scholarly journals Kajian Bahasa Pragmatik pada Tari Endah Karya S. Maridi

Panggung ◽  
2013 ◽  
Vol 23 (4) ◽  
Author(s):  
Maryono

ABSTRACT This research aims to uncover the meaning of Tari Endah from a pragmatic linguistic perspec- tive. The approach to the study uses a qualitative descriptive method. The theoretical foundation refers mainly to pragmatic theories and performing art theories. The application of pragmatic theo- ries is used to research the verbal components while performing arts theories are applied to study the nonverbal components.Based on an analysis of the verbal and nonverbal components of Tari Endah, it was concluded that this dance is a romantic couples dance which is hoped to act as a good example for newlywed couples and the community in general. In addition, Tari Endah is a form of aesthetical entertainment which is highly beneficial for the audience in fulfilling their spiritual and physical needs. Keywords: pragmatic language, verbal components, and nonverbal components  ABSTRAK Penelitian ini bertujuan untuk mengungkap makna Tari Endah1 dari perspektif linguis- tik pragmatik. Pendekatan penelitiannya menggunakan metode kualitatif deskriptif. Lan- dasan teoritis yang dirujuk lebih mengacu pada teori pragmatik dan teori seni pertunjukan. Bentuk aplikasinya, teori pragmatik digunakan untuk menggali komponen yang bersifat verbal, sedangkan teori seni pertunjukan untuk mengkaji komponen yang bersifat nonver- bal.Berdasarkan analisis komponen verbal dan nonverbal pada Tari Endah didapat suatu simpulan bahwa Tari Endah merupakan salah satu bentuk tari pasangan percintaan yang diharapkan dapat dicontoh dan diteladani bagi sepasang pengantin dan masyarakat pe- nonton pada umumnya. Di samping itu Tari Endah juga merupakan bentuk hiburan estetik yang sangat bermanfaat untuk pemenuhan kebutuhan rohani dan jasmani dalam berbagai aktivitas kehidupan manusia. Kata kunci: bahasa pragmatik, komponen verbal, dan komponen nonverbal 

Author(s):  
Lailan Hadijah

This research intends to describe local wisdom in cultural tradition of randai as a tradition of performing art in customary activities such as the coronation ceremony and inheritance of customary titles, akikah, batagakpanghulu, circumcision, marriage, until the main events of various youth activities and other tradition. The paper employs qualitative descriptive method which is based on the empirical observation and grounded study as the strategy of inquiry. The findings of research are the existence of local wisdom of Minangkabau culture in randai such as: a) sambah silek as a reflection of traditional philosophy of basandi syarak-syarak basandi of the Kitabullah; b) carito kato in randai as a reflection of philosophy for kato nan ampek that has advice; c) Minangkabau language in randai as a reflection of self-identity; d) philosophy of alama takambang jadi guru as a way of life that has moral value; e) the silek randai movement as a reflection of the identity of the anak nagari that has solidarity, and f) bakaba in randai as a social identity.


