scholarly journals REPRESENTASI KOMUNIKASI BUDAYA “NGARAK PENGANTIN BUAYA PUTIH” DALAM PERUBAHAN SOSIAL MASYARAKAT PADARINCANG

2017 ◽  
Vol 10 (2) ◽  
pp. 22
Author(s):  
Rahmi Mulyasih ◽  
Ahmad Sururi
Keyword(s):  
Social Change ◽  
Data Collection ◽  
Cultural Communication ◽  
Communication Model ◽  
Traditional Art ◽  
Community Activities ◽  
The Arts ◽  
Traditional Arts ◽  
The Impact ◽  
Made In

As one part of local wisdom, traditional art of Ngarak Pengantin Buaya Putih in Padarincang Village, Serang Regency experienced various dimensions of change in facing social change. The tendency is that people are slowly starting to display the outside culture in the wedding. This indicates a social change in Padarincang society, this social change is characterized by the reluctance of some younger generation to preserve the arts of " Ngarak Pengantin Buaya Putih ". The purpose of this study is to find out how the representation of cultural communication of White Buaya bride in the changes of social change at this time, the identification of efforts made in maintaining the traditional arts of white crocodile bride, the obstacles faced and the model of cultural communication in social change. The method used in this study is phenomenology with data collection techniques using interviews, observation and documentation. The results of the study and discussion show that the interaction and transactional communication model between Padarincang community and the outside community has resulted in the impact of social change which resulted in the local cultural stragnation. Although Padarincang society still strives to maintain the existence of art of " Ngarak Pengantin Buaya Putih " in the middle of social change and communication model that occurs in a responsive and transactional interaction. Various efforts of the stakeholders have been done in maintaining the existence of art of white crocodiles bride like the presence of sanggar, socialization and appreciation of local art displays in various community activities.

scholarly journals The Role of Stakeholder in Fostering Traditional Art Awareness (A Case Study of Sundanese Local Song ‘Cianjuran’ Artist Training in Sumedang Regency West Java, Indonesia)

2016 ◽  
Vol 16 (1) ◽  
pp. 87 ◽  
Author(s):  
Julia Julia
Keyword(s):  
Data Collection ◽  
Cultural Awareness ◽  
Stakeholder Participation ◽  
West Java ◽  
Traditional Art ◽  
Traditional Artists ◽  
Research And Education ◽  
Traditional Arts

<p>This paper examines the process of seeding or training of Sundanese Song Cianjuran by artists in Sumedang regency that is conducted by a stakeholder of Sundanese traditional arts. The study was conducted using descriptive analytic methods, and data collection was done through observation and interviews. Results from the study explained that stakeholder participation was vital and influential towards the existence of Sundanese Song Cianjuran, especially in growing cultural awareness and in generating candidates for local traditional artists.</p><p><strong>How to Cite:</strong> Julia. (2016). The Role of Stakeholder in Fostering Traditional Art Awareness (A Case Study of Sundanese Local Song ‘Cianjuran’ Artist Training in Sumedang Regency West Java, Indonesia). <em>Harmonia: Journal of Arts Research And Education</em>, 16(1), 87-94. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6005</p><p> </p>

Behind the Scenes

2017 ◽  
Vol 6 (2) ◽  
pp. 80-90
Author(s):  
Adilla Anggraeni ◽  
Adilla Amelia
Keyword(s):  
Collection Method ◽  
Traditional Art ◽  
The Arts ◽  
Arts Marketing ◽  
Art Consumption ◽  
Traditional Arts ◽  
Performing Art ◽  
Service Experiences ◽  
Art Elements ◽  
Depth Interviews

Delivering a satisfactory experience to the customers is an inseparable part of a service organization. This article investigates how two different groups of wayang orang (human wayang), a form of traditional art in Indonesia deliver service experiences to the audiences. Qualitative methods consisted of in-depth interviews and open-ended survey were utilized as the data collection method. The findings suggest that service experiences were delivered through the combination of various art elements in the performance, and some of the elements are considered to be more important than the others. Several barriers have also been identified as the barriers that inhibit consumption of this traditional art. Bharata and Swargaloka performing art groups were utilized as the context of this research. This article contributes to limited studies on traditional arts within the arts marketing domain, especially with regards to art experience delivery and art consumption.

scholarly journals MARGINALISASI GAMELAN BATEL DALAM SENI PERTUNJUKAN WAYANG KULIT DI DESA SIBANGGEDE, KABUPATEN BADUNG

2017 ◽  
Vol 17 (1) ◽  
pp. 8-12
Author(s):  
I Nyoman Surianta
Keyword(s):  
External Factors ◽  
Internal Factors ◽  
Traditional Art ◽  
Reconstruction Effort ◽  
Two Factors ◽  
Revitalization Effort ◽  
Internal And External Factors ◽  
Traditional Arts ◽  
Wayang Kulit ◽  
The Impact

The marginalization of the Gamelan Batel in Sibanggede Village can be observed in the form of the decrease of the traditional art values in the society, the displacement of traditional arts, the seculariza- tion of the traditional art, the narrowing of the traditional art performances, the hegemony of the modern art to that of the traditional one. Second, there are two factors that cause the Gamelan Batel in Sibanggede Village to be marginalized, namely, internal and external factors. The internal factors include lack of talent, lack of public interest, lack of open attitude, lack of funding from the govern- ment. The external factors are economics, technology and information, the function shift of the tradi- tional gamelan. Third, the impact of the marginalization of the Gamelan Batel in Sibanggede Village is in the form of the failure to form regeneration, failure of reconstruction effort, failure of revitalization effort.

scholarly journals Sinematografi Wayang: Persoalan Transmedia Seni Pertunjukan Tradisional dalam Program Tayangan Televisi

2019 ◽  
Vol 15 (2) ◽  
pp. 137-152
Author(s):  
Arif Eko Suprihono
Keyword(s):  
Cultural Change ◽  
Performing Arts ◽  
Research Work ◽  
Research Process ◽  
Television Industry ◽  
Traditional Art ◽  
The Arts ◽  
The World ◽  
Conflicting Interests ◽  
Traditional Arts

ABSTRAKMerujuk pada proses penelitian delapan tahun terakhir, dan melihat hasil kerja Penelitian Hibah Bersaing, Penelitian Produk Terapan, terungkap kompleksitas pengelolaan kegiatan seni pertunjukan tradisional di masyarakat. Berkait erat dengan budaya industri televisi, terbentang peluang sekaligus ancaman serius bagi eksistensi seni tradisi. Hasil  kerja penelitian dalam rencana makro, disarankan urgensi tindakan konstruktif dan sistematis kepada para pekerja seni untuk mengantisipasi benturan kepentingan industri pertelevisian Indonesia dengan pengelolaan seni pertunjukan tradisional. Persoalan cinematography seni  tradisional  membahas proses dialektika kreatif mengarah pada pemikiran, tindakan, dan produk budaya dengan menyadari kerangka perubahan dan penyesuaian kultural. Diyakini, bahwa kesenian tradisi memiliki nilai luhur, kearifan lokal, identitas karakter masyarakat, menunjuk pada kebhinnekaan dan keunggulan, kekhasan suku bangsa Indonesia, berbeda dibandingkan dengan bangsa-bangsa lain di dunia. Referring to the research process of the last eight years, and looking at the work of the Competitive Grant Research, Applied Product Research, revealed the complexity of managing traditional performing arts activities in the community. Closely related to the culture of the television industry, opportunities and serious threats lie for the existence of traditional arts. The results of research work, suggest the urgency of constructive and systematic action to the arts workers to anticipate the conflicting interests of the Indonesian television with the management of traditional performing arts. The issue of traditional art cinematography refers to the process of creative dialectics leading to thoughts, actions, and cultural products by being aware of cultural change and adjustment frameworks. It is believed, that traditional arts have noble values, local wisdom, the identity of the character of the community, pointing to diversity and excellence, the uniqueness of Indonesian from other nations in the world.

scholarly journals PERAN KESENIAN REYOG KENDHANG SANGTAKASTA SEBAGAI SARANA BEREKSPRESI MASYARAKAT DESA TUGU KECAMATAN SENDANG KABUPATEN TULUNGAGUNG

2019 ◽  
Vol 2 (1) ◽  
pp. 35
Author(s):  
Mayendra Rifai Yahya
Keyword(s):  
Young People ◽  
Contemporary Art ◽  
Descriptive Analysis ◽  
Traditional Art ◽  
Current Trends ◽  
The Arts ◽  
Efficient Information ◽  
Changing Times ◽  
The Times ◽  
Traditional Arts

Keberadaan Sangtakasta memiliki daya tarik tersendiri untuk dijadikan sebagai objek penelitian. Kesenian-kesenian tradisional dihadapkan dengan modernitas kemajuan zaman di era globalisasi yang serba canggih ini. Perubahan kebudayaan suatu daerah sedikit banyak dipengaruhi oleh perubahan-perubahan masyarakatnya. Kesenian-kesenian tradisional dengan konsep-konsep lama semakin sulit mencari peminat, setelah para generasi mudanya kurang tertarik karena tidak adanya suatu pembaharuan. Anak-anak muda lebih cenderung menyukai bentuk kesenian yang kekinian atau masa kini. Munculnya grup-grup kesenian di Kabupaten Tulungagung dengan kreativitasnya masing-masing, sedikit banyak memberi angin segar terhadap pelestarian kearifan lokal daerah. Kesenian tradisional seperti Reyog Kendhang tak luput dari objek ajang berkreativitas dalam berkesenian. Sangtakasta sebagai sanggar seni yang berada di Desa Tugu Kabupaten Tulungagung ini, saat ini sangat berperan penting dalam hal memfasilitasi minat dan bakat anak-anak muda yang ingin terjun langsung dalam berkesenian. Konsep garapan baik tarian atau musikal, semuanya disesuaikan dengan perkembangan zaman atau tren masa kini tanpa meninggalkan dasar-dasar dari kesenian itu sendiri. Kesenian tanpa adanya sebuah pembaharuan mustahil akan tetap eksis melintasi generasi ke generasi, sebab sebuah kesenian akan selalu berkembang sesuai dengan perubahan zaman. Reyog Kendhang sebagai kesenian ikon dari Kabupaten Tulungagung saat ini juga tidak luput dari sebuah pembaharuan, karena kearifan lokal akan hilang tanpa adanya masyarakat pendukung. Pendekatan etnomusikologi,sosiologi dan antropologi digunakan sebagai sarana untuk memperoleh informasi yang lebih efisien dengan metode deskriptif analisis. Hasil daripada penelitian ini bahwasanya sebuah kesenian akan terus berkembang sesuai dengan perubahan zaman, mengikuti alur perkembangan zaman sah-sah saja asalkan tidak meninggalkan dasar dari kesenian itu sendiri. Musik Reyog Kendhang Sangtakasta saat ini mampu menyesuaikan zaman sesuai dengan minat masyarakat pendukungnya.Sangtakasta's existence has its own attraction to be used as the object of research. Traditional arts are confronted with modernization in globalization era. Changes of the culture in region are influenced by changes of society. Traditional arts with old concepts are difficult to find enthusiasts, after young people generation is less interested because there is no update in traditional art. Young people prefer contemporary art forms. The emergence of art groups in Tulungagung Regency with their respective creativity, gave a fresh update to the preservation of the local wisdom of the region. Traditional arts such as Reyog Kendhang is always as an objects of creativity in the arts. Sangtakasta as an art studio located in Tulungagung Regency Tugu Village currently plays an important role in facilitating young people’s talent who want to get involved in art. The project of sangtakasta studio is dance and musical, all adapted to the current trends without leaving the basics of the art itself. Art without update is can’t exist across generations, because an art will always develop in accordance with changing times. Reyog Kendhang as an iconic art from Tulungagung Regency is currently has an update, because local wisdom will be lost without the support community. Ethnomusicology, sociology and anthropology approaches are used to obtain more efficient information with descriptive analysis methods. The results of this study that an art will continue to develop in accordance with the changing times, follow the flow of the development of the times is fine as long as it does not leave the basis of art itself. Reyog Kendhang Sangtakasta Music is currently able to adjust the times according to the interests of the supporting community

scholarly journals The Popularity of Karinding among Bandung Society

Panggung ◽  
2017 ◽  
Vol 27 (4) ◽  
Author(s):  
Hinhin Agung Daryana
Keyword(s):  
Social Sciences ◽  
Qualitative Research ◽  
Data Collection ◽  
Literacy Development ◽  
Research Method ◽  
Creative Economy ◽  
Qualitative Research Method ◽  
Traditional Arts ◽  
The Impact ◽  
Written Sources

ABSTRACT The study focuses on the impact of karinding popularity on Bandungnese. In trying to understand its focus, the study uses several approaches of social sciences such as sociology, anthropology, and qualitative research method including data collection from oral and written sources. Since karinding was played by a band called Karinding Attack, it became popular music in Bandung. In the end, the popularity of karinding gave some impacts on Bandungnese, both its practitioners and its audience. The movements considered as the result of karinding popularity include multiple activities such as tourism activities, networking development, educational activities, revitalization of traditional arts other than karinding, music development, literacy development, and the development of creative economy. Keywords: Impact, Popularity, Karinding, Bandung

scholarly journals Lembaga Olah Seni Budaya Jambi Kota Seberang Mengenal Kompangan Dan Hadrah Sebagai Seni Tradisional Melayu Jambi 1995-2017

2020 ◽  
Vol 20 (3) ◽  
pp. 926
Author(s):  
Siti Heidi Karmela ◽  
Ferry Yanto ◽  
Malynda Ayu Aprilia
Keyword(s):  
Cultural History ◽  
Research Problem ◽  
Historical Study ◽  
Name Change ◽  
Main Research ◽  
Traditional Art ◽  
Historical Method ◽  
Cultural Arts ◽  
The Arts ◽  
Traditional Arts

This research is a historical study with the theme of cultural history, with the object of research being the Kompangan Group and the Hadrah Group belonging to the Jambi seberang cultural arts institute in Jelmu village, Kampung Tengah Sekoja district. The main research problem is about “Kompangan and Hadrah Group Managed by LOSBJKS in Jelmu Village Since 1995 – 2017”, with two formulation of the problem proposed, namely; why LOSBJKS as an art institution can advance and develop the arts of Kompangan and Hadrah especially in Jelmu village and generally in the Sekoja area, and how LOSBJKS in preserving the values contained in the art of Kompangan and Hadrah as Jambi Malay traditional arts. The research objective is to explain the development of the Kompangan and Hadrah Groups belonging LOSBJKS which are the pioneers for the emergence of other traditional art groups especially in Jelmu village and generally in Sekoja area. In addition, it can also describe the roles and contributions of the board and members who are members of LOSBJKS to preserve the arts of Kompangan and Hadrah as traditional Jambi Malay arts. The research method used is the historical method which is method in historical research, where according to Kuntowijoyo the method starts from the heuristic, criticism, interpretation, and historiography. The findings show that there are change and developments from LOSBJKS, namely, first it can be seen from the name change from Riyadusholihin to LOSBJKS. Second, it is seen in the wider area of origin of permanent and non-permanent members. Third, in the terms of musical instruments, fourth, namely the costumes used especially the members of the Hadrah Group. Fifth, there was a change in the Kompangan technique (straight and circular patterns), if previously it was more characteristic of the Palembang (irregular) hitting technique, it had changed to Jambi striking technique that was more polite and neat. Sixth, in therm of singing there has also been a change, namely generally prayer and Malay songs, but at festivals sometimes there are also local songs so that they are not monoton.   

scholarly journals Kesenian Barongan Kabupaten Pati dalam Pergeseran Budaya

2017 ◽  
Vol 12 (2) ◽  
pp. 90
Author(s):  
Laura Andri Retno M
Keyword(s):  
Cultural Influences ◽  
Modern Society ◽  
Shift Function ◽  
Traditional Art ◽  
Stage Of Development ◽  
The Arts ◽  
Art And Culture ◽  
Qualitative Descriptive ◽  
Changing Times ◽  
Traditional Arts

Traditional arts are used to express the beauty of the human soul. In traditional artwork implicit message of the society of knowledge, ideas, beliefs and values norms. One example of a traditional art that has the function of rituals is Barongan. Barongan  is a community-owned art Kabupaten Pati, Jawa Tengah raised to preserve the culture and values in society. Through a qualitative descriptive approach with observation techniques and literature, it was found that at the next stage of development, especially in the modern society, arts performances Barongan shift function just as more entertainment. Barongan existence as art and traditional culture in Indonesia progressively eroded by the expansion of global art and culture. Therefore, efforts must be made to preserve the arts and culture in the midst of changing times and foreign cultural influences have been increasing in Indonesia

THE RESEARCH OF THE EVOLUTION OF TRADITIONAL ARTS USING GROUNDED THEORY DURING COVID-19

2020 ◽  
Author(s):  
Mădălina Căpraru
Keyword(s):  
Grounded Theory ◽  
Data Collection ◽  
Qualitative Methodology ◽  
Theory Approach ◽  
Structured Interviews ◽  
Quality Of Data ◽  
Face To Face ◽  
On Line ◽  
Traditional Arts ◽  
The Impact

Studying the evolution of traditional arts in the XXI century brings with it the need to take into account a series of other concepts that are somewhat new in the study of traditional cultures, namely: pseudo-traditions and traditional kitsch, and also of already existing concepts such as the process of traditionalization and the adapting process of traditional arts. To better define these new concepts and to understand the reason behind the change in the traditional arts, I have chosen to use a grounded theory approach to the research to highlight and point out the reason and process behind the adaption and evolution of traditional arts. The method I intend to use to collected data is in-depth interviewing combined with the observation of the interviewee in his environment or surrounded by his creations. But the Covid-19 pandemic has overthrown the data collection plans. In this article I want to emphasize the impact of the Covid-19 pandemic has on data collection and analysis, impacting the result of the research overall. The Covid-19 pandemic has forced me to reassess the data collection method approach. The in-depth interviews have transformed into semi-structured or even structured interviews, with the interviewee being able to easily avoid sensitive or disliked questions. It also takes the possibility of the researcher to analyze the behavior or reactions of the interviewee, limiting the data analyzed. The difference between the quality of data collected from face-to-face interviews compared to telephone or on-line interviewing is emphasized by the degree of the interviewee’s openness when discussing sensitive subjects, the predominance of non-opinion answers or evasive ones. In this article I want to emphasize the effect of the pandemic on the research of traditional arts using a qualitative methodology. Although on-line video interviews offer a closer to face-to-face interview experience, the interviewee is more prone to avoiding sensitive subjects or ending the interview altogether.

Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts

2022 ◽  
Vol 21 (2) ◽  
pp. 256-265
Author(s):  
I Wayan Dana ◽  
Ni Kadek Juni Artini
Keyword(s):  
Cultural Context ◽  
Qualitative Method ◽  
Active Role ◽  
Cultural Resilience ◽  
Traditional Art ◽  
The Arts ◽  
Large Trees ◽  
Traditional Arts ◽  
Male Dancers

The Baris Memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. It is danced by 7-15 male dancers. This dance is performed in Ngaben (cremation) ceremony called Pitra Yadnya, using the Baleganjur gamelan accompaniment. The objective of this study is  to analyze the form of existence of the Baris Memedi dance in implementing the Pitra Yadnya ceremony. Another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. The additional objective is to find the uniqueness of the dance that it needs preservation. The method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. Based on observation, Baris Memedi dance has four stages in its presentation form. The preservation strategy is the active role of supporting the community, the role of Jatiluwih Village apparatus, Jatiluwih artists’ participation, and the government’s support. The most important aspect of Baris Memedi it is inseparable from its community. The proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through Ajeg Bali. 

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