Institut Seni Indonesia Yogyakarta: Jurnal Online ISI Yogyakarta / Indonesia Institute of The Arts Yogyakarta
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The Transformation of Pencak Silat in Perangan Rajamala and Abilawa Prisented by Sudirman Ronggo Darsono.
No full textSudirman Ronggo Darsono's sabet perangan has its own characteristics because there is a combination of pencak silat movements. The movement is transformed with the medium of a wayang whose movement has been distilled. Motion transformation research was carried out using qualitative methods, data analysis, and interviews. Sudirman's style of sabet perangan is described specifically about the technique combined with silat movements that it becomes a treasure and insight for readers. The results of the study revealed that several silat movements are transformed to sabet perangan wayang, such as punches, kicks, slams, and evasion
PERAN MUSIK REGGAE DALAM PENGALAMAN MUSIKAL KONSUMEN KAFE: STUDI FENOMENOLOGI DI TILL DROP BAR PRAWIROTAMAN YOGYAKARTA
No full textABSTRAKPertunjukan musik di kafe kerap diposisikan sebagai musik latar yang bersifat dekoratif, sehingga pengalaman sadar pengunjung terhadap musik jarang dikaji. Akibatnya, relasi antara musik, tubuh, ruang, dan interaksi sosial di ruang kafe, khususnya dalam konteks genre reggae, masih kurang mendapat perhatian. Penelitian ini berpijak pada kajian pengalaman musikal yang memandang musik sebagai praktik yang dialami secara embodied melalui tubuh, ruang, dan relasi sosial. Musik dipahami sebagai medium pembentuk suasana emosional, orientasi tubuh, dan kebersamaan di ruang publik. Penelitian ini bertujuan mengungkap bagaimana pengunjung mengalami dan memaknai musik reggae dalam program Reggae Night di Till Drop Bar & Resto, Prawirotaman, Yogyakarta, serta bagaimana unsur musikalnya membentuk suasana emosional dan sosial. Metode yang digunakan adalah kualitatif dengan pendekatan fenomenologi deskriptif. Data diperoleh melalui wawancara mendalam, observasi, dan dokumentasi terhadap lima pengunjung, kemudian dianalisis secara tematik. Hasil penelitian menunjukkan bahwa musik reggae mengubah persepsi pengunjung terhadap ruang Till Drop dari canggung menjadi santai, akrab, dan hidup. Respons muncul melalui gerak tubuh, perasaan rileks, bebas, bahagia, hingga nostalgik. Ritme santai, pola bass dominan, karakter instrumen, dan lagu familiar berperan membangun pengalaman emosional dan kebersamaan kolektif. Penelitian ini menegaskan bahwa musik reggae di kafe berfungsi sebagai agen pembentuk pengalaman ruang, tubuh, dan relasi sosial, bukan sekadar musik latar.Kata kunci: musik reggae, pengalaman musikal, ruang kafe, fenomenologi ABSTRACTLive music performances in cafés are often positioned as decorative background music, causing visitors’ conscious musical experiences to receive little scholarly attention. As a result, the relationship between music, body, space, and social interaction in café settings—particularly within specific genres such as reggae—remains underexplored. This study draws on musical experience theory, which views music not merely as sound objects but as embodied practices experienced through the body, space, and social relations. Music is understood as a medium that shapes emotional atmosphere, bodily orientation, and togetherness in public spaces. This study aims to examine how visitors experience and interpret reggae music during the Reggae Night program at Till Drop Bar & Resto, Prawirotaman, Yogyakarta, and how its musical elements construct emotional and social atmospheres. A qualitative method with a descriptive phenomenological approach was employed. Data were collected through in-depth interviews, observation, and documentation involving five visitors and were analyzed thematically. The findings indicate that reggae music transforms visitors’ perceptions of Till Drop’s space from awkward and crowded to relaxed, intimate, and lively. Responses emerge through bodily movements and feelings of relaxation, freedom, happiness, and, at times, nostalgia. The relaxed rhythm and tempo, dominant bass patterns, instrumental character, and familiar songs arranged in reggae style play important roles in shaping emotional experience and collective togetherness. This study confirms that reggae music in cafés functions as an agent that produces spatial, bodily, and social experience rather than merely serving as background music.Keywords: reggae music, musical experience, café space, phenomenolog
