Falidasi Data Lingkung Seni Se-Kecamatan Ujungberung Tahun 2014
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Analysis on Symbolism of Malang Mask Dance in Javanese Culture
ANALYSIS ON SYMBOLISM OF MALANG MASK DANCE IN JAVANESE CULTURE Dwi Malinda (Corresponing Author) Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 365 182 51 E-mail: [email protected] Sujito Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 817 965 77 89 E-mail: [email protected] Maria Cholifa English Educational Department, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 345 040 04 E-mail: [email protected] ABSTRACT Malang Mask dance is an example of traditions in Java specially in Malang. It is interesting even to participate. This study has two significances for readers and students of language and literature faculty. Theoretically, the result of the study will give description about the meaning of symbols used in Malang Mask dance and useful information about cultural understanding, especially in Javanese culture. Key Terms: Study, Symbol, Term, Javanese, Malang Mask 82 In our every day life, we make a contact with culture. According to Soekanto (1990:188), culture is complex which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society. Culture are formed based on the local society and become a custom and tradition in the future. Culture is always related to language. This research is conducted in order to answer the following questions: What are the symbols of Malang Mask dance? What are meannings of those symbolism of Malang Mask dance? What causes of those symbolism used? What functions of those symbolism? REVIEW OF RELATED LITERATURE Language Language is defined as a means of communication in social life. -
Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok
Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok Madoka Fukuoka Graduate School of Human Sciences, Osaka University, Japan [email protected] ABSTRACT This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia. In addition, it discusses his endeavours of crossing gender boundaries by focusing on his use of costumes and masks, and analysing two significant works: Dwimuka Jepindo as an example of comedic cross-gender expression and Dewi Sarak Jodag as an example of serious cross-gender expression. The findings indicate three overall approaches to crossing gender boundaries: (1) surpassing femininity naturally expressed by female dancers; (2) mastering and presenting female characters by female impersonators and cross-gender dancers; and (3) breaking down the framework of gender itself. Keywords: Didik Nini Thowok, cross-gender, dance, Java, Indonesia © Penerbit Universiti Sains Malaysia, 2014 58 Wacana Seni Journal of Arts Discourse. Jil./Vol.13. 2014 INTRODUCTION This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia.1 In addition, it discusses his endeavours of crossing gender boundaries by focusing on the human body's role and Didik's concept of cross-gender dance, which he has advocated since his intensive study of the subject in 2000. For the female impersonator dancer, the term "cross-gender" represents males who primarily perform female roles and explore the expression of stereotypical femininity. Through his artistic activity and unique approach, Didik has continued to express various types of femininity to deviate from stereotypical gender imagery. -
Masyarakat Kesenian Di Indonesia
