DOCSLIB.ORG

ABSTRAK Yogyasmara. P. Ardhi, WAYANG KULIT SEBAGAI MEDIA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ABSTRAK Yogyasmara. P. Ardhi, WAYANG KULIT SEBAGAI MEDIA ABSTRAK Yogyasmara. P. Ardhi, WAYANG KULIT SEBAGAI MEDIA DAKWAH (Studi Pada Wayang Kulit Dalang Ki Sudardi di Desa Pringapus Semarang), Skripsi. Jakarta : Universitas Islam Negeri (UIN) Syarif Hidayatullah Jakarta, Juni 2010. Pembimbing : Dr. H. A. Ilyas Ismail, MA Wayang adalah salah satu puncak seni budaya bangsa Indonesia yang paling menonjol di antara banyak karya budaya lainnya. Budaya wayang meliputi seni peran, seni suara, seni musik, seni tutur, seni sastra, seni lukis, seni pahat, dan juga seni perlambang. Budaya wayang, yang terus berkembang dari zaman ke zaman, juga merupakan media penerangan, dakwah, pendidikan, hiburan, pemahaman filsafat, serta hiburan. Seiring dengan kemajuan ilmu dan teknologi moderen yang semakin pesat, seringkali kita mendengar tentang gejala dehumanisasi, adalah kemrosotan nilai- nilai kemanusiaan dan lain sebagainya. Dengan kemajuan-kemajuan yang di capai itu manusia kurang mampu mengendalikan diri, sehingga kehidupan manusia tidak seimbang baik kehidupan jasmani dan rohaninya. Dalam skripsi ini, berdasarkan latar belakang di atas maka perumusan masalah dalam penelitian ini adalah: Apa bahasa dan nilai-nilai dakwah dalam pementasan wayang kulit dalang Ki Sudardi di desa Pringapus Semarang ?Bagaimana teknik penyampaian pesan-pesan dakwah dalam pementasan wayang kulit dalang Ki Sudardi di desa Pringapus Semarang ? Penulisan dalam skripsi ini menggunakan pendekatan kualitatif diskriftif dengan metode deskriptif anlisis. Penulis akan menggambarkan dan menguraikan secara factual apa yang dilihat dan ditemukan dari objek penelitian ini. Penulis berupaya untuk meghimpun, mengolah, dan menganalisa secara kulaitatif, dan diwujudkan dalam konsep. Sedangkan data yang penulis peroleh dengan cara, observasi, wawancara, study dokumentasi, Pendekatan dakwah melalui media wayang kulit sebagai hasil dari kebudayaan Mempunyai beberapa kelebihan yang langsung bisa dirasakan manfaatnya oleh masyarakat Indonesia sampai saat ini. Pertama, kebudayaan wayang kulit sudah mendarah daging pada masyarakat khusunya masyarakat jawa tengah. kedua, pementasan atau pertunjukan wayang kulit selalu menyampaikan nilai-nilai yang sedikit banyaknya akan membawa pengaruh bagi para penggemarnya. ketiga, media wayang kulit dalam pementasannya banyak mengandung falsafah kehidupan dan tata nilai yang luhur, pada masyarakat jawa khususnya yang berada di pringapus semarang yang masih menggunakan wayang kulit sebagait media dakwah. Lampiran-lampiran WAYANG KULIT SEBAGAI MEDIA DAKWAH (Studi Pada Wayang Kulit Dalang Ki Sudardi di Desa Pringapus Semarang) 59 WAYANG KULIT SEBAGAI MEDIA DAKWAH (Studi Pada Wayang Kulit Dalang Ki Sudardi di Desa Pringapus Semarang) SKRIPSI Diajukan kepada Fakultas Ilmu Dakwah dan Ilmu Komunikasi Untuk memenuhi syarat-syarat untuk mencapai Gelar Sarjana Ilmu Komunikasi Islam (S. Kom. I) Oleh : Yogyasmara. P. Ardhi NIM: 106051001901 JURUSAN KOMUNIKASI DAN PENYIARAN ISLAM FAKULTAS ILMU DAKWAH DAN ILMU KOMUNIKASI UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 2010 / 1431 H WAYANG KULIT SEBAGAI MEDIA DAKWAH (Studi Pada Wayang Kulit Dalang Ki Sudardi di Desa Pringapus Semarang) SKRIPSI Diajukan kepada Fakultas Ilmu Dakwah dan Ilmu Komunikasi Untuk memenuhi syarat-syarat untuk mencapai Gelar Sarjana Ilmu Komunikasi Islam (S. Kom. I) Disusun Oleh: Yogyasmara. P. Ardhi NIM: 106051001901 Di Bawah Bimbingan: Dr. H. A. Ilyas Ismail, MA NIP: 19630405 199403 1 001 JURUSAN KOMUNIKASI DAN PENYIARAN ISLAM FAKULTAS ILMU DAKWAH DAN ILMU KOMUNIKASI UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 