C. Purnomo, Soteria Adia Mahanaim, Fang-ying Riva Lo, Viqi Ardaniah, Peter Ardhianto
Various culture in Indonesia is slowly being forgotten by the majority, for people now uses another way of communication to deliver the message from one person to another. One of the examples that could see is the usage of Javanese script or usually called Hanacaraka. Therefore, studying the visual language of shoe design from Flymax Indonesia case study will help the public to understand how urgent creative cultural product is. This research uses qualitative research regarding the case study based on the in-depth interview through the owner of Flymax Indonesia and visual language analysis regarding the visuals. This study has implications for the creative industry practitioners in conveying visual language and impacting methods in developing creative products by including cultural elements in popular products. From Flymax study case, implementing cultural to modern shoes is to strengthen cultural identity, user identity, and local brand identity, moreover supporting local economic growth and cultural preservation.
{"title":"Visual Language of Javanese Script on Shoe Design as Cultural Identity","authors":"C. Purnomo, Soteria Adia Mahanaim, Fang-ying Riva Lo, Viqi Ardaniah, Peter Ardhianto","doi":"10.33153/glr.v19i2.3951","DOIUrl":"https://doi.org/10.33153/glr.v19i2.3951","url":null,"abstract":"Various culture in Indonesia is slowly being forgotten by the majority, for people now uses another way of communication to deliver the message from one person to another. One of the examples that could see is the usage of Javanese script or usually called Hanacaraka. Therefore, studying the visual language of shoe design from Flymax Indonesia case study will help the public to understand how urgent creative cultural product is. This research uses qualitative research regarding the case study based on the in-depth interview through the owner of Flymax Indonesia and visual language analysis regarding the visuals. This study has implications for the creative industry practitioners in conveying visual language and impacting methods in developing creative products by including cultural elements in popular products. From Flymax study case, implementing cultural to modern shoes is to strengthen cultural identity, user identity, and local brand identity, moreover supporting local economic growth and cultural preservation.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48469401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
R. Utami, Andra Wahdini, Augusto Prastyo Yoshuhiro Prakoso
AbstractThe COVID-19 pandemic affects all aspects, including cultural arts. Cultural arts have an important role in human civilization as a result of thoughts and traditions from ancestors. The existence of the cultural arts of Malay Riau is decreased during the pandemic. All cultural arts activities have been shifted from the offline stage to the online stage so that the efforts to inherit and develop the cultural arts of Malay Riau are hampered. This research aims to determine the differences in the existence of Malay Riau cultural arts before and after the pandemic in Riau students at the Malay Riau Cultural Unit, Bandung Institute of Technology (UKMR ITB) and in Riau people in general. This research also aims to gather the opinions from Riau students and Riau people about innovations to inherit the Malay Riau cultural arts during the pandemic. The methods which are used in this research to gather the data: study literature, interviews, and questionnaires. Based on this research, Malay Riau Cultural Unit has made an innovation to inherit the values of Malay Riau cultural arts through making cultural archives so that the inheritance of traditions can be carried out, even though the pandemic is still undergoing. Through this research, we hope that the existence of Malay Riau cultural arts can be maintained through continuous innovation, especially in Riau students at the Malay Riau Cultural Unit and in the Riau people.Keywords: Cultural arts; Malay Riau; Existence, pandemic; Innovation
