E-Jurnal ISBI Bandung (Institut Seni Budaya Indonesia)
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Aksara lakuna
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This work is a drama script that tells the story of a person who is a victim of sexual harassment in his campus. This drama script aims to awaken the victims of sexual harassment so that they have the courage to stand up and have the courage to talk about what happened to them. This drama script was created based on a real person\u27s story, where the writer turned it into a drama script. The focus of the story in this play is how the victim tries to find happiness again. A long step taken by the victim to get up. Despair continues to haunt him on the sidelines of the routine campus life. The scorn of his parents, the love of a friend who faithfully accompanies him, rages in his heart and mind. The desire for revenge to get justice is buried by the shadow of weak evidence in the eyes of the judicial law. Disappeared already sense of justice as he expected. However, the victim still rose, the spirit of life grew again after the
victim tried to write down all the expressions of thoughts and feelings while the victim was going through life. Until finally these writings bear sweet fruit, manifesting into a novel. The process of creating this drama script is carried out through the stages; determine ideas, analyze sources, write scripts, and create plots, characters, themes, dialogues, backgrounds, and create conflicts between characters, create scenes. All of these stages are arranged in such a way as to become a complete and systematic drama script.
Keywords: Drama Script, Harassment, Justice, Trauma, Healing
AKTOR: Membebaskan Tubuh yang Teralienasi
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In this article, fundamental issues regarding actorhood are discussed. The questions that are the focus to be answered are internal and external factors; What must an actor understand and master? Are there any acting paradigms that seem different in concept and methodology? Lastly, is the actor someone who always liberates himself from the confines of his role in everyday life? These three questions will be answered using qualitative methods, through theoretical literature searches. There are several findings obtained from this research, namely: actors are the most important element in theater. Everything can be removed from a theatrical performance, except the actor element which cannot be lost. To become a good actor, there are two basic elements that an actor must master, namely internal elements and external elements. Internal elements are elements that exist within the actor, such as body, voice and soul; while external elements are elements that are outside the actor, such as the drama script, stage, playmates, director and so on. There are two paradigms in acting, namely the paradigm of being and the paradigm of playing. The becoming paradigm is a paradigm that assumes that when an actor plays a character, that actor must "become" the character he plays. Meanwhile, in the playing paradigm, acting does not need to be, but the actor must distance himself from the character he plays. Philosophically, actors can be seen as humans who always rebel against the roles they play in everyday life. He doesn\u27t want to be framed in the same role box. Actors always want to be anything, even though it is actually in vain, because every human being cannot avoid the role categories that have been assigned socially by society.
Keywords: Actor, external factors, internal factors, body, "being" paradigm, "playing"
paradigm
Revitalisasi Kesenian Kebudayaan Karinding di Desa Sukapura, Kampung Mengger Hilir Kabupaten Bandung
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Karinding instrument has beauty and many uniqueness, karinding art is used by farmers to repel pests in the fields because of its decibe sound, karinding is not just a musical instrument but as a guide for managing nature and life for the community. Then make Karinding musical instrument as a popular art in the city of Bandung. Karinding is preserved by the people of West Java and Banten, in 2008 the preservation of karinding experienced an intersection between karinding musical instruments and the metal community in Bandung. Karinding is only an instrument but now it has various functions as personal entertainment and through the preservation of karinding through the bamboo music community in the city of Bandung. In the process of this research
using quantitative methods that support the application of Karinding musical instruments in West Java, especially in the city of Bandung by collaborating Karinding musical instruments with modern songs. Another objective is to find out the response of the people in Bandung to the karinding art that is reportedly extinct and to create new creations for the karinding art in the city of Bandung.
Keywords: Karinding, Bandung City, preserv
Konstantin Stanislavski dan Penciptaan ‘Aktor Estetik’
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This article aims to reveal Konstantin Stanislavski as an example of an \u27avant-garde\u27 theater director, more than any other director, who gives actors the freedom to engage in \u27creative practices of self-development\u27. He ‘institutionalized’ the actor at the center of the meaningful stage and began the first stage of his theater study process. Stanislavski\u27s guidance as a director gave the actor\u27s self-performance the opportunity to bridge the gap between himself and the character in a role. Actors can define their own concepts and meanings through their roles to some extent with the director\u27s concepts and, thus, can turn acting into a \u27creative act\u27. Stanislavski was the \u27originator\u27 who began the process of realizing the ideal of wholeness in acting and directing. He developed a theatrical framework by proclaiming the necessity that the main creative artist and authority for \u27mise en scene\u27 (theatrical staging strategy) is the director.
