E-Jurnal ISBI Bandung (Institut Seni Budaya Indonesia)
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Angklung Bolong: Pengembangan Tabung Suara Terbuka Berdasar Fisika Akustik
No full textAngklung adalah alat musik bambu yang ikonik dari Indonesia. Jenis angklung yang memainkan satu nada disebut angklung melodi. Angklung ini terdiri atas tabung indung dengan nada tertentu, dan tabung anak yang bernada satu oktaf di atas tabung indung. Satu set angklung melodi standar terdiri atas 30 nada, dengan rentang G4 hingga C7. Rentang nada angklung melodi ini sulit untuk diperluas ke atas, karena pembuatan tabung anak untuk nada C7 memerlukan bambu berukuran kecil dengan kolom resonansi yang sangat pendek. Batasan fisik ini disebabkan oleh konstruksi tabung suara konvensional dimana kolom resonansinya terbuka di atas dan tertutup di bawah, sehingga menghasilkan resonansi seperempat panjang gelombang nada tabung suara tersebut. Inovasi angklung bolong ini memperkenalkan tabung suara dengan alas terbuka, sehingga terjadi resonansi setengah panjang gelombang. Dengan pendekatan ini bisa dibuat tabung suara yang nadanya lebih tinggi lagi, dimana secara teoritis rentang suara angklung bolong bisa naik satu oktaf dibanding angklung biasa
Analisis Komunikasi pada Pertunjukan Teater Juragan Hajat
No full textThis article analyzes communication in the theater performance "Juragan Hajat" by Kang Ibing, which portrays the social realities of Sundanese communities below the poverty line, such as economic hardship, educational challenges, infidelity, and gambling. The use of Pasar Sundanese language with a Cohag (coarse) level reflects the life of the lower class, aligning with the theme. Through the analysis of metaphors, symbols, and stimulus-response communication patterns, it is found that this work reflects Kang Ibing’s concern for the Sundanese community. The drama incorporates Sundanese humor (Heureuy Bandung) and critiques the government’s lack of focus on the welfare of the lower class. Sundanese language is employed to preserve culture and emphasize the identity of the lower class, who struggle to communicate in the formal language of authorities.Artikel ini menganalisis komunikasi dalam pertunjukan teater "Juragan Hajat" karya Kang Ibing, yang menggambarkan realitas sosial masyarakat Sunda di bawah garis kemiskinan, seperti kesulitan ekonomi, pendidikan, perselingkuhan, dan perjudian. Penggunaan bahasa Sunda Pasar dengan tingkatan Cohag (kasar) mencerminkan kehidupan masyarakat bawah, sekaligus memperkuat tema yang diangkat. Melalui analisis metafora, simbol, dan pola komunikasi stimulus-respon, ditemukan bahwa karya ini mencerminkan kepedulian Kang Ibing terhadap kondisi masyarakat Sunda. Drama ini juga mengandung humor khas Sunda (Heureuy Bandung) dan kritik terhadap pemerintah yang kurang memperhatikan kesejahteraan kelas bawah. Bahasa Sunda digunakan untuk melestarikan budaya dan menegaskan identitas masyarakat bawah yang sulit berkomunikasi dengan bahasa formal pemerintah
Tinjauan Pertunjukan Jurus Kujang Perguruan Silat Tadjimalela SMAN 17 Kota Bandung dalam Perspektif Performance Studies
No full textThis thesis is titled “The Performance of Jurus Kujang Moves at Perguruan Silat Tadjimalela SMAN 17 Kota Bandung in review of Performance Studies”. Performing arts, such as theater, are collective arts because they can encompass various disciplines such as dance, music, acting, and martial arts. The performing arts “Jurus Kujang” 1, 2, and 5 can be part of a theater performance because they have dramatic aspects and body expression. The purpose of this study is to understand “Jurus Kujang” as a performance categorized and analyzed from the perspective of performance studies. This research employs a qualitative method using Richard Schechner\u27s Performance Theory, which focuses on Being, Doing, Showing Doing, Explaining Showing Doing, text/action, performers, director, space, time, and audience. The results of this study indicate that “Jurus Kujang,” as taught in the extracurricular Perguruan Silat Tadjimalela of SMAN 17 Bandung, can be categorized as a performance because it exercise taste, exercise thought, and exercise motion. However, the element of the audience is only briefly discussed, and it is recommended to explore it more deeply.Skripsi ini berjudul “Pertunjukan Jurus Kujang di Perguruan Silat Tadjimalela SMAN 17 Kota Bandung dalam Tinjauan Performance Studies”. Seni pertunjukan seperti halnya teater, merupakan seni yang bersifat kolektif karena dapat mencakup berbagai disiplin ilmu seperti seni tari, seni musik, seni peran, dan seni bela diri. Seni pertunjukan "Jurus Kujang” 1, 2, dan 5 dapat menjadi bagian dari pertunjukan teater karena memiliki aspek dramatis serta ekspresi tubuh. Tujuan penelitian ini untuk memahami Jurus Kujang dikategorikan sebagai performance yang dianalisis berdasarkan perspektif performance studies. Penelitian ini menggunakan metode kualitatif dengan Teori Performance dari Richard Schechner yang berfokus pada Being, Doing, Showing Doing, Explaining Showing Doing, teks/aksi, pemain, sutradara, ruang, waktu, dan penonton. Hasil dari penelitian ini menunjukkan bahwa Jurus Kujang yang diajarkan pada ekstrakurikuler Perguruan Silat Tadjimalela SMAN 17 Kota Bandung dapat dikategorikan performance karena melibatkan olah rasa, olah pikir, dan olah gerak. Akan tetapi, elemen penonton hanya dibahas secara sekilas dan disarankan untuk membahasnya secara mendalam