{"title":"Virtual Art Innovations for Maintaining the Existence of Riau Malay Culture","authors":"R. Utami, Andra Wahdini, Augusto Prastyo Yoshuhiro Prakoso","doi":"10.33153/glr.v19i2.3591","DOIUrl":"https://doi.org/10.33153/glr.v19i2.3591","url":null,"abstract":"AbstractThe COVID-19 pandemic affects all aspects, including cultural arts. Cultural arts have an important role in human civilization as a result of thoughts and traditions from ancestors. The existence of the cultural arts of Malay Riau is decreased during the pandemic. All cultural arts activities have been shifted from the offline stage to the online stage so that the efforts to inherit and develop the cultural arts of Malay Riau are hampered. This research aims to determine the differences in the existence of Malay Riau cultural arts before and after the pandemic in Riau students at the Malay Riau Cultural Unit, Bandung Institute of Technology (UKMR ITB) and in Riau people in general. This research also aims to gather the opinions from Riau students and Riau people about innovations to inherit the Malay Riau cultural arts during the pandemic. The methods which are used in this research to gather the data: study literature, interviews, and questionnaires. Based on this research, Malay Riau Cultural Unit has made an innovation to inherit the values of Malay Riau cultural arts through making cultural archives so that the inheritance of traditions can be carried out, even though the pandemic is still undergoing. Through this research, we hope that the existence of Malay Riau cultural arts can be maintained through continuous innovation, especially in Riau students at the Malay Riau Cultural Unit and in the Riau people.Keywords: Cultural arts; Malay Riau; Existence, pandemic; Innovation","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48836579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
AbstractThis research will explain how taste can be formed and developed from a musical arts community called Pusat Olah Seni Surabaya (POSS), where this community always holds practices in musical arts in the Balai Pemuda area. By using Pierre Bourdieu's aesthetic taste, which is formed through the aspects of habitus, capital, and the realm contained in this phenomenon, the researcher sees that this POSS activity is an attempt to build a taste for music orchestration as a form of resistance from the lower class to upper-class culture.Keywords: Habitus; Capital; Domain; Taste; Subculture
摘要本研究将解释品味是如何从一个名为Pusat Olah Seni Surabaya（POSS）的音乐艺术社区形成和发展的，该社区一直在Balai Pemuda地区从事音乐艺术实践。通过运用皮埃尔·布迪厄的审美趣味，这种审美趣味是通过这一现象所包含的习惯、资本和境界等方面形成的，研究人员认为，这种POSS活动是试图建立一种对音乐配器的品味，作为下层对上层文化的一种抵抗形式。关键词：习性；首都领域味道亚文化
{"title":"Surabaya Arts Center: A Formation of Musical Orchestration Taste in Balai Pemuda (Youth Hall)","authors":"Muhammad Kusuma Wardhana","doi":"10.33153/glr.v19i2.3540","DOIUrl":"https://doi.org/10.33153/glr.v19i2.3540","url":null,"abstract":"AbstractThis research will explain how taste can be formed and developed from a musical arts community called Pusat Olah Seni Surabaya (POSS), where this community always holds practices in musical arts in the Balai Pemuda area. By using Pierre Bourdieu's aesthetic taste, which is formed through the aspects of habitus, capital, and the realm contained in this phenomenon, the researcher sees that this POSS activity is an attempt to build a taste for music orchestration as a form of resistance from the lower class to upper-class culture.Keywords: Habitus; Capital; Domain; Taste; Subculture","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47971033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRAKSendratari Topeng Sekartaji merupakan tari tradisi garapan baru yang diilhami oleh Serat Panji yang ditulis pada Jaman Jenggala Kediri abad XI-XII. Tujuan penelitian Sendratari Topeng Sekartaji adalah untuk menggali kreativitas tari di sekitar Surakarta serta menemukan bentuk dan elemen-elemen pendukungnya. Metode penelitian yang digunakan meliputi pengumpulan data dengan tekhnik observasi, wawancara dan dokumentasi. Pengolahan data dilakukan dengan tekhnik analisis bentuk dan struktur. Evaluasi validitas data dengan tekhnik trianggulasi. Penelitian menggunakan pendekatan antropologi seni yang beranggapan bahwa karya seni merupakan ekspresi karya seniman. Hasil penelitian menunjukan Sendratari Topeng Sekartaji merupakan karya tari kelompok bertema percintaan sebagai ungkapan kreativitas seni yang popular pada zaman akhir orde lama dan awal orde baru. Sendratari dalam kurun waktu, dipentaskan dengan berbagai variasi sesuai dengan pendukung, situasi dan kondisi serta waktu yang disediakan. Bentuk kreativitas seni dapat berupa frahmen, pethilan, tari tunggal dan yang paling utama adalah sendratari. Tata urutan sajian tergantung pada bentuk pertunjukanya. Gerak tari pada tokoh antagonis berupa gagahan gaya Surakarta, tokoh protagonis dengan alus luruh, sedang tari putri dengan putri luruh. Pada akhir