MASYARAKAT KESENIAN DI INDONESIA Muhammad Takari Frida Deliana Harahap Fadlin Torang Naiborhu Arifni Netriroza Heristina Dewi Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara 2008 1 Cetakan pertama, Juni 2008 MASYARAKAT KESENIAN DI INDONESIA Oleh: Muhammad Takari, Frida Deliana, Fadlin, Torang Naiborhu, Arifni Netriroza, dan Heristina Dewi Hak cipta dilindungi undang-undang All right reserved Dilarang memperbanyak buku ini Sebahagian atau seluruhnya Dalam bentuk apapun juga Tanpa izin tertulis dari penerbit Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara ISSN1412-8586 Dicetak di Medan, Indonesia 2 KATA PENGANTAR Terlebih dahulu kami tim penulis buku Masyarakat Kesenian di Indonesia, mengucapkan puji syukur ke hadirat Tuhan Yang Maha Kuasa, karena atas berkah dan karunia-Nya, kami dapat menyelesaikan penulisan buku ini pada tahun 2008. Adapun cita-cita menulis buku ini, telah lama kami canangkan, sekitar tahun 2005 yang lalu. Namun karena sulitnya mengumpulkan materi-materi yang akan diajangkau, yakni begitu ekstensif dan luasnya bahan yang mesti dicapai, juga materi yang dikaji di bidang kesenian meliputi seni-seni: musik, tari, teater baik yang tradisional. Sementara latar belakang keilmuan kami pun, baik di strata satu dan dua, umumnya adalah terkonsentasi di bidang etnomusikologi dan kajian seni pertunjukan yang juga dengan minat utama musik etnik. Hanya seorang saja yang berlatar belakang akademik antropologi tari. Selain itu, tim kami ini ada dua orang yang berlatar belakang pendidikan strata dua antropologi dan sosiologi. Oleh karenanya latar belakang keilmuan ini, sangat mewarnai apa yang kami tulis dalam buku ini. Adapun materi dalam buku ini memuat tentang konsep apa itu masyarakat, kesenian, dan Indonesia—serta terminologi-terminologi yang berkaitan dengannya seperti: kebudayaan, pranata sosial, dan kelompok sosial. -
Bentuk Penyajian Ansambel Celempungan Pada Grup Etnika Daya Sora Production Di Kota Bogor
BENTUK PENYAJIAN ANSAMBEL CELEMPUNGAN PADA GRUP ETNIKA DAYA SORA PRODUCTION DI KOTA BOGOR MUHAMMAD WILLY HAZMILUDI 2815143543 Skripsi yang Diajukan Kepada Universitas Negeri Jakarta untuk Memenuhi Salah Satu Persyaratan dalam Memperoleh Gelar Sarjana Pendidikan PROGRAM STUDI PENDIDIKAN MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI JAKARTA 2021 ABSTRAK Muhammad Willy Hazmiludi. 2021. Bentuk Penyajian Ansambel Celempungan pada Grup Etnika Daya Sora Production di Kota Bogor. Skripsi. Jurusan Pendidikan Musik, Fakultas Bahasa dan Seni, Universitas Negeri Jakarta. Tujuan penelitian ini adalah untuk mendeskripsikan tentang bentuk penyajian ansambel celempungan pada grup Etnika Daya Sora Production di kota Bogor. Metodologi Penelitian yang digunakan pada penelitian ini adalah metodologi penelitian Kualitatif Deskriptif, dengan objek penelitian kesenian ansambel celempungan. Teknik pengumpulan data menggunakan observasi, studi pustaka, wawancara, dan dokumentasi. Teknik analisis data menggunakan reduksi data, penyajian data dan penarikan kesimpulan. Untuk memeriksa keabsahan data menggunakan triangulasi. Hasil Penelitian bentuk penyajian celempungan mengacu pada teori Murgiyanto yang mencakup unsur-unsur bentuk penyajian celempungan mengenai musik atau lagu, alat musik, pemain, perlengkapan pementasan, tempat pementasan dan urutan penyajian. Celempungan memiliki empat instrumen yaitu kacapi, kendang, rebab, gong, dan fungsi semua waditra merupakan untuk mengiringi vokal. Pada penyajiannya kacapi berperan sebagai pengiring seluruh musik, rebab mempunyai peran penting yaitu memainkan melodi di setiap lagu yang dibawakan, kendang berperan sebagai pengatur tempo pada lagu, gong berperan sebagai pengakhir setiap kalimat lagu, dan vokal berperan sangat penting yaitu sebagai pembawa lagu. Kata Kunci : Celempung, Bentuk Penyajian, Ansambel, Celempungan i ABSTRACT Muhammad Willy Hazmiludi. 2021. Presentation of Celempungan Ensembles at The Etnika Daya Sora Production Group In The City Of Bogor. Research. -