2010 / 1431 H PENGESAHAN PANITIA UJIAN Skripsi ini berjudul WAYANG KULIT SEBAGAI MEDIA DAKWAH (Studi Pada Wayang Kulit Dalang Ki Sudardi di Desa Pringapus Semarang) telah diujikan dalam sidang munaqasyah Fakultas Ilmu Dakwah dan Ilmu Komunikasi Universitas Islam Negeri Jakarta (UIN) Syarif Hidayatullah Jakarta, pada tanggal 14 Juni 2010. Skripsi ini telah diterima sebagai salah satu syarat untuk memperoleh gelar Sarjana Komunikasi Islam (S. Kom. I), Pada Jurusan Komunikasi dan Penyiaran Islam. Jakarta 22 Juni 2010 Ketua Merangkap Anggota Sekertaris Merangkap Anggota Dr. H. Arief Subhan, MA Dra. Hj. Musfirah Nurlaily,MA NIP : 19660110 199303 1 004 NIP : 19671126 199603 2 001 Anggota Penguji I Penguji II DR. Hj. Roudhonah, MA Drs. M. Sungaidi, MA NIP : 19580910 198703 2 001 NIP : 19600803 199603 2 001 Pembimbing Dr. H. A. Ilyas Ismail, MA NIP: 19630405 199403 1 001 LEMBAR PERNYATAAN Assalamualaikum, Wr. Wb Saya penulis skripsi ini dengan judul “WAYANG KULIT SEBAGAI MEDIA DAKWAH (Studi Pada Wayang Kulit Dalang Ki Sudardi di Desa Pringapus Semarang), dengan ini menyatakan bahwa : 1. Skripsi ini adalah benar-benar murni hasil karya penulis sendiri, tanpa adanya duplikasi dari hasil karya orang lain. 2. Adapun apabila penulis mengutip tulisan dan karya ilmiah orang lain, penulis telah menyantukan dalam bentu refrensi, baik footnote ataupun daftar pustaka. 3. Apabila di kemudian hari terjadi hal-hal yang merugikan orang lain, atau terbukti penulis menduplikasi karya orang lain, penulis siap menerima konsekwensi dan saksi akademis yang berlaku di UIN Syarif Hiayatullah Jakarta ini. Demikian lembar pernyataan ini di buat, harap dipergunakan sebagaimana mestinya. Terimakasih Wassalamualaikum, Wr, Wb Jakarta, 22 Juni 2010 Penulis, Yogyasmara. P. Ardhi KATA PENGANTAR Puji syukur senantiasa penulis panjatkan kehadiran Dzat yang paling agung Allah SWT, yang dengan Rahmat dan Rahiem-Nya lah penulis dapat memulai dan menyelesaikan penyusunan dan penulisan skripsi ini. Shalawat serta salam semoga senantiasa terlimpah dan mencurahkan kepada junjungan alam baginda Nabi Besar Muhammad SAW, keluargnya, serta kita umatnya yang setia yang sampai hari pembalasan nanti. Amien Dari lubuk hati yang paling terdalam, penulis sadar betul bahwa dibalik keberhasilan penulis dalam menyelesaikan penulisan skripsi ini tidak lepas dari bantuan berbagai pihak. Untuk itu, penulis ingin mengucapkan terima kasih kepada : 1. Bapak Prof. Dr. Komarudin Hidayat, selaku Rektor Universitas Islam Negeri (UIN) Syarif Hidayatullah Jakarta 2. Dekan Fakultas Dakwah dan Komunikasi Bapak DR. Arief Subhan, MA, serta para pembantu Dekan I bapak Drs. Wahidin Saputra, MA, pembantu Dekan II bapak Drs. H. Mahmud Jalal, MA, dan pembantu Dekan III bapak Drs. Studi Rizal LK, MA. 3. Bapak Drs. Jumroni, M.Si dan Ibu Umi Musyarrofah, MA selaku ketua dan Sekretaris Jurusan Komunikasi dan Penyiaran Islam, Fakultas Dakwah dan Komunikasi UIN Syarif Hidayatullah Jakarta. 4. Bapak Dr. H. A. Ilyas Ismail, MA selaku pembimbing skripsi yang telah banyak meluangkan waktu untuk membantu, mengarahkan, membimbing, memberikan masukan, saran serta kritik yang i membangun dalam penyelesaian skripsi ini. Terimakasih atas bantuan dan kesabaran bapak dalam memberikan bimbingan selama ini. 5. Bapak H. Sudardi, selaku dalang dalam perkumpulan seni wayang kulit Smarangan, yang telah meluangkan waktunya dan memberikan data-data dalam pembuatan skripsi ini. 6. Pimpinan serta staf perpustakaan Fakultas Dakwah dan Komunikasi serta Perpustakaan Utama UIN Syarif Hidayatullah Jakarta. 7. Segenap dosen Fakultas Imu Dakwah dan Ilmu Komunikasi Universitas Islam Negeri Syarif Hidayatullah Jakarta yang telah ikhlas memberikan ilmu dan pengetahuan selama peneliti melakukan riset, terimakasih atas semua petunjuk atas bantuannya. 