29 research outputs found
PASINDÉN: AWAL KEHADIRANNYA DALAM PERTUNJUKAN WAYANG GOLÉK
No full textIn 1930 Sindén became part of the Wayang Golek show. This phenomenon is the creativity of the puppeteer Baraja who was not satisfied with the conventional wayang golék performance. Finally Sindén presented songs that was entertainment in Wayang Golek show performances. Furthermore, the other puppeteers imitated him and in the end the sindén and the puppeteers became a unity called the “Dwi Tunggal” who complemented and worked together in the performance. In the beginning, the presence of sindén in the Wayang Golek show gave the famous sindén in the community. They have the name code (popular name) and the song that characterizes them. This phenomenon shows the dynamism of a traditional form of performance in the supporting community
PASINDÉN: AWAL KEHADIRANNYA DALAM PERTUNJUKAN WAYANG GOLÉK
No full textIn 1930 Sindén became part of the Wayang Golek show. This phenomenon is the creativity of the puppeteer Baraja who was not satisfied with the conventional wayang golék performance. Finally Sindén presented songs that was entertainment in Wayang Golek show performances. Furthermore, the other puppeteers imitated him and in the end the sindén and the puppeteers became a unity called the “Dwi Tunggal” who complemented and worked together in the performance. In the beginning, the presence of sindén in the Wayang Golek show gave the famous sindén in the community. They have the name code (popular name) and the song that characterizes them. This phenomenon shows the dynamism of a traditional form of performance in the supporting community
Tarawangsa Padepokan Pusaka Lembur: Upaya Pengembangan Dalam Mempertahankan Seni Tarawangsa di Cangkuang Kabupaten Bandung
No full textTarawangsa is a type of art that lives in an agrarian cultural
ecosystem. Its existence cannot be separated from the lifestyle of
the Sundanese people known as the people of the fields. One form
of cultural expression between agrarian society and art, for
example, can be found in the seren taun ceremony, ngalaksa.
These ceremonies in particular have values related to the
expression of people\u27s gratitude for the produce of the earth, the
harvest that nature has given to people\u27s lives. In the
Rancakalong Sumedang community, for example, some of these
processes can still be found, especially in the ngalaksa ceremony
procession. Apart from ceremonial activities related to an
agrarian lifestyle, Tarawangsa also attends activities such as; the
celebration of the birth of a baby and the ritual of treating the sick.
This is because the agrarian lifestyle in some places tends to
disappear, Tarawangsa is difficult to find in the context of
agrarian rituals. One of these conditions can be found in
Tarawangsa Cangkuang in Bandung Regency where its existence
has further reduced the decline in the agrarian contextual
function. Tarawangsa Cangkuang is not found in the ngalaksa
ceremony, because in the people of Bandung Regency, it can
hardly be found in the ngalaksa ceremony. Tarawangsa
Cangkuang to a certain extent can only be found at the time of
entertainment, and thanksgiving ceremonies for the birth of a
baby. For this reason, development efforts are needed to maintain
the existence of Tarawangsa Cangkuang. This paper is a record of
participatory observation in recording the existence of
Tarawangsa Cangkuang, as well as being involved in efforts to
develop the sho
PASINDEN: AWAL KEHADIRANNYA DALAM PERTUNJUKAN WAYANG GOLEK
No full textIn 1930 Sinden became part of the Wayang Golek show. This phenomenon is the creativity of the puppeteer Baraja who was not satisfied with the conventional wayang gol~k performance. Finally Sinden presented songs that was entertainment in Wayang Golek show performances. Furthermore, the other puppeteers imitated him and in the end the sind~n and the puppeteers became a unity called the "Dwi Tunggal" who complemented and worked together in the performance. In the beginning, the presence of sind~n in the Waang Golek show gave the famous sind~n in the community. They have the name code (popular name) and the song that characterizes them. This phenomenon shows the dynamism of a traditional form ofperformance in the supporting community
