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Karakteristik Demografis dan Psikografis Audiens Musik Klasik Jakarta City Philharmonic Orchestra
Full text linkAbstrakArtikel ini memberikan identifikasi dan penjelasan mengenai karakteristik demografis dan psikografis penonton, serta motivasi yang mempengaruhi kehadiran mereka dalam sebuah pertunjukan musik. Dengan menggunakan pendekatan kuantitatif deskriptif, penelitian ini melibatkan 600 responden yang datanya diambil pada pertunjukan Jakarta City Philharmonic Orchestra. Hasil penelitian menunjukkan bahwa mayoritas penonton adalah perempuan dengan presentase 61%, dengan profesi dominan sebagai karyawan perusahaan swasta dengan presentase 36% dan rerata pengeluaran bulanan antara 3-5,9 juta dengan presentase 35%. Sebagian besar responden berstatus lajang dengan presentase 86% dan memiliki pendidikan terakhir sarjana (S1) dengan presentase 59%. Motivasi utama penonton untuk hadir adalah untuk relaksasi dan hiburan, diikuti oleh keinginan untuk memperoleh wawasan baru tentang seni. Analisis tabulasi silang mengungkapkan bahwa perempuan lebih banyak hadir dibandingkan laki-laki dengan presentase 61% dan 39%, dan penonton lajang cenderung lebih sering menghadiri pertunjukan dengan presentase 86%. Penelitian ini juga mengidentifikasi empat segmen penonton berdasarkan gaya hidup, yaitu "penikmat", "wanita aspirasional", "sarjana milenial", dan "lajang berjiwa seni". Hasil kajian dapat memberikan rujukan bagi pengelola seni dalam merancang strategi pemasaran yang lebih efektif dan menarik bagi penonton musik orkestra.Kata kunci: audiens, Jakarta City Philharmonic Orchestra, musik orkestra, segmentasi penonton AbstractDemographic and Psychographic Characteristics of the Jakarta City Philharmonic Orchestra's Classical Music Audience. This article identifies and explains the demographic and psychographic characteristics of concert attendees, as well as the motivations influencing their presence at a musical performance. Utilizing a descriptive quantitative approach, the study surveyed 600 respondents whose data were collected during a Jakarta City Philharmonic Orchestra concert. The findings reveal that the majority of attendees were female (61%), predominantly employed in private sector companies (36%), with average monthly expenditures ranging between 3 to 5.9 million IDR (35%). Most respondents were single (86%) and held an undergraduate degree (59%). The primary motivation for attendance was relaxation and entertainment, followed by a desire to gain new insights into the arts. Cross-tabulation analysis indicates that women attended in greater numbers than men (61% vs. 39%), and single individuals were more likely to participate in performances (86%). The study further categorizes the audience into four lifestyle-based segments: “enthusiasts,” “aspirational women,” “millennial graduates,” and “arts-spirited singles.” These findings offer valuable insights for arts organizers in designing more effective and appealing marketing strategies targeted toward orchestral music audiences. Keywords: audience, Jakarta City Philharmonic Orchestra, orchestral music, audience segmentatio
Pertunjukan Tradisi Lukah Gilo di Nagari Tarung-Tarung IX Koto Sungai Lasi Kabupaten Solok, Provinsi Sumatera Barat
No full textAbstrakArtikel ini ditulis untuk mendeskripsikan tata cara pelaksanaan serta fungsi pertunjukan tradisi Lukah Gilo bagi masyarakat setempat. Adapun artikel ini merupakan luaran penelitian yang menggunakan teori tradisi dari Bronislaw Malinowski. Penelitian ini menggunakan pendekatan kualitatif dengan teknik pengumpulan data melalui observasi langsung di lapangan, wawancara, dan dokumentasi. Adapun objek penelitian ini adalah pertunjukan tradisi Lukah Gilo. Sumber data dalam penelitian ini terdiri atas sumber data primer dan sekunder. Teknik analisis data dilakukan melalui tiga tahapan yaitu reduksi data, penyajian data serta penarikan kesimpulan dan verifikasi. Hasil penelitian ini menunjukkan bahwa tradisi Lukah Gilo merupakan salah satu bentuk seni pertunjukan rakyat yang menampilkan keahlian khas masyarakat dalam menciptakan ilusi seolah-olah sebuah benda mati yakni lukah atau perangkap ikan dari bambu dapat bergerak dan hidup dengan sendirinya. Gerakan-gerakan lukah tersebut tidak dilakukan secara langsung oleh manusia, melainkan melalui serangkaian ritual, mantra, dan iringan musik tradisional yang diyakini mengundang kekuatan gaib. Atraksi ini tidak hanya menghibur, tetapi juga mencerminkan kepercayaan spiritual serta kearifan lokal masyarakat pendukung tradisi tersebut. Fungsi pertunjukan tradisi Lukah Gilo bagi masyarakat Taruang-Taruang, adalah sebagai hiburan, sebagai tempat