24 research outputs found
AZAS LUDIC DALAM KERAMAIAN BUNYI RITUS NGAROT
No full textThis paper questions the relationship between sound crowd and the principle of ludic that is present in a rite Ngarot, one of a series of rites farmers in Lelea Indramayu, West Java. Based on Homo Ludens by Johan Huizinga’thoughts and supported by its liminality by Victor Turner. many ludic nature shown through its playing principles, that is free, temporary, closed, tense, but at the same
order. The nature of liminality is revealed through the presence of a celebrated rite ngarot sometime before the growing season in the early half of the rainy season, as well as celebrations carried on
the threshold between the two events daily, or between an unusual event with a regular event.
Key words : sound, ritual, ngarot, ludic, liminality
Konsep Laras Salendro R.M.A. Koeosoemadinata pada Angklung Pentatonis Ragam Laras
No full textPentatonic Angklung with variety of tunings (APRL) is one of the angklung innovation products which is created in 2017 through an experimental process by Endah Irawan et.al. Generally, it is an ansamble music consisting of several types of instruments made of bamboo. This ensemble is a recent innovation in the world of traditional Sundanese art because it has distinctive pattern / system of scales which combines several patterns of dissolution in Sundanese karawitan namely Salendro, Degung and Madenda, which are commonly found in different ensembles. This paper will present the concept of dissolution which is applied in pentatonic angklung with a variety of tunings (APRL) adapted from the concept of laras salendro by R.M.A. Koesoemadinata
Symbolic Form of Puppets in Character Wayang Golek Purwa Sunda
No full textWayang golek purwa Sunda is a sublime art with philosophical aspects. The performance involves many equipment and elements. The elements of wayang golek purwa are all equipment dalang when he’s performing, which in this research is limited to wayang. This study aims to discuss symbolism's meaning in these elements. To explain it, the semiotic theory from Charles Sanders Peirce was used in this study. The analytical description was used, that is, by analyzing all the data found in the study, then describing it using the scientific theory used and combining it with other literature studies. The study's results expose the meanings of the puppet element of the performance. It contains correlations with the concepts of Sundanese human living, from birth to death. Accordingly, the performance is just not a spectacle. Based on the resulting study, wayang golek contains educational values closely related to the teachings of humanity in the identity of the Sundanese people. Keywords: wayang golek purwa, dalang, meanings, symbol
Nunggak semi Al Suwardi: organology and perspective of harmonic planet music creation
No full textThis article examines the artistry of a composer named Aloysius Suwardi. This composer, who grew up in the Javanese gamelan music tradition, has produced musical compositions and created musical instruments as a means/medium to express it on the journey of his creativity. His works have been staged in various forums or world music festivals. The musical instruments he has created fill the laboratory spaces to create his musical compositions. Two musical ensembles that have been created are Gamelan Genta and Gamelan Planet Harmonic. These two musical instruments complement the many personal musical instruments he has created, such as the vibrander, tering, gerendang, and other musical instruments. Regarding the two ensembles, this article examines the aspects of the creation process. For example, how did Al Suwardi choose the materials used, how to make them, to how he determined the barrel system for these tools. In terms of compositing, this article examines how Al Suwardi started his work, his models of creation, and how he composes his works until they are declared final. The gragas and dridis creeds and Nunggak Semi's concept are the main topics in this composition creation model. Both creeds and concepts have ushered in the landscape of making Al Suwardi's musical compositions expand, from the gamelan tradition to more contemporary models of music creatio
Socio-Cultural Changes of Hananu Mate in the Death Song Bei Mate of The Tetun Tribe