Ngayah Topeng Sidhakarya: Spirit Pengabdian melalui Bhakti dan Karma Marga
No full textNgayah adalah tradisi yang dijalankan oleh masyarakat Bali sebagai kewajiban sosial dalam menerapkan ajaran bhakti dan karma marga.bhakti marga merupakan jalan penyerahan diri, patuh dan setia kepada Sang Pencipta (Tuhan). Karma marga melalukan jalan dengan perbuatan, bekerja tanpa pamrih. Topeng Sidhakartya merupakan salah satu genre seni pertunjukan topeng Bali yang disajikan sebagai bagian tak terpisahkan dari pelaksanaan yadnya (korban suci). Tujuan penelitian ini ingin mengetahui bahwa para seniman Bali melaksanakan profesinya dengan jalan penyerahan diri dan berbuat atau berkarya sepenuhnya sebagai spirit pengabdian yang tulus ikhlas kepada Sang pencipta alam semesta dengan menyajikan Topeng Sidhakarya. Topeng Sidhakarya sesuai namanya, topeng ini yang menjadi bagian tak terpisahkan dari pelaksanaan sebuah yadnya, dengan hadirnya topeng ini menadakan bahwa karya atau kerja menjadi sidha (selesai) dengan sempurna. Metode yang digunakan metode penelitian kualitatif yang pelaksanaannya lebih mengarah pada pengumpulan data melalui observasi secara langsung di lapangan. Hasil yang diharapkan bahwa profesi sebagai penari, khususnya Topeng Sidhakarya adalah untuk ngayah (mengabdi) berkaitan dengan persembahan yang tulus ikhlas (bhakti dan karma marga) kepada Sang Pencipta
Exploring Cultural Authority: The Dichotomies of Zikir Songs in the Malay Community of West Kalimantan
Full text linkThis article examines the reproduction of cultural authority within the Sambas Malay culture, emphasizing the distinctions in the utilization of songs for performing dhikr or barzanji in broader terms. This issue is approached through a multidisciplinary lens that integrates aspects of cultural studies, ethnomusicology, and symbolic capital. This research is qualitative because it explores the complex relationship between the dhikr practices of the community, resulting in narrative data. The data was collected through interviews and participant observation, which included engaging with the dhikr participants during their rituals and practices. The process of data analysis occurs in three distinct stages. Initially, data reduction is conducted to arrange the data in a more structured manner. The second point presents the reduced data thematically in a table that includes images, text quotes, and snippets of dialogue. Data verification was conducted to reach conclusions. The process of interpretation involved restating and reflecting on the data in light of the prevailing socio-cultural context. The findings suggest that the dichotomy acts as a means for dhikr practitioners to recreate cultural authority, aiming to reshape the Sambas Palace's influence over those who engage with traditional songs. This reproductive process occurs through inversion and reinforcement
Sasando as a Symbol of Cultural Identity of the Rote Island Community and the Challenges of Preserving
Full text linkThis research examines Sasando as a symbol of cultural identity and pride of the people of Rote Island by exploring its philosophical values, social functions, and the challenges of its preservation in the midst of modernization. The present study employed a qualitative case study approach, with data collected through participatory observation and in-depth interviews with Sasando players, craftsmen, and cultural figures. The research findings reveal three key aspects: the value of cultural identity reflected in the use of natural materials (bamboo and palm) and its role in traditional rituals as a marker of local wisdom, social function as a medium of community unification in collaborative events and a means of intergenerational value transmission, and preservation challenges in the form of declining interest from the younger generation, lack of integration in formal education, and limited promotion. The research also identified opportunities through cultural festivals and tourism-based economic potential. The research conclusions emphasize that Sasando is not merely a musical instrument, but rather a symbol of collective identity that represents the history, social values, and cultural resilience of the Rote people. The following policy recommendations are put forth: first, the integration of a Sasando-based curriculum; second, the strengthening of youth training programs; and third, multi-stakeholder collaboration for sustainable promotion strategies. This research makes a theoretical contribution to the discussion of the relationship between traditional musical instruments, identity construction, and cultural preservation strategies in the midst of globalization