STRUKTUR DRAMATIK LAKON ORANG-ORANG BIADAB KARYA CHRISTOPHER HAMPTON TERJEMAHAN ASRUL SANI
No full textThe dramatic structure of the play Savages by Christopher Hampton, translated by Asrul Sani, is a reinterpretation of the realism play to realize emotional values and character deepening in realizing the play\u27s drama. The effort made to achieve the dramatic intensity of the play is to interpret the dramatic structure. The interpretation is linked to the sociological aspects of the play as a contribution to a deeper understanding of Brazilian society\u27s political, social, historical, and economic life
SETELAH BOAL: TABLETOP ROLE-PLAY GAME (TTRPG) DALAM KAJIAN SENI PERTUNJUKAN PARTISIPATORIS
No full textTheatre of the Oppressed that invented by Boal focussed on spectator activation on performance for activism movement. The spectator arguing using their performativity as reflection on case study that performed by actors before. Detached from political purpose, the form and mechanism of Theatre of the Oppressed used by Tabletop Role-Play Game (TTRPG) for example, Dungeons & Dragons. The game which is based on storytelling and role-play give the power to the players to act freely on their portrayed character in the story. This condition can be seen as simultaneous dramaturgy. This research uses case study method to reflect Tabletop Role-Play Game as the further development of Theatre of the Oppressed who came from pop culture scene. This research also explains the relation and potential to intermediality between performing art and games
Strategi Difusi Inovasi “Keroncong Bambu” oleh Jempol Jenthik Orkes Keroncong (JJOK) sebagai Agen dalam Praktik Kultural Musik Keroncong
No full text“Keroncong Bambu” represents a musical innovation initiated by Endo Suanda through the Lembaga Pendidikan Seni Nusantara (LPSN), which explores bamboo as a new material replacing wood in several instruments of the keroncong ensemble, including the cak, cuk, cello, guitar, and violin. This study investigates the diffusion strategies of the Keroncong Bambu innovation, introduced to the public by Jempol Jenthik Orkes Keroncong (JJOK) as a diffusion agent within the cultural practice of keroncong music. Using a qualitative research approach, data were collected through semi-participatory observation, semi-structured interviews, and document studies, then analyzed systematically. By integrating Pierre Bourdieu’s theory of social practice with Everett M. Rogers’ diffusion of innovations framework, the findings reveal that JJOK, as an early adopter, was able to understand, assess, adopt, and evaluate the organological innovation of Keroncong Bambu. The accumulation of cultural, economic, social, and symbolic capital strengthens JJOK’s position in disseminating the innovation through performative strategies and new media engagement. This study contributes to understanding the dynamics of musical innovation diffusion in Indonesian popular music and recommends cross-sectoral collaboration to enhance a culturally grounded and materially explorative musical innovation ecosystem
Naskah Jejak Kasih Ibu: Studi Intertekstualitas atas Legenda Si Mardan dari Kota Tanjung Balai
No full textThis study examines the script Jejak Kasih Ibu as an intertextual work derived from the legend of Si Mardan originating from Tanjung Balai, integrated with the phenomenon of overparenting. The focus of this research is to trace the relationships between texts and to analyze how the cultural values embedded in the legend are reinterpreted in accordance with contemporary societal needs. The aim of the study is to understand the interconnection between the script Jejak Kasih Ibu and the legend of Si Mardan as a hypotext, thereby revealing the cultural values and moral messages that have been transformed into a modern theatrical script. The research employs a qualitative descriptive method with Julia Kristeva’s theory of intertextuality as its main analytical framework, emphasizing the dialogic relationships among texts and the shifts in meaning that occur within them. The findings indicate that Jejak Kasih Ibu is not merely a reinterpretation of a traditional legend into a theatrical form, but also serves as a medium for reinforcing the cultural values of the Tanjung Balai community through narratives that are both contextual and relevant to contemporary issues. This study underscores the significant role of literature as a medium of cultural interaction and exchange, as well as a means of preserving local wisdom through an intertextual approach.Tulisan ini merupakan kajian tentang naskah Jejak Kasih Ibu sebagai hasil Intertekstualitas legenda Si Mardan dari Kota Tanjung Balai dan fenomena overparenting. Kajian ini bertujuan menganalisis hubungan antar teks yang terjadi antara naskah Jejak Kasih Ibu dan legenda Si Mardan sebagai teks hipogram sehingga dapat mengungkapkan adanya nilai-nilai budaya dan pesan moral dalam legenda yang ditafsir ulang dalam bentuk naskah teater sebagai sastra modern. Metode yang digunakan dalam kajian ini yakni metode deskriptif kualitatif dengan menggunakan teori Intertekstualitas dari Julia Kristeva berfokus pada pengamatan terhadap dialog antar teks serta transformasi makna. Penelitian menunjukkan bahwasannya naskah Jejak Kasih Ibu tidak hanya sekedar reinterpretasi legenda ke dalam naskah teater akan tetapi juga menjadi wahana dalam memperkuat nilai-nilai budaya terutama di Kota Tanjung Balai dalam kemasan naratif yang lebih kontekstual dan relevan dengan isu kekinian. Temuan ini menegaskan pentingnya sastra sebagai ruang dialektika budaya dan alat pelestarian kearifan lokal melalui pendekatan intertekstual
