50 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
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
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
BUDAYA ADU ZATUA DI NIAS SUMATERA UTARA
No full textPenelitian ini membahas mengenai bagaimana transformasi budaya adu zatua yang terjadi di Nias. Adu zatua pada awalnya adalah benda ritual kepercayaan suku Nias yang bersifat sakral. Memasuki tahun 2000-an muncul reproduksi adu zatua yang menjadi benda sekuler dan bersifat profan. Budaya tradisi di Nias perlahan mulai berubah dan berkembang menjadi budaya global. Penelitian ini bertujuan untuk menemukan transformasi budaya pada adu zatua, bentuk dan juga nilai yang diterapkan. Transformasi adu zatua menghasilkan benda pariwisata di Nias. Kuatnya pariwisata budaya ini menjadikan produksi adu zatua bersifat komersil dan komoditas benda budaya.
Kata kunci: Transformasi, Adu zatua, Pariwisata.
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This study discusses how cultural transformation adu zatua is taking place in Nias. Adu zatua was originally a ritual object of the Nias tribe that was sacred. Entering the 2000s came the emergence of substance reproduction which became secular and profane. Cultural traditions in Nias slowly began to change and develop into a global culture. This study aims to find cultural transformations of adu zatua, form and also the values applied. The transformation of zatua produces tourism objects in Nias. The strength of this cultural tourism makes the production of adu zatua, a commercial and cultural commodity.
Keywords: Transformation, Adu zatua, Tourism
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
TRANSFORMASI BUDAYA ADU ZATUA DI NIAS SUMATERA UTARA
No full textThis study describes how the cultural transformation zatua shootout that occurred in
Nias. Adu zatua was originally a ritual objects Nias tribe belief that is sacred. Entering
the 2000s appeared reproduction shootout zatua being secular and profane objects.
Cultural traditions in Nias slowly started to change and evolve into a global culture. This
study aimed to determine the cultural transformation in the shootout zatua, shape and
also the value that is applied. Transformation contest zatua produce objects tourism.
The strong cultural tourism makes fi ghts zatua production of a commercial character
and commodities cultural objects
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.