ekspresi bagi pelaku kesenian,memberikan kenikmatan estetis,sebagai komunikasi dan juga pengintegrasian masyarakat, sebagai representasi simbolis, sebagai respon fisik, memperkuat konformitas norma-norma sosial, serta stabilitas kebudayaan. Lukah Gilo juga berfungsi sebagai hiburan dan tontonan yang menarik terutama dalam acara-acara adat, festival, atau upacara tertentu.Kata kunci : Lukah Gilo, Pertunjukan, Tradisi, FungsionalismeAbstractThe Lukah Gilo Traditional Performance in Taruang-Taruang IX Koto Sungai Lasi, Solok Regency, West Sumatra Province. This study aims to describe the procedures of implementation as well as the functions of the Lukah Gilo traditional performance for the local community. To support the research, the study employs Bronislaw Malinowski’s theory of tradition. In addition, the research applies a qualitative approach with data collection techniques including direct field observation, interviews, and documentation. The object of this research is the Lukah Gilo traditional performance. The data sources consist of both primary and secondary sources. Data analysis was carried out through three stages: data collection, data reduction (which includes reducing data, presenting data, and drawing conclusions with verification). The results of the study indicate that the Lukah Gilo performance is one form of folk performing arts that showcases the distinctive skills of the community in creating the illusion that an inanimate object—namely lukah (a bamboo fish trap)—can move and come to life on its own. The movements of the lukah are not directly controlled by humans, but rather are brought forth through a series of rituals, chants, and traditional musical accompaniment believed to summon supernatural forces. This attraction not only entertains but also reflects the community’s spiritual beliefs and local wisdom. The functions of the Lukah Gilo traditional performance for the people of Taruang-Taruang include entertainment, providing a space for artistic expression, offering aesthetic enjoyment, serving as a means of communication and community integration, symbolic representation, physical response, reinforcing conformity to social norms, and maintaining cultural stability. Lukah Gilo also functions as an appealing spectacle, especially in customary ceremonies, festivals, or certain rituals.Keywords: Lukah Gilo, Performance, Tradition, Functionalis
Ekstrakurikuler Kriya Anyaman Bambu sebagai Penguatan Lokalitas dan Kreativitas Siswa: Studi Kasus SDN Tangkil Bantul
Full text linkAbstrakPenelitian ini bertujuan untuk mendeskripsikan ekstrakurikuler kriya anyaman bambu sebagai proses kreativitas dan penguatan lokalitas siswa kelas V di SDN Tangkil Bantul. Jenis penelitian yang digunakan adalah penelitian kualitatif dengan metode studi kasus. Subjek utama dalam penelitian ini siswa kelas V. Pengumpulan data dari hasil observasi, wawancara, dan dokumentasi. Teknik analisis data melalu tahapan pengumpulan data, reduksi data, penyajian data, serta penarikan kesimpulan. Hasil penelitian menunjukkan bahwa, ekstrakurikuler kriya anyaman bambu mendorong proses kreativitas siswa kelas V di SDN Tangkil Bantul. Proses kreativitas yang terjadi pada siswa kelas V yaitu proses persiapan, inkubasi, iluminasi, serta verifikasi. Ekstrakurikuler kriya anyaman bambu memberikan dampak positif dalam memperkuat lokalitas siswa kelas V, kegiatan ini siswa terlibat secara langsung dalam praktik pembuatan kriya anyaman bambu sehingga siswa mengenal, menghargai, mengetahui nilai budaya, serta menumbuhkan rasa bangga dan tanggung jawab siswa untuk melestarikan budaya lokal kriya anyaman bambu.Kata kunci: ekstrakurikuler, kriya, anyaman bambu, kreativitas, lokalitas.AbstractBamboo Weaving Craft Extracurricular Activities as Strengthening of Student Locality and Creativity: A Case Study at Tangkil Bantul Public Elementary School. This research aims to describe extracurricular bamboo weaving crafts as a process of creativity and strengthening the locality of class V students at SDN Tangkil Bantul. The type of research used is qualitative research with a case study method. The main subjects in this research were fifth grade students. Data were collected from observations, interviews and documentation. Data analysis techniques go through the stages of data collection, data reduction, data presentation, and drawing conclusions. The results of the research show that extracurricular bamboo woven crafts encourage the creativity process of class V students at SDN Tangkil Bantul. The creativity process that occurs in class V students is the process of preparation, incubation, illumination and verification. Extracurricular bamboo woven crafts have a positive impact in strengthening the locality of class V students. In this activity, students are directly involved in the practice of making bamboo woven crafts so that students know, appreciate and understand cultural values, as well as fostering a sense of pride and responsibility in students to preserve the local culture of bamboo woven crafts.Keywords: extracurricular, crafts, bamboo weaving, creativity, locality