Stanislavski systematically pursued the possibility of developing his and his actors\u27 \u27selfconcept\u27 and/or \u27personal style\u27, both directing and acting through \u27mise en scene\u27 at the conceptual level. And in doing so, Stanislavski was developing the first stage of a process, namely \u27conception\u27.
Keywords: Avant-garde, Theatre Director, Self-Concept, Aesthetic Actor, ‘Mise en Scene
DUNIA SENI RUPA INDONESIA: KRITIK SENI PAMERAN LIKE/DISLIKE
Get PDFArt is one of the important aspects in various facets of human life, therefore art exhibitions serve as crucial platforms for artists to interact with art enthusiasts and convey their artistic messages. Art exhibitions play a significant role in the development of visual arts in Indonesia. In this study, the author will examine, elaborate, and critique a solo exhibition by Taat Joeda titled “Like/Dislike” held at the Bandung Center for Culture Gallery. This research method involves direct observation or visitation to the exhibition and an overall analysis using art critique methods and mechanisms. The findings of the study reveal that the “Like/Dislike” art exhibition presents a refreshing approach in its theme about the tangle of undergrowth and captivating painting techniques. In conclusion, this research highlights the overall depth of the “Like/Dislike” exhibition with its theme “The Beauty Hidden Within the Thicket.”Art is one of the important aspects in various facets of human life, therefore art exhibitions serve as crucial platforms for artists to interact with art enthusiasts and convey their artistic messages. Art exhibitions play a significant role in the development of visual arts in Indonesia. In this study, the author will examine, elaborate, and critique a solo exhibition by Taat Joeda titled “Like/Dislike†held at the Bandung Center for Culture Gallery. This research method involves direct observation or visitation to the exhibition and an overall analysis using art critique methods and mechanisms. The findings of the study reveal that the “Like/Dislike†art exhibition presents a refreshing approach in its theme about the tangle of undergrowth and captivating painting techniques. In conclusion, this research highlights the overall depth of the “Like/Dislike†exhibition with its theme “The Beauty Hidden Within the Thicket.â€
Keywords : Painting, Exhibition, art critique
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Seni adalah salah satu hal yang penting dalam berbagai sisi kehidupan manusia, karena itu pameran karya seni merupakan platform penting bagi para seniman untuk berinteraksi dengan penikmat seni dan menyampaikan pesan-pesan artistik mereka. Pameran seni berperan sangat penting dalam perkembangan dunia seni rupa di Indonesia. Dalam penelitian ini penulis akan menelaah, menguraikan dan mengulas sebuah pameran tunggal oleh Taat Joeda berjudul Like/Dislike yang diadakan di Galeri Pusat Kebudayaan Bandung. Metode Penelitian ini melibatkan observasi atau kunjungan langsung ke pameran tersebut dan analisis keseluruhan menggunakan metode dan mekanisme kritik seni. Hasil penelitian penulis mengungkapkan bahwa pameran seni Like/Dislike menghadirkan pendekatan yang segar dalam tema tentang semak belukar dan teknik lukisan yang menarik perhatian. Kesimpulannya, penelitian ini menyoroti keseluruhan/kedalaman pameran Like/Dislike yang bertemakan “Keindahan yang Tersimpan Dalam Semak Belukarâ€
Kata Kunci : Lukisan, Pameran, Kritik Sen
ANALISIS PROSES KREATIF PENULISAN SKENARIO “JALAN PERKAWINAN” KARYA ARTHUR S. NALAN
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The creative process of a work is something that needs to be studied in order to produce a comprehensive understanding of the creation of a work. With in-depth study, the creative process can be used as a lesson and carried out by other people who are interested in the creative process of a work. The work examined in this research is the screenplay for the film "Jalan Perkawinan" by Arthur S. Nalan which was the first winner of the screenplay writing competition held by the Ministry of Culture and Tourism of the Republic of Indonesia in 2006. The scenario "Jalan Perkawinan" contains a travel story with a romance theme/wedding of different religions and nationalities with the background of a journey along Jalan Daendels from Anyer to Parukan. The research method uses qualitative research with data collection in the form of observation, interviews and literature study. After the data was collected, the scenario text was also studied in depth. The research findings showed that the "Pekawinan Road" scenario was written in the sequence, namely determining the idea, structuring the conflict and resolution, character development, determining the structure and writing stage, and the editing stage.
