Gelar Jurnal Seni Budaya最新文献

{"title":"“GIN” REFLEKTIF ZAMAN DALAM KONTEKS PERTUNJUKAN LINTAS MEDIA","authors":"Mochammad Gigin Ginanjar","doi":"10.33153/GLR.V16I1.2336","DOIUrl":"https://doi.org/10.33153/GLR.V16I1.2336","url":null,"abstract":"<p align=\"center\"><strong>ABSTRAK</strong></p><p> </p><p>Hari ini, ketidakseimbangan terjadi semakin menjadi–jadi, manusia bekerja tak kenal ruang waktu. Sama seperti robot yang selalu bekerja, bekerja dan bekerja. Padahal jika masih ingin disebut manusia maka perlu sedikit usaha menyeimbangkan pikiran dan jiwa. Karya ini seperti pikiran–pikiran yang menumpuk, tumpang tindih, dan bekerja seperti bom waktu yang siap meledak kapan saja. Secara bentuk, karya ini mencoba menawarkan kembali tentang permasalahan sikap, makna kolaborasi antarmedia seni, dan penyikapan ruang pertunjukan.</p><p> </p><p><strong>Kata kunci: </strong>konsep, manusia, pertunjukan, kolaborasi</p><p> </p><p> </p><p align=\"center\"><strong><em>ABSTRACT</em></strong></p><p> </p><p><em>Today, imbalances are increasingly growing up. Humans work without knowing the space of time. It is a robot that always works, works and works. Even if you still want to be called a human, you need a little effort to balance your mind and soul. This work is like thoughts that accumulate, overlap, and work like a time bomb ready to explode at any time. In form, this work tries to offer the attitude issues, the meaning of collaboration between art media, and the performance of performing space.</em></p><p> </p><p><strong><em>Keywords: </em></strong><em>concept, human, performance, collaboration</em></p>","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42400076","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}

{"title":"ANALISIS GENDER FILM SALAH BODI MELALUI SEMIOTIKA CHRISTIAN METZ","authors":"Mohammad Mahrush Ali","doi":"10.33153/GLR.V16I1.2340","DOIUrl":"https://doi.org/10.33153/GLR.V16I1.2340","url":null,"abstract":"<p align=\"center\"><strong>ABSTRAK</strong></p><p> </p><p>Tulisan ini membahas mengenai <em>gender</em> yang terdapat pada film Salah Bodi melalui semiotika Metz. Pengamatan <em>gender </em>pada tokoh utama yaitu Farhan (Andien) dan Inong (Indra). Metode yang digunakan adalah kualitatif<em> </em>deskriptif, dengan teknik pengumpulan data yaitu telaah dokumen, studi pustaka, dan wawancara. Hasil dari tulisan ini adalah (a). Menghasilkan pemaparan dari analisis menggunakan semiotika Christian Metz pada film Salah Bodi. Delapan grand sintagmatiknya yaitu <em>Autonomous Shot, Parallel Syntagma, Descriptive Syntagma,</em> <em>Alternating Syntagma, Scene, Episodic Sequence</em>, dan<em> Ordinary Sequence </em>terkandung dalam film Salah Bodi<em> </em>kecuali sintagma kurung (<em>Bracket Syntagma</em>). Rangkaian sintagmatik Metz mengungkap adegan-adegan yang berdasarkan atas <em>gender</em> dan bertujuan untuk menunjukkan kepada penonton identitas gender dari tokoh film</p><p> </p><p>(b). <em>gender</em> yang ditampilkan dalam film Salah Bodi memiliki kecenderungan berprilaku tersendiri seperti penampilan fisik, orientasi seksual, kebiasaannya, dan respon sosial dari masyarakat. Meskipun di akhir film ditunjukkan tokoh utama kembali ke kodrat aslinya. Dalam pembahasan ini juga didukung oleh argumen dari pelaku di luar film.</p><p> </p><p><strong>Kata kunci</strong>:<strong> </strong><em>Gender</em>, Film Salah Bodi, Semiotika Christian Metz.</p><p> </p><p> </p><p align=\"center\"><strong><em>ABSTRACT</em></strong></p><p> </p><p><em>This paper discusses about gender contained in film Salah Bodi through Metz semiotics. The observation of gender is focused on the main characters, Farhan (Andien) and Inong (Indra). The method used is qualitative descriptive, with data collection techniques namely document review, literature study, and interview. The re-sults of this paper are (a). A presentation of the analysis using Christian Metz’s semiotics on the film Salah Bodi. The eight grand syntagmatic namely Autonomous Shot, Parallel Syntagma, Descriptive Syntagma, Alternating Syntagma, Scene, Episodic Sequence, and Ordinary Sequence are contained in the film Salah Bodi except Brackets Syntagm (Bracket Syntagma). The Metz’s syntagmatic sequence reveals the scenes based on gender and aims to show the audience the gender identity of the film character (b). the gender shown in the film Salah Bodi has a tendency to behave in isolation such as physical appearance, sexual orientation, habits, and social responses from the community, even though at the end of the film, the main character is shown back to his original nature. This discussion is also supported by the arguments from actors outside the film.</em></p><p> </p><p><strong><em>Keywords: </em></strong><em>Gender, Film Salah Bodi, Christian Metz Semiotics.<strong> </strong>.</em></p>","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45927897","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}

