20 research outputs found
RITUAL SEBAGAI MEDIA TRANSMISI KREATIVITAS SENI DI LERENG GUNUNG MERBABU
No full textTradition developed in a community should continue to be preserved from generations to generations.
Efforts are being made one of which is the process of transmission or inheritance. Transmission can be
done in various ways, one of which is ritual. Rituals which are performed continuously and regularly
can be a good medium for the transmission process. The ritual process of artistic creativity that was
developed by the community on the slopes of Mount Merbabu is an example. Art goes hand in hand
with the ritual is one of the transmission mediums used to continue an existing tradition. This research
seeks to show how ritual can be a transmission medium of art, particularly on the slopes of Merbabu
Kreativitas Tari Soreng Dan Gupolo Gunung Kumunitas Seni Di Desa Banyusidi, Kecamatan Pakis, Kabupaten Magelang, Jawa Tengah
No full textPenelitian ini bertujuan untuk dapat menganalisis bentuk, faktor-faktor yang berhubungan dengan ekspresi seni yang terjadi dalam proses kreatif seni lereng gunung, terutama kreativitas masyarakat untuk terus berekspresi agar seni gunung tidak mati, dan dapat eksis melalui tiga pilar yaitu aspek ideologi, edukasi, dan ekonomi
KREATIVITAS SENI TARI TRADISIONAL KOMUNITAS SENI DI DESA BANYUSIDI, KECAMATAN PAKIS, KABUPATEN MAGELANG, JAWA TENGAH
No full textPERKEMBANGAN KESENIAN WARAK DUGDER DI KOTA SEMARANG MELALUI APROPRIASI BUDAYA
No full textPenelitian ini mengkaji bentuk kesenian Warak Dugder yang bersumber dari tradisi Dugderan di Kota Semarang. Tujuan penelitian yakni untuk menunjukkan bentuk apropriasi budaya sebagai upaya perkembangan kesenian Warak Dugder. Kesenian Warak Dugder merupakan hasil apropriasi, meskipun secara teks Tari Warak Dugder merupakan hasil dari kreativitas maskot hewan rekaan Warak Ngendhog yang ada pada prosesi Dugderan. Adapun bentuk apropriasi yakni berupa pemunculan gerak-gerak Warak yang dibuat lebih variatif dan mementingkan unsur-unsur keindahan tari, properti yang digunakan dalam kesenian warak dugder juga bervariatif. Apropriasi yang dilakukan oleh pencipta maskot binatang rekaan Warak Ngendhog merupakan bentuk akulturasi dan kesetaraan budaya yang diadopsi dan diadaptasi secara kreatif, selektif, dan atraktif, tetapi masih bisa dikenali. Dengan demikian Tari Warak Dugder dapat dikatakan sebagai hasil dari proses apropriasi, berupa produk baru yang bersumber dari tradisi Dugderan di Kota Semarang
Jogja Dance Community Ruang Negosiasi dalam Jagad Tari di Yogyakarta
No full textKesenian Yogyakarta memiliki identitas yang kuat dengan upaya preservasi seni tradisi berbasis kuasa dominan Kraton Yogyakarta sebagai sentralnya. Aturan seni tradisi yang mengikat, memunculkan peluang pengembangan maupun inovasi baru berdasar kebebasan. Tulisan ini melihat perwujudan kebebasan dan strategi dalam memposisikan diri pada jagad tari di Yogyakarta. Pengambilan data dilakukan melalui studi pustaka dan wawancara. Data tersebut dikelindankan dengan pengamatan pada 2016 hingga 2018. Jogja Dance Community merupakan jaringan yang menaungi kelompokkelompok tari di Yogyakarta. Beberapa kelompok yang tergabung diiniasiasi oleh anak-anak muda dalam pengejawantahan kebebasan melalui kekontemporerannya. Pilihan tersebut memerlukan strategi untuk dapat bernegosiasi dengan jagad tari di tempatnya bernaung
Apropriasi Seni Musik Gugah Sahur: Studi Kasus Tongklek Tuban dan Tong-Tong Madura
No full textABSTRACTThe Appropriation of Gugah Sahur Musical Art: A Case Study of Tongklek Tuban and Tong-Tong Madura. This study aims to identify the interrelation between Tongklek Tuban and Tong-tong Madura. Tongklek Tuban, which is a typical music art of Tuban, evolves from the Patrol art in the form of music created originally in Tuban Regency. Interestingly, at first glance, Tongklek Tuban seems to have similarities to Tong-tong art that develops in Madura. To examine both art work thoroughly in this study, the authors implemented qualitative approach, employing both the literature review and documentation techniques. The results of the study reveal that Tongklek Tuban has undergone various changes in its visual form in terms of costumes, equipment, and decorations. It takes both tangible and intangible property from Tong-tong Madura. Moreover, Tonglek Tuban is experiencing another development in terms of creativity reflected to the wheelbarrow used to push the iron xylophone. Over time, the wheelbarrow has undergone a very extraordinary change in shape. At this time, Tongklek Tuban music groups are competing to form their wheelbarrows which actually look like Madurese Tong-tong music. According to the results of the study, positively, appropriation between artworks can be interpreted both positively or negatively. On one hand, an adapted culture can develop through innovation, so that the culture can remain sustainable. On the other hand, negatively, the feelings of disapproval from the owners of the original culture could emerge since they feel that their culture is carried out as an addition to the artistic