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Irfansyah Irfansyah
Master of Design Study Program, Faculty of Fine Arts and Design, Institut Teknologi Bandung, Indonesia
Arts Education

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Analysis of Torodov’s Narrative Structure and Intrinsic Elements of the Play Bisma Gugur (The Fall of Bisma) by Ki Seno Nugroho Ilyasa Azka Azif; Irfansyah Irfansyah
Gorga : Jurnal Seni Rupa Vol. 14 No. 2 (2025): Gorga: Jurnal Seni Rupa (On Going)
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v14i2.67917

Abstract

Baratayuda War as the peak of the biggest war in wayang stories has various important plays, one of which is the fall of Resi Bisma by Worosrikandi marking the turning point of the Pandawa's victory. This study aims to describe the narrative structure contained in a shadow puppet show video entitled “Gugurnya Sang Resi Bismo, Di Tangan Worosrikandi” performed by Ki Seno Nugroho. The show video uploaded on the YouTube channel “Bagong Trend” at the 31:04 to 53:56 time span was studied using a descriptive qualitative approach, based on Tzvetan Torodov's narrative structure theory and structural method. The findings reveal that the narrative does not begin from the equilibrium phase but rather from an initial disequilibrium phase, marked by the horrific conditions of Tegal Kurusetra. Ultimately, the new equilibrium phase is achieved through Bisma’s death at the hands of Srikandi. This episode portrays the conflict between goodness and justice, embodied by characters such as Resi Bisma, Srikandi, and Prabu. Set against the backdrop of Tegal Kurusetra with its tense, tragic, and sorrowful atmosphere, Ki Seno Nugroho employs metaphorical, personification, and hyperbolic figures of speech to create a dramatic impression. The conclusion of this research indicates that the Torodov narrative structure can be applied to traditional wayang plays (lakon wayang), and the performance conveys a strong moral message about justice and the law of karma as its main values.
The Symbolic Meaning of Costumes and Props in Tari Piriang Suluah Nagari Gunung Padang Panjang Dance Hasya Hanani Putri; Irfansyah Irfansyah; Novina Yeni Fatrina
Gorga : Jurnal Seni Rupa Vol. 14 No. 2 (2025): Gorga: Jurnal Seni Rupa (On Going)
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v14i2.68295

Abstract

Tari Piriang Suluah is one of the traditional performing arts of the Nagari Gunung Padang Panjang community. It serves not only as a form of entertainment but also as a reflection of the worldview, customary values, and cultural identity of the Minangkabau people. Although it has become an integral part of local cultural life, the aspects of costume and props in Tari Piriang Suluah have received limited scholarly attention, particularly regarding their symbolic meanings. This study aims to explore the symbolic meanings embedded in the costumes and props of Tari Piriang Suluah as representations of the cultural identity of the Nagari Gunung Padang Panjang community. A descriptive qualitative method with an ethnographic approach was employed. Data were collected through observation, in-depth interviews, documentation, and literature review. The data were then analyzed using Spradley’s domain, taxonomic, and componential analysis techniques, supported by Clifford Geertz’s theory of symbols. The findings reveal that each element of the costume and props in Tari Piriang Suluah embodies symbols that reflect modesty, religiosity, hard work, spiritual values, and the balance of life within the Nagari Gunung Padang Panjang community. These findings affirm that the visual elements in Tari Piriang Suluah function as a medium of cultural communication and a symbolic system that reinforces local identity and values amid the forces of modernization.
Co-Authors Hasya Hanani Putri Ilyasa Azka Azif Novina Yeni Fatrina