Fenomena Dan Dampak Arus Globalisasi Terhadap Perkembangan Kesenian Joged Bumbung
Fenomena dan Dampak Arus Globalisasi Terhadap Perkembangan Kesenian Joged Bumbung Oleh I Nyoman Mariyana Mahasiswa Pascasarjana (S2) ISI Denpasar Joged Bumbung Gamelan joged bumbung adalah sebuah barungan gamelan yang dipergunakan untuk mengiringi tarian joged bumbung, sebuah tari pergaulan yang ada di Bali. Dalam tarian ini, seorang penari wanita berhiaskan sejenis legong menjawat (memilih) seorang penonton untuk di ajak menari. Gamelan joged bumbung disebut juga gamelan grantangan, karena pokok- pokok instrumennya adalah grantang yaitu gender yang terbuat dari bambu, berbentuk bumbung dan memakai laras selendro lima nada. Larasnya serupa dengan gamelan gender wayang. Dalam buku Evolusi Tari Bali, gamelan joded bumbung disebutkan “bumbung” berarti tabung (bamboo), sebuah istilah untuk memberikan nama kepada seperangkat gamelan joged. Dalam hal ini ialah gamelan joged bumbung (proyek panggilan/pembinaan seni budaya klasik/tradisional dan baru). Bila dilihat dari instrumentasinya, gamelan Joged Bumbung terdiri dari berbagai instrumen diantaranya ; 1. Grantang, yang terdiri dari empat grantang gede dan dua grantang kecil, berfungsi sebagai pembawa melodi pokok, dimainkan dengan dua tangan mempunyai tekhnik pukulan sejenis gender wayang dengan memakai polos dan sangsih. 2. Gong Pulu dibuat dari besi atau kerawang. Bentuknya seperti jegogan di dalam gamelan gong, berbilah dua (nada yang sama ngumbang dan ngisep) berfungsi sebagai finalis didalam lagu-lagu joged bumbung, menggantikan gong gede di dalam gamelan gong. 3. Tawa-tawa, sebuah instrument pembawa matra. Bentuk kettle ( atau gong kecil ) 4. Klenang, sejenis kajar, berfungsi sebagai penombal kajar. 5. Kecek adalah ceng-ceng kecil yang berfungsi untuk memperkaya ritme didalam gamelan joged bumbung. 6. Kendang satu buah berfungsi untuk pemurba irama, pengatur tinggi rendah dan cepat lambatnya dari lagu-lagu joged bumbung. -
Pengembangan Aplikasi Game Simulasi Virtual Tingklik Dan Suling Bali Berbasis Android
ISSN 2252-9063 Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) Volume 2, Nomor 6, Agustus 2013 PENGEMBANGAN APLIKASI GAME SIMULASI VIRTUAL TINGKLIK DAN SULING BALI BERBASIS ANDROID I Nyoman Agus Permadi 1, I Gede Mahendra Darmawiguna 2, I Made Gede Sunarya 3 Jurusan Pendidikan Teknik Informatika Universitas Pendidikan Ganesha Singaraja, Bali E-mail: [email protected] 1, [email protected] 2, [email protected] 3 Abstrak —Tingklik adalah alat musik rubber on it's tip), Tingklik made of bamboo and tradisional Bali dan dimainkan dengan cara di generally played by farmers in their fields. Flute pukul dengan panggul. Panggul adalah bambu/kayu is a traditional Balinese musical instrument that yang diujungnya terdapat karet berbentuk often played together with Tingklik. Flute imade lingkaran, tingklik terbuat dari bambu dan of bamboo and played by blowing. As modern umumnya di mainkan oleh para petani di sawah mereka. Suling adalah alat musik tradisional Bali musical instruments are getting more popular, yang sering dimainkan bersamaan dengan tingklik, Tingklik and Suling are being forgotten.s suling terbuat dari bambu dan dimainkan dengan This study aims to (1) design an android-base cara ditiup. Seiring berjalannya waktu kedua alat Tingklik and Suling simulation game, (2) musik tradisional itu makin dilupakan karena implement the design of android-base Tingklik tergeser oleh adanya alat musik modern. and Suling simulation game. This simulation Penelitian ini bertujuan untuk (1) merancang game developed for android smartphone by using aplikasi game simulasi tingklik dan suling Bali the Waterfall method and implemented in the berbasis android; (2) mengimplementasikan Java programming language using Eclipse rancangan aplikasi game simulasi tingklik dan suling Bali berbasis android. -