elements of the appropriating subject.ABSTRAKPenelitian ini bertujuan untuk mengetahui bagaimana apropriasi dalam kesenian antara Tongklek Tuban dan Tong-Tong Madura. Kesenian yang diambil dalam penelitian ini adalah Tongklek Tuban dan Tong-Tong Madura. Kesenian Tongklek Tuban yang muncul berawal dari kesenian Patrol merupakan kesenian yang berkembang di Kabupaten Tuban. Sekilas Tongklek Tuban jika dilihat ada kesamaan dengan kesenian Tong-Tong yang berkembang di Madura. Penelitian ini berjenis kualitatif dengan metode studi pustaka dan menggunakan teknik dokumen. Hasil penelitian menemukan bahwa Tongklek Tuban yang merupakan kesenian musik khas Tuban mengalami berbagai macam fase perubahan secara visual mulai dari kostum, peralatan yang digunakan, hingga dekorasi. Tongklek Tuban mengapropriasi secara tangible dan intangible dari Tong-tong Madura. Tongklek mengalami perkembangan lagi secara kreativitas yakni terkait gerobak dorong yang biasanya digunakan untuk mendorong gambang besi. Seiring berjalannya waktu gerobak dorong mengalami perubahan bentuk yang sangat luar biasa. Kini para grup musik Tongklek Tuban berlomba-lomba membentuk gerobak dorong mereka yang jika dilihat malah menyerupai musik Tong-tong Madura. Apropriasi dapat dimaknai secara positif maupun negatif. Secara positif, budaya yang di apropriasi mengalami perkembangan dengan inovasi sehingga budaya tersebut dapat tetap lestari. Sisi negatifnya adalah timbulnya rasa tidak terima dari pemilik budaya asal karena merasa budayanya diambil untuk digunakan sebagai penambah unsur seni subjek pelaku apropriasi
EMBODIMENT OF REGIONAL CULTURAL RESILIENCE THROUGH PRESERVATION OF TRADITIONS: A STUDY ON THE TUMPENG SEWU TRADITION IN KEMIREN VILLAGE, BANYUWANGI REGENCY
No full textThis study aims to find out how the preservation of the Tumpeng Sewu Tradition in Kemiren Village, Banyuwangi Regency, has direct implications for regional cultural resilience. The preservation of the Tumpeng Sewu tradition in Kemiren Village, Banyuwangi Regency, is an interesting phenomenon because it has various impacts. In the midst of a global era that demands modernization, the preservation of traditions is very necessary so that they remain sustainable. However, it is also at risk of losing its local culture as a result of modernization. This is a descriptive qualitative study. The findings of this study suggest that the preservation of the Tumpeng Sewu Tradition, which employs cultural commodification, has the potential to contribute to and have an impact on a variety of sectors, particularly tourism in Banyuwangi Regency. The preservation of the Tumpeng Sewu Tradition in Kemiren Village has direct implications for regional cultural resilience. The findings of field researchers include several aspects, such as the socio-economic and daily behaviors of people who are influential as a result of the preservation of the Tumpeng Sewu Tradition in Kemiren Village
Pentahelix Model of Cultural Transmission in Wayang On The Street Performances in Semarang’s Old Town
No full textThe sustainability of traditional performing arts in the modern era requires innovative strategies to ensure cultural relevance and intergenerational transmission. This study investigates the cultural transmission process within the Wayang On The Street (WOTS) performance, held in the Old Town area of Semarang in 2024, as a collaborative model integrating traditional values into contemporary public spaces. Employing a descriptive qualitative case study, data were collected through participant observation, in-depth interviews with artists, cultural officials, and community members, and documentation of the Pandawa Pitu performance during the Semarang Old Town Festival. The analysis focuses on the interaction among actors within the pentahelix framework—academics, government, business, media, and community—in sustaining traditional performing arts in urban contexts. Findings reveal that WOTS serves not only as a platform for artistic expression but also as a medium for cultural education, public participation, and community empowerment. The synergy among stakeholders strengthens the adaptive capacity of traditional arts and fosters sustainable cultural ecosystems. This study contributes to the theoretical development of cultural transmission by emphasizing the role of multi-stakeholder collaboration as a foundation for innovative cultural preservation in contemporary society
PERKEMBANGAN KESENIAN KUDA LUMPING DI DESA WISATA KEJI KABUPATEN SEMARANG
No full textKuda Lumping is one of folk art can be said to be truly
'populist', because this art scattered in various places in Indonesia,
especially in Java and much enjoyed by all levels of society. One of
the groups who still consider Kuda Lumping as one part of the
public communal expression is Keji Tourism Village in Semarang
regency. Issues raised in this study, among others, why the
emerging diversity of Kuda Lumping in Keji Tourism Village, how
the development of forms of presentation, and what are the factors
that influence the development of the Kuda Lumping in Keji
Tourism Village.