pertunjukan selalu bermuara kepada keberhasilan hubungan cinta kasih. Kunci: sendratari, topeng, sekartaji, Surakarta.ABSTRACTThis research entitled “Sendratari Topeng Sekartaji” proposed exploring dance creativity in Surakarta and finding its formats and support elements. This research used data collection with techniques such as observation, interview and documentation as the research method. Data is processed by the technique of format and structure analysis. The technique of triangulation is used as a technique to evaluate data. This research used an art anthropological approach. It is assumed that an artwork is an expression of an artist’s work. Research results showed that Sendratari Topeng Sekartaji is a colossal dance with a romance theme. It was a representation of artwork that has been popularized since the end of the old order and early new order. During that time, sendratari has presented narratively, according to situation, condition and support elements. Art creativity manifested into fragment “pethilan”, single dance and especially “sendratari”. Its arrangement for presentation depends on its performance format. They have “gagahan” in Surakarta style for their dance moves, “alus luruh” and “putri lurah” for antagonist, protagonist, and female dance, irrespectively. The last performance always refers to romantic relationship successfully.Keywords:Sendratari Topeng; Sekartaji; Surakarta
{"title":"Sekartaji Mask Ballet in Surakarta","authors":"Darmasti Darmasti, Eko Wahyu Prihantoro, Suharji Suharji, Budi Setyastuti","doi":"10.33153/glr.v19i2.3514","DOIUrl":"https://doi.org/10.33153/glr.v19i2.3514","url":null,"abstract":"ABSTRAKSendratari Topeng Sekartaji merupakan tari tradisi garapan baru yang diilhami oleh Serat Panji yang ditulis pada Jaman Jenggala Kediri abad XI-XII. Tujuan penelitian Sendratari Topeng Sekartaji adalah untuk menggali kreativitas tari di sekitar Surakarta serta menemukan bentuk dan elemen-elemen pendukungnya. Metode penelitian yang digunakan meliputi pengumpulan data dengan tekhnik observasi, wawancara dan dokumentasi. Pengolahan data dilakukan dengan tekhnik analisis bentuk dan struktur. Evaluasi validitas data dengan tekhnik trianggulasi. Penelitian menggunakan pendekatan antropologi seni yang beranggapan bahwa karya seni merupakan ekspresi karya seniman. Hasil penelitian menunjukan Sendratari Topeng Sekartaji merupakan karya tari kelompok bertema percintaan sebagai ungkapan kreativitas seni yang popular pada zaman akhir orde lama dan awal orde baru. Sendratari dalam kurun waktu, dipentaskan dengan berbagai variasi sesuai dengan pendukung, situasi dan kondisi serta waktu yang disediakan. Bentuk kreativitas seni dapat berupa frahmen, pethilan, tari tunggal dan yang paling utama adalah sendratari. Tata urutan sajian tergantung pada bentuk pertunjukanya. Gerak tari pada tokoh antagonis berupa gagahan gaya Surakarta, tokoh protagonis dengan alus luruh, sedang tari putri dengan putri luruh. Pada akhir pertunjukan selalu bermuara kepada keberhasilan hubungan cinta kasih. Kunci: sendratari, topeng, sekartaji, Surakarta.ABSTRACTThis research entitled “Sendratari Topeng Sekartaji” proposed exploring dance creativity in Surakarta and finding its formats and support elements. This research used data collection with techniques such as observation, interview and documentation as the research method. Data is processed by the technique of format and structure analysis. The technique of triangulation is used as a technique to evaluate data. This research used an art anthropological approach. It is assumed that an artwork is an expression of an artist’s work. Research results showed that Sendratari Topeng Sekartaji is a colossal dance with a romance theme. It was a representation of artwork that has been popularized since the end of the old order and early new order. During that time, sendratari has presented narratively, according to situation, condition and support elements. Art creativity manifested into fragment “pethilan”, single dance and especially “sendratari”. Its arrangement for presentation depends on its performance format. They have “gagahan” in Surakarta style for their dance moves, “alus luruh” and “putri lurah” for antagonist, protagonist, and female dance, irrespectively. The last performance always refers to romantic relationship successfully.Keywords:Sendratari Topeng; Sekartaji; Surakarta","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47000691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Bao Hanshi, Sularso Sularso, Marie-Christinne B. Clarisse