8. Bapak Dr. H. Arief Subhan, MA selaku Ketua Sidang, Dra. Hj. Musfirah Nurlaily, MA selaku Sekertaris, Dr. Hj. Roudhonah, MA selaku Penguji I, Drs. Sungaidi, MA selaku Penguji II, Dr. H. A. Ilyas Ismail, MA selaku Pembimbing, di dalam Sidang Munaqosyah pada hari Senin 14 Juni 2010. 9. Teristimewa untuk Bapak Muslimin dan Ibu Sri Purwati selaku orang tuaku yang aku cintai, adik-adikku Wawan, dan si kembar Rina-Rini yang aku sayangi, serta Amelia yang selalu di hatiku dan menemani ku di saat senang ataupun susah, engkau motivasi dalam hidupku, serta seluruh keluargaku yang aku hormati. Dengan penuh ketulusan dan kekurangan yang penulis miliki, penulis haturkan penghargaan dan bakti yang sedalam-delamnya, dan semoga ii Allah SWT senantiasa menaungi mereka semua dengan keselamatan, rahmat, dan kebahagiaan baik di dunia maupun di akherat. Amien 10. Teman-temanku KPI D angkatan 2006. bersama merekalah penulis menimba ilmu di Universitas ini dengan segala duka maupun duka yang kami tempuh, sukses untuk kita semua. Amien 11. Sahabat setiaku baik suka ataupun duka Robby Auliya, Syafrian Akbar tanpa dukungan kalian aku tak tau jadi apa, terimakasih banyak. Kita selalu berjuang bersama untuk cita-cita kita, sekali lagi terimakasih hidup trio K. 12. Untuk teman-teman perjuangan yang juga tidak dapat kusebut namanya satu persatu, baik di kampus ataupun di rumah. Terimakasih untuk teman-teman yang selalu menyemangati dan memberi warna di dalam hidupku ini. Akhirnya , dengan mengharap ridho Allah swt, peneliti persembahkan karya tulis ini pada almamater tercinta dan mereka yang konsen pada kajian dakwah komunikasi. Penulis berharap semoga skripsi ini bermanfaat dan menjadi penambah wacana keilmuan dakwah. Penulis mohon do’a dan restu, agar ilmu yang diperoleh bermanfaat dan menuai keberkahan bagi kehidupan pribadi, keluarga, masyarakat agama, serta bangsa dan Negara ini. Amin. Jakarta, Juni 2010 Penulis iii 1 Nomor : Istimewa Jakarta, 7 April 2010 Lampiran : 1 berkas Perihal : Pengajuan Judul Skripsi Kepada Yang Terhormat: Ketua Dewan Pertimbangan Skripsi Fakultas Dakwah dan Komunikasi UIN Syarif Hidayatullah Jakarta Di Tempat Assalamu’alaaikum Wr.Wb Salam sejahtera saya sampaikan, semoga bapak/ibu senantiasa
Load more

Recommended publications
  • Performance in Bali
    Performance in Bali Performance in Bali brings to the attention of students and practitioners in the twenty-first century a dynamic performance tradition that has fasci- nated observers for generations. Leon Rubin and I Nyoman Sedana, both international theatre professionals as well as scholars, collaborate to give an understanding of performance culture in Bali from inside and out. The book describes four specific forms of contemporary performance that are unique to Bali: • Wayang shadow-puppet theatre • Sanghyang ritual trance performance • Gambuh classical dance-drama • the virtuoso art of Topeng masked theatre. The book is a guide to current practice, with detailed analyses of recent theatrical performances looking at all aspects of performance, production and reception. There is a focus on the examination and description of the actual techniques used in the training of performers, and how some of these techniques can be applied to Western training in drama and dance. The book also explores the relationship between improvisation and rigid dramatic structure, and the changing relationships between contemporary approaches to performance and traditional heritage. These culturally unique and beautiful theatrical events are contextualised within religious, intel- lectual and social backgrounds to give unparalleled insight into the mind and world of the Balinese performer. Leon Rubin is Director of East 15 Acting School, University of Essex. I Nyoman Sedana is Professor at the Indonesian Arts Institute (ISI) in Bali, Indonesia. Contents List