{"title":"MITOS TOKOH PEREMPUAN LAKON ABDULMULUK JAUHARI TEATER DULMULUK TUNAS HARAPAN","authors":"T. Handayani, I. N. Murtana","doi":"10.33153/glr.v15i2.2220","DOIUrl":"https://doi.org/10.33153/glr.v15i2.2220","url":null,"abstract":"Penelitian berjudul “Mitos Tokoh Perempuan Lakon Abdulmuluk Jauhari Teater Dulmuluk Tunas Harapan” ini menganalisis tentang tokoh perempuan yang dimainkan oleh aktor laki-laki dan mitos tokoh perempuan dalam lakon Abdulmuluk Jauhari. Dengan menggunakan teori semiotika untuk menjawab permasalahan tersebut maka peneliti membuat pertanyaan dalam rumusan masalah yang berkaitan dengan: bagaimana materi mitos wicara tokoh perempuan dalam lakon Abdulmuluk Jauhari pertunjukan teater Dulmuluk kelompok Tunas Harapan. Penelitian ini menggunakan teori semiotika Roland Barthes untuk melihat analisis tokoh perempuan dalam lakon Abdulmuluk Jauhari. Hasil penelitian ini memberikan pemahaman yaitu (1) Tokoh perempuan yang dimainkan oleh aktor laki-laki menampilkan sosok perempuan dengan menggunakan kostum, make-up, hair style, gerak dan nada yang menyerupai perempuan. Tunas Harapan dalam menampilkan tokoh perempuan melalui aktor laki-laki memiliki simbol-simbol kebudayaan yang disampaikan melalui tokoh perempuan. (2) Tunas Harapan menampilkan tokoh perempuan berdasarkan ideologi gender yang menghadirkan mitos perempuan, yaitu perempuan sebagai kesetaraan gender, perempuan sebagai sosok pemberani, perempuan sebagai sosok penguasa, dan perempuan sebagai penyelamat.Kata kunci: Teater Dulmuluk, Tokoh Perempuan, Mitos.The research entitled “ Mitos Tokoh Perempuan Lakon Abdulmuluk Jauhari Teater Dulmuluk Tunas Harapan “ analyzed the female characters played by male actors and the myth of a female character in Abdulmuluk Jauhari’s play. By using semiotic theory to answer these problems, the researcher makes a question in the formulation of the problem related to: how is the material of the myth of the talk of female characters in Abdulmuluk Jauhari’s play Dulmuluk theater group Tunas Harapan. This study uses Roland Barthes’s semiotic theory to look at the analysis of female characters in Abdulmuluk Jauhari’s play. The results of this study provide understanding, namely (1) The female figure played by male actors displays a female figure using costumes, make-up, hair styles, movements and tones that resemble women. Tunas Harapan in presenting female characters through male actors has cultural symbols conveyed through female characters. (2) Tunas Harapan presents women leaders based on gender ideology that presents myths of women, namely women as gender equality, women as brave figures, women as figures of rulers, and women as saviors.Keywords: Theater Dulmuluk, Female Leader, Myth.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48587657","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}