Proses Penyutradaraan Naskah Syair dan Ikan Tongkol Karya Arthur S. Nalan
No full textThis article contains the concept of directing the script “Syair Ikan Tongkol” by Arthur S. Nalan which is realized into a theater performance. The formulation of the problem in this article consists of 3 things, including, (1) How the meaning contained in the script “Syair Ikan Tongkol” is conveyed for the benefit of theater performances? (2) How the script “Syair Ikan Tongkol” is formed into a theater performance. (3) How to unite the components of the theater performance “Syair Ikan Tongkol” to become a unified whole? The qualitative method is used by beginning with the selection of the script and analyzing the content of the script, after that designing an appropriate concept in directing the script and developing imagination and looking for inspiration. In the end, a theater performance is obtained that is able to convey the meaning in the script into a unified whole.Artikel ini memuat konsep penyutradaraan naskah “Syair Ikan Tongkol” karya Arthur S. Nalan yang diwujudkan menjadi sebuah pertunjukan teater. Perumusan masalah dalam artikel ini terdiri dari tiga hal, yaitu: (1) Bagaimana makna yang terkandung dalam naskah “Syair Ikan Tongkol” disampaikan untuk kepentingan pertunjukan teater? (2) Bagaimana naskah “Syair Ikan Tongkol” dibentuk menjadi sebuah pertunjukan teater? (3) Bagaimana cara menyatukan komponen-komponen pertunjukan teater “Syair Ikan Tongkol” agar menjadi kesatuan yang utuh? Metode kualitatif digunakan dengan diawali pemilihan naskah dan analisis isi naskah, kemudian merancang konsep pengarahan naskah yang sesuai serta mengembangkan imajinasi dan mencari inspirasi. Pada akhirnya, diperoleh sebuah pertunjukan teater yang mampu menyampaikan makna dalam naskah menjadi sebuah kesatuan yang utuh
Oktagram Plot dan Metode Penulisan Lakon Lajos Egri dalam Penulisan Lakon Teater Bertema Praktik Perjudian di Indonesia
No full text“Perjudian dalam Fragmen” is a theatrical script that explores both conventional and unconventional gambling practices in Indonesia. Divided into standalone yet thematically linked fragments, the play examines gambling’s presence in social, political, economic, and spiritual life. Using Lajos Egri’s playwriting method and Bertolt Brecht’s montage technique, it presents multiple perspectives in a non-linear narrative. The Octagram plot structure highlights turning points, prompting audiences to critically reflect on gambling as a systemic issue in everyday life.Lakon berjudul "Perjudian dalam Fragmen" mengambarkan tema praktik perjudian konvensional dan non konvensional di Indonesia lalu dibuat menjadi naskah lakon teater. Naskah lakon ini mengunakan struktuk alur Oktagram, di mana setiap plot Fragmen tidak saling berhubungan tetapi memiliki benang merah yang sama yaitu tentang tema perjudian. fragmen dipilih sebagai spektrum pembahasan tema praktik perjudian lebih luas dengan memperhatikan turning point sebagai jeda transisi fragmen selanjutnya. Naskah lakon "Perjudian dalam Fragmen" didasarkan pada metode penulisan naskah Lajos Egri dan disusun dengan teknik montase Brecht
Jejak Historis Musik Bambu Nusantara: Hubungan Bali dan Sunda dalam Perkembangan Angklung dan Calung Renteng Berdasarkan Prasasti Bebetin dan Relief Candi Borobudur
No full textThis paper examines the history of bamboo music in the Indonesian archipelago, highlighting the cultural connection between Bali and Sunda through the angklung and calung instruments. The study was conducted using historical, iconographic, and ethnomusicological approaches, utilizing artifactual data sources (Borobudur Temple reliefs), textual sources (Kakawin Kunjarakarna and the Bebetin Inscription), and ethnographic sources (Bali and Sunda bamboo music traditions). The results of the study show that the tradition of bamboo music has developed since the 8th century AD and plays an important role in social and religious rituals. Angklung, Calung, Karinding (Genggong), Taluktak, and Sunari (Sundari) as bamboo musical instruments in the archipelago show organological continuity with bamboo instruments in Bali, Java, and Sunda, confirming the existence of a musical cultural network that transcends regions and time. Beyond being historical artifacts, bamboo music has also transformed into a medium for artistic expression and contemporary technology that continues to evolve in academic and artistic communities