    [Show full text]
  • The Rise up Art Tradition in the Popular Culture
    Journal of Education and Social Sciences, Vol. 5, issue 2, (October) ISSN 2289-1552 2016 THE RISE UP ART TRADITION IN THE POPULAR CULTURE Bani Sudardi Cultural Studies Department Universitas Sebelas Maret Jl. Ir. Sutami 36 A Surakarta [email protected] ABSTRACT This research is about folklore and its corrrelation with art tradition. This research has signification wit tradition, especially in Solo, Central Java, Indonesia. Folkore is a tradition, but in the line with the development of media. Folklore spread in the wider area outside its tradition.This study used a qualitative approach. Data is the form of art traditions in Java, especially around Surakarta. Which is the source of data are the kinds of traditions such as puppets, drama, songs, and so on. The data source is also in the form of electronic display on the TV, radio, movies, and CDs. Another source is the tradition of the artists themselves. Sampling determined by purposive sampling. Art tradition is part of folklore. Today, art tradition became popular culture and loss its tradition value. Art tradition has changed and reflected the change of the era. The change is a form of the changing identities and mass communication. It mean that the culture is instable and not in the closed system. The culture is in forming, dynamic, and continuously updating their self. So, the culture is not artifacts or symbol, but a process. This research tries to study the transformation of culture from folklore or art tradition to the popular culture. Art tradition grows in the certain society. But, today, it is transformed to TV’s performance.
    [Show full text]
  • Usage of 12 Animation Principles in the Wayang
    USAGE OF 12 ANIMATION PRINCIPLES IN THE WAYANG KULIT PERFORMANCES Ming-Hsin Tsai #1, Andi Tenri Elle Hapsari *2, # Asia University, Taichung – Taiwan http://www.asia.edu.tw 1 [email protected] * Department of Digital Media Design Faculty of Creative Design 2 [email protected] Abstrak— Wayang kulit merupakan salah satu animasi tertua, animation principles will be used in this paper and further namun hingga kini belum ada penulisan lebih lanjut yang discussed in the following section. membahas tentang hubungan animasi dengan wayang kulit itu Wayang Kulit is the Indonesian shadow puppet theatre, sendiri. Dengan demikian, tulisan ini bertujuan untuk which already been acknowledge in worldwide organization memperlihatkan hubungan antara animasi yang kita kenal saat about The Masterpieces of the Oral and Intangible Heritage of ini dengan pertunjukan wayang kulit, menggunakan 12 prinsip dasar dari animasi sehingga terlihat persamaan penggunaan Humanity. It was a list maintained by UNESCO with pieces teknik yang ada dalam hubungannya dengan proses yang of intangible culture considered relevant by that organization. lainnya. The goal of this paper is to take a closer look at 12 principle of animation used in wayang kulit performances. The animation principles designed by Disney animators Kata kunci— Teknik animasi, 12 prinsip animasi, wayang kulit themselves, will act as guidelines to test the quality of Abstract— Wayang Kulit has been known as one of the oldest animation used in wayang kulit performances techniques, by animation; however, there is no definitive methodology that analyzing the use of the 12 traditional animation principles in supports the development process of these animation performances it.