PASINDÉN: AWAL KEHADIRANNYA DALAM PERTUNJUKAN WAYANG GOLÉK
No full textIn 1930 Sindén became part of the Wayang Golek show. This phenomenon is the creativity of the puppeteer Baraja who was not satisfied with the conventional wayang golék performance. Finally Sindén presented songs that was entertainment in Wayang Golek show performances. Furthermore, the other puppeteers imitated him and in the end the sindén and the puppeteers became a unity called the “Dwi Tunggal” who complemented and worked together in the performance. In the beginning, the presence of sindén in the Wayang Golek show gave the famous sindén in the community. They have the name code (popular name) and the song that characterizes them. This phenomenon shows the dynamism of a traditional form of performance in the supporting community
PASINDÉN: AWAL KEHADIRANNYA DALAM PERTUNJUKAN WAYANG GOLÉK
No full textIn 1930 Sindén became part of the Wayang Golek show. This phenomenon is the creativity of the puppeteer Baraja who was not satisfied with the conventional wayang golék performance. Finally Sindén presented songs that was entertainment in Wayang Golek show performances. Furthermore, the other puppeteers imitated him and in the end the sindén and the puppeteers became a unity called the “Dwi Tunggal” who complemented and worked together in the performance. In the beginning, the presence of sindén in the Wayang Golek show gave the famous sindén in the community. They have the name code (popular name) and the song that characterizes them. This phenomenon shows the dynamism of a traditional form of performance in the supporting community
Pelatihan dan pembinaan Potensi Seni Tradisi sebagai Media Pengembangan Upacara Nyacarkeun Jalan di Dusun Linggaharja, Desa Mekarsari, Kec. Tambaksari kabupaten Ciamis Jawa Barat
No full textTradisi Nyacarkeun jalan yang digelar setiap tahun di Dusun Linggaharja Desa Mekarsari Kecamatan Tambaksari Kabupaten Ciamis merupakan keyakinan masyarakat setempat yang tidak hanya sekedar upacara tolak bala, namun juga mencerminkan nilai-nilai kebersamaan, kegotongroyongan, soladaritas, pengorbanan, saling mengasihi dan mencerminkan nilai-nilai kehidupan bermasyarakat.Nilai-nilai dari tradisi upacara Nyacarkeun }alan dikomunikasikan kembali melalui media seni pertunjukan dengan harapan upacara tersebut lebih menarik, sekaligus dapat dijadikan pula sebagai ajang ruang krativitas seni. Upaya revitalisasi terns dilakukan dengan cara merekreasi strukturnya melalui bentuk bentuk seni tradisi yang hiclup dilingkungan masyarakat setempat seperti: nadomanlsolawatan, angklung buncis, rebanaan, reog, calung, ronggeng tayub, dan ronggeng amen.Melalui Paguyuban Rineka Seni Surya Gumilang dan Kelompok Pencinta Seni Tradisi sebagai mitra, kegiatan IbM 2016 dilakukan guna merevitalisasi struktur pertunjukan upacara Nyacarkeun jalan yang dibagi menjadi tiga bagian yaitu: bagian awal berupa garap musikal, lagu serta tari m prosesi awal; bagian kedua berbentuk helaran atau arak-arakan; dan bagian akhir adalah inti upacara dan hiburan. Melalui konsep pelatihan musikal, lagu-lagu serta tari-tarian, diharapkan dapat menghasilkan bentuk rekayasa sosial bidang seni budaya. Secara khusus pelatihan ini dapat menghasilkan model kemasan upacara Nyacarkeun Jalan dengan harapan hasil pelatihan tersebut dapat digunakan pada event-event pertunjuka n di lingkungan masyarakat khususnya di daerah Kabupaten Ciamis
Estetika Lagu Rincik-rincik dalam Pertunjukan Ronggeng Tayub
No full textAbstrakTujuan dari penelitian ini menjelaskan estetika musikal dalam pertunjukan Ronggeng Tayub, khususnya lagu Rincik-rincik yang dalam sajiannya terdapat perpaduan garap musikal karawitan Sunda dan karawitan Jawa (Banyumasan). Ronggeng Tayub merupakan salah satu bentuk kesenian rakyat di Kabupaten Ciamis dan sekitarnya. Penelaahan dilakukan melalui kajian teknik tabuhan, repertoar lagu, syair lagu, serta menelaah relasi masyarakat dengan seni karawitan dalam kaitannya dengan pertunjukan Ronggeng Tayub di wilayah perbatasan Ciamis-Cilacap. Metode yang digunakan dalam penelitian ini, yaitu metode deskriptif analisis kualitatif. Teknik mengumpulkan data dilakukan melalui observasi lapangan yang didukung dengan