No full textThis study examines Hananu Mate , a traditional funeral song of the Tetun people of Timor, East Nusa Tenggara, within the context of the Bei Mate ceremony . As a form of oral expression, Hananu Mate not only expresses grief over the passing of a person but also contains the narrative of the deceased\u27s life, social values, local spirituality, and the community\u27s collective hopes. This study aims to uncover the narrative in Hananu Mate lyrics and the socio-cultural dynamics of the Tetun community as reflected in the changing form and meaning of the song in the modern era. This study uses a narrative approach based on Walter Fisher\u27s narrative theory, which positions narrative as a primary form of human communication and a means of conveying collective values and meanings. In addition, social change theory as explained by Anthony Giddens and Inglehart-Baker is used to understand the cultural dynamics and transition of Hananu Mate\u27s meaning in the context of modernizing Tetun society. The research method used is a qualitative approach with narrative ethnography techniques, in-depth interviews, participant observation, and lyrical text analysis. The findings indicate that Hananu Mate has a distinctive elegiac narrative structure, involving the flow of introducing the deceased, depicting social relations, spiritual reflection, and closing with hopes for future generations. This research confirms that Hananu Mate is a dynamic community narrative, continually transforming in response to modernization, education, and technological developments. Despite changes in form and meaning, this song continues to play a vital role in maintaining the cultural identity and continuity of Tetun social values
LAPORAN AKHIR PENELITIAN STRATEGIS NASIONAL TEMA:Integrasi dan Harmoni Sosial PEMANFAATAN EKSPRESI SENI KOMUNITAS DALAM FESTIVAL LIMA GUNUNG SEBAGAI REVITALISASI BUDAYA LOKAL
No full textPenelitian tahun I bertujuan untuk (1) inventarisasi bentuk aktivitas
komunitas Lima Gunung sebagai sebuah potensi untuk tempat masyarakat
memiliki rasa integrasi sosial; (2) identifikasi fungsi aktivitas seni sebagai ekspresi
yang terkait dengan lingkungan alam, sosial, dan ritual ; (3) menyusun rancangan
pola integrasi yang berimplikasi pada harmoni sosial dalam komunitas Lima
Gunung yang terkait sebagai pengembangan karakter budaya lokal; (4) menyusun
artikel ilmiah dalam jurnal terakreditasi.
Tujuan penelitian tahun II, yaitu (1) aplikasi rancangan pola integrasi yang
terkait dengan lingkungan alam, sosial, dan ritual berbasis budaya lokal; (2)
sosialisasi bentuk ekspresi seni komunitas Lima Gunung yang terkait dengan
lingkungan alam, sosial, dan ritual setempat; (3) menyusun artikel ilmiah untuk
jurnal terakreditasi; (4) menerbitkan buku panduan model revitalisasi yang
diimplementasikan dari aspek harmoni sosial dalam komunitas Lima Gunung
Target tahun I, yaitu (1) Terinventarisasikannya bentuk aktivitas komunitas
Lima Gunung sebagai sebuah potensi untuk tempat masyarakat memiliki rasa
integrasi sosial; (2) Teridentifikasikannya fungsi aktivitas seni sebagai ekspresi
yang terkait dengan lingkungan alam, sosial, dan ritual ; (3) Tersusunnya
rancangan pola integrasi yang berimplikasi pada harmoni sosial dalam komunitas
Lima Gunung yang terkait sebagai pengembangan karakter budaya lokal; (4)
Tersusunnya artikel ilmiah dalam jurnal terakreditasi.
Target penelitian tahun II, yaitu (1) Teraplikasikannya rancangan pola
integrasi yang terkait dengan lingkungan alam, sosial, dan ritual berbasis budaya
lokal; (2) Tersosialisasikannya bentuk ekspresi seni komunitas Lima Gunung
yang terkait dengan lingkungan alam, sosial, dan ritual setempat; (3) Tersusunnya
artikel ilmiah untuk jurnal terakreditasi; (4) Diterbitkannya buku panduan model
revitalisasi yang diimplementasikan dari aspek harmoni sosial dalam komunitas
Lima Gunung
Penelitian ini menerapkan metode deskriptif analitis dengan sifat data
kualitatif. Data dikumpulkan dengan metode observasi terhadap rumah adat dan
budaya masyarakat setempat. Wawancara dilakukan dengan pemuka dan aparat
desa, masyarakat, serta para seniman/komunitas pendukung seni budaya yang
hidup di lokasi penelitian. Tujuan penelitian tahun pertama dicapai melalui