Regenerasi dan Adaptasi sebagai Strategi Pelestarian Wayang Topeng Kelompok Kadaryono di Situbondo, Jawa Timur
Full text linkAbstrakWayang topeng adalah salah satu jenis teater rakyat tradisional yang berasal dari Situbondo, Jawa Timur, yang kini mengalami penurunan intensitas pertunjukan dibandingkan dengan kesenian ludruk dan ketoprak. Kelompok Wayang Topeng Kadaryono menjadi salah satu representasi penting dalam pelestarian bentuk seni ini. Penelitian ini bertujuan untuk mendeskripsikan keberadaan dan dinamika kelompok Kadaryono dalam mempertahankan eksistensi seni pertunjukan wayang topeng. Dengan menggunakan pendekatan sejarah dan metode kualitatif deskriptif, data diperoleh melalui studi pustaka, observasi, dan wawancara mendalam dengan tokoh seniman lokal. Hasil penelitian menunjukkan bahwa upaya pelestarian wayang topeng didorong oleh inisiatif pelaku seni itu sendiri, terutama Ki Dalang Kadaryono, yang secara aktif menjaga kesinambungan tradisi melalui regenerasi internal dan adaptasi format pementasan. Keberlangsungan kesenian ini membutuhkan kolaborasi antara seniman, masyarakat, dan pemerintah sebagai ekosistem pendukung yang berkelanjutan.Kata kunci: Situbondo, wayang topeng, keberadaan, KadaryonoAbstractRegeneration and Adaptation as Preservation Strategies for the Kadaryono Group's Wayang Topeng in Situbondo, East Java. Wayang topeng is a traditional folk theater in Situbondo, East Java, which has experienced a decline in performance frequency compared to other regional arts such as ludruk and ketoprak. The Kadaryono mask puppet group plays a vital role in preserving this art form. This study aims to describe the presence and cultural significance of the Kadaryono group in maintaining the existence of wayang topeng. Employing a historical approach and qualitative descriptive method, data were collected through literature review, field observation, and in-depth interviews with local art figures. The results indicate that preservation efforts are initiated by the artists themselves, particularly Ki Dalang Kadaryono, who continues to sustain the tradition through internal regeneration and performance adaptation. The sustainability of this cultural heritage relies on the collaborative support of artists, the community, and local authorities. Keywords: Situbondo, puppet mask, existence, Kadaryon
Transkulturasi Naskah Pinangan Anton Chekhov: Eksplorasi Dramaturgi Visual dan Kritik Sosial dalam Teater Indonesia
Full text linkAbstrakArtikel ini membahas proses penafsiran visual dan dramaturgi dalam pertunjukan teater yang merekontekstualisasi naskah The Proposal Karya Anton Chekhov ke dalam konteks budaya Indonesia. Tujuan dari kajian ini adalah mengeksplorasi bagaimana teks drama klasik asal Rusia tersebut dapat diterjemahkan secara artistik ke dalam ruang lokal melalui pendekatan penyutradaraan, pemilihan gaya permainan aktor, desain artistik, serta penggunaan simbol-simbol visual. Topik ini dipilih karena Pinangan mengandung ironi sosial yang relevan dengan dinamika kelas menengah Indonesia kontemporer, namun membutuhkan pembacaan ulang agar dapat diterima oleh penonton lokal Penelitian ini menggunakan pendekatan penciptaan seni (artistic reserch) dengan metode practice- as-research, yaitu metode penciptaan karya yang berangkat dari eksplorasi terhadap teks sastra (naskah Pinangan karya Anton Chekhov), yang kemudian diterjemahkan ke dalam bentuk pertunjukan teater melalui tahapan-tahapan kreatif. Hasil kajian menunjukkan bahwa pertunjukan teater Pinangan versi Indonesia tidak hanya mengubah aspek bahasa dan latar, tetapi juga menambahkan nuansa kritik sosial baru, memperkuat komedi situasional, serta menciptakan dialog antar budaya antara teks asli dan penonton masa kini. Penafsiran dramaturgis yang dilakukan berhasil menampilkan kembali substansi naskah secara segar tanpa kehilangan esensi Chekhovian, sekaligus memperkuat pesan lokal dalam praktik teater Indonesia.Kata kunci: Rekontekstualisasi, Penafsiran Teater, Dramaturgi, Naskah Chekhov, Kritik Sosial AbstractThe Transculturation of Anton Chekhov's The Proposal: Visual Dramaturgy and Social Criticism in Indonesian Theatre. This article discusses the process of visual and dramaturgical interpretation in a theatrical performance that recontextualizes Anton Chekhov's