Eksplorasi Balungan Gending Gaya Yogyakarta dan Surakarta
Full text linkBalungan gending merupakan acuan pengrawit dalam menentukan pola permainan ricikan. Secara visual, balungan gending berbentuk susunan nada-nada yang sudah diatur tinggi rendah maupun fungsinya. Karawitan gaya Yogyakarta memiliki balungan gending yang berbeda dengan gaya Surakarta. Penelitian ini bertujuan untuk mengeksplorasi gaya atau ciri khas gending berorientasi kewilayahan sehingga untuk mengeksplorasi dua gaya gending ini tidak akan terlepas dari historisitas kewilayahan empat kerajaan Dinasti Mataram, yaitu Kasultanan Yogyakarta, Kasunanan Surakarta, Mangkunegaran Surakarta, dan Pakualaman Yogyakarta beserta dengan pengaruhnya. Dengan mempergunakan metode deskriptif kualitatif, keberadaan gending gaya Yogyakarta dan Surakarta dilihat sebagai suatu fenomena sosial dengan mengacu pada balungan gending. Balungan gending gaya Yogyakarta cenderung melompat, patah-patah. Balungan gending gaya Surakarta cenderung linier, mengalun. Perbedaan balungan gending akan berdampak pada karakter gending. Gending gaya Yogyakarta cenderung berkarakter gagah, mantap, dan bergelora, sedangkan gending gaya Surakarta cenderung berkarakter luwes, mengalir, mengalun. Ketercapaian karakter gending akan terwujud melalui kemampuan pengrawit dalam menginterpretasi kehendak balungan gending.Exploration of Balungan Gending Gaya Yogyakarta and SurakartaAbstractBalungan gending is a reference for musicians who want to determine the pattern of ricikan playing. Visually, balungan gending takes the form of a sequence of notes arranged in terms of pitch and function. The Yogyakarta style of karawitan has a different balungan gending from the Surakarta style. This study aims to explore the regionally oriented styles or characteristics of gending, so that the exploration of these two gending styles cannot be separated from the regional history of the four kingdoms of the Mataram Dynasty, namely the Sultanate of Yogyakarta, the Sunanate of Surakarta, Mangkunegaran Surakarta, and Pakualaman Yogyakarta, along with their influences. Using a qualitative descriptive method, the existence of Yogyakarta-style and Surakarta-style gending is viewed as a social phenomenon based on the gending structure. The structure of Yogyakarta-style gending tends to be jumpy and fragmented, while the structure of Surakarta-style gending tends to be linear and flowing. Differences in gending structure will impact the character of the gending. Yogyakarta-style gending tends to have a bold, steady, and passionate character, while Surakarta-style gending tends to have a flexible, flowing, and melodious character. The gending's character is realized through the performer's ability to interpret the intent of the gending's structure.Keywords: Exploration of Gending; Balungan Gending; Gending style
Serious Role Playing Game Pengenalan Objek Pemajuan Kebudayaan Bengkulu Dengan Alur Cerita Menggunakan Breadth First Search dan Rule Based
Full text link Penelitian ini bertujuan untuk mengetahui pengaruh aplikasi serious role playing game berbasis Android terhadap peningkatan pengetahuan tentang objek pemajuan kebudayaan Bengkulu. Latar belakang penelitian ini adalah menurunnya minat dan ketertarikan pemuda terhadap kebudayaan serta kurangnya inovasi pelestarian budaya yang terintegrasi dengan teknologi modern, karena dianggap tidak relevan dengan zaman sekarang. Penelitian ini menggunakan jenis penelitian terapan dengan metode One-Group Pretest-Posttest Design, yang termasuk dalam bentuk Pre-Experimental Design dalam penelitian kuantitatif. Populasi penelitian adalah seluruh pemuda berusia 15-24 tahun di Provinsi Bengkulu, dengan sampel sebanyak 44 orang yang diambil menggunakan teknik probability sampling dengan menerapkan cluster sampling, merepresentasikan 4 orang setiap kelompok umur dari berbagai daerah di Bengkulu. Pengujian dilakukan melalui tiga metode: functionality dengan black box testing, usability dengan GUESS-18, dan pengujian hipotesis menggunakan uji Wilcoxon-signed rank. Hasil penelitian menunjukkan bahwa aplikasi serious role playing game berbasis Android secara signifikan meningkatkan pengetahuan pemuda tentang objek pemajuan kebudayaan Bengkulu