Author(s):  
Avyana Destyasti Lintang ◽  
Sarjiwo Sarjiwo ◽  
Nur Iswantara

AbstractCharacter education in Indonesia is being re-implemented to shape students to have intellect and character and can be taught through art education, one of which is Javanese opera. Langen carita is one of the arts that is intended to shape children's character as a continuation of children's art education. Langen carita is a form of the sariswara method in which there are literature, songs/music/karawitan, stories and solah bawa in short operas or children's plays (ages 10-14 years). Langen carita has also developed as a performing art with many historical stories, chronicles, or daily life, including Patine Arya Penangsang. This study aims to describe the values of character education in the language of the play Patine Arya Penangsang. This research uses a qualitative descriptive method by studying, analyzing, expressing, and describing character education values in performing art. Data collection techniques used literature study, interviews, observation, and documentation, which were then validated using triangulation. The results showed that Langen Carita entitled Patine Arya Penangsang has values of religious character education, tolerance, discipline, creativity, love for the country, responsibility, leadership, self-confidence, never giving up, cooperation, obedience, perseverance, patience, courtesy, and sincere. In the elements of drama, dance, and music. AbstrakPendidikan karakter di Indonesia sedang diterapkan kembali untuk membentuk siswa memiliki akal pikiran dan budi pekerti dan dapat diajarkan melalui pendidikan seni, salah satunya dalam bentuk opera jawa. Langen carita merupakan salah satu kesenian yang ditujukan untuk membentuk karakter anak sebagai lanjutan pendidikan seni dolanan anak. Langen carita adalah bentuk dari metode sariswara yang di dalamnya terdapat sastra, tembang/lagu/musik/karawitan, cerita dan solah bawa dalam bentuk opera kecil atau sandiwara anak (usia 10-14 tahun). Langen carita juga berkembang sebagai seni pertunjukan dengan banyak cerita sejarah, babad atau kehidupan sehari-hari, salah satunya patine Arya Penangsang. Tujuan penelitian ini adalah mendeskripsikan nilai-nilai pendidikan karakter dalam langen carita lakon Patine Arya Penangsang. Penelitian ini menggunakan metode deskriptif kualitatif dengan mengkaji, menganalisis, mengungkapkan, dan menggambarkan nilai-nilai pendidikan karakter di dalam suatu kesenian. Teknik pengumpulan data menggunakan studi pustaka, wawancara, observasi, dan dokumentasi, yang kemudian divalidasi menggunakan triangulasi. Hasil penelitian menunjukkan bahwa langen carita berjudul Patine Arya Penangsang memiliki nilai-nilai pendidikan karakter religius, toleransi, disiplin, kreatif, cinta tanah air, tanggungjawab, kepemimpinan, percaya diri, pantang menyerah, kerja sama, patuh, tekun, sabar, sopan santun, dan ikhlas dalam unsur drama, tari, dan musik.


Author(s):  
Arifninetrirosa ◽  
Heristina Dewi ◽  
Bebas Sembiring

Randai dalam kehidupan masyarakat Minangkabau merupakan gabungan beberapa jenis kesenian seperti, gerak tari dari pencak silat, musik, teater dan sastra yang ditampilkan dalam satu pertunjukan yang sama. Fungsi pertunjukan randai sebagai seni pertunjukan rakyat, dan dalam perkembangan saat ini randai berfungsi sebagai tarian hiburan. Bagi perantau Minangkabau randai digunakan sebagai salah satu media pendidikan adat istiadat untuk menjaga kelestarian adat istiadat Minangkabau tetap hidup dalam komunitas budaya perantau Minangkabau. Penelitian ini dilakukan di Sanggar Sumarak Anjuang Jalan Paku, Lingkung 3 no.16, Tanah Enam Ratus Marelan Medan. Dipilihnya sanggar Sumarak Anjuang untuk diteliti karena seluruh anggotanya merupakan perantau Minangkabau yang aktif mengembangkan seni budaya dan kesenian Minangkabau termasuk randai. Penelitian menggunakan metode deskriptif kualitatif dengan pendekatan kepustakaan, wawancara, observasi dan dokumentasi. Simpulan penelitian ini, bahwa kesenian randai digunakan oleh sanggar Sumarak Anjuang sebagai media pendidikan adat istiadat Minangkabau  dengan menginformasikan pola-pola dan nilai-nilai adat istiadat serta sopan santun melalui kesenian randai kepada masyarakat, terutama bagi komunitas perantau Minangkanau dan masyarakat luas yang bersentuhan dengan kesenian ini.   Randai in the life of Minangkabau community is a combination of several types of art such as dance movements from pencak silat, music, theater and literature which are displayed in the same show. The function of the randai show is folk performing arts, and in the current development, randai functioned as an entertainment dance. For Minangkabau Randai migrants, it is used as one of the media for traditional education to preserve Minangkabau customs and exist in the cultural community of Minangkabau migrants. This research was conducted at Sumarak Anjuang Studio in Jalan Paku, Hamlet 3, No.16, Tanah Enam Ratus Marelan, Medan. The Sumarak Anjuang studio was chosen because all of the members are  Minangkabau migrants who actively develop Minangkabau arts including randai. The study used a qualitative descriptive method with a library approach, interviews, observation and documentation. The conclusions of this study  that art of randai is used by the Sumarak Anjuang Studio as a media for Minangkabau customary education by informing the patterns and custom values and politeness through randai to the community, especially for the migrant community Minangkabau and the wider community in contact with this art.


