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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Acintya GETER : Jurnal Seni Drama, Tari dan Musik International Journal of Social Science Jurnal Kajian Seni Jurnal Mebang
Wrahatnala, Bondet
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Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Medicine & Pharmacology Public Health Social Sciences Other

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Inovasi dan Pembauran Genre dalam Pertunjukan Keroncong Wayang Gendut Wrahatnala, Bondet
Resital: Jurnal Seni Pertunjukan Vol 22, No 2 (2021): Agustus 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v22i2.5180

Abstract

This paper aims to discuss the forms of design and genre-mixing carried out by the Keroncong Wayang Gendut -Congwayndut-group in Surakarta, which tries to offer a state of wayang performance with a more interactive packaging. The universal evolution approach uses the analytical tool in this paper to examine the new elements offered by Congwayndut as a form of innovation in the puppet show. The research method used is qualitative with a descriptive model. The conceptual approach and research methods found that the creation and genre-mixing carried out by Congwayndut were implemented in music, stories, and performance forms. The use of keroncong's music with combos and contemporary bands is the main illustration in the show. They are still based on  Ramayana and Mahabharata's epics but actualized in current phenomena in society. Congwayndut's innovative form of performance is packaged in interactive language and builds closeness to the audience. It intended so that the messages and values to be conveyed will be readily accepted and understood by the audience, whose segmentation is the younger generation.
Teknik Pengembangan Kacapi Siter: Menuju Permainan Kacapi Gaya Baru oleh Yayan Lesmana Amirah Soraya, Dhiya Silmi; Wrahatnala, Bondet; Putra, Randy Geovani
Resital: Jurnal Seni Pertunjukan Vol 24, No 3 (2023): December 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v24i3.8563

Abstract

Penelitian ini bertujuan untuk mendeskripsikan proses berkembangnya musik gaya baru dan berbagai faktor yang mempengaruhi dalam mengadaptasi, mengadopsi dan mengkonvensi pola tepakan kendang yang diaplikasikan dalam permainan kacapi siter. Kacapi Siter merupakan salah satu alat musik tradisi Sunda yang berfungsi sebagai pembawa melodi lagu (amardawalagu) pada umumnya. Dalam perkembangannya terjadi sebuah perubahan pada teknik dasar, fungsi dan peran, karena adanya kreativitas yang dilakukan oleh para praktisi seni tradisi. Salah satunya adalah Yayan Lesmana, seorang praktisi yang ahli dalam memainkan kacapi siter. Kreativitas merupakan kata kunci dari praktik bermusik, oleh karena itu, konsep proses kreatif Trustho digunakan untuk menggambarkan dan menganalisis bagaimana tepak kendang jaipongan berubah dan dapat diaplikasikan dalam memetik kacapi siter. Konsep tersebut terdiri dari metode mendapatkan bahan: ngrancang, ngentha-entha, nggrambyang, dan metode penciptaan: proses mengubah bentuk dan alih fungsi. Pengumpulan data dilakukan melalui observasi dan literatur. Penelitian ini menunjukan bahwa faktor internal dan eksternal berpengaruh secara signifikan terhadap pembentukan konsep dari permainan baru kacapi siter yang dikembangkan oleh Yayan Lesmana. Jenis permainan kacapi siter ini kemudian dikenal dengan kacapi jaipongan gaya Yayan Lesmana.
CONGWAYNDUT: REFLEKSI FUNGSIONALISME STRUKTURAL SENI PERTUNJUKAN YANG MELINTAS BATAS Wrahatnala, bondet
Acintya Vol. 12 No. 2 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i2.3576

Abstract

Abstract This paper positions itself as a study that portrays the Keroncong Wayang Gendut (Congwayndut) performance, as performance art that reflects structural functionalism. Because Congwayndut explicitly contained aspects of structural functionalism. In this paper, Congwayndut is positioned as an organism that has a structure and functions socially and culturally. Congwayndut is one of the many performing arts groups capable of interpreting traditional art in contemporary, meaning that it responds to the millennial generation with the construction of traditional performances, namely shadow puppet art. . Congwayndut has an important role in the development process or as a performance art model that accommodates other art disciplines, including music, wayang, theater, script, visuals, dramaturgy, which are combined as a typical Indonesian performance art prototype. Therefore, the structural-functional point of view emerged, as a step to explain to the public about the cultural phenomena experienced by Congwayndut. Structural functionalism was born as a reaction against the theory of evolution. If evolutionary studies aim to establish the stages of human cultural development, then structural-functionalism studies aim to build a social system, or social structure, through the study of the functioning patterns of relations between individuals, between groups. -groups, or between social institutions in a society, at a certain period of time. Keywords: Congwayndut, Cross-Border Performing Arts, Structural Functionalism  Abstrak Tulisan ini, memposisikan diri sebagai kajian yang memotret pertunjukan Keroncong Wayang Gendut (Congwayndut), sebagai seni pertunjukan yang merefelksikan fungsionalisme struktural. Karena di dalam Congwayndut secara eksplisit terkandung aspek fungsionalisme struktural. Congwayndut di dalam tulisan ini diposisikan sebagai organisme yang memiliki struktur, dan memiliki fungsi secara sosial budaya.Congwayndut adalah satu satu dari sekian banyak kelompok seni pertunjukan, yang mampu menafsir seni tradisi secara kekinian, artinya merespon generasi milenial dengan konstruksi pertunjukan tradisi yakni kesenian wayang kulit. Congwayndut memiliki peran penting dalam proses pengembangan atau sebagi model seni pertunjukan yang mengakomodir disiplin seni yang lain, ada musik, wayang, teater, naskah, rupa, dramaturgi, yang dijadikan satu sebagai purwarupa seni pertunjukan yang khas Indonesia. Oleh sebab itu lah sudut pandang struktural fungsional muncul, sebagai langkah untuk menjelaskan kepada publik, tentang gejala fenomena budaya yang dialami oleh Congwayndut. Fungsionalisme struktural lahir sebagai reaksi terhadap teori evolusi. Jika tujuan dari kajian-kajian evolusi adalah untuk membangun tingkat-tingkat perkembangan budaya manusia, maka tujuan dari kajian-kajian fungsionalisme struktural adalah untuk membangun suatu sistem sosial, atau struktur sosial, melalui pengajian terhadap pola hubungan yang berfungsi antara individu-individu, antara kelompok-kelompok, atau antara institusi-institusi sosial di dalam suatu masyarakat, pada suatu kurun masa tertentu. Kata Kunci : Congwayndut, Seni Pertunjukan Lintas Batas, Fungsionalisme Struktural
Strategi Mempertahankan Popularitas Melalui Kegiatan Promosi Media Digital (Studi Kasus Pada Produksi Musik Hendra Kumbara) Fatima, Sephia Putri; Wrahatnala, Bondet; Manggala, Bondan Aji
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.5061