METODOLOGI PENELITIAN DALAM MELAKUKAN STUDI FOTOGRAFI TERAPEUTIK
Full text linkTujuan dari penelitian Fotografi Terapi adalah untuk menganalisis dan menjelaskan proses untuk menemukan metode alternatif. Persuasif bukan hanya visual. Dalam konteks nilai, konsep non-verbal memiliki relevansi dengan bahasa tubuh seperti ekspresi wajah, gerakan, isyarat, atau keheningan. Perbedaan antara komunikasi verbal dan non-verbal adalah bahwa tahap diskusi menuju komunikasi yang efektif terjadi ketika lapisan verbal dan non-verbal saling berhubungan. Komunikasi non-verbal mencakup elemen seperti gambar, teks, desain, dan rancangan visual, yang membantu menjelaskan pembuatan visual. Ini akan menggabungkan makna dan hasil dalam bentuk komunikasi visual yang bermanfaat.Research Methodology in Conducting Therapeutic Photography Studies. The goal of the research on therapeutic photography is to examine and clarify the procedure in order to identify substitute techniques. Persuasive is more than just images. The term "non-verbal" refers to body language, including gestures, facial expressions, and silence, in relation to values. The distinction between verbal and nonverbal communication is that when the verbal and nonverbal layers are united, the discussion stage of effective communication takes place. Images, language, design, and visual design are examples of nonverbal communication components that aid in elucidating the process of visual production. This will provide a useful visual communication that combines meaning and outcomes.
CITRA SUREALISME JALANAN: ANALISIS STREET PHOTOGRAPHY KARYA ROY RUBIANTO MELALUI KONSEP HASARD OBJECTIF DAN THE MARVELOUS
Full text linkKajian ini bertujuan menganalisis street photography karya Roy Rubianto dalam buku foto INTIP melalui dua konsep kunci dari aliran surealisme Andre Breton, yaitu hasard objectif dan the marvelous. Dengan pendekatan kualitatif deskriptif, peneliti menginterpretasikan empat foto terpilih menggunakan pendekatan fenomenologi “studium” dan “punctum” dari Roland Barthes untuk mendeskripsikan aspek yang ternampakkan dalam sebuah citra fotografis seperti komposisi, pencahayaan, dan penjajaran. Punctum digunakan untuk mendeskripsikan aspek yang tidak ternampakkan seperti pengalaman sensasi estetis yang dialami oleh pemandang. Hasil analisis menunjukkan bahwa karya Roy Rubianto yang diambil selama 14 tahun di Jakarta menciptakan narasi baru yang menantang persepsi realitas dalam genre fotografi dokumenter klasik. Roy Rubianto dengan menggunakan pendekatan street photography mampu mengintegrasikan konsep hasard objectif dan the marvelous dari Andre Breton. Kajian ini menyimpulkan bahwa street photography dapat memperkaya wacana dan praktik seni dengan mengungkap surealisme dalam banalitas kehidupan sehari-hari. Surealisme menawarkan sudut pandang manusia yang unik pada era teknologi maju. Kajian ini menyarankan penelitian lebih lanjut tentang imajinasi surealisme dalam fotografi untuk mengungkap dimensi tersembunyi dalam realitas kehidupan yang lain. The Aesthetic of Street Surrealism: An Analysis of Roy Rubianto’s Street Photography through the Concepts of Hasard Objectif and The Marvelous. This study aims to analyze Roy Rubianto’s street photography in the photo book INTIP through two key surrealist concepts by André Breton: hasard objectif and the marvelous. Using a descriptive qualitative approach, the researcher interprets four selected photos by applying Roland Barthes’ phenomenological concepts of “studium” and “punctum” to describe visible aspects in a photographic image, such as composition, lighting, and juxtaposition. Punctum is used to describe invisible aspects, such as the aesthetic sensory experience felt by the viewer. The analysis reveals that Roy Rubianto’s work, captured over 14 years in Jakarta, creates a new narrative that challenges perceptions of reality within the classic documentary photography genre. Through his street photography approach, Roy Rubianto successfully integrates André Breton’s concepts of hasard objectif and the marvelous. This study concludes that street photography can enrich artistic discourse and practice by uncovering surrealism within the banality of everyday life. Surrealism offers a unique human perspective in an era of advanced technology. The study suggests further research into surrealist imagination in photography to uncover hidden dimensions in other aspects of life