    [Show full text]
  • Body of Tradition: Becoming a Woman Dalang in Bali
    Body of Tradition: Becoming a Woman Dalang in Bali A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Jennifer L. Goodlander August 2010 © 2010 Jennifer L. Goodlander. All Rights Reserved. 2 This dissertation titled Body of Tradition: Becoming a Woman Dalang in Bali by JENNIFER L. GOODLANDER has been approved for the Interdisciplinary Arts and the College of Fine Arts by William F. Condee Professor of Theater Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT GOODLANDER, JENNIFER L., Ph.D., August 2010, Interdisciplinary Arts Body of Tradition: Becoming a Woman Dalang in Bali (248 pp.) Director of Dissertation: William F. Condee The role of women in Bali must be understood in relationship to tradition, because “tradition” is an important concept for analyzing Balinese culture, social hierarchy, religious expression, and politics. Wayang kulit, or shadow puppetry, is considered an important Balinese tradition because it connects a mythic past to a political present through public, and often religiously significant ritual performance. The dalang, or puppeteer, is the central figure in this performance genre and is revered in Balinese society as a teacher and priest. Until recently, the dalang has always been male, but now women are studying and performing as dalangs. In order to determine what women in these “non-traditional” roles means for gender hierarchy and the status of these arts as “traditional,” I argue that “tradition” must be understood in relation to three different, yet overlapping, fields: the construction of Bali as a “traditional” society, the role of women in Bali as being governed by “tradition,” and the performing arts as both “traditional” and as a conduit for “tradition.” This dissertation is divided into three sections, beginning in chapters two and three, with a general focus on the “tradition” of wayang kulit through an analysis of the objects and practices of performance.
    [Show full text]
  • By Golly, the Sounds of Bali!
    By Golly, The Sounds of Bali! Designed by: Taryn O’Keefe University of Washington Summary: Students will learn about the music and culture of Bali by listening critically to the performance styles of traditional music and recreating the performance practices of the Gamelan, Kecak, and Wayang Kulit musical genres. Suggested Grade Levels: 3-5; 6-8 Specialization: General/Classroom Music Co-curricular areas: Social studies, visual arts, and drama. Categories to which the lesson-segments apply: Country: Indonesia Region of Country, if applicable: Bali Culture Group: Balinese Genres: Gamelan, Kecak, and Wayang Kulit Instrument(s): Gamelan instruments (metallophone and gong types, as well as unpitched percussion) and voice Language: Indonesian Lesson-segment titles: 1. Jam Along with Gamelan 2. Kecak Yourself Before You Wreck Yourself 3. No Strings Attached: The Music of Balinese Shadow Puppetry Resources: ● Smithsonian Folkways: “Bali: Folk Music” album liner notes. Link: http://media.smithsonianfolkways.org/liner_notes/unesco/UNES08003.pdf ● Smithsonian Folkways: “The Bali Sessions: Living Art, Sounding Spirit” album liners notes. Link: http://media.smithsonianfolkways.org/liner_notes/hart/HRT15021.pdf ● Smithsonian Folkways: “From Kuno to Kebyar: Balinese Gamelan Angklung” album liner notes. Link: http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkways/SFW50411.pdf ● Smithsonian Folkways: “Music of Indonesia, Vol. 14: Lombok, Kalimantan, Banyumas: Little-known Forms of Gamelan and Wayang” album liner notes. Link: http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkways/SFW40441.pdf ● “A Sense of Place: Wayang Kulit in Bali and wayang listrik in America.” Thesis by Prada Young. Link: http://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?article=2066&context=etd_hon_thes es ● “Performing Kecak: A Balinese dance tradition between daily routine and creative art” article by Kendra Stepputat.