2018 ◽  
Vol 7 (1) ◽  
pp. 6
Author(s):  
Sari Mega Florensia Simanungkalit ◽  
Nurwani Nurwani ◽  
Iskandar Muda

Abstract−This study examines the semiotics contained in diharsitarlak in Simalungun society. The goal is to explore the meaning contained in the sararar and interpretation of meaning seen through the theory of semiotics. Sitarlak is a martial arts that comes from Simalungun who became the performing arts for the community that is as a welcome dance for accompanied by music and using a special outfit. The theory used relates to the research topic of Suzanna K. Langer theory which discusses the motion and the theory of semiotic de Saurrsure to express the meaning. The research time used to discuss the semiotics was held in Simalungun society was done for 2 months ie end of August until October 2017. The research place was SanggarTortor Elak-elak in Kelurahan Sirpang Dalig Raya, Raya Subdistrict, Simalungun Regency. Population in this research is artist as well as adat character, sambual (pemusik), pandihar (people who bersilat) who understand about diharsitarlak. Data collection techniques include literature study, observation, interview and documentation, and then analysis with qualitative descriptive method. Based on the research conducted, the form of diharsitarlak is a series of silat movements consisting of 7 main motifs yaitu sombah, throw boxing worship, marsimbur, mangindo (top level), mangindo (lower level), lakkasitolu-tolu and cover worship. Clothing that is used in the sitarlakdihar is long shirt and trousers (black, red, and mixture of black, white, red), yeast pane, suri-suri, and gotong salalu. The accompaniment of music on the sitarlakdihar gondrang haro-day, parahot, and gual porang. As for the semiotics contained in the scarred sitarlak poured through the sign (sign) seen from the form of motion in the series of presentation, marker (signifier) is a form of motion as the main motive in the diharsitarlak, and signified (signified) is the meaning contained in diharsitarlak. So it can be interpreted the overall meaning in the absolute sarar is the actualization of life of the people of Simalungun in various conditions, such as giving thanks to God, facing temptation, being polite and humble, respecting and appreciating others. Keywords: semiotics, signs, signifer, signified, diharsitarlak


2021 ◽  
Author(s):  
Robby Hidajat ◽  
. Pujiyanto ◽  
Surasak Jamnongsam ◽  
Muhammad ‘Afaf Hasyimy

Over the years, the methods of preserving traditional performing arts have undergone a transformation in many states of Southeast Asia. In that, the performing art societies in Indonesia and Thailand have also made a shift in their conservation strategy from organizing the performing arts as a sacred rite with few participants to massive shows to entertain bigger audiences. This research intended to review the role of Maecenas (art protector) in enforcing the existence of Ramayanaperforming arts in three destinations in Indonesia and Thailand, namely Uluwatu’s Kecak Ramayana in Bali and Prambanan’s RamayanaBallet in Central Java, both located in Indonesia, and Khon Theater in Bangkok, Thailand. The research used a qualitative descriptive method with a functional theory approach. Data were collected through interviews, observation, and document review, following which they were analysed through interpretation. The result of the research showed that the aesthetical transformation of Ramayana performing arts in Indonesia and Thailand is determined by three factors, namely locality, time, and management. Keywords: performing arts, Ramayana, art protector, conservation