Abstract

Every year the music industry displays new musicians, and each has their characteristics in their work. Of course, there will be many contemporary artists with different characters. One of the music industry’s strategies is to increase marketing in music production. This is not only a matter of promotion, but the music industry is also thinking about stealing attention, building loyalty, encouraging action, and how to educate and entertain through the content that is presented. Hendra Kumbara is a Javanese musician who has popularity among young people in the digitalization era; Dalan Liyane’s song is one of the works that support his popularity in digital media. In addition, he also developed the music industry for creative space in the city of Semarang. This study aims to determine Hendra Kumbara’s music production strategy for maintaining its popularity through digital media promotion activities. The research used is a qualitative method with a case study approach, with data collection techniques through observation, interviews, and literature studies selected according to the topic of discussion regarding musical creativity in maintaining popularity through digital media. The survey results prove that: (1) Hendra Kumbara’s music production supports popularity through digital media promotion activities by knowing the concept of music production and marketing strategies through digital media platforms. (2) strategies carried out by knowing musical abilities and marketing musical works through digital media platforms Youtube, Instagram, TikTok, Spotify, Joox, Tunes, Apple Music, and Deezer.Keywords: strategy, popularity, musicians, digital media.
BUDMERGO: MUSIC VIBRATION CONDUCTING DEVICE FOR THE HEARING IMPAIRED Wrahatnala, Bondet; Aji Manggala, Bondan; Sri Kuncoro, Jonet; Kapri, Riana; Nurhadi, Muhamad; Arya Pradipta, Dana Adi; Budiyanto, Agus; El Java, Joi
GETER : Jurnal Seni Drama, Tari dan Musik Vol 8 No 1 (2025): April 2025
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v8n1.p89-98

Abstract

This article examines performing arts technology in the form of a musical vibration delivery device called Budmergo for deaf people. This activity optimizes the work of the Budmergo tool as an expression tool in the context of intermedia performance art activities. As a result, it hopes to involve deaf people in art performances according to their characteristics and realize a creative space for art that favors their unique abilities and needs. This activity is based on the mindset that each individual can absorb and internalize the phenomena around them through different means and media while also expressing them independently in art. The general objective of this activity is to conduct an art technology study of the Budmergo tool to (1) find knowledge, methods, and art media that can optimize the art activities of deaf people, (2) evaluate the technology of the Budmergo tool (3) socio-psychologically be able to raise the dignity of deaf people, considering that the participatory art creation model is full of human values with participant involvement,  and (4) get recommendations for the development of unique art performance technology for deaf people.  
CONGWAYNDUT: REFLEKSI FUNGSIONALISME STRUKTURAL SENI PERTUNJUKAN YANG MELINTAS BATAS Wrahatnala, bondet
Acintya Vol. 12 No. 2 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i2.3576

Abstract

Abstract This paper positions itself as a study that portrays the Keroncong Wayang Gendut (Congwayndut) performance, as performance art that reflects structural functionalism. Because Congwayndut explicitly contained aspects of structural functionalism. In this paper, Congwayndut is positioned as an organism that has a structure and functions socially and culturally. Congwayndut is one of the many performing arts groups capable of interpreting traditional art in contemporary, meaning that it responds to the millennial generation with the construction of traditional performances, namely shadow puppet art. . Congwayndut has an important role in the development process or as a performance art model that accommodates other art disciplines, including music, wayang, theater, script, visuals, dramaturgy, which are combined as a typical Indonesian performance art prototype. Therefore, the structural-functional point of view emerged, as a step to explain to the public about the cultural phenomena experienced by Congwayndut. Structural functionalism was born as a reaction against the theory of evolution. If evolutionary studies aim to establish the stages of human cultural development, then structural-functionalism studies aim to build a social system, or social structure, through the study of the functioning patterns of relations between individuals, between groups. -groups, or between social institutions in a society, at a certain period of time. Keywords: Congwayndut, Cross-Border Performing Arts, Structural Functionalism  Abstrak Tulisan ini, memposisikan diri sebagai kajