scholarly journals Jaipongan: Genre Tari Generasi Ketiga dalam Perkembangan Seni Pertunjukan Tari Sunda

2013 ◽  
Vol 14 (1) ◽  
Author(s):  
Lalan Ramlan
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Qualitative Method ◽  
Simple Structure ◽  
Phenomenological Approach ◽  
Cultural Background ◽  
Community Life ◽  
New Creation ◽  
The Creation ◽  
Aesthetic Concepts

ABSTRAK Seni pertunjukan tari Sunda hingga saat ini telah diisi dengan tiga genre tari yang diciptakan oleh tiga tokoh pembaharu tari Sunda, yaitu Rd. Sambas Wirakusumah yang menciptakan genre tari Keurseus sekitar tahun 1920- an, Rd. Tjetje Somantri yang menciptakan genre tari Kreasi Baru sekitar tahun 1950-an, dan Gugum Gumbira Tirasondjaya yang menciptakan genre tari Jaipongan pada awal tahun 1980-an. Ketiga genre tari tersebut memiliki citra estetiknya sendiri-sendiri sesuai latar budaya generasinya masing-masing. Genre tari Jaipongan yang kini sudah lebih dari 30 tahun belum tergantikan di dalamnya menunjukkan nilai-nilai yang mengakar dalam kehidupan masyarakat Sunda. Untuk mengekplanasi berbagai aspek penting yang melengkapi pembentukan sebuah genre tari ini digunakan metode kualitatif dengan pendekatan fenomenologi. Berdasarkan penelitian disimpulkan bahwa genre tari Jaipongan dibentuk oleh konsep dasar etika dan estetik egaliter dengan menghasilkan struktur koreografi yang simpel dan fl eksibel yang terdiri dari empat ragam gerak, yaitu bukaan, pencugan, nibakeun, dan mincid. Kata kunci: Gugum Gunbira, genre tari, dan Jaipongan  ABSTRACT Jaipongan: The Genre of Third Dancing Generation in the Development of Sundanese Dance Performing Arts. Sundanese dancing performance art recently has been fi lled with three dancing genres created by three prominent reformers of Sundanese dances, namely Rd. Sambas Wirakusumah who created the dance genre of Keurseus around 1920, Rd. Tjetje Somantri who created the dance genre of Kreasi Baru (New Creation) 1950s, and Gugum Gumbira Tirasondjaya who created the dance genre of Jaipongan in the early 1980s. The three genres of the dances have their own aesthetic image based on their cultural background respectively. The Jaipongan dance genre which now has been more than 30 years and not yet been changed shows the values rooted in Sundanese community life. To explain various important aspects which complete the creation of a dance genre it applies qualitative method employing a phenomenological approach. Based on the research, it is concluded that Jaipongan dance genre is shaped by ethical and aesthetic concepts of egalitarian policies to produce a simple structure and fl exible choreography of four modes of motion, i.e. aperture, pencugan, nibakeun, and mincid. Keywords: Gugum Gunbira, dance genres, and jaipongan

scholarly journals KEBERADAAN RAPA’I DABO’IH GRUP BUNGONG SITANGKEE SEBAGAI REPRODUKSI BUDAYA DI PERKAMPUNGAN BEKAS EVAKUAS CARE KORBAN PASCA TSUNAMI ACEH

2019 ◽  
Vol 8 (2) ◽  
pp. 455
Author(s):  
Beni Andika ◽  
Fani Dila Sari
Keyword(s):  
Data Collection ◽  
Cultural Identity ◽  
Performance Art ◽  
Performing Arts ◽  
Qualitative Method ◽  
Cultural Reproduction ◽  
Government Organization ◽  
Original Culture ◽  
City District

AbstrakKreativitas grup Bungong Sitangkee mempertunjukan Rapa’i Daboi’h merupakan upaya reproduksi budaya di perkampungan bekas pengungsian NGO (Non Goverment Organization) CARE di perkampungan Teurebeuh Kecamatan Kota Jantho Kabupaten Aceh Besar. Rapa’i Dabo’ih adalah seni pertunjukan atraksi yang menakjubkan. Seni pertunjukan ini digemari karena bentuk sajian pertunjukan Rapa’i Dabo’ih yang atraktif dengan debus sebagai puncak dari permainan yang disertai instrumen Rapa’i dengan lantunan syair-syair berisikan syiar agama Islam. Reproduksi budaya adalah proses mempertahankan identitas budaya yang dilakukan oleh masyarakat korban pascatsunami yang sudah tinggal menetap di area bekas pengungsian sebagai  pelestarian dan eksistensi kebudayaan asalnya. Tujuan penelitian ini adalah mengungkap keberadaan Rapa’i Daboih sebagai  reproduksi budaya yang terjadi di perkampungan CARE bekas pengungsian korban pascatsunami di Aceh 2004 lalu. Identifikasi reproduksi budaya ditinjau dari pemkanaan ulang seni pertunjukan Rapa’i Dabo’ih oleh Grup Bungong Sitangkee di Kecamatan Kota Jantho Kabupaten Aceh Besar. Metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati pertunjukan dan wawancara. Hasil penelitian ini mengungkapkan bagaimana kebradaan reproduksi budaya dengan studi kasus Rapa’i Dabo’ih.Kata Kunci: rapa’i dabo’ih, reproduksi, budaya.AbstractThe Bungong Sitangkee group's creativity demonstrates Rapa 'i Daboi'h is an effort to reproduce culture in the CARE (Non Government Organization) in Teurebeuh village, JAntho City District, Aceh Besar District. Rapa’i Dabo’ih is an amazing performing arts performance. This performance art is favored because of the attractive form of the Rapa'i Dabo'ih show with debus as the culmination of the game accompanied by the Rapa'i instrument with the recitation of verses containing Islamic symbols. Cultural reproduction is the process of maintaining cultural identity carried out by post-tsunami victims who have settled in ex-refugee areas as a preservation and existence of their original culture. The purpose of this study is to uncover the existence of Rapa'i Daboih as a cultural reproduction that occurred in the CARE village of ex-refugee victims after the tsunami in Aceh in 2004. Identification of cultural reproduction is reviewed from the reopening of the Rapa 'i Dabo'ih performance by the Bungong Sitangkee Group in Kota Jantho District, Aceh Besar Regency. The method used is a qualitative method, data collection is done through observation and observing performances and interviews. The results of this study reveal how the existence of cultural reproduction with the Rapa'i Dabo'ih case study.  Keywords: rapa'i dabo’ih, reproduction, culture.  

Performing Arts

2020 ◽  
pp. 151-186
Author(s):  
Ted Nannicelli
Keyword(s):  
Moral Responsibility ◽  
Performance Art ◽  
Performing Arts ◽  
Art Music ◽  
Ethical Dimension ◽  
Bodily Harm ◽  
The Creation ◽  
Art Performance ◽  
Performing Art ◽  
The Relationship

In a discussion of three kinds of performing art—performance art, music, and theatre—this chapter explores three topics: (1) The performer’s moral responsibility to her- or himself. When this topic is broached in the criticism of an artwork, it is often because a performer has done something that raises the question of whether he or she should treat him- or herself in that way—often, but not always, in a way that involves bodily harm. (2) The ethical dimension of the relationship between performers. In cases of collaboration, the creation of such performances necessarily involves an interpersonal dynamic, which, in turn, has an essential ethical dimension. It also considers the additional complication of performances in which audience members contribute to the performance in a sufficiently robust way as to be regarded as co-performers or co-creators. (3) The ethical dimension established by the relationship between the performer(s) and the (non-interactive) audience, rather than performers and other performers.

scholarly journals Westerncentric in the Design of Costumes in Javanese Dance Opera in the XVIII Century

2021 ◽  
Vol 8 (1) ◽  
pp. 82
Author(s):  
R. M. Pramutomo ◽  
Riva Amelia
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
18Th Century ◽  
Scientific Basis ◽  
The Body ◽  
Design Model ◽  
Artistic Expression ◽  
Fashion Design ◽  
New Creation ◽  
Historical Methods

The 18th century Javanese performance art has given an artistic expression of the aristocrats known as the Langendriya genre. Langendriya's performing arts are the creativity of the Yogyakarta royal aristocrats who are recognized as the prototype of Javanese opera art. The creator of the Langendriya opera is Prince of Mangkubumi, the younger brother of Sultan Hamengku Buwana VII, the seventh king of the Yogyakarta kingdom. In the process of creation, Prince of Mangkubumi was assisted by his two sons, KRT. Kertanegara and KRT. Wiraguna. Through KRT Wiraguna figure Langendriya opera fashion design gets a European touch by combining Western designs and Javanese designs. This article wants to reveal the uniqueness of the Western design model applied to the Javanese designs created by KRT Wiraguna. As a new creation, the combination of Western and Javanese works by KRT Wiraguna became phenomenal in the 18th century. This article is written using historical methods combined with ethnochoreological methods as the scientific basis for opera drama. Therefore, ethnocoreological analysis will be useful in the application of design in the form of the body of the dance opera that is presented.

scholarly journals TEKNIK DAN STRATEGI PENCIPTAAN HUMOR KOMEDIAN JAWA DALAM “BASIYO-NARTOSABDHO BESANAN”

Widyaparwa ◽  
2020 ◽  
Vol 48 (1) ◽  
pp. 28-40
Author(s):  
Sony Wibisono
Keyword(s):  
Content Analysis ◽  
Qualitative Method ◽  
Cultural Background ◽  
Digital Audio ◽  
Moral Principles ◽  
Analysis Theory ◽  
The Creation ◽  
Descriptive Qualitative

        AbstractBasiyo, as a traditional comedian with a Javanese cultural background, greatly influenced the development of comedy in Indonesia. The humorous model of Basiyo and his friends through Dhagelan Matarampresents the monologue technique, which influenced Srimulat's jokes to the trend of single comedians in the contemporary era. The object of this research is one of his works, the auditive comedy "Basiyo -Nartosabdho Besanan" 1983 production. The study was conducted with a descriptive qualitative method using content analysis theory and Berger's verbal humor technique to get a description of humor characteristics through words and dialogue. The characteristics of humor found are interpreted by theories about Javanese life vision. Humor analysis found the highest usage of irony 6 times, and not using bombast, sexual allusion, outwitting. The application of techniques and Javanese moral principles in the creation of humor occurs through two things. First, satire and repartee techniques in narratives that describe the suitability and harmony of Javanese life. Second, ridicule, irony which depicts deviations, resistance to established Javanese culture.Penelitian ini bertujuan untuk mengetahui penggunaan teknik humor verbal Basiyo dan kawan-kawan dalam “Basiyo-Nartosabdho Besanan”. Untuk membuat lelucon, dilakukan dengan strategi penciptaan humor komedian berlatar belakang budaya Jawa. Penelitian ini bersifat deskriptif kualitatif. Sumber data ialah rekaman recovery digital audio drama komedi “Basiyo–Nartosabdho Besanan”. Pengumpulan data dilakukan dengan reduksi data, penyajian data, dan penarikan simpulan. Teknik pengumpulan data dilakukan dengan metode simak  dengan teknik sadap dan catat. Analisis data menggunakan model analisis interaktif. Dari hasil penelitian ini diketahui bahwa (1) drama komedi “Basiyo-Nartosabdho Besanan” secara umum menggunakan delapan teknik dari kategori humor language (humor verbal), (2) teknik humor primer yang digunakan ialah teknik irony, yaitu berupa sindiran yang berisi penyampaian sesuatu yang maknanya berlainan dengan yang dikatakan, (3) strategi penciptaan humor komedian dilakukan dengan mengolah materi nilai-nilai dasar etika Jawa, yakni prinsip hormat dan prinsip kerukunan, dan (4) permainan humor komedian terhadap prinsip budaya Jawa mengindikasikan kritik dan autokritik, baik bagi orang Jawa maupun orang yang tidak mengenal prinsip-prinsip tersebut. Prinsip hormat dan kerukunan diolah dengan strategi kepatuhan dan penyimpangan yang diungkapkan dengan teknik irony, satire, ridicule, dan repartee.

Renteng Dance in Saren Village, Nusa Penida as a Source of Inspiration for the Creation of Ceremonial Dances in Bali

2022 ◽  
Vol 21 (2) ◽  
pp. 232-245
Author(s):  
Ni Made Ruastiti ◽  
Anak Agung Indrawan ◽  
I Ketut Sariada
Keyword(s):  
Performing Arts ◽  
Qualitative Method ◽  
Aesthetic Theory ◽  
Functional Theory ◽  
Aesthetic Taste ◽  
New Findings ◽  
Study Results ◽  
The Creation ◽  
Musical Accompaniment ◽  
Research Show

This article aims to discuss the Renteng Dance in Saren Village, Nusa Penida, which is actually the forerunner of the Rejang Renteng Dance performance, which is now widely danced by mothers in the context of the dewa yadnya ceremony in Bali. Supposedly, as the forerunner of ceremonial dance performances, the Balinese people know the Renteng Dance. However, in reality, this is not the case. Balinese people seem to know more about the Rejang Renteng Dance than the Renteng Dance. (1) What is the form of the Renteng Dance in Saren Village? (2) Why is the Renteng Dance the source of the creation of ceremonial dance in Bali? This study uses a qualitative method with research data sources such as Renteng Dance performances, dancers, musicians, traditional elders, community leaders, and journals related to research results. Aesthetic theory and structural-functional theory were used to analyze all the data gathered during the observation, interviews, and literature review. The study results show that: (1) the community in Saren Village presents Renteng Dance in the form of a freelance dance (without a play). It can be seen from the way of presentation, the structure of the show, the make-up of clothes, and the musical accompaniment of the performance; and (2) the existence of Renteng Dance is the source of the creation of ceremonial dance in Bali because it has a unique appearance that is easy to imitate, according to their aesthetic taste and faith. The new findings of this research show that the level of conflict, aesthetic taste, and faith of the actors greatly influence the development and preservation of the performing arts.

‘Langen Katresnan’ Video Animasi dengan Tema Ramayana Episode Penculikan Shinta

2014 ◽  
Author(s):  
Ika Yulianti
Keyword(s):  
Performing Arts ◽  
New Work ◽  
Two Dimensional ◽  
The Public ◽  
The Creation

Ramayana story has been widely known in Indonesian society since centuries ago. This story has been disseminated from generation to generation. The story is familiar to the public in the form of this kakawin often staged in the form of performing arts, dramatari, puppet performances, as well as in the form of puppet or sculpture. Ramayana story has a lot of episodes, but in the creation of this animated video work taking Shinta kidnapping episode. This animated video works explored the form of characters and stories, as well as collaborate with dance, heater and musical arts. Kidnapping of Shinta’s story became the basis of the principal narrative in the creation of animated video with the theme of Ramayana episode kidnapping Shinta ‘Langen Katresnan’ which then developed in accordance with the ideas and concepts. It also supports the creation of new work that promotes originality of the work. This animated video works using two-dimensional techniques. This is actually a reference to that puppet animation that was first recognized by earlier ancestors.Keywords: puppet, Ramayana, animation

ПРИНЦИПИ ПІЗНАННЯ ПОБУТУВАННЯ ПЕРФОРМАНСУ

2020 ◽  
pp. 54-60
Author(s):  
Admink Admink ◽  
Жанна Шкляренко
Keyword(s):  
Social Media ◽  
Performance Art ◽  
Research Performance ◽  
Emotional States ◽  
Performance Study ◽  
Modern Culture ◽  
Cultural Phenomenon ◽  
The Social ◽  
The Creation ◽  
Dividing Line

Стаття присвячена дослідженню шляхів вивчення перформансу як культурного явища. Зростаюча увага до цього феномену зумовлена відсутністю лінії розмежування його з життям, створенню особливої реальності, спроможністю викликати потужні емоційні стани та взаємоемпатії. Проблематичність у вивченні його полягає у складності архівування, хиткий своєрідний наратив, що вислизає зі сприйняття непідготовленого глядача, міграція з виставкових зал у соціальну сферу, супроводжувана жанровими новоутвореннями. Даним дослідженням зроблено спробу аналізу шляхів пізнання культурного явища перформансу, визначені особливості побутування, виявлено закономірності проявів та варіативність в сучасній культурі. The article is devoted to the study of ways to research performance study as a cultural phenomenon. The growing interest in the phenomenon of performance art is due to the lack of a dividing line with our life, the creation of a special reality, the ability to cause strong emotional states and mutual empathy. The difficulty of study is also in trouble archiving it, shaky kind of narrative which escapes the perception of the unprepared viewer, the migration of the exhibition halls and in the social media sphere, followed by the creation of new genres. This analyzes the ways of understanding the cultural phenomenon of performance art. The features of being are determined, patterns and a variety of its manifestations in modern culture are revealed.

The Meaning of Coffee for Barista in Speciality Coffee Shop in Indonesia

2021 ◽  
pp. 097325862110058
Author(s):  
Redovan Witarta Adhi ◽  
Ulani Yunus
Keyword(s):  
Research Method ◽  
Qualitative Method ◽  
Sense Of Self ◽  
Phenomenological Approach ◽  
Third Wave ◽  
Coffee Shop ◽  
The Third ◽  
Self Image ◽  
Specialty Coffee ◽  
Coffee Shops

The purpose of this study is to determine the meaning of coffee for Barista in specialty coffee shop. The concept used in this study is the concept of self-image or an individual image. The concept of self-image also explains the feelings and thoughts of individuals. The research method used is qualitative method with a phenomenological approach. Whereas data collection is done by conducting observations, interviews and literature studies. The results of this study show that the meaning of coffee for Barista in specialty coffee shop is the deeper their understanding of knowledge about coffee, the stronger the meaning conveyed to their customers and also to increase the sense of self respect as Barista. Besides that, the interaction built between the Barista and the customers can also strengthen the characteristic of the coffee shops, which is to be the specialty coffee shop in the third wave era.

scholarly journals Communication Patterns of Indonesian Diaspora Women in Their Mixed Culture Families

2021 ◽  
Author(s):  
Sri Seti Indriani ◽  
Deddy Mulyana
Keyword(s):  
Data Collection ◽  
Mixed Culture ◽  
Qualitative Method ◽  
Phenomenological Approach ◽  
Verbal Communication ◽  
Communication Patterns ◽  
Language And Culture ◽  
Mixed Language ◽  
Depth Interviews

AbstractThis research underlines the communication patterns of Indonesian diaspora women in their mixed culture families and how they use these patterns in Australia. There are some differences in interpreting meanings because of the differences in language and culture. Thus, researchers are interested in examining communication patterns experienced by these diaspora women who live in Australia. The research was conducted through a qualitative method with a phenomenological approach. Data collection techniques used were in-depth interviews with 13 Indonesian women who had been living in Australia for more than 5 years and observation and documentation studies. The study showed that the communication patterns of Indonesian diaspora women living within their mixed culture families consist mainly of verbal communication classified into five categories: (1) pure English, (2) mixed language, (3) unstructured grammar English, (4) compliments and appreciation, and (5) obscene words or swearing.

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