LKS Seni Budaya Kelas 7
r.--7q-l -r-\-/-lr- ruw=ffi#{T@ A. E :(ELAS lOr "CI a, ,t'o o io o ot, @, o ,o, Seni Budaya o ,a] Untuk SMP Kelas Vll Semester Gasal o ro o rOl Bab I 4 {) (, A. Pengertian Seni 4 .i o B. PengertianSeniRupaTerapan . .. .. ........ .. ... 7 (, C. Apresiasi Karya Seni Rupa Terapan Daerah ... 10 (, a Uji Kompetenst .............. 13 o Bab ll Seni Rupa 11................. ...............16 o a (, -1y B. Merancang (Mendesain) Karya SeniKriya a, C. Membuat Karya Seni Kriya rY Uji Kompetensi ............. 2C Bab lll Seni Musik 1................. ..............24 O Pengenalan Ragam Lagu Etnik Nusantara 24 -. UjiKompetensi ... .. , . 5..r Bab lV Seni Musik 11................. ..............33 : A. Menuliskan Pola lrama Lagu Etnik Nusantara 33 B. Mengaransir Ragam Lagu Etnik Nusantai'a S=--= S=::-=-a a4 UjiKompetensi. .... I, t Pola LantaiGerak : UjiKompetensi......... .... !' t Karya SeniTeater Daerah 51 UjiKompetensi.... .... .. 54 r 1 Mengapresiasi Karya SeniTeater 0; - 57 ,3 r UltKompetensi... ..."............... 60o U1i KompetensiAkhir Semester . Gasal ....................63 O o o l Seni Rupa I l J ';-x...-. - -,,-,. ltandor Konrpetanri , t1 1. Mengapresiasi karya seni rtlpa. I1 -l z--ru ---- Ko@ ;$tjd \'..-{q- .t 1 .1. Mengidentifikasikan jenis karya seni rupa terapan daerah setempat. t 1.2. Menampilkan sikap apresiatif ternadap keunikan gagasan teknik karya seni rupa terapan daerah 3 setempat. { fffiX ,*-o,,"",oi., .l d { Keanekaragaman karia sei''i :.rp2 ;rang aCa C: masrng-masing daerah di lndonesia memiliki I ciri khas terseni n mei.urut tenis. bentuknya. Saiah satunya seni rupa terapan. Karya seni di I daerah{ae:'ah Cr i,"r,:cnes:a rnemiirkiciri-ciri khusus dalam seni rupa terapan karena menyesuaikan { aoa: istia:at ras/ara(at oan lain-lain. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ............................................................................................................... -
Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access Wim Van Zanten - 9789004261778 Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access
PART FIVE THE ETHNIC MODERN Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access <UN> <UN> CHAPTER ELEVEN MUSICAL ASPECTS OF POPULAR MUSIC AND POP SUNDA IN WEST JAVA Wim van Zanten Introduction: Sundanese Music and the Technology of Enchantment Research on popular music, particularly in the field of cultural studies, has tended to focus on political and sociological aspects, to the exclusion of musical structures and actual sounds. Whereas in most societies musi- cal genres are in the first place classified by social criteria, it is undeniable that also the technicalities of the music play a role: audiences hear the differences between, for instance, jaipongan and degung kawih perfor- mances. This is because these musics are produced in different ways, using different instruments, tone material, musical structure, etc. Alfred Gell made an important contribution to the anthropological study of art by pointing out that the production of art is a technological process. He mentions that there are ‘beautiful’ things, like beautiful women, beautiful horses and a beautiful sunset. However, art objects are made ‘beautiful’ by human beings and this requires technology. He criti- cizes sociologists like Pierre Bourdieu, who do not really look at an art object as a concrete product of human ingenuity, but only elaborately look at the represented symbolic meanings (Gell 1999:162). In contrast, Gell proposes that anthropologists should look at art as a ‘component of technology.’ We call something an object of art if it is the outcome of a technological process, the kind of processes in which artists are skilled. -