Abstrak
Proses kreatif sebuah karya merupakan hal yang perlu dikaji agar menghasilkan pemahaman yang komprehensif dalam penciptaan suatu karya. Dengan sebuah pengkajian yang dalam, proses kreatif tersebut dapat dijadikan pembelajaran dan dilakukan pula oleh orang lain yang berminat dalam proses kreatif suatu karya. Karya yang diteliti pada penelitian ini yaitu skenario film “Jalan Perkawinan” karya Arthur S. Nalan yang merupakan pemenang pertama dari sayembara penulisan skenario yang diadakan oleh Departemen Kebudayaan dan Pariwisata Republik Indonesia pada Tahun 2006. Skenario “Jalan Perkawinan” berisi cerita perjalanan bertema kisah asmara/pernikahan berbeda agama dan kewarganegaraan dengan latar perjalanan menyusuri Jalan Daendels dari Anyer sampai Parukan. Metode penelitian menggunakan penelitian kualitatif dengan pengumpulan data berupa observasi, wawancara, dan studi Pustaka. Setelah pengumpulan data dikumpulkan, dikaji pula teks skenario secara mendalam. Dihasilkan temuan penelitian bahwa Skenario “Jalan Pekawinan” ditulis dengan urutan yaitu penentuan ide, penyusunan konflik dan penyelesaian, pengembangan karakter, penentuan struktur dan Tahap Penulisan, serta tahap editing
PELAJARAN BAHASA SUNDA DI KABUPATEN CIREBON
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Perda No 5 Tahun 2003 menegaskan bahasa ibu masyarakat jawa barat terdiri dari Sunda, Cirebon dan melayu-betawi. Praktik kebijakan ini di jalankan melalui muatan lokal mata pelajaran bahasa daerah yang diatur dalam dinas pendidikan kabupaten/kota. Bahasa Cirebon menjadi salah satu dari mulok yang wajib diajarkan di wilayah penutur bahasa Cirebon. Adapun dalam praktiknya bahasa Sunda masih ditemukan diajarkan di sekolah-sekolah yang masyarakat sekitarnya tidak berbicara bahasa sunda termasuk di kabupaten Cirebon. Hal ini tentunya menjadi masalah khusunya bagi para siswa yang sejak kecil berbahasa Cirebon. Hasil penelitian menemukan penyelenggaraan pendidikan bahasa daerah sudah sesuai dengan payung hukum yang dibuat namun dalam praktiknya mengalami berbagai macam kendala. Dampaknya penyelenggaraan kebijakan di tiap sekolah tidak saling bersinergi dan berintegrasi. Faktor-faktor yang memengaruhi adalah anggaran, kurikulum, dan SDM tiap satuan pendidikan yang berbeda-beda. Implikasinya siswa yang mempelajari bahasa Sunda mengalami kesulitan dengan tingkat dan derajat masing-masing.
Kata kunci: Kabupaten Cirebon, Bahasa daerah, kebijakan pendidikan
ABSTRACT
Regional Regulation No. 5 of 2003 confirms that the mother tongue of the people of West Java consists of Sunda, Cirebon and Malay-Betawi. The practice of this policy is carried out through the local content of regional language subjects regulated in the district/city education office. Cirebon language is one of the mulok that must be taught in Cirebon language-speaking areas. In practice, Sundanese is still found being taught in schools where the surrounding community does not speak Sundanese, including in Cirebon district. This is certainly a problem, especially for students who have spoken Cirebon since childhood. The results of the study found that the implementation of regional language education was in accordance with the legal umbrella made but in practice encountered various kinds of obstacles. The impact is that the implementation of policies in each school does not synergize and integrate with each other. The influencing factors are the different budgets, curriculum, and human resources of each educational unit. The implication is that students who study Sundanese have difficulty with their respective levels and degrees.
