Jurnal Kajian Seni
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Tonel: Teaterikalitas Pascakolonial Masyarakat Tansi Sawahlunto
Get PDFTonel is a dramatic performing arts that has been living in Tansi Society, Sawahlunto,Sumatera Barat. This study is a preliminary review of the tonel existence in the presenttime that related to the history of Sawahlunto as a colonialization effect. This research usedescriptive analysis of study literature and interview, the description is directed to explore thepostcolonial indication contained in tonel staging practices. The results answered that tonelis a part of a hybrid product in creoles culture, as the effects of colonial policy in the past.In other hand, the study also explained that through theatricality of tonel had an impectedfor Tansi society of Sawahlunto to create a new cultural identity as “Slunto Peoples
Pada Suatu Drama: Studi Seni Pagelaran dalam Wacana Pergerakan
Get PDFA stage performance is not only a play, it has also become a medium to state somethingelse. It is possible that through the performance presented, the dynamics of life could bean inspiration for the creator to produce certain stories; constructing new reality. Everysingle scene seems unrelated at fi rst, but then combined to a story containing values.It can be social critique, politic strategy, entertainment, or money machine. Regardingthe context, this article is meant to be a critical refl ection to a particular play in TamanBudaya Yogyakarta (TBY). Here the writer is willing to share about spectator’s worldand a play performance carrying women movement issue; a stage imagined to be arefl ection of daily life, yet live so close to appreciations and full of paradoxes
Stigmatisasi terhadap Tiga Jenis Seni Pertunjukan di Banyuwangi: dari Kreativitas Budaya ke Politik
Get PDFThis research aims to fi nd out how stigmatization toward Banyuwangi people throughthree performing arts: Damarwulan, Gandrung and Banyuwangi local music. At thefi rst emergence of three performing arts come from cultural creativity has backgroundof each. In their developments, these three performing arts genres becomes even morepopularized, for not only Banyuwangi people but also Javanese people especially EastJava and Middle Java. This popularization happened along with social, cultural andpolitical change in Java, especially Banyuwangi. Along with this, all of this social,cultural and political change becomes stigmatized towards the three performing artsin Banyuwangi. This stigmatization is related to social reality and political events inBanyuwangi especially in the postcolonial era.This research concludes that there is no purpose from artists to create a stigmatizationtoward three performing arts in Banyuwangi; Damarwulan, Gandrung and Banyuwangilocal music. There is no evidence of giving stigmatization when the artists produce thespecifi c art forms. This stigmatization happens along with social, cultural, political changein the history of Banyuwangi
Seni Jathilan dalam Dimensi Ruang dan Waktu
Get PDFAfter the launching of tourism in 1986 by President Suharto jathilan become more varied both in terms of presentation and story themes resources are taken. The development of the presentation is able to shift the initial function jathilan as part of the ritual as Merti village, rasullan, sedhekah sea, and the like are held regularly every year. Jathilan that there transformed into a commodity that is used as a tourist attraction. The presentation function jathilan now able to adapt to the needs of the community aestetic supporters, so that there are currently several categories jathilan; First jathilan ritual that we can only meet once a year for certain ceremonial events. Both jathilan entertainment, which can be encountered at any time when no one had a lavatory. And third jathilan for the festival. Jathilan festival is formatted with choreography and certain rules by the organizer
Dalang Anak dalam Pertunjukan Wayang
Get PDFPuppeteer puppet show presenter child as interesting to study, because adultsusually do, so there is a discrepancy between the condition of the child and puppet show format. Child Puppeteer appears in different areas, both in Java and the surrounding territory. Motivation theory is used to solve the presence of children in the puppet show, while the methods of qualitative research, based on fi les from the literature review and field observations. The results can be found that the child puppeteer motivation is internal and external, as an educative motive, preservation, and development of the art of puppetry to the next generation
Penciptaan Ragam Hias Tingang Haguet sebagai Alternatif Brand Identity Kabupaten Pulang Pisau Kalimantan Tengah