    [Show full text]
  • Wayang Golek Menak: Wayang Puppet Show As Visualization Media of Javanese Literature
    Wayang Golek Menak: Wayang Puppet Show as Visualization Media of Javanese Literature Trisno Santoso 1 and Bagus Wahyu Setyawan 2 {[email protected] 1, [email protected] 2} 1Institut Seni Indonesia Surakarta, Indonesia 2Universitas Sebelas Maret, Surakarta, Indonesia Abstract. Puppet shows developing in Javanese culture is definitely various, including wayang kulit, wayang kancil, wayang suket, wayang krucil, wayang klithik, and wayang golek. This study was a developmental research, that developed Wayang Golek Ménak Sentolo with using theatre and cinematography approaches. Its aims to develop and create the new form of wayang golek sentolo show, Yogyakarta. The stages included conducting the orientation of wayang golek sentolo show, perfecting the concept, conducting FGD on the development concept, conducting the stage orientation, making wayang puppet protoype, testing the developmental product, and disseminating it in the show. After doing these stages, Wayang Golek Ménak Sentolo show gets developed from the original one, in terms of duration that become shorter, language using other languages than Javanese, show techniques that use theatre approach with modern blocking and lighting, voice acting of wayang figure with using dubbing techniques as in animation films, stage developed into portable to ease the movement as needed, as well as the form of wayang created differently from the original in terms of size and materials used. It is expected that the development and new form of wayang golek menak will get more acceptance from the modern community. Keywords: wayang golek menak, development, puppet show, visualization media, Javanese literature, serat menak. 1. INTRODUCTION Discussing about puppet shows in Java, there are two types of puppet shows, namely wayang golek and wayang krucil .
    [Show full text]
  • Indonesian Stories and Art Primary Education Resource
    Indonesian Stories and Art Primary Education Resource 1 CONTENTS 3 Indonesian stories 3 Mahabharata 4 Ramayana 5 Relevant works of art 5 Indonesian textiles 10 Batik technique 11 Wayang puppets 13 Indieguerillas 14 Indieguerillas colouring sheet Javanese people Ceremonial cloth [kain batik] [or possibly a nobleman’s skirt cloth] late 19th century (detail), cotton, natural dyes; hand-drawn batik, 106.5 h x 260.0 w cm, National Gallery of Australia, Canberra, purchased 1984. 2 INDONESIAN STORIES Mahabharata When Bima and his brothers (the Pandawa) are tricked by their cousins (the Kaurava) during a dice game The art of Indonesian textiles and puppet theatre has The Mahabharata is a story about the struggle for and sent into exile, Bima decides to establish his own traditionally depicted episodes from the ancient Hindu power between two groups of cousins, the Kaurava kingdom in the forest of Marta. Unfortunately Marta epic poems the Ramayana and the Mahabharata. and the Pandawa. In the story, the Kaurava succeed is inhabited by frightening spirits and ogres, ruled by a in tricking their cousins into betting their kingdom in a powerful king. Bima’s brother, Arjuna, follows him into game of dice. The Pandawa lose and are sent into exile the forest to protect him. Bima begins felling trees in the for thirteen years, but on their return, the Pandawa are forest but as one tree falls another rises in its place. determined to win back their kingdom and they wage The powerful King of Ogres consumes human flesh and war against the Kaurava. The conflict carries on for so finds great joy in human sorrow.