Keywords: Cirebon Regency, regional language, education polic
MAKNA SIMBOLIK RITUAL PUPUT PUSEUR DAN NGAGEULANGAN DI DUSUN LEBAKJATI DESA CILELES KECAMATAN JATINANGOR KABUPATEN SUMEDANG
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Penelitian ini membahas pemaknaan ritual puput puseur dan ngageulangan, serta struktur ritual puput puseur dan ngageulangan dalam ritual pasca kelahiran pada masyarakat Lebakjati. Pemaknaan yang dihasilkan didapat melalui analisa dari informan, dari tindakan ritual, dan relasi simbol satu dengan yang lainnya. Penelitian ini dilakukan menggunakan metode deskripsi kualitatif, dengan pendekatan antropologi simbolik sebagai landasan teori. Hasil penelitian menemukan bahwa ritual puput puseur dan ngageulangan ini dilakukan sebagai: 1) simbol permohonan, simbol penolak bala, simbol syukur, dan simbol penghormatan, 2) Makna puput puseur dan ngageulangan dapat dilihat dari tindakan budaya yang tampak, 3) Ritual puput puseur dan ngageulangan memiliki relasi antara simbol satu dengan simbol lainnya, yang memiliki tujuan untuk dapat keseimbangan dalam hidup.
Kata Kunci: Ritual, puput puseur dan ngageulangan, antropologi simbolik.
ABSTRACT
This study discusses the meaning of the puput puseur and ngageulangan, the rituals structure of the puput puseur and ngageulangan rituals in post-birth rituals in the Lebakjati community. The meaning generated through the analysis of the informants, from ritual actions, and the relation of symbols to one another. This research i conducted using a qualitative description method. This study uses a symbolic anthropological approach as the theoretical framework. The results of the study found that the puput puseur and ngageulangan rituals were carried out as: 1) Symbol of request, symbol of petition, symbol of repelling reinforcements, symbols of gratitude, and symbols of respect, 2) The meaning of puput puseur and ngageulangan can be seen from cultural actions 3) Ritual Puput puseur and the ngageulangan has a relationship between one symbol and another, which is the aim is to balance in life.
Keywords: rituals, puput puseur and ngageulangan, symbolic anthropolog
Visual Contemporary Painting Based on The Visual Appropriation of Abhimanyu’s Death
Get PDFThe concept of visual appropriation involves using elements borrowed from others to create a work of art. In this research, appropriation entails utilizing images and narrative context from various sources to depict Abhimanyu’s death on the 13th day of the Bharatayuda war. This article explains the method for creating the visual appropriation of Abhimanyu. The process of creating visual appropriation is based on exploring, designing, and realizing craft arts, incorporating digital sketching, manipulation, media and technique discovery, imprimatura, collage, cropping, coloring, and finishing. The creation process involves identifying visual forms and their relationship to current phenomena and adding new meanings that alter the original context. The aim of creating contemporary painting is to make young people aware of the challenges or obstacles of the current situation and the need to develop strategies to deal with them. Resulting works aim to juxtapose visual references to provoke thought and reinterpretation of their meaning for the audience.
Cultural Diplomacy in Films by Garin Nugroho
Get PDFThis article conducts an in-depth examination of Indonesian cultural elements in Garin Nugroho’s films, using Joseph Nye’s theory of cultural diplomacy as a conceptual framework. Through the analysis of films such as “Daun Di Atas Bantal” and “Opera Jawa,” the article aims to identify and explore the local cultural elements that Nugroho integrates into his film narratives. This research focuses on how Garin Nugroho presents traditional Indonesian cultural elements and how this contributes to international understanding of Indonesia’s cultural richness. By applying the theory of cultural diplomacy, the article highlights the importance of cultural representation in films as a form of soft power capable of building a positive image of Indonesia on the global stage. The study also discusses how Garin Nugroho’s films play a role in cultural diplomacy, serving not only as a medium of entertainment but also as an educational tool and cultural promotion. The article supports the hypothesis that cultural diplomacy plays a crucial role in building understanding and appreciation of a nation’s cultural wealth, as well as strengthening international relations through cultural exchange. Thus, this article functions not only as a critical analysis of Garin Nugroho’s films but also as a case study demonstrating how cultural diplomacy can be effectively used to promote and introduce Indonesian culture to international audiences. The findings of this research are expected to contribute to film studies, cultural diplomacy, and the development of future strategies for promoting Indonesian culture.