Jurnal KATA ◽  
2020 ◽  
Vol 4 (1) ◽  
pp. 122
Author(s):  
Bagus Wahyu Setyawan

<p><em>Wayang is one of Javanese performing arts which has a greatfull values in Javanese society. Wayang has two dimensions; as a kind of Javanese performing art as well as Javanese literature in this context is script of wayang story. The focus of the research was to describe and explain the ecological concept on wayang story in Central Java and Yogyakarta Special Region. This research is qualitative descriptive which using ethnographic approach. Data were collected by using domain analysis techniques, taxonomic analysis, compositional analysis, and theme analysis. Data validation used extra participation technique, perseverance observation, triangulation, detailed discussion, and auditing. The research found that the ecological concept in wayang story can be found in some use term and the motto which relating to the term of environment conservation. Term about the environment preservation is found in the narration of the story, dialog of wayang characters, also find some mottos related to natural conservation effort. Referring to the results of this research, it can be assumed that the ecological concept in wayang story also functions as reminders of natural conservation and preservation for the society in Central Java and Yogyakarta Special Region.</em><em></em></p>


2021 ◽  
Vol 7 (1) ◽  
pp. 31-44
Author(s):  
Hana Yudiawati

Indonesia merupakan negara yang kaya akan budaya dan alamnya. Perkembangan budaya di Indonesia sangatlah beragam, mulai dari rumah adat, upacara adat, tarian, lagu, musik, dan bentuk seni pertunjukan lainnya, yang menampilkan keunikan masing-masing nilai budaya setempat. Seperti yang akan diuraikan di sini adalah salah satu alat musik Indonesia yaitu angklung. Penelitian ini bertujuan untuk mengetahui manajemen pelestarian angklung dan sebagai studi kasus penelitiannya adalah musik angklung yang dikembangkan dan dilestarikan di sanggar seni Saung Udjo Bandung, yang merupakan pusat pelestarian dan pertunjukan kebudayaan tradisional Sunda. Untuk metode yang digunakan adalah metode deskriptif kualitatif yaitu metode penelitian yang memanfaatkan data untuk dijabarkan sesuai data yang dilihat dan terjadi di lapangan. Pengumpulan data dilakukan dengan cara observasi langsung, wawancara, dan studi literatur. Hasil analisis menghasilkan beragam bentuk manajemen pelestarian, yaitu: Di bidang produksi, angklung yang masih tetap dipertahankan pembuatan angklung oleh para perajin secara manual dengan menggunakan tangan; Di bidang lahan, masih memanfaatkan lahan bambu yang secara terus-menerus perlu menjaga tata cara dan teknik penebangannya sehingga tidak dianggap merusak lahan bambu yang ada; Di bidang pertunjukan, diselenggarakan kegiatan dan event pertunjukan angklung di berbagai daerah; Di bidang pendidikan, masuknya angklung pada pembelajaran ekstrakurikuler di sekolah, baik di tingkat Taman Kanak-kanak sampai Perguruan Tinggi. Terwujudnya pelestarian tentu diperlukan kolaborasi yang tepat dari pihak pemerintah maupun masyarakat Indonesia dan peran serta pemerhati seni perlu sejalan dalam menjaga pelestarian angklung. Conservation Management of Angklung as Intangible Cultural Heritage ABSTRACT Indonesia is a country rich in culture and nature. The development of culture in Indonesia is very diverse, ranging from traditional houses, traditional ceremonies, dances, songs, music, and other forms of performing arts, which show the uniqueness of each local cultural value. As will be described here is one of the Indonesian musical instruments, namely the angklung. This study aims to determine the management of angklung preservation. As a case study, the research is angklung music developed and preserved in the Saung Udjo Bandung art studio, a center for the preservation and performance of Sundanese traditional culture. The method used is a qualitative descriptive method, namely a research method that utilizes data to be described according to the data seen and occurs in the field. Data collection is done by direct observation, interviews, and literature studies. The results of the analysis resulted in various forms of conservation management, namely: In the field of angklung production, the craftsmen still made angklung by hand; In the field of land, it is still utilizing bamboo land which continuously needs to maintain the methods and techniques of cutting so that it is not considered as damaging the existing bamboo land; In the field of performances, angklung performance activities and events are held in various regions; In the field of education, the inclusion of angklung in extracurricular learning in schools, both at Kindergarten to College levels. The realization of conservation certainly requires proper collaboration from the government and the Indonesian people. The participation of art observers needs to be in line with maintaining the preservation of angklung.