Webinar September 15, 2020
Webinar September 15, 2020 Faculty of Arts and Design Education Universitas Pendidikan Indonesia The 3rd Strengthening Tolerance Through Arts and Design Education ATLANTIS the PRESS education university fpsd2020 Assalamua’alaikum Wr. Wb., Honorable Rector of Universitas Pendidikan Indonesia (UPI), Dean of Faculty of Arts and Design Education, honorable speakers, participants, Ladies and Gentlemen, In this good opportunity, I‟m as a chief of the 3rd ICADE committees, would like to express my gratitude to Rector of UPI, Prof. Dr. M. Solehuddin, M.Pd., M.A. and all vice Rectors; Dean of Faculty of Arts and Design Education, Dr. Zakarias S. Soeteja, M.Sn., and all vice deans and staffs; for all the assists, supports, participation and cooperation in carrying out this 3rd ICADE well. By the theme “Strengthening Tolerance through Arts and Design Education”, The 3rd ICADE aims to share and exchange knowledge and practices for academicians, educators, researchers, practitioners, graduate and post graduate students, and art entrepreneurs from different cultural backgrounds and nationality to worldwide present and exchange their recent knowledge, and latest research in fields of performing arts, arts education and the practices, as well as multidisciplinary arts field. This conference is also held as a media in establishing a partnership within art and design institutes, nationally and internationally. In this happy opportunity, the 3rd ICADE is attended by nearly 100 presenters, co-presenters and 200 participants from various countries such as Germany, Poland, Korea, USA, Mexico, Iran, and from different cities of Indonesia. The selected papers of this conference will then be published on Atlantis Press Publisher, and will be indexed by Web of Science, and Google Scholar. -
Eksistensi Kesenian Masyarakat Transmigran Di Kabupaten Pringsewu Lampung Studi Kasus Kesenian Kuda Kepang Turonggo Mudo Putro Wijoyo
Volume 10 No 2 Oktober 2017 ISSN: 1858-3989 P565-576 EKSISTENSI KESENIAN MASYARAKAT TRANSMIGRAN DI KABUPATEN PRINGSEWU LAMPUNG STUDI KASUS KESENIAN KUDA KEPANG TURONGGO MUDO PUTRO WIJOYO Oleh: Mutiara Dini Primastri (Pembimbing Tugas Akhir: Dra. Budi Astuti M.Hum dan Indah Nuraini, S.S.T., M.Sn) Jurusan Tari Fakultas Seni Pertunjukan, Institut Seni Indoonesia Yogyakarta Alamat Email: [email protected] RINGKASAN Penelitian ini merupakan sebuah analisis deskriptif yang menggunakan pendekatan sosiologi dan antropologi untuk membedah tentang eksistensi kesenian masyarakat transmigran berupa kesenian kuda kepang di Kabupaten Pringsewu Lampung. Kesenian kuda kepang yang eksis di Kabupaten Pringsewu yaitu komunitas seni Turonggo Mudo Putro Wijoyo (TMPW). Eksistensi adalah adanya sebuah keberadaan yang tidak hanya sebagai sesuatu yang “diam” akan tetapi menjadi sesuatu yang aktif dan memiliki peran di dalam lingkungannya. Melalui kajian sinkronik, kesenian kuda kepang TMPW tetap eksis saat ini karena memiliki fungsi sebagai seni pertunjukan yang menghibur (presentasi estetis), memuat nilai-nilai budaya, serta dapat menjadi identitas orang Jawa di Pringsewu. Kajian sinkronik didukung oleh kajian diakronik, yaitu kemunculan kesenian kuda kepang TMPW merupakan hasil dari rangkaian sejarah berupa eksistensi orang-orang yang bertransmigrasi di Pringsewu, melalui tahap eksistensi yaitu eksistensi estetis, etis dan religius. Eksistensi kesenian kuda kepang TMPW tidak lepas dari faktor-faktor pendukungnya. Komunitas TMPW terus menunjukkan eksistensinya -
Land- En Volkenkunde
Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.