Struktur Naratif Lakon Bratayuda Jombor
Full text linkAbstractThe Jombor version of the Bratayuda Puppet Performance (PWLB) has developed since the end of the 19th century. Since 2005, the Jombor version of PWLB has never been performed anymore. In fact, the Jombor version of PWLB has unique pattern and structure of performance. Given these things, preservation and documentation of the Jombor version of PWLB are urgently needed. Therefore, the transcription and discovery of the Jombor version of PWLB structure pattern by Ki Kristiaji is important. This study has used Becker’s narrative structure simplified by Kasidi to find the pattern of PWLB structure. This study has also used analytical description method. The results of the analysis show that there are several scenes and war scenes of traditional patterns that are not found in the Jombor version of PWLB. These scenes include scenes of gapuran, kondur kedhaton, kapalan, pandhita, sintrèn, gambyongan, and all kinds of wars. The performance structure that is strictly followed is the division of the performance into three timelines, but the internal structure of the timeline such as the main scene is not always followed and ended by war. There is main scene followed by particular scene but is ended by war and there is main scene that is immediately ended by war. There is even one timeline in one scene followed by scene and war inside another main scene. Also, the internal structure of the main scene is not always composed by descriptions, dialogues, and actions. Some scenes of the Jombor version of PWLB do not have any descriptive elements. Meanwhile, the supporting elements in the form of sulukan (mood son), gending (instrumentalia), dhodhogan-keprakan are used by puppet masters by adjusting to the needs of the stage. Based on the results of the analysis, the arrangement of the scenes according to the traditional pattern and Becker’s narrative structure simplified by Kasidi is not rigid and coercive. These patterns are flexible according to the needs of the performanes.AbstrakPertunjukan Wayang Lakon Bratayuda (PWLB) versi Jombor tercatat telah berkembang sejak akhir abad 19. Sejak tahun 2005, PWLB versi Jombor tidak pernah dipentaskan lagi. Setelah ditelisik, PWLB versi Jombor memiliki keunikan dalam pola dan struktur lakonnya. Mengingat dua hal tersebut, usaha pelestarian dan pendokumentasian PWLB versi Jombor mendesak untuk dilakukan. Transkripsi dan penemuan pola struktur PWLB versi Jombor dengan dalang Ki Kristiaji dimaksudkan untuk menjawab hal itu. Dalam penelitian ini digunakan konsep struktur naratif Becker seperti direduksi oleh Kasidi untuk menemukan pola struktur PWLB. Adapun strategi analisis kajian ini menggunakan metode deskripsi analitik. Hasil analisis menunjukkan bahwa ada beberapa adegan dan perang menurut pola tradisi yang tidak ditemukan dalam PWLB versi Jombor. Adegan tersebut antara lain adegan gapuran, kondur kedhaton, kapalan, pandhita, sintrèn, gambyongan, dan semua jenis perang. Struktur lakon yang diikuti secara ketat adalah pembagian lakon menjadi tiga pathet, tetapi struktur internal pathet seperti jejer tidak selalu diikuti adegan dan diakhiri perang. Terdapat jejer yang diikuti adegan tetapi tidak diakhiri perang dan ada jejer yang langsung diakhiri perang. Bahkan ada satu jejer dalam suatu pathet diikuti adegan dan perang dalam kerangka pathet yang lain. Struktur internal pathet juga tidak selalu disusun oleh deskripsi, ginem, dan tindakan. Beberapa adegan PWLB versi Jombor tidak memiliki unsur deskripsi. Sedangkan unsur penyangga berupa sulukan, gending, dhodhogan-keprakan digunakan dalang dengan menyesuaikan kebutuhan pentas. Berdasarkan hasil analisis, susunan adegan menurut pola tradisi dan konsep struktur naratif Becker yang direduksi Kasidi tidak bersifat kaku dan memaksa. Pola-pola tersebut bersifat luwes disesuaikan kebutuhan lakon