pendekatan action research dengan langkah-langkah meliputi: apresiasi,demontrasi, evaluasi hasil, dan sosialisasi upacara/ritus yang didukung dengan seni
budaya setempat
Konstruksi Musikal Sekar Anyar dalam Tembang Sunda Cianjuran: Analisis Struktur Dongkari dan Formula Ornamen pada Lagu “Wegah”-“Sajeroning Sindang”
No full textABSTRACTSekar anyar is tembang sunda cianjuran innovation who created by Ubun Kubarsah. The term of serkar anyar in tembang sunda cianjuran first appeared in the XIX Pasanggiri Tembang sunda cianjuran (PTSC) Daya Mahasiswa Sunda (DAMAS) that goes on Graha Sanusi Universitas Padjadjaran (UNPAD) Bandung in December 2009. During this time, sekar anyar in tembang sunda cianjuran is still a debate among the tembang sunda cianjuran community. The discourse that appears in the sekar anyar is basically debating about the terminology itself, the problem of characteristics (in this case, the issue of musical and non-musical), the issue of character assassination, to the issue of whether sekar anyar is fit to be included in the category of the tembang sunda cianjuran genre. The following resarch aims to explain how the musical construction of sekar anyar in the tembang sunda cianjuran from the perspective of using the dongkari structure and the formula ornamen in the song "Wegah" - "Sajeroning Sindang".This research employs the ethnographic method with the theoretical framework of Bruno Nettl's selective approach to musical descriptions. The average use of dongkari and the use of ornaments in the sekar anyar song tends to be minimal. The lack of dongkari and ornamentation in the sekar anyar greatly influenced the achievement of the nuances of character that usually apply to tembang sunda cianjuran. ABSTRAKSekar anyarmerupakan karya inovasi dalam tembang sunda cianjuranyang digagas oleh Ubun Kubarsah. Istilah sekar anyardalam tembang sunda cianjuranpertama kali muncul pada Pasanggiri Tembang Sunda Cianjuran(PTSC) Daya Mahasiswa Sunda (DAMAS) ke-XIX yang berlangsung di gedung Graha Sanusi Universitas Padjadjaran (UNPAD) Bandung pada bulan Desember 2009. Keberadaan sekar anyardalam tembang sunda cianjuranhingga saat ini masih menjadi perdebatan di kalangan masyarakat tembang sunda cianjuran. Wacana yang muncul pada fenomena sekar anyarpada dasarnya memperdebatkan soal peristilahannya itu sendiri, masalah ciri-ciri mandiri (dalam hal ini adalah persoalan musikal dan non musikal), issue pembunuhan karakter, sampai pada persoalan apakah laik sekar anyardimasukkan ke dalam kategori genre tembang sunda cianjuran. Penelitian ini difokuskan untuk melihat bagaimana konstruksi musikal sekar anyardalam tembang sunda cianjurandari perspektif penggunaan struktur dongkaridan formula ornamen pada lagu “Wegah”-“Sajeroning Sindang”. Penelitian dilakukan menggunakan metode etnografi dengan kerangka teori pendekatan selektif deskripsi musikal Bruno Nettl. Hasil yang didapatkan rata-rata penggunaan dongkaridan penggunaan ornamen pada lagu sekar anyarcenderung minim. Minimnya dongkaridan ornamen pada sekar anyarsangat berpengaruh terhadap pencapaian nuansa karakter yang biasa berlaku pada lagu-lagu tembang sunda cianjuran.
LUDICITAS PADA FILM DOKUMENTER “DI BALIK FREKUENSI
No full textTulisan ini mempertanyakan persoalan realitas ludic film dokumenter “Di Balik Frekuensiâ€. Film dokumenter dipercaya akan penghadirannya kebenarannya di hadapan publik, tetapi di balik penghadirannya tersebut sebenarnya terdapat realitas ludic yang disungguhkan oleh pembuat film. Film “Di Balik Frekuensi†terdapat rangkaian realitas yang diciptakan oleh pembuat film melalui dua unsur audio dan visual, di antaranya narasi, ilustrasi musik, sound effect, teks, iklan, slow motion dan fast motion, motion graphic, stock shot dan footage, kemiringan kamera, lensa fish eye, multiple frame, dan epilog. Ludic dalam film “Di Balik Frekuensiâ€Â dipaparkan dalam lima asas yaitu kebebasan, sementara, tertutup, ketertiban dan ketegangan. Pendekatan tafsir digunakan untuk mendukung teori ludic dan teori realitas, sehingga diperoleh makna penghadiran ludic yang disampaikan dalam film “Di Balik Frekuensiâ€. Rangkaian realitas yang dihadirkan tidak lepas dari ideologi pembuatnya. Terselip pesan-pesan khusus dengan rangkaian makna pesan yang disampaikan secara persuasif
dan tendensius.
