<p><span lang="IN">The paper explains about <em>mlèsèt</em> and <em>nggandhul</em> phenomena in the Javanese <em>Karawitan</em> in the perspective of Piere Bourdieu’s sociology of arts. The datas were collected through interviews with <em>pengrawit</em>,or gamelan players, and observation of gamelan played during the performance of Yogyakarta <em>wayang</em>.</span></p><p><span lang="IN">The research shows that <em>mlèsèt</em> and <em>nggandhul</em> aresound aesthetics for the listeners and habitus of the gamelan players. Therefore, a gamelan player should possess his ngêng in order to precisely play the correct rhythm of <em>mlèsèt</em> and <em>nggandhul</em>.</span></p>

The Keris as a result of Indonesian culture that existed in the archipelago was born since this ancestor experienced a cultural change from agrarian culture to metallurgical culture that synergize with human behavior. As a worthy artifact, keris has a personal philosophy value for the wearer, where the keris contains elements of prestige result of the wrought process is quite complicated. If modern civilization the keris disappears from the nation's cultural behavior is due to the process of cultural hegemony outside and erodes the value of the local culture. This study uses a qualitative descriptive approach to analyze the function of keris icon in the symbol or brand in hermeunitic and interpret it in semiotic. So that the current keris interpreted as a symbolic visual element, then the form of a keris that curves and kris straight into the aesthetic elements of the logo or symbol in it. From several symbols or logos showing positive values have a strong philosophy of spirit and unity in the symbols of provinces and districts in Indonesia. Similarly there is the national army corps like corps Marines, symbols in the world of sports such as martial arts and exist in the college logo. But there are other things as a symbol element that is worth the economic identity, as in the brand Batik Keris, and also on other brands in the realm of postmodernism contains elements of capital.

Kèjhungan in Rèmoh Tradition on West Madura. Kèjhungan or singing style comes from the activity of peoplesinging about their everyday lives in Madura’s society. When the kèjhungan has become an “established” singing style,therefore the meaning of the kèjhungan includes the ownership meaning that is inherited through oral traditions andlegitimized in the culture of the people of Madura. The research’s assumption explains that the existence of the kèjhunganbecomes an important conscious for the whole singing culture of the Madura people. Even, in the elite village life for examplein the “gathering tradtion” of blatèr community, kèjhungan has become their identity of existence. This research is a studyon the representation of values when the kèjhungan is made as a symbol or legitimate image for the blatèr communityin the Madura society. The fi ndings of this research explains that kèjhungan has become the object of consumption thatis advanced to the blatèr community in achieving their respect. With their power, the blatèr can construct traditionalkèjhungan values into outstanding symbols in strengthening their existence in Madura’s society.

Indonesia is an archipelago consisting of various tribes, cultures, and rich in diverse musical traditions, spreading from Sabang to Merauke. This archipelago music wealth must be maintained and developed continuously through various creativity and education as part of building national identity. The creativity of Indonesian composers in composing piano compositions is realized through the concept of 'new' composition which reflects things related to 'keindonesiaan'. Their composition works later became a discourse to become an integral part of Indonesian piano music education. The archipelago idiom material works can be the basis for repositioning the music education system, especially in music analysis which includes; texture, form, scale, sound color; and music practice. This paper uses two approaches to discuss composition and education; (1) historical musicology, namely studies relating to history, notation, performance practices, and instrumentation; and (2) Rationalizing Indonesian piano music education, which is related to curriculum development.

Tujuan penelitian ini memahami konsep dan proses kreatif Teater Garasi Yogyakarta (TGY). TGY merupakan salah satu kelompok teater kontemporer Indonesia yang cukup fenomenal. Puluhan karya TGY telah disajikan dihadapan penonton baik di tingkat lokal maupun nasional. Penelitian difokuskan pada faktor-faktor internal dan eksternal yang mempengaruhi situasi kondusif bagi pertumbuhan dan perkembangan kelompok TGY. Teori kreativitas, perbandingan seni, semiotika dan manajemen seni digunakan untuk membedah permasalahan yang diajukan. Hasil penelitian menunjukkan bahwa TGY berada dalam lingkungan perteateran Yogyakarta yang syarat dengan teater tradisional melakukan ‘pemberontakan’ artistik. Sebagai organisasi seni teater kontemporer, TGY memiliki visi dan misi yang jelas. Melalui ‘laboratorium penciptaan teater’ TGY mampu menghasilkan satu maha karya pertunjukan lakon Waktu Batu (WB). Pertunjukan lakon WB terdiri tiga sub judul: ‘Waktu Batu 1, Kisah-kisah yang Bertemu di Ruang Tunggu’; ‘Waktu Batu 2, Ritus Seratus Kecemasan dan Wajah Siapa yang Terbelah’; dan ‘Waktu Batu 3, Deus ex Machina dan Perasaan-perasaan Padamu’. Karya ini inspiratif karena memakan waktu empat tahun proses kreatifnya, digerakkan oleh insan-insan muda dan dipentaskan road show di berbagai kota di Indonesia dan Singapura.Kata kunci: Teater Garasi, kesenian Yogyakarta, Waktu Batu.ABSTRACTThe Creative Process of Garasi Theater Yogyakarta for the Story of Waktu Batu. The aims of this research is to understand the creative concept and process of Garasi Theater Yogyakarta. It is one of the phenomenal Indonesian contemporary groups of theater. Some of its works have already been performed in front of local and national audiences as well. This research mainly focuses on the internal and external factors which have influnced the condusive situation towards the development and popularity of Garasi Theater Yogyakarta. In order to solve the problems formulated in the research, the theory of creativity and the comparison between semiotic and management arts were actively used. The result of the research showed that Garasi Theater Yogyakarta has a traditional characteristic developed in a theater community of Yogyakarta and soon afterwards it has carried out such an artistic rebellion. The Garasi Theater Yogyakarta is as a group of contemporary theatre which has very clear vision and mission. By doing the creative work through a laboratory of theatrical production, Garasi Theater Yogyakarta was able to create a masterpiece of a performance entitled Waktu Batu. The performance of Waktu Batu consists of three sub-titles, namely: ‘Waktu Batu 1, Kisah-kisah yang Bertemu di Ruang Tunggu’; ‘Waktu Batu 2, Ritus Seratus Kecemasan dan Wajah Siapa yang Terbelah’; dan ‘Waktu Batu 3, Deus ex Machina dan Perasaan-perasaan Padamu’. This theatrical work can be said as an inspirative work in which it took four years in its creative process, had been activated by youngsters, and had been performed by means of a road-show program through some cities in Indonesia and Singapore.Keywords: Garasi Theater, Yogyakarta arts, Waktu Batu