran Surakarta (Kajian Estetik) = The Pracimayasa Interior at Pura Mangkunegaran Surakarta (Esthetics Research)

ABSTRACT The title of this research is "The Pracimayasa Interior at Pura Mangkunegaran Surakarta." The objectives of this research are: (1) to understand the background of how the Pracimayasa interior came into existence and its function in relation to the designer\u27s point of view, that is Mangkunegara VII(2) to trace the artistic of Pracimayasa interior in connection with Javanese ethical values. Since the Pracimayasa interior is a cultural work that was designed by Mangkunegara VII, this research focuses on its historical perspective based on an assumption that a work of art is the result of the artist\u27s creativity where at the same time it is also an indication of a behavioral change. This research borrows R.M. Soedarsono\u27s concept that a change motivated is triggered by two factors, that are, internal factors and external factors. In directing to a proper interpretation, this study also borrows Monroe C. Beardsley\u27s theory which says that a work of art is said to have artistic values if it contains three elements: (1) unity, (2) complexity, and (3) intensity. To obtain a more comprehensive and substantial answer, this research has applied a qualitative approach and is supported by other approaches from several social sciences. The methods which are used are literary study, observation, and interviews. The result of this research shows that the materialized background of Pracimayasa interior is encouraged by internal and external factors. The internal factor was based on the Mangkunegara VII\u27s need to legitimized to the power, to respect Gusti Ratu Timur\u27s father who would be his father-in-law (Gusti Ratu Timur was Mangkunegara VII\u27s consort), the movement that was initiated by Java Instituut, and the progressive modern way of thinking about the particularity of space. The external factor was based on his political cooperation and alliance with the Dutch colonial Government and his western educational background. There are three prominent artistic elements of the Pracimayasa interior: (1) the harmonious unity in the arrangement of the interior elements of every room, (2) his ideas and courage to insert ancient Javanese traditional element mixed with luxurious Western cultural arts which applied modern techniques which consequently result in a diversity of art works, and (3) the intensity of power the standardization of non-verbal elements of Javanese etiquette as the soul of planning Keywords: interior, power, etiquette value, and spirit/soul

Kabuki di Jepang dan Ludruk di Indonesia Sebuah Kajian Perbandingan: Kabuki in Japan and Ludruk in Indonesian The research of The Comparative

The purpose of this research is to compare between the art performance of kabuki in Japan and ludruk show in Surabaya, Indonesia. From this research it is hoped that the similarity and differences between both performances can give contribution for the improvement of both performance that all of the-figure in that performance is carried out by men. The comparative method is used in this research to simplify the analysis of the data that is observed from the aspect of the story, the actor, the costume and dressing up of the face to both performing arts. This research also assesses the improvement and changies that occured to both performance. Qualitative approach was used in this research so that this research has a typical qualitative with data source mainly in the form of photos and recording video when the performance was being done. The collection of the data was done by observing the kabuki in Japan and ludruk in Surabaya and find similarities and differences of both in the field of art, social, and culture. Observation and data analyses show both of kabuki and ludruk have a similarity in the actor of the art performance, that is all the figure is carried out by a man. But lately, because of the economy problem, there are figures in art performance of ludruk is carried out by women, while in the kabuki still carried out by men. Another differences of course in the make up of the face and costume that are caused by different culture of both art performances. The interesting difference between both of that art performance is the story that is showed in the performance. The story in kabuki mainly are heroism and love story, while in ludruk always full of comedy and joke. Keywords: Kabuki, Ludruk, similarity, different

Tari Sigeh Penguten Identitas Budaya Masyarakat Lampung = Sigeh Penguten Dance Cultural Identity of Lampung Society

ABSTRACT Dance is a society\u27s cultural application which is full of certain symbols for the the supporters. This research airs at to looking for trough some layers of performing art from Lampung. Some parts which are read as text will be analyzed completely in the form of a description dance. Contextual part will discuss the function and existence of sigeh penguten dance as the are identity of Lampung society. Lampung society has five principles of life. Two of them are strengthen this dance position in the society. That life phylosophy which has close relationship is nemui nyimah means generous attitude, open handealy and extravagant. The meaning of nengah nyappur is easy going. The main propert which describes that life phylosophy is sigeh (betel vine) which is use by the local society to treat and honor their guests. The other property is tepak. It is use for bringing betel vine and the material for chewing betel(tobacco, dyeing, and lime). This property is an unity which should be present and is the characterestic of Sigeh Penguten dance. Key Words: sigeh penguten, function, identity