Kata kunci: film dokumenter, realitas, ludic
This writing asks about the reality of ludic in documentary film “Di Balik Frekuensiâ€. Documentary film is believed to be true according to public but behind its presence there is actually a ludic reality presented by the film maker. There is a series of reality created by the film maker through audio and visual elements among other things are narration, music illustration, sound effect, text, advertising, slow motion and fast motion, motion graphic, stock shot and footage, camera tilt, fish eye lens, multiple frame, and epilog. Ludic in film “Di
Balik Frekuensiâ€is presented in five principles covering freedom, temporary, closed, discipline, and tension. Interpretative approach is used along with the theories of ludic and reality so that the meaning of the presented
ludic in film “Di Balik Frekuensi†can be found. The series of realities presented in the film are not out of the maker’s ideology. The film contains special messages with the meaning revealed persuasively and tendentiously.
Keywords: documentary film, reality, ludic
Strategi Menggerakkan Festival Warga Studi Kasus Penyelenggaraan Layang Lakbok Art and Culture Festival
No full textABSTRACTA festival is a cultural event that all cultural communities in the world have. One of the festival's functions is to improve the life energy of the cultural community that organizes it. Layang Lakbok Art and Culture Festival is a festival organized by Lakbok residents, Ciamis Regency, West Java. This festival stems from the spirit of a group of young people who are members of the Pematang Sawah Association to develop the post-harvest celebration of Lakbok residents into a bigger event. This idea and spirit then invite all citizens to be involved in the festival production process. The process of spreading ideas, spirit, and the festival production is carried out using the social capital owned by the youth, in particular, and in general by all citizens. The social capital used covers all aspects that are owned by citizens, starting from kinship relations, friendship, habits, actions, conflict management, arts, culinary, and many others. Thus, Layang Lakbok Art and Culture can be said to be a citizen festival that is owned and produced independently by them. The citizen participation aspect is the key to organizing this festival. This research is an attempt to interpret the practices that the author has alone experienced, together with the residents, to be precise in the production process of the Layang Lakbok Art and Culture Festival. For this reason, the research method used was the action research method where the author is directly involved in the process of procuring the Layang Lakbok Festival. This paper is expected to reveal the various participation done by the residents in organizing Layang Lakbok so that how the Layang Lakbok Festival is developed can be better known. ABSTRAKFestival merupakan sebuah peristiwa budaya, yang dimiliki oleh seluruh komunitas budaya di dunia. Salah satu dari fungsi festival adalah memperbaiki energi kehidupan dari komunitas budaya yang menyelenggarakannya. Layang Lakbok Art and Culture Festival adalah Sebuah festival yang diselenggarakan oleh warga Lakbok, Kabupaten Ciamis, Jawa Barat. Festival ini berangkat dari semangat sekelompok anak-anak muda yang tergabung dalam Paguyuban Pematang Sawah dalam mengemas ulang perayaan pasca panen warga Lakbok menjadi eventyang lebih besar. Ide dan semangat ini kemudian dibagikan kepada seluruh warga untuk ikut terlibat dalam proses produksi festival. Proses penyebaran ide, semangat hingga proses produksi festival dilakukan dengan menggunakan modal sosial yang dimiliki oleh anak-anak muda tersebut pada khususnya dan pada umumnya oleh seluruh warga. Modal sosial yang digunakan mencakup seluruh aspek yang dimiliki oleh warga yaitu mulai dari relasi kekerabatan, pertemanan, kebiasaan, tindakan, manajemen konflik, kesenian, kuliner dan lain sebagainya. Jadi Layang Lakbok Art and Culture merupakan sebuah festival warga, yang dimiliki oleh warga dan diproduksi secara mandiri oleh warga. Aspek partisipasi warga menjadi kunci dalam penyelenggaraan festival ini. Penelitian ini adalah upaya memaknai praktik yang telah dialami sendiri oleh penulis bersama warga dalam proses pewujudan Layang Lakbok Art and Culture Festival. Jadi metode penelitian yang digunakan adalah metode penelitian bertindak, di mana penulis terlibat langsung dalam proses pewujudan Layang Lakbok Festival. Lalu tulisan ini diharapkan dapat meraba lapis-lapis partisipasi warga dalam penyelenggaraan Layang Lakbok sehingga dapat dilihat bagaimana sesungguhnya Layang Lakbok Festival digerakkan.