The method which used in this study is qualitative methods
ethnochoreology approach. Ethnochoreology approach allows the
use of several disciplines (multidisciplinary) to dissect the research
problem. Data collection techniques used was observation,
interviews, and documentation. The analysis of this research is
done through data reduction, data display and conclusion drawing
/ verification.
The results showed that with a growing era, Kuda Lumping
still survive in Keji Village as a flow as the public taste. Kuda
Lumping development can be seen in terms of quality and quantity
of the presentation. Developments in quality occur in the form of
presentation of Kuda Lumping. The process of change in the form
of presentation of Kuda Lumping is an indicator of the presence of
the adjustment to be able to fulfill the function of Kuda Lumping.
The quantity can be seen from the rising form of presentation of
Kuda Lumping, rising actor and art connoisseur Kuda Lumping,
increasing the frequency of performance, and the area of
introduction. Kuda Lumping development in the Keji Village can be
occurred due to internal and external factors. Internal factors
include offender motivation, community participation of Keji
Village, traditional values are still attached, and regeneration. The
external factors include social interaction, the tourism industry,
and technology flows. The presence of tourism opportunities and
constraints allow for the continuation of this art, so Kuda Lumping
actor are expected to regulate the management of the arts can
continue to live and thrive
Transit Transisi Interpretasi pada Konser Rekaman Serenade Bunga Bangsa #3
No full textAbstrakPandemi covid-19 menyebabkan pembatasan berbagai macam kegiatan di Indonesia, salah satunya konser musik. Dibatasinya konser musik membuat pengelola acara dan musisi harus beradaptasi terhadap situasi tersebut, salah satunya dengan cara membuat konser virtual atau konser rekaman. Dinas Kebudayaan Yogyakarta sebagai salah satu instansi yang memiliki agenda konser rutin pada akhirnya mengadakan konser rekaman dengan tajuk Serenade Bunga Bangsa #3. Adanya konser rekaman ini sebagai konser pertama dengan konsep rekaman tanpa penonton membuat perubahan pengalaman dan kesan yang dialami oleh musisi yang terlibat dalam konser tersebut. Pergeseran atau perubahan pada fenomena tersebut kemudian peneliti gunakan sebagai basis pembahasan yang dibedah menggunakan teori transit dan transisi oleh Maruska Svasek dan teori interpretasi sebagai pendukung. Penelitian menggunakan metode kualitatif dengan pendekatan studi kasus pada fenomena konser rekaman tersebut. Analisis dilakukan berdasarkan data lapangan, wawancara, observasi, dan studi pustaka. Hasil dari penelitian ditujukan untuk mengetahui dampak konser rekaman terhadap musisi terlibat, sehingga bermanfaat sebagai informasi baru atas fenomena yang terjadi pada masa pandemi. Kata kunci: Transit, transisi, interpretasi, konser rekaman. AbstractThe Covid-19 pandemic has caused restrictions on various activities in Indonesia, one of which is music concerts. The limitations of music concerts make event managers and musicians have to adapt to this situation, one of which is by holding virtual concerts or recording concerts. The Yogyakarta Cultural Office as one of the agencies that have a regular concert agenda eventually held a recorded concert with the title Serenade Bunga Bangsa #3. The existence of this recorded concert as the first concert with the concept of recording without an audience changed the experience and impressions experienced by the musicians involved in the concert. The shift or change in this phenomenon is then used by the researcher as a basis for discussion which is dissected using the theory of transit and transition by Maruska Svasek and the theory of interpretation as support. This research uses a qualitative method with a case study approach to the phenomenon of the recorded concert. The analysis was carried out based on field data, interviews, observations, and literature studies. The research results are aimed at knowing the impact of a recorded concert on the musicians involved, so it is useful as new information on phenomena that occur during a pandemic. Keywords: Transit, transition, interpretation, recording concert