If the study of Jesse Fewkes and Frances Densmore in the late 19th century is taken into account, western Applied Ethnomusicology is entering its second century. After more than one hundred years of development, Applied Ethnomusicology has basically become a relatively mature research path in the West, which not only provides scholars with a new research perspective but also enriches the subject connotation of Ethnomusicology to a certain extent with its research philosophy and value pursuit. In China, Applied Ethnomusicology has attracted more and more attention. Therefore, reviewing the development history of the discipline is not only conducive to clarifying the development context of the discipline but also conducive to reflecting on the current problems and better grasping the development trend of the discipline. In the first part of this paper, the factors influencing the birth and development of applied ethnomusicology are further discussed from within and outside the discipline, respectively based on consulting relevant literature and briefly summarizing the existing discussions of scholars. The second part mainly discusses the research characteristics of Applied Ethnomusicology, such as "pragmatic orientation", "change of researcher's identity", and "emphasis on intervention and intervention". The third part of the Applied Ethnomusicology on the "intervention", "the definition of" discipline "and the edge of two issues are discussed.
{"title":"The Change of Concept: the Formation and Reflection of Applied Ethnomusicology","authors":"Bao Hanshi, Sularso Sularso, Marie-Christinne B. Clarisse","doi":"10.33153/glr.v19i2.3978","DOIUrl":"https://doi.org/10.33153/glr.v19i2.3978","url":null,"abstract":"If the study of Jesse Fewkes and Frances Densmore in the late 19th century is taken into account, western Applied Ethnomusicology is entering its second century. After more than one hundred years of development, Applied Ethnomusicology has basically become a relatively mature research path in the West, which not only provides scholars with a new research perspective but also enriches the subject connotation of Ethnomusicology to a certain extent with its research philosophy and value pursuit. In China, Applied Ethnomusicology has attracted more and more attention. Therefore, reviewing the development history of the discipline is not only conducive to clarifying the development context of the discipline but also conducive to reflecting on the current problems and better grasping the development trend of the discipline. In the first part of this paper, the factors influencing the birth and development of applied ethnomusicology are further discussed from within and outside the discipline, respectively based on consulting relevant literature and briefly summarizing the existing discussions of scholars. The second part mainly discusses the research characteristics of Applied Ethnomusicology, such as \"pragmatic orientation\", \"change of researcher's identity\", and \"emphasis on intervention and intervention\". The third part of the Applied Ethnomusicology on the \"intervention\", \"the definition of\" discipline \"and the edge of two issues are discussed.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45329688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
AbstractFeminism in Sukesi Rahayu's Jineman Kenya Ndesa laras slendro pathet sanga is a study that reviews feminist discourses on the creation of gamelan music based on the issues of gender equality between women and men. The purpose of this research is to prove and show that the creation of Javanese karawitan is not only based on male paradigm domination, but women also have a role in speaking out about feminism through karawitan works. The research methodology used is descriptive qualitative by positioning the object of study as the primary focus and writings on feminism as supporting sources. The results of this study indicate that in Sukesi Rahayu's Jineman Kenya Ndesa Slendro Sanga, there is feminist content, namely an attempt to elevate the dignity of women, which in this case is sindhen, within the scope of Javanese art culture as well as women in general.Keywords: Feminism; Sindhenan; Javanese culture
摘要苏克西·拉哈尤的《吉曼·肯亚·恩德萨·拉拉斯·斯连德罗·帕特·桑加》中的女性主义是一项基于男女平等问题对佳美兰音乐创作中的女性主义话语的研究。本研究的目的是为了证明和展示爪哇卡拉维坦的创作不仅基于男性范式的统治，而且女性也可以通过卡拉维坦作品来表达女权主义。使用的研究方法是描述性定性的，将研究对象定位为主要焦点，将女权主义著作定位为辅助来源。本研究的结果表明，在Sukesi Rahayu的Jineman Kenya Ndesa Slendro Sanga中，存在着女权主义的内容，即在爪哇艺术文化以及一般女性的范围内，试图提升女性的尊严，在这种情况下是sindhen。关键词:女性主义;Sindhenan;爪哇文化