Author(s):  
Resdianto Permata Raharjo ◽  
Maranita Anjarsari

This study aims to describe 1) the form of cohesion contained in the news Watching Sakinah Movies, UIN Yogyakarta Give Praise Students and 2) describing the forms of coherence contained in the news Watching Sakinah Film, Students of UIN Yogyakarta Give Praise. The subjects used in this study were news of watching Sakinah film, UIN Yogyakarta students giving praise, and the objects used were sentences containing grammatical cohesion, a form of lexical cohesion. The approach used in this study is a qualitative descriptive approach. The data in this study are sentences in the news of Watching Sakinah Movies, This student is a method of literature study. While the method of data analysis in this study is descriptive method analysis method, the method used to analyze and describe cohesion markers and analyze markers of coherence. Test The results of the study show that in the news of watching Sakinah films, UIN Yogyakarta Beri Pujian students have varied markers of cohesion and coherence in the Tebuireng Online news discourse. Cohesion markers were found to reference (3), substitution (1), ellipsis (2), conjunction (3), collocation (1), and markers of coherence found cause-effect relationships (2), relationship coherence suggestions — goals (1), coherence temporal relations (1), and coherence of causal relationships (1).


Paradigma ◽  
2020 ◽  
Vol 17 (1) ◽  
pp. 72-86
Author(s):  
Siti Noviatun ◽  
Isfandayani

Abstract             The main fuction of the Bank as an funding and lending activities by offering various types of financial transaction services an attractive choice for people who do money laundering to hide money proceeds of crime. Because of that the government and Indonesian Banks make regulations related prevent money laundering that contains Customer Due Dilligence and Enhanced Due Dilligence. Bank Mandiri Syariah has implementation Customer Due Dilligence and Enhanced Due Dilligence as an effort to prevent money laundering. This analyze aims for knowing implementation Customer Due Dilligence and Enhanced Due Dilligence that has been applied by Bank Syariah Mandiri. In this study using a qualitative descriptive method. Data retrieval is done by observation, interviews and documentation to three sources of informants Bank Syariah Mandiri KCP Bekasi Timur and one sources of informants that specifically handles money laundering prevention program that is SKAP( Satuan Kerja APU PPT) Bank Mandiri Syariah. Data analysis will be done by doing three steps, they are; data reductions, data display, and verification.The observation result shows that implementation Customer Due Dilligence done at the time prospective customer open the account and the Bank doubt information customer by doing identification and verification. implementation Enhanced Due Dilligence is done to customers Politically Exposed Person/ High Risk open the account, but in practiceat Bank Syariah Mandiri KCP Bekasi Timur done when there is suspicious transaction or there is a case. Reporting process suspicious transaction through the system SIAP (System Aplikasi APU PPT) to Satuan Kerja APU PPT (SKAP) Bank Syariah Mandiri then SKAP reports to PPATK (Pusat Pelaporan Analisis Transaksi Keuangan). From implementation Customer Due Dilligence and Enhanced Due Dilligence Bank Mandiri Syariah has been prevent money laundering enter the financial system at Mandiri Sharia Bank.


2020 ◽  
Vol 12 (2) ◽  
Author(s):  
Ely Sukmana

Effectiveness of Education and Training in Increasing Auditor Performance at the Lamongan Regency Inspectorate of East Java Province. This study aims to find out and analyze education and training to be the driving factors for improving the performance of auditors at the Inspectorate of Lamongan Regency, East Java Province. The researcher used a qualitative descriptive method with an inductive approach. The conclusion of this study is the effectiveness of education and training carried out through technical training programs held by the Lamongan District Inspectorate and the implementation of functional training and technical training outside which aims to improve the performance of the Lamongan District Inspectorate auditors, including being effective. This can be understood from the results of the overall study through interviewing the author with sources and direct observations. The indicators of effectiveness of auditor participation to carry out technical training carried out by the Inspectorate and functional training and technical training held outside of stating that, every implementation. Education and training can have a positive impact on the auditor of the Lamongan District Inspectorate in improving performance to carry out their duties and functions as internal government supervisors.


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