The Proposal script into an Indonesian cultural context. The purpose of this study is to explore how the classic Russian drama text can be artistically translated into a local space through a directorial approach, the selection of actor playing styles, artistic design, and the use of visual symbols. This topic was chosen because Pinangan contains social irony that is relevant to the dynamics of the contemporary Indonesian middle class, but requires rereading in order to be accepted by local audiences. This study uses an artistic research approach with the practice-as-research method, namely a method of creating works that starts from an exploration of literary texts (the Pinangan script by Anton Chekhov), which is then translated into a theatrical performance through creative stages. The results of the study show that the Indonesian version of the Pinangan theatrical performance not only changes the language and setting aspects, but also adds new nuances of social criticism, strengthens situational comedy, and creates an intercultural dialogue between the original text and today's audience. The dramaturgical interpretation carried out successfully re-presents the substance of the script in a fresh way without losing the Chekhovian essence, while strengthening the local message in Indonesian theatrical practice.Keywords: Recontextualization, Theater Interpretation, Dramaturgy, Chekhov's Script, Social Criticis
Interpretasi Hening Sesanti Niskala sebagai Janturan menjadi Karya Musik
No full textAbstrakHening Sesanti Niskala adalah komposisi musik yang terinspirasi dari kedalaman makna filosofis janturan. Karya ini bertujuan merepresentasikan substansi janturan secara musikal sebagai pesan spiritual. Konsep karya dibangun atas tiga elemen: Hening (ketenangan), Sesanti (doa), dan Niskala (keselamatan), yang dimaknai sebagai kekhusukan manusia saat berdoa kepada Tuhan. Metode penciptaan meliputi tiga tahapan utama: persiapan, observasi, dan tafsir garap yang melibatkan eksplorasi bunyi serta teknik instrumen. Karya ini diharapkan menjadi referensi alternatif dalam metode penciptaan musik baru, khususnya bagi akademisi karawitan. Kata kunci: Janturan, Suasana Musikal, Doa, Makna, dan Eksplorasi AbstractInterpreting Hening Sesanti Niskala as Janturan into a Musical Composition. Hening Sesanti Niskala is a musical composition inspired by the profound philosophical meaning of janturan. This work aims to represent the substance of janturan musically as a spiritual message. The concept is built upon three elements: Hening (stillness), Sesanti (prayer), and Niskala (salvation), which are interpreted as the solemnity of human devotion to God. The creation method comprises three main stages: preparation, observation, and tafsir garap (musical interpretation), involving the exploration of sounds and instrumental techniques. This work is expected to serve as an alternative reference for new music creation methods, particularly for Karawitan scholars. Keywords: Janturan, Musical Atmosphere, Prayer, Meaning, and Exploratio
Memule: Ritual Peringatan Arwah dalam Tradisi Jawa
No full textMemule: After Death Commemoration Ritual Javanese Tradition. Javanese people believe in life after death. The belief is embodied in the form of traditional rituals and ceremonies that constitute Javanese cultural heritage. The sacred ceremony held to commemorate those who died is called memule and is carried out on days 3, 7, 40, 100, mendhaki (year - 1, 2) and day-to-1000 after someone passed away. Besides dominated by prayer, this ritual is sometimes added with an activity called macapat. It has been done by Javanese community since the prehistoric times. Until now it comprises the sacred aspects and magical aspects. The objective of the ritual is to express gratitude, to honor ancestors, and to seek safety for the spirits of the deceased and also the family left behind. Memule is believed to have a magic power that can lead to relationships. The relationship in question here is between human beings who are still alive in the mortal world with their ancestors' spirits who are also believed to be still alive in the afterlife. Incense (dupa) or perfumed powder used as incense (ratus), the photos of the deceased, and the incense derivedfrom gum benzoin (kemenyan) and offerings (sesaji) are examples of the magic contagious. Thus it can be said that memule ritual is a ritual done by the living to deeply honor the people who have passed away in the Javanese community. Keywords: Javanese community, death, soul, prayer
Logika Estetik 'Keong Racun' di Tengah Masyarakat Konsumerisme