    [Show full text]
  • Kathakali from Southern India), but Each Session Will Draw Links and Parallels to One Other Traditions Across the World (Kecak, Rakugo and Commedia Dell’Arte)
    Cultivating Curiosity in World Theatre Traditions The workshops will focus on one key world theatre tradition (Kathakali from Southern India), but each session will draw links and parallels to one other traditions across the world (Kecak, Rakugo and Commedia dell’arte). Each session will focus on a different key element (convention) of performance from traditions in each session (with links to ToK). During the sessions participants will learn how to apply this key element (convention) practically and put themselves in the position of risk-takers. At the end of each session links to other world theatre traditions will be made, cultivating curiosity and opening up choices for life-long learners, and research. Sources and resources used in the sessions will be shared with the participants to enable them to get started with planning their own work in class, and with students doing their own research. Links throughout will be made to the IB Learner Profile and the DP Theatre programme, where students are encouraged to be independent researchers and presenters. Session 1: Kathakali & Rakugo (Gesture & facial expression) This session will introduce the participants to the unfamiliar dance theatre form of Kathakali, starting with a lecture on the history and context, modelling research, life- long learning and presentation skills. Participants will then learn some Kathakali mudras (hand gestures) to communicate some words, and experiment with how to put these together with the navarasas (facial expressions). Links of this tradition will then be made to Rakugo – Japanese sit down theatre. The tradition will be introduced using short films of these solo performers (who use face, voice and gesture in a solo performance), and will then develop into practical work, where participants will have a chance to use their own voice, gesture and facial expressions to tell a story to a partner.
    [Show full text]
  • The Story of Rama
    The Story of Rama A Curriculum Packet for Educators Spring 2011 Dear Teachers, We are glad you are choosing to bring your students to the Asian Art Museum, where they will experience the first exhibition in the United States dedicated to the arts and culture of Bali, an island in Indonesia that has captured the imagination of the world for centuries. You and your class are scheduled to take a special tour of Bali: Art, Ritual, Performance at the museum. Students will learn how art and stories can teach us about culture. Culture influences how everyone views the world, and students will learn about this by studying how the Hindu epic of the hero-prince Rama (the Ramayana) appears in the visual, performing, and literary arts of Bali. “The Abduction of Sita” (kidnapping of Rama’s wife), a pivotal chapter in the Ramayana, is also an ideal lens through which students may understand how art is “lived” in Bali, the only Indonesian island whose majority population is Hindu. To prepare for your visit, we encourage you to try one or all of the lessons in the enclosed inte- grated standards-based classroom unit, The Story of Rama: Revealing Art, Ritual, and Performance through Story. We also encourage you to review your tour confirmation and theGuidelines for Teachers, Students, and Chaperones. For more information on the Bali exhibition, please visit our microsite www.asianart.org/Bali. In the meantime, if you have questions or preferences, please contact us at [email protected] or speak directly with your docent, who will contact you about two weeks prior to your tour.
    [Show full text]
  • Widyadari DOI: 10.5281/Zenodo.4661300 Vol
    Widyadari DOI: 10.5281/zenodo.4661300 Vol. 22 No. 1 (April 2021) e-ISSN : 2613-9308 p-ISSN : 1907-3232 Hlm. 195 - 208 DAMPAK PARIWISATA TERHADAP FENOMENA SEKULARISASI DALAM SENI PERTUNJUKAN WAYANG KULIT BALI I Ketut Muada1*, Nyoman Astawan2, I Nyoman Sadwika3 FKIP Universitas PGRI Mahadewa Indonesia Email: [email protected], [email protected], [email protected] ABSTRACT The purpose of this study is to understand the impact of tourism on the phenomenon of secularization in Balinese shadow puppet performances. Tendencies to make worldly and rational interpretations are often called secularization. Therefore secularization can be understood as a realistic way of thinking or a basis of social and rational considerations, still placing religion as a moral guidelines. When secularization is defined as liberation, it does not mean free from the will of God, but free from magical and superstitious life. Secularization is also a form of modernization which is an innovation in the past due to the development of science (Black, 1967). Analyzing the Balinese shadow puppet art performance with the concepts of secularization does not mean that want to place the Balinese shadow puppet art performance free from religious goals but want to place the art shadow puppet performance functionally by experiencing rational processes in accordance with the realities being faced by society Bali. Creativity in the arts is not only directed on religious goals, but appears more as commercial creativity. As commercial creativity does not mean that religious creativity is lost. Shadow puppet performance art experiences a phenomenon of secularization, in this paper, it is not understood as a separation between the afterlife and worldly affairs, but is understood as a scientific process in science to become more scientific and argumentative.