{"title":"Feminism in song of jineman kenya ndesa laras slendro pathet sanga","authors":"Sukesi Rahayu, Katrhryn Emerson, Phakkharawat Sittiprapaporn","doi":"10.33153/glr.v19i2.3558","DOIUrl":"https://doi.org/10.33153/glr.v19i2.3558","url":null,"abstract":"AbstractFeminism in Sukesi Rahayu's Jineman Kenya Ndesa laras slendro pathet sanga is a study that reviews feminist discourses on the creation of gamelan music based on the issues of gender equality between women and men. The purpose of this research is to prove and show that the creation of Javanese karawitan is not only based on male paradigm domination, but women also have a role in speaking out about feminism through karawitan works. The research methodology used is descriptive qualitative by positioning the object of study as the primary focus and writings on feminism as supporting sources. The results of this study indicate that in Sukesi Rahayu's Jineman Kenya Ndesa Slendro Sanga, there is feminist content, namely an attempt to elevate the dignity of women, which in this case is sindhen, within the scope of Javanese art culture as well as women in general.Keywords: Feminism; Sindhenan; Javanese culture","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45675560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wayang Golek is one of the nation's cultural heritage that grows and develops in West Java, and its existence still exists today but is starting to decline. Photography is one part of the technology that can bridge the Punakawan Sundanese Wayang Golek Culture in maintaining its existence. The purpose of the research is to maintain the existence of the Punakawan Sundanese Wayang Golek Culture through the media of Photography. The research method uses a qualitative descriptive approach obtained through interviews, observations and is equipped with photographic works. The results of this study indicate that Photography can be one of the media in maintaining the existence of Wayang Golek, especially the Sundanese Punakawan group, through social media such as Instagram. Photography by researchers and other artists' works shared via Instagram can be spread worldwide and stored forever, with periodic and continuous stages, the existence of Wayang Golek, especially Punakawan Sundanese, will be maintained.Keywords: Art Fotografi; Punakawan;Culture Wayang Golek.
Wayang Golek是在西爪哇成长和发展的民族文化遗产之一，它今天仍然存在，但开始衰落。摄影是技术的一部分，它可以连接Punakawan Sundanese Wayang Golek文化，以维持其存在。本研究的目的是透过摄影的媒介，维持普那卡湾巽他族Wayang Golek文化的存在。研究方法采用通过访谈、观察获得的定性描述方法，并配有摄影作品。本研究的结果表明，摄影可以成为通过Instagram等社交媒体维持Wayang Golek，特别是Sundanese Punakawan群体存在的媒介之一。通过Instagram分享的研究人员和其他艺术家的摄影作品可以在世界范围内传播并永久存储，通过周期性和连续的阶段，Wayang Golek，特别是Punakawan Sundanese的存在将得到维护。关键词:艺术摄影;Punakawan文化Wayang Golek
{"title":"Maintaining the Existence of Wayang Golek Punakawan Sunda through Photography","authors":"Noviana Sabilla, Maya Purnama Sari","doi":"10.33153/glr.v19i2.3647","DOIUrl":"https://doi.org/10.33153/glr.v19i2.3647","url":null,"abstract":"Wayang Golek is one of the nation's cultural heritage that grows and develops in West Java, and its existence still exists today but is starting to decline. Photography is one part of the technology that can bridge the Punakawan Sundanese Wayang Golek Culture in maintaining its existence. The purpose of the research is to maintain the existence of the Punakawan Sundanese Wayang Golek Culture through the media of Photography. The research method uses a qualitative descriptive approach obtained through interviews, observations and is equipped with photographic works. The results of this study indicate that Photography can be one of the media in maintaining the existence of Wayang Golek, especially the Sundanese Punakawan group, through social media such as Instagram. Photography by researchers and other artists' works shared via Instagram can be spread worldwide and stored forever, with periodic and continuous stages, the existence of Wayang Golek, especially Punakawan Sundanese, will be maintained.Keywords: Art Fotografi; Punakawan;Culture Wayang Golek.