Full text linkThe Logic of Keong Racun Aesthetic in Consumerism. Shinta and Jojo are two teenagers who live in a true hyper-real world, more hyper-real than Baudrillard ahs ever imagined that is exemplified in his simulation strategy. They are more hyper-real than the Disneyland, the world which Umberto Eco thinks is the most hyper-real thing in the world. In their world, Shinta and Jojo get their existence by uploading their video of Keong Racun song lip-sync (lip-synchronization). Those two girls are not the composers nor the real singers of the song, however what they have done was grasped as a differentsignifer/signifedby the others. Even it is interpreted as other signified in this paper; namely as a real manifestation of the true postmodern aesthetic. Keywords: Keong racun, Shinta-Jojo, Boudrillard
Implementasi Metode Tutor Sebaya dalam Pembelajaran Ekstrakurikuler Musik di SMPK St. Bernardus, Madiun
Full text linkPenelitian ini bertujuan untuk mendeskripsikan serta menganalisis penggunaan metode tutor sebaya dan proses kegiatan ekstrakurikuler seni musik di SMP Katolik Santo Bernardus, Madiun. Penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus. Guru dan peserta didik dalam pembelajaran ekstrakurikuler, menjadi subjek utama pada penelitian ini. Pengumpulan data diperoleh dari hasil observasi, wawancara dan studi dokumen. Teknik analisis data melalui tahapan reduksi, paparan, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa penggunaan metode tutor sebaya diterapkan dengan memilih peserta didik yang memiliki kemampuan lebih yang berperan sebagai tutor bagi teman sebayanya. Proses kegiatan ekstrakurikuler ini melibatkan kelompok-kelompok kecil, di mana setiap kelompok memiliki satu atau dua tutor. Aktivitas ini meliputi praktek bermain alat musik, latihan bersama, dan diskusi kelompok. Metode tutor sebaya relevan digunakan, terbukti dari semangat dan capaian prestasi bidang musik yang telah diraih. Penggunaan metode tutor sebaya berpotensi baik, terbukti terbentuknya rasa tanggung jawab, interaksi, dan kepedulian antar peserta didik.Kata kunci: ekstrakurikuler, musik, metode, tutor sebaya AbstractPeer Tutoring Method Implementation in Extracurricular Music Learning at St. Bernardus Catholic Junior High School, Madiun. This study aims to describe and analyze the use of the peer tutoring method and the process of extracurricular music activities at St. Bernardus Catholic Junior High School, Madiun. A qualitative approach was employed, using a case study method, with the music teacher and students participating in extracurricular activities as the main subjects of the study. Data were collected through observations, interviews, and document analysis. Data analysis techniques included data reduction, data presentation, and drawing conclusions. The findings indicate that the peer tutoring method is implemented by selecting students with advanced abilities to act as tutors for their peers. This extracurricular activity is conducted in small groups, with each group having one or two tutors. Activities include musical instrument practice, group rehearsals, and group discussions. The peer tutoring method is shown to be effective, as demonstrated by the enthusiasm and achievements in music attained by the students. The use of peer tutoring promotes positive outcomes, fostering responsibility, interaction, and care among students.Keywords: ekstracurricular, music, method, peer tutor
Analisis Ragam Lisan dalam Makalah Ilmiah Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta
No full textThe Presence of Spoken Language Analysis in Students' Scientific Paper at the Faculty of Performing Art, Indonesian Institute of the Art Yogyakarta. Scientific writing, as in students' paper, requires standard writing orderliness. However, such requirement is often neglected due to the presence of the spoken style of language in their scientific papers. The assumption of the presence of spoken language appears in the scientific papers written by the students of the Faculty of Performing Art, especially those who belong to the Departments of Karawitan, Pedalangan, Ethnomusicology, and Dance. The above assumption is proven by employing the theory of bilingual division, i.e. bilingualism and bilinguality. Bilingualism is ones habit to use two languages during his interaction with other people. Meanwhile, bilinguality is ones willingness or ability to use two languages. Thus, the presence of the spoken language in students' scientific papers is considered to be a bilingualism process without bilinguality. Based on this theory, a research on misleading/arms of the presence of spoken language in students 'scientific papers and some factors that influence it is needed Keywords: Scientific paper, spoken language, forms and factors of error