{"title":"BUDAYA ADU ZATUA DI NIAS SUMATERA UTARA","authors":"Maria Veronika Br Halawa, Aton Rustandi","doi":"10.33153/glr.v15i2.2225","DOIUrl":"https://doi.org/10.33153/glr.v15i2.2225","url":null,"abstract":"Penelitian ini membahas mengenai bagaimana transformasi budaya adu zatua yang terjadi di Nias. Adu zatua pada awalnya adalah benda ritual kepercayaan suku Nias yang bersifat sakral. Memasuki tahun 2000-an muncul reproduksi adu zatua yang menjadi benda sekuler dan bersifat profan. Budaya tradisi di Nias perlahan mulai berubah dan berkembang menjadi budaya global. Penelitian ini bertujuan untuk menemukan transformasi budaya pada adu zatua, bentuk dan juga nilai yang diterapkan. Transformasi adu zatua menghasilkan benda pariwisata di Nias. Kuatnya pariwisata budaya ini menjadikan produksi adu zatua bersifat komersil dan komoditas benda budaya.Kata kunci: Transformasi, Adu zatua, Pariwisata.  This study discusses how cultural transformation adu zatua is taking place in Nias. Adu zatua was originally a ritual object of the Nias tribe that was sacred. Entering the 2000s came the emergence of substance reproduction which became secular and profane. Cultural traditions in Nias slowly began to change and develop into a global culture. This study aims to find cultural transformations of adu zatua, form and also the values applied. The transformation of zatua produces tourism objects in Nias. The strength of this cultural tourism makes the production of adu zatua, a commercial and cultural commodity.Keywords: Transformation, Adu zatua, Tourism.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48789899","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}

{"title":"MEMUDARNYA WIBAWA NINIAK MAMAK SEBAGAI URANG NAN GADANG BASA BATUAH DI MINANGKABAU","authors":"Teguh Haniko Putra, Rahayu Supanggah","doi":"10.33153/glr.v15i2.2218","DOIUrl":"https://doi.org/10.33153/glr.v15i2.2218","url":null,"abstract":"Gadang, basa, batuah. Demikianlah niniak mamak di Minangkabau. Gadang berarti orang yang dituakan dan jadi panutan dalam kaumnya. Basa berarti menjadi pemimpin dan pengatur dalam sukunya. Batuah mengandung arti sebagai orang yang bijaksana, segala perbuatan dan ucapannya menjadi acuan sehingga sangat dihormati dalam nagari. Niniak mamak bukan hanya sekedar gelar yang disematkan kepada seseorang. Lebih dari sekedar gelar, niniak mamak adalah tampuk pimpinan adat dan tiang penyangga dalam nagari. Orang yang teguh dalam berpendirian, berprinsip dalam bersikap, konsisten dalam bicara, dan bertanggung jawab dalam bertindak. Betapa pentingnya peranan niniak mamak dalam tatanan adat Minangkabau dan betapa besarnya tanggung jawab niniak mamak dalam membina, mengayomi dan menuntun anak kemenakan, serta mengatur pemanfaatan harta pusaka tinggi dan tanah warisan kaum untuk anak kemenakannya.Kata kunci: Niniak mamak, pemimpin, Minangkabau.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43612636","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}

{"title":"ESTETIKA SENI LUKIS KARYA KOEBOE SARAWAN","authors":"Y. Yulianto, Dharsono Sony Kartika","doi":"10.33153/GLR.V15I2.2223","DOIUrl":"https://doi.org/10.33153/GLR.V15I2.2223","url":null,"abstract":"Tulisan ini merupakan bagian dari karya tesis Yulianto, 2017, dengan judul “Seni Lukis karya Koeboe Sarawan, Kritik Seni Holistik.” Keberadaan seni lukis karya Koeboe Sarawan dalam kancah seni rupa modern Indonesia, dipahami sebagai karya seni yang memiliki karakteristik tersendiri. Eksistensi dan konsistensi Koeboe dalam melahirkan karya-karya diyakini tidak lepas dari sebuah proses kreatif, telah melatar belakangi perumusan masalah tulisan ini: 1) Bagaimana proses penciptaan seni lukis Koeboe Sarawan?; 2) Bagaimana bentuk estetis seni lukis karya Koeboe Sarawan?. Penelitan ini merupakan sebuah penelitian kualitatif, dengan menggunakan pendekatan kreativitas. Metode dalam penelitian ini, yakni deskriptif analisis dan didukung analisis interpretatif. Temuan dalam penelitian ini adalah karya seni lukis Koeboe Sarawan merupakan bentuk aktualisasi diri seniman (Koeboe Sarawan) dalam memahami perjalanan dan arti kehidupan sejati. Karya-karya seni lukis karya Koeboe Sarawan telah menghadirkan nilai-nilai estetika; kesatuan, kompleksitas, dan intensitas.Kata kunci: konsep penciptaan, kreativitas, dan estetika. This paper is part of Yulianto’s thesis work, 2017, with the title “Seni Lukis Karya Koeboe Sarawan, Kritik Seni Holistik.” The existence of Koeboe Sarawan’s art of painting in the Indonesian modern art scene is understood as an artwork that has its own characteristics. Koeboe’s existence and consistency in giving birth to the works is believed to be inseparable from a creative process, has been the background of the formulation of this writing problem: 1) What is the process of Koeboe Sarawan’s painting art creation ?; 2) What is the aesthetic form of painting by Koeboe Sarawan? This research is a qualitative research, using a creative approach. The method in this study, which is descriptive analysis and supported by interpretive analysis. The findings in this study are that Koeboe Sarawan’s painting is a form of self-actualization of the artist (Koeboe Sarawan) in understanding the journey and meaning of true life. The works of painting by Koeboe Sarawan have presented aesthetic values; unity, complexity, and intensity.Keywords: creation, creativity, and aesthetic concepts.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49635384","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}