    [Show full text]
  • Progress Study of Wayang Kulit in Deli Serdang Regency of North Sumatera
    International Journal of Civil Engineering and Technology (IJCIET) Volume 9, Issue 11, November 2018, pp. 1515–1525, Article ID: IJCIET_09_11_146 Available online at http://iaeme.com/Home/issue/IJCIET?Volume=9&Issue=11 ISSN Print: 0976-6308 and ISSN Online: 0976-6316 © IAEME Publication Scopus Indexed PROGRESS STUDY OF WAYANG KULIT IN DELI SERDANG REGENCY OF NORTH SUMATERA Heristina Dewi and Arifninetrirosa University of Sumatera Utara, Department of Ethnomusicology, Faculty of Cultural Sciences, Dr. Mansur Kampus USU Medan Budi Agustono University of Sumatera Utara, Department of History, Faculty of Cultural Sciences, Dr. Mansur Kampus USU Medan ABSTRACT Wayang kulit performances include of acting art, sound art, musical art, speech art, literary art, painting, sculpture, and symbol. The aim of this study is to find or identify the development, management, role and function of wayan gkulit. This study uses a qualitative method. Findings show that the continuity of wayang kulit is still being carried out by traditional Javanese art activists even though the current carrying capacity is low and experiences ups and downs. Rarely is the performance of wayang kulit considered by the community to cause interest in becoming dalang to decline. Keywords: Wayang kulit, Development, and Dalang Cite this Article: Heristina Dewi, Budi Agustono and Arifninetrirosa, Progress Study Of Wayang Kulit In Deli Serdang Regency Of North Sumatera, International Journal of Civil Engineering and Technology, 9(11), 2018, pp. 1515–1525. http://iaeme.com/Home/issue/IJCIET?Volume=9&Issue=11 1. INTRODUCTION The plural Indonesian society spread from Satang to Marauder with a wealth of plurality of arts, cultures, ethnicities and religions.
    [Show full text]
  • Javanese Wayang Kulit, Shadow-Puppet Theater of Indonesia
    Asia Society Presents Javanese Wayang Kulit, Shadow-Puppet Theater of Indonesia Accompanied by full Javanese gamelan orchestra Performed by Ki Purbo Asmoro and members of Mayangkara Featuring Gamelan Kusuma Laras directed by I.M. Harjito Friday, March 16, 2012, 8:00 P.M. Welcoming music starts at 7:40 Asia Society 725 Park Avenue at 70th Street New York City This program is 3 hours with no Intermission. Guests are welcome to walk on stage (20 at a time) to view the shadow-side of the screen, and to enjoy food and beverages (beginning at 9 PM) upstairs in the Garden Court Café, provided by Asia Society and the Indonesian Consul General. Wayang Kulit Performance, Featuring Ki Purbo Asmoro and Mayangkara Déwa Ruci: Bima’s Spiritual Enlightenment Gamelan Kusuma Laras: Mayangkara: I.M. Harjito, Artistic Director Wakidi Dwidjomartono, musical Anne Stebinger, Co-Director director Glenn Baun-Cueto Yayuk Sri Rahayu Wayne Forrest (guest artist) Gatot Saminto Stuart Frankel Timbul Saminto Barry Frier Minarto Joseph Getter (guest artist) Sapto David Haiman Kasino Seán Hanson Subandi Denni Harjito Wiji Santoso Uci Haryono Rex Isenberg Ronald Kienhuis Robin Kimball Lutfi Kurniawan Bleakley McDowell Puspitaningsih Moeis Debie Morris Emily Jane O'Dell Dan Owen Eva Peck Mark Reilly Jason Robira Leslie Rudden Dave Ruder Jenny Sakirman Carla Scheele Amy Scott Don Shewey Elly Siswanto Tatung Suharjono Sri Suharti Bambang Sunarno Safiah Satiman Taylor Carole Weber Dylan Widjiono Antonius Wiriadjaja Sri Zainuddin Tonight’s Story: Déwa Ruci (Bima’s Spiritual Enlightenment) This episode focuses on Bima, the second of the five Pandhawa brothers. Bima is disturbed by a number of recent events in his family and has de- cided that he needs to strengthen his spiritual side and take some time to be introspective about his life.
    [Show full text]