wawancara dan perekaman kejadian guna mendapatkan validitas data yang lebih utuh dan menyeluruh. Sajian gending dalam lagu ini menghadirkan kesan kesedarhanaan yang mencerminkan konsep hidup masyarakat pendukungnya. Ronggeng Tayub memiliki bentuk pertunjukan yang sangat merakyat, menyatu, dan komunikatif dengan penontonnya. Lagu Rincik-rincik termasuk pada lagu “pesanan” dari penonton, sajian gendingnya khas, unik, dan dinamis dengan iringan instrumen gamelan salendro yang relatif sederhana.Kata Kunci: estetika musikal, rincik-rincik, ronggeng tayub, kesenian rakyat AbstractThe purpose of this study is to explain the musical aesthetic of the Ronggeng Tayub performance, especially the Rincik-rincik song, which combines Sundanese and Java musical instruments (Banyumasan). Ronggeng Tayub is folk art in District Ciamis and surrounding. The study of Rincik-rincik song includes percussion techniques, song repertoire, song poetry, and the relationship between the community and the Ronggeng Tayub. This study uses a qualitative descriptive-analytical method. The techniques used in this study are observation, interview, and recording in order to obtain a more complete and comprehensive data validity. The performance of gending in Ronggeng Tayub presents the impression of simplicity, reflecting the concept of the life of the people. Ronggeng Tayub has a simple form of performance, blending, and communicative with the audience. Rincik-rincik is one of “special request” song from its audience, by which its gending is unique and dynamic, accompanied by a simple gamelan slendro.Keywords: aesthetic, rincik-rincik, ronggeng tayub, artfolks
STRUKTUR SAJIAN KIDUNG DALANG RUWAT ABAH EDO DALAM RUWATAN LEMBUR DI TAMBAKSARI CIAMIS
No full textArtikel ini memaparkan penyajian Kidung dalam tradisi Ruwatan Lembur yang dilakukan dalang ruwat
Abah Edo di Tambaksari Ciamis Jawa Barat. Sampai saat ini tradisi ruatan/ruwatan masih dilakukan
masyarakat sebagai ritual penolak bala. Penelitian menggunakan metode kualitatif. Teknik pengumpulan
data terdiri dari: Studi pustaka, studi lapangan (observasi, wawancara, studi dokumentasi) dan analisis data.
Berdasarkan pembahasan dapat disimpulkan bahwa kidung dalang ruwat Abah Edo merupakan doa untuk
memohon keselamatan agar terhindar dari marabahaya. Syair kidung menggunakan Bahasa Jawa dan
termasuk kategori tradisi lisan. Dalang ruwat Abah Edo menyajikan Kidung pada tiga adegan ritual
ruwatan, yaitu: pada adegan pertemuan anak dengan ibunya (Dewi Tandana), pertemuan anak dengan
bapaknya(Otipati), dan di akhir ruwatan sebagai doa permohonan untuk mendapatkan keselamatan,
ketenangan, dan ketentraman.
Kata Kunci: dalang ruwat, kidung, ruwatan lembur, struktu
Pertunjukan Serongga dalam Rutinitas Siswa Sekolah Dasar di Tambaksari Ciamis
No full textPenelitian terhadap Serongga (Senam Ronggeng Amen) dalam konteks ini focus pada pertunjukan dalam dimensi hiburan yang memadukkan unsur senam dan seni ronggeng khas Kabupaten Ciamis. Penelitian dilaksanakan menggunakan metode kualitatif dengan melakukan pendalaman melalui observasi langsung, wawancara, dan kajian sumber. Analisis data secara khusus mendalami fenomena wujud kemasan Serongga yang menjadi bagian penting terhadap upaya pelestarian seni tradisi sekaligus upaya pengembangan. Keadaan ini membawa Serongga tidak hanya sebagai seni hiburan dan tontonan, akan tetapi Serongga bertransformasi menjadi bentuk sajian baru yang mencerminkan kebersamaan dan kekompakan (sareundeuk saigel) dan kepercayaan diri. Selain dimensi kontekstual Serongga, penelitian ini juga mendalami dimensi tekstual khususnya pada unsur utama yaitu Karawitan dan Tari, yang memiliki korelasi terhadap eksistensi Senam Ronggeng Amen. Serongga selain dapat disajikan sebagai salah satu bentuk sajian pertunjukan, siswa-siswa SD di Tambaksari telah menjadikan Serongga sebagai bagian rutinitas pagi sebelum pembelajaran dimulai. Keadaan tersebut melibatkan berbagai kalangan baik orang tua, dewasa, remaja maupun anak-anak. Dari penjelasan tersebut penelitian ini merumuskan eksistensi Serongga di tengah masyarakat Ciamis sebagai identitas kelokalan, serta hubungannya dengan dunia Pendidikan tingkat dasar.
Kata Kunci: Serongga, Rutinitas siswa, Pertunjukan, Tambaksar