Pakarena Dalam pesta jaga dalam masyarakat Makasar Takalar Sulawesi Selatan = Pakarena Performed in a Whole-Night- Stay Awake Feast Observed by Makassar Takalar Community of South Sulawesi

ABSTRACT This study is to analyze the Pakarena theatrical show, particularly in its relation with Makassar community\u27s culture in the District of Takalar, South Sulawesi. As the mythical tale found written on lontarak and the truth of which the people of Makassar believe relates, it is said that Tu Manurung escorted by palace maidens serving as dancers, is descending from the sky onto the earth. These maidens, as this belief confirms, later become Pakarena dancers. As mentioned by some articles, it is said that Tu Manurung\u27s descendants, the nobility in command of the kingdoms throughout Makassar peninsula, cultivate Pakarena. At present, it is obligatory of a family or a certain communal group to have Pakarena dances performed within whole-nightstay-awake feasts and to accompany circumcision ceremonies. In order to procure necessary data, library and in-the-field studies are conducted. The data collected from both sources are combined, and, for the sake of authenticity, criticism is deemed to be worth launching towards those two sources. The study, uses an analytical descriptive method as well as a qualitative method. Besides, certain theories, along with several concepts of a synchronized approach as well as applying those of Humanity Social Science, are imployed. Through the execution of structural and functional analyses, it is concluded that a Pakarena show is governed by ceremonial events, of which it constitutes as a part. Besides that it serves as an entertainment and at the same time a reflexion of a person\u27s aesthetic feelings. Pakarena carries in it its foremost function as an indispensable complement to traditional or custom ceremonies. The Makassarese\u27s sense of faithful compliance with the norm system of these custom ceremonies has made Pakarena\u27s structure relatively static. That Pakarena has up to the present survived within the population of Takalar, Makassar, is largely thanks to its ritualistic function, in that it retains its existence as an indispensable complement to such custom ceremo nies as whole-night-stay-awake feasts. As a part of a custom ritualistic ceremony, Pakarena is vested with significant values that are believed to exert influence upon man\u27s lives, in particular those of certain communal groups. Keyword: Ritual performanceâ symbol -- function

Tarian Rakyat Sumbawa: Upaya Pelestarian dan Perkembangannya = Sumbawa Folk Dances, Its Perpetuation And Development

ABSTRACT The problem formulated in this research is focused on the existence of many indicators of alteration and adoption of aesthetics vision into showing art production of traditional dance in Sumbawa cultural group. However, there is no real effort to perpetuate the tradition of folk dances, and also no special attention given to develop its tradition in accordance with special features and genuine motives which is an identity of a region. This is important because western influences are beginning to emerge in these cultural aesthetics. Unfortunately, those who are involved in these process still do not realize such alien influences. This research method was based on observation, interview, and collection of dance inventory material from special dance books, articles and papers about dances. A variety of research outcomes and a general conclusion could be drawn from these folk dances of Sumbawa territory. It was found that these dances are still prote....xl by the community, cultures, and dance organizations. The dances of Sumbawa have not been influenced by foreign cultures. However, its tradition is not perpetuated, but always developed in accordance with the culture identity of the root ancestors of Sumbawa to become a new creation as traditional dances. Key words: Folk dance -- Traditional dance â Sumbawa danc

FUNGSI TATA CAHAYA PADA SENI PERTUNJUKAN DI INDONESIA (Stage Lighting in Indonesian Performing Arts Functions)

ABSTRAC Stage lighting is a supporting aspect in performing arts that enables audience to see the performance on stage clearly. Setting the stage lighting, either natural or artificial, is necessary in performing arts. Natural lighting is not easy to controltherefore, people use artificial lighting on stage to enable people to see the performance. Artificial lighting also indicates the setting, creates the atmosphere and functions as the element of composition. The position of lighting at the centre point of the stage or \u27axis mundi\u27 (dead centre) is a neutral or decisive position of rotation or movement. Tradi¬tional stage lighting usually comes from fire, a source of life and destruction. Stage lighting in Indonesian traditional performing arts functions as a means of external and internal lighting. As a means of external lighting, it - determines the distance of eyesight and the stage to create the stage condi¬tion. External lighting also indicates the setting, creates the atmosphere and combines the elements of composition as well. Lighting design in Indone¬sian traditional performing arts which creates direct vision or shadow has an internal function as spiritual \u27lighting\u27 (sesuluh) both for the stage per¬former and audience. The general function of lighting design is to \u27shine\u27 which implies a narrow meaning and to \u27light\u27 which means to make every¬thing clear and visible. Keywords: To light and to shine, stage lighting, performing art