{"title":"TARI TOPENG IRENG BANDUNGREJO, NGABLAK, MAGELANG","authors":"Budi Setyastuti","doi":"10.33153/glr.v15i2.2224","DOIUrl":"https://doi.org/10.33153/glr.v15i2.2224","url":null,"abstract":"Penelitian bertujuan menggali bentuk dan fungsi sosial seni dalam adat budaya Bandungrejo. Penelitian menggunakan pendekatan kualitatif yang bersifat deskriptif. Metode pengumpulan data yang digunakan meliputi observasi, wawancara, dokumentasi dan studi pustaka. Teknik analisis data menggunakan deskriptif interpretatif. Penarikan simpulan melalui verifikasi, yang aktifitas terdiri dari reduksi data, sajian data dan laporan hasil penelitian. Hasil yang dicapai Topeng Ireng memiliki makna penting bagi kehidupan masyarakat Bandungrejo. Banyak fungsi yang berperan aktif kesenian rakyat Topeng Ireng bagi masyarakat di antaranya fungsi estetis, hiburan, perlambang, pengesahan lembaga sosial dan ritus kehidupan, pengintegrasian masyarakat, ritual, dan pendidikan. Faktor-faktor pendukung dan penghambat baik secara intern dan ekstern meliputi kondisi dan situasi masyarakat setempat dan kehadiran masyarakat desa sekitar.Kata kunci: topeng ireng, upacara adat, fungsi, faktor pendukung dan penghambat. The research aims to explore the form and function of social arts in Bandungrejo cultural customs. The Research uses qualitative approaches that are descriptive. The method of collecting data used includes observations, interviews, documentation and literature review. The data analysis uses descriptive and interpretive. Conclusion withdrawal through verification, the activity consists of data reduction, data presentation and research report results. The results achieved by Topeng Ireng have an important meaning for the life of Bandungrejo. Many functions that play an active role in the folk art of Topeng Ireng are among others aesthetic functions, entertainment, symbolism, ratification of social institutions and rites of life, integration of society, rituals, and education. Supporting and inhibiting factors both internally and externally include the conditions and situation of the local community and the presence of the surrounding village community.Keywords: ireng mask, traditional ceremony, function, supporting and inhibiting factors.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46614622","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}