Get PDFoai:jurnal.ugm.ac.id:article/5873Pulang Pisau is a 12 years old division regency in Central Kalimantan Province. Themagnitude opportunities of tourism sector require the local government and variousrelevant stakeholders to developed their regional identity through brand identity. DayakNgaju, the biggest and dominant indigenous group in Pulang Pisau Regency, has thestand out cultural aspects and be able to represent the regency. The representation isfi ltered and merged into a visual form. The landscape aspect of Pulang Pisau Regency,like Kahayan and Sebangau rivers, also plays a main role in contributing the distinctivecharacter. This paper is an attempt to build a brand identity of Pulang Pisau Regencythrough a simple study of the cultural identity of their local community. The result is anornament named Tingang Haguet
Dramaturgi Teater Rakyat Randai di Minangkabau
Get PDFAs a cultural performance, Randai traditionally organized in various ways as partof a traditional Minangkabau order adaik salingka nagari prevailing at each villagesin Minangkabau. As a folk theater, Randai always produced with distinctive-lookingdramaturgi order relating to the socio-cultural order prevailing in Minangkabau society.Based on the description dramaturgi aspects of it, seems a common thread that connectsthe various elements of the socio-cultural order Minangkabau society.Study of this paper will show that the Randai dramaturgy typically constructed based onthe existence of elements and traditional values in the range of ethnic communities in theMinangkabau of West Sumatra. Various political and social factors in the developmentof the Minangkabau people, especially friction factor of the indigenous, Islam, andthe state, has affected the order of the elements and the traditional values that buildRandai dramaturgy. As a result, aspects and positions where Randai dramaturgi inMinangkabau society today, is also changing
Makna Simbolik Pertunjukan Kelentangan dalam Upacara Belian Sentiu Suku Dayak Benuaq Desa Tanjung Isuy, Kutai Barat, Kalimantan Timur
Get PDFKelentangan is a kind of music used in a sequence of Belian Sentiu ceremony, oneof healing rites of Dayak Benuaq Society led by the pemeliatn. The ceremony can beheld when Kelentangan does also come. Kelentangan itself has two meanings, asan instrument or as an ensemble. The performance of Kelentangan in Belian Sentiuceremony is a representation of the myth about belief toward ghosts and the DayakBenuaq ancestor’s spirits. The performance of Kelentangan has a very important rolein the healing procession or also known as ngawat. All of Kelentangan performancesin the Belian Sentiu ceremony are meaningful and contain symbolical meanings in it.They functioned normatively as social adjustment in Dayak Benuaq of Tanjung Isuy,in individual and environmental, and spiritual relationships. The later concerned withghosts and the ancestors’ spirits
Wayang Kulit Tradisional dan Pasca-Tradisional di Jawa Masa Kini
Get PDFRegional traditions of wayang kulit puppetry remain alive and vibrant in contemporary Indonesia, responding to currents of global culture, changing configurations of patronage, and the challenges of doctrinal Islam. Enterprising artists tap into new funding sources to renew audiences, strategic alliances are struck between academics and performers, and after the long hiatus of a military dictatorship under President Soeharto, wayang kulit has resumed its role as a mouthpiece for political commentary and dissent. In addition to traditional wayang kulit, the last decade has seen a surge of post-traditional wayang kulit. Post-traditional productions, which are generally not linked to ritual events or functions, etiolate and hybridize the conventions of the form, intentionally violating sacred norms and taboos. Traditionally-trained practitioners alive to global popular culture and the demands of the international contemporary art market, sometimes in collaboration with other artists, create new work that draws deeply on wayang kulit conventions and practices to speak to new audiences about issues of current relevance. While traditional and post-traditional wayang kulit present strikingly different aesthetic profiles, practitioners happily cross between the two art worlds, benefiting from contemporary society’s cultural pluralism
Seni Pertunjukan Topeng Tradisional di Surakarta dan Yogyakarta
Get PDFThis article examine a study of exploration in which is ‘style’ of masked dancedrama’sconcentration of Surakarta and Yogyakarta regions. Two of them were the center ofmasked dancedrama called ‘Dramatari Topeng’ in Java island. Because of the specifi cscope of study focussed on masked dancedrama in Java, so that the article will strivesa very limited topic namely ‘identifi cation of performance style’. Basic stuff of maskeddancedrama in Java based on movement materials of two different grand style inSurakarta include its root in Klaten and arround, and Yogyakarta style and its rootarround Kalasan area. All of two grand styles will explore using ethnochoreopogicalapproach which are combined by comparative study related to its urgence on multilayeredentities of their performance each other. Through this article we would recognize theaspects of identifi cation of grand style within two movement materials of the mostinfl uence dance style in the masked dancedrama in Java