BARONGAN BLORA DALAM RITUS LAMPORAN: KELANGSUNGAN DAN PERUBAHANNYA The Barongan of Blora in Lamporan: their Continuity and Changes

ABSTRACT This study Barongan of Blora aimed at both tracing and revealing the continuity and change of "Barongan Blora" which once was a ritual art entertainment, but which, in the course of later time, underwent transformation into a secular art. Although there has been changing from a sacred into secular art, the form of this art still has a sacred power which is a remainder of belief in animal mythology. Barongan is a sacred tiger mask dance. The wearer of mask takes on a supernatural or sacrd power totem mystic. This tiger mask may express folk beliefs mysticism, of other worlds or character of totem mystic. The presence of barongan in Lamporan is a remainder of primitive culture that still survives in an agrarian society. This still can be seen at Kunduran village. This ceremony is held once a year on Kliwon Friday or Legi Friday of Suro month at the Javanese calendar system and lasts for seven days. The development of Blora society from an agrarian society into an industrial society has resulted in a change of the Barongan in both of the continuity and change of the Barongan that happened in Blora society in this 20th, especially m the 1960s by creating Barongan as a stage art. The changing factor is caused from the situation of the Blora society that are more accupied with their accupation as farmers, merchant, civil servants, and the heterogeneous factors. Besides the factors of science and technology mastery as a result of the spread education has shown a great influence on the development of Barongan. The heritage of barongan art is so much influenced by the people\u27s belief of barongan that has a magical protection power. The method of learning in barongan art is emphasized on nyantrik system. To gain the konwledge of Barongan and haw to produce the Barongan art, the government through its relevan field, has upgraded it by organizing a repeater course for Barongan or including the Barongan in either both of the regional or national art festival. Key wordBarongan â Lamporan -- ritual art -- secular art â development--continuity change â nyantrik system

Empat Koreografer Tari Kontemporer Indonesia Periode 1990-2008

This research will elaborate four Indonesian contemporary choreographers, which lead to open the signifi cant of embodiment process on Indonesian dancers. With a focus on four choreographers, Martinus Miroto, Mugiyono Kasido, Hartati, and Jecko Siompo. A case study of body of those four choreographers has reached its “institutional” level, so choosing those four characters, as a representation of Indonesian dancer is the right thing to do. With the complexity discipline and body work training, the four dancers and choreographer strengthening on how procession to achieve and advancing body work is located in some important process: exercise, training, and performance. This is diff erent from the process of body works quality and the achievement of most dancers and choreographer outside of Indonesia. Usually the dancers outside of Indonesia only stress on two things: Training and performance. The four dancers in the work have had a typical body works each of them, but it is undeniable that there is a role in the respective Sardono as the maestro. Sardono’s strong infl uence thus again took place in forming a model to the body or body-dance att itude of dancers who then the outcome was, in fact, diff erent from Sardono’s works

Aspek Cerita Dalam Wayang Kancil: Usaha Merehabilitasi Tokoh Kancil = Narative Aspect in Wayang Kancil: An Effort to Rehabilate Mouse Deer as Hero

ABSTRACT After surviving a long history of failures, Wayang Kancil was revived in 1980 in Yogyakarta by Ledjar Subroto - a puppet maker and his friends. Wayang Kancil is a shadow puppet where the stories are mainly taken from the stories about Kancil. These stories are believed as a "world" where morals and values are taught for not only to children but also for adult. This paper, a result of a participant observation since 1980, briefly reveals Wayang Kancil since it has been revived and popularized by Ledjar Subroto and his colleagues in the Yogyakarta Special Territory. One crucial point that should be noted is that Ledjar Subroto has sided with Kancil since his first performance in 1980. He is the defender of his Kancil as the result of some criticisms towards his Wayang Kancil. Among the Indonesian, the hero Kancil is known as a trickster who is always accused as a deceitful creature. Therefore, there are pros and cons whether the episodes of Kancil are appropriate for children. Wayang Kancil is a new wayang in Indonesia. This article hopefully will be beneficial for those who have great interest in using and developing it, regarding that it is one of the Indonesian cultural aspects that needs to be preserved. Keywords: Wayang kancil, shadow puppet, hero, crucial poin