{"title":"SIRAMAN SEBAGAI INSPIRASI PENCIPTAAN KARYA BUSANA TAPESTRI","authors":"Ima Novilasari","doi":"10.33153/GLR.V15I2.2219","DOIUrl":"https://doi.org/10.33153/GLR.V15I2.2219","url":null,"abstract":"Siraman adalah salah satu prosesi pokok pernikahan adat Jawa yang mengandung falsafah di dalamnya, yaitu agar calon pengantin membersihkan diri dan hati, sehingga semakin mantap dan yakin untuk melangsungkan pernikahan di keesokan harinya. Momen siraman memotivasi penulis untuk mengekspresikan apa yang dialami menjadi karya busana tapestri. Melalui siraman, penulis membangun suasana dengan simbol-simbol bersifat abstrak, kemudian dikorelasikan dengan pengalaman-pengalaman sosial penulis menjelang pernikahan. Tahap di mana penulis harus mulai menentukan sikap, menentukan pilihan, memantapkan hati untuk menghadapi kehidupan dan tanggung jawab baru. Penulis berusaha menyampaikan wujud keagungan tentang prosesi siraman ke dalam karya busana tapestry. Bentuk-bentuk yang penulis ciptakan lebih mengambil makna dari unsur air siraman yang mengalir, yang diwujudkan dalam bentuk tali-tali yang menggantung ke bawah. Proses pembuatan tapestry penulis rasakan memiliki kesamaan atau kemistri batin dengan prosesi siraman, yaitu sama-sama sebagai sebuah proses yang tidak instan, memerlukan berbagai pertimbangan sebagai puncak pencapaian agar menghasilkan karya yang syarat dengan makna.Kata kunci: Siraman, Sengalaman Sosial, Busana Tapestri.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44204196","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}

{"title":"KLEWERAN SASTRO KINANG SEBUAH KARYA SENI PENCIPTAAN TARI","authors":"Maharani Luthvinda Dewi, Eko Supriyanto","doi":"10.33153/GLR.V15I2.2222","DOIUrl":"https://doi.org/10.33153/GLR.V15I2.2222","url":null,"abstract":"Karya Kleweran Sastro Kinang diinspirasi dari bango Sastro Kinang yang pernah berada di Los C10-11 Pasar Klewer. Karya ini berupaya menampilkan aspek performatif yang natural dan artifisial. Aspek natural terjadi melalui aktivitas transaksi pedagang dan pembeli. Aspek artifisial disajikan melalui tari yang geraknya merupakan hasil eksplorasi laku pedinan di Pasar Klewer. Keseluruhan aspek itu diwadahi dalam karya dengan bentuk pameran atau instalasi aneka produk Pasar Klewer.Kata kunci: Klewer, Sastro Kinang, laku pedinan.The work of Kleweran Sastro Kinang was inspired by Bango Sastro Kinang who was at Los C10-11 Pasar Klewer. This work seeks to display the natural and artificial performative aspects. Natural aspects occur through transaction activities of traders and buyers. An artificial aspect is presented through dance whose motion is the result of laku pedinan exploratory in the Klewer Market. All aspects are accommodated in works with exhibition forms or various installations of Klewer Market products.Keywords: Klewer, Sastro Kinang, laku pedinan.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41351733","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}

{"title":"SENI LUKIS KARIKATUR KARYA GM. SUDARTA","authors":"Jimin Budiyono, Dharsono Sony Kartika","doi":"10.33153/glr.v15i2.2217","DOIUrl":"https://doi.org/10.33153/glr.v15i2.2217","url":null,"abstract":"“Seni Lukis Karikatur Karya GM. Sudarta.”ini memfokuskan permasalahan pada bagaimana latar belakang seni lukis karikatur GM. Sudarta, mengapa seni lukis GM. Sudarta bergaya karikatural dan bagaimana bentuk estetik seni lukis karikatur karya GM. Sudarta.Tujuan penelitian ini untuk memahami dan menjelaskan latar belakang seni lukis karikatur karya GM.Sudarta, memahami dan menjelaskan seni lukis GM. Sudarta yang bergaya  karikatural,  memahami  dan menjelaskan  serta  menganalisa  estetika  seni  lukis  karikatur  GM. Sudarta.Metode atau langkah-langkah penelitian ini menggunakan metode kualitatif. Lokasi penelitian di studio lukis GM.Sudarta Cisarua, Bogor Jawa Barat. Data yang diperoleh melalui observasi, wawancara dan dokumentasi (arsip). Analisis data menggunakan interaksi analisis dan interpretasi analisis dengan pendekatan kritik seni Dharsono Sony Kartika, untuk mengetahui makna estetiknya menggunakan teori estetika Monroe Beardsley.Hasil penelitian menunjukkan kepeduliannya rasa cinta bangsa seorang seniman (GM.Sudarta) kepada masyarakat, bangsa dan negara (Indonesia) yang baru dilanda krisis moral, penuh aib korupsi dan keadilan yang belum ditegakkan, dengan teriakan bahasa rupa “kita belum terlambat” masih ada waktu untuk perbaikan.Kata kunci: Latar belakang, Karikatural, Estetika.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42265689","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}