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42532877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Harihara is the amalgamation of two great gods in Hinduism, Siva and Vishnu. During the Late Classical Era (Majapahit period, 13th-15th centuries AD) three deification statues which portrayed the kings as Harihara have been found. Out of these three, two of them are not located in Indonesia anymore, one is part of the collection of Hermitage Museum, St. Petersburg, and one is in Christie’s Auction Gallery. Since these two statues are not widely known, they are barely mentioned or studied in the field of classical archaeology and art. This research focuses on the physical attributes of those two statues, particularly the clothing elements and divine attributes, in comparation to the deification statue of Raden Wijaya as Harihara, which is originated from Candi Simping and now is located in National Museum, Jakarta. The research was conducted using a qualitative-comparative method with iconographic and historical approach. It is found that while these statues show the amalgamation of Siva and Vishnu’s attributes, the depiction of Harihara in those statues are not exactly following Harihara iconography as regulated in the canons of Silpasastra and Manasara. While the canon physical attributes of Shiva and Vishnu side by side equally, in the depiction of Harihara in Java, those attributes are mixed and not always follows a rigid pattern. It is suggested that the depiction of kings as Harihara show an attempt to project them as the unifier of different factions and religious sects. The inequal depiction of Vishnu and Siva’s attributes in king’s deification statues indicates not only the dynamics of the religion in the era, but also as mean to build king’s image in the image of the God.
{"title":"Perbandingan Busana Arca Harihara Era Klasik Akhir (Koleksi State Hermitage Museum, Museum Nasional Jakarta, dan Balai Lelang Christie’s)","authors":"Waridah Muthi'ah, A. Sachari","doi":"10.33153/glr.v19i1.3533","DOIUrl":"https://doi.org/10.33153/glr.v19i1.3533","url":null,"abstract":"Harihara is the amalgamation of two great gods in Hinduism, Siva and Vishnu. During the Late Classical Era (Majapahit period, 13th-15th centuries AD) three deification statues which portrayed the kings as Harihara have been found. Out of these three, two of them are not located in Indonesia anymore, one is part of the collection of Hermitage Museum, St. Petersburg, and one is in Christie’s Auction Gallery. Since these two statues are not widely known, they are barely mentioned or studied in the field of classical archaeology and art. This research focuses on the physical attributes of those two statues, particularly the clothing elements and divine attributes, in comparation to the deification statue of Raden Wijaya as Harihara, which is originated from Candi Simping and now is located in National Museum, Jakarta. The research was conducted using a qualitative-comparative method with iconographic and historical approach. It is found that while these statues show the amalgamation of Siva and Vishnu’s attributes, the depiction of Harihara in those statues are not exactly following Harihara iconography as regulated in the canons of Silpasastra and Manasara. While the canon physical attributes of Shiva and Vishnu side by side equally, in the depiction of Harihara in Java, those attributes are mixed and not always follows a rigid pattern. It is suggested that the depiction of kings as Harihara show an attempt to project them as the unifier of different factions and religious sects. The inequal depiction of Vishnu and Siva’s attributes in king’s deification statues indicates not only the dynamics of the religion in the era, but also as mean to build king’s image in the image of the God.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46974049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The macapat song in Indonesia has been widely studied and has become an interesting topic for international analysis. The purpose of this study is to provide an overview of the extent to which the tembang macapat has been researched and published in reputable international journals. This study analyzes the literature from 1981 to 2021, identifies the publications each year, the number of articles and their authors, the most researched topics, and how interested they are in those topics. The data came from the Scopus database which was analyzed by the bibliometric method. The results of this study found articles about tembang macapat were published in Scopus indexed journals and topics related to macapat, namely ketoprak, cross-cultural perspectives, social change perspectives, Javanese, writing, and a few others. From the results of this visualization, it is necessary to increase the publication of research results in the international arena so that everything contained in the macapat song can also be known not only in Indonesia.
{"title":"Visualisasi Penelitian Tentang Tembang Macapat dari Tahun 1981 – 2021 : Analisis Bibliometrik","authors":"Oka Irmade, Winarto Winarto","doi":"10.33153/GLR.V19I1.3789","DOIUrl":"https://doi.org/10.33153/GLR.V19I1.3789","url":null,"abstract":"The macapat song in Indonesia has been widely studied and has become an interesting topic for international analysis. The purpose of this study is to provide an overview of the extent to which the tembang macapat has been researched and published in reputable international journals. This study analyzes the literature from 1981 to 2021, identifies the publications each year, the number of articles and their authors, the most researched topics, and how interested they are in those topics. The data came from the Scopus database which was analyzed by the bibliometric method. The results of this study found articles about tembang macapat were published in Scopus indexed journals and topics related to macapat, namely ketoprak, cross-cultural perspectives, social change perspectives, Javanese, writing, and a few others. From the results of this visualization, it is necessary to increase the publication of research results in the international arena so that everything contained in the macapat song can also be known not only in Indonesia.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45530378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this study was to examine the aesthetic value of balance in Wayang Kulit Purwa from the perspective of Javanese cultural structuralism. This type of research is descriptive qualitative with data sources from informants, places/events, and documents/archives. The object of this research is Wayang Purwa with the profile of knight, giant, goddess, and civil servant who were selected by purposive sampling technique. Data were collected by using in-depth interviews, participatory observation, and document analysis. Data were analyzed using interactive techniques with data reduction procedures, data display and data verification. The result of the research shows that the Wayang Kulit Purwa is a picture of real human life. The puppet characters have their own characters which generally consist of good, evil, gentle, and simple characters. Humans created by God are not the same but with a variety of characters. The characters, characteristics, and other structures tend to be opposite, however, there is no attempt to negate each other, instead they complete each other.
本研究旨在从爪哇文化结构主义的角度，探讨《Wayang Kulit Purwa》中平衡的美学价值。这种类型的研究是描述性定性的，数据来源来自线人、地点/事件和文件/档案。本研究以骑士、巨人、女神、公务员等形象的大阳普瓦为研究对象，采用有目的的抽样方法选取。采用深度访谈、参与式观察和文献分析等方法收集数据。数据分析使用交互式技术与数据简化程序，数据显示和数据验证。研究结果表明，Wayang Kulit Purwa是真实人类生活的写照。木偶人物有自己的性格，一般由善良、邪恶、温柔和简单的性格组成。上帝创造的人类不是一个人，而是有各种各样的性格。人物、特征和其他结构往往是对立的，但并没有试图相互否定，而是相互完善。
{"title":"Estetika Keseimbangan dalam Wayang Kulit Purwa: Kajian Strukturalisme Budaya Jawa","authors":"Slamet Subiyantoro","doi":"10.33153/glr.v19i1.3399","DOIUrl":"https://doi.org/10.33153/glr.v19i1.3399","url":null,"abstract":"The purpose of this study was to examine the aesthetic value of balance in Wayang Kulit Purwa from the perspective of Javanese cultural structuralism. This type of research is descriptive qualitative with data sources from informants, places/events, and documents/archives. The object of this research is Wayang Purwa with the profile of knight, giant, goddess, and civil servant who were selected by purposive sampling technique. Data were collected by using in-depth interviews, participatory observation, and document analysis. Data were analyzed using interactive techniques with data reduction procedures, data display and data verification. The result of the research shows that the Wayang Kulit Purwa is a picture of real human life. The puppet characters have their own characters which generally consist of good, evil, gentle, and simple characters. Humans created by God are not the same but with a variety of characters. The characters, characteristics, and other structures tend to be opposite, however, there is no attempt to negate each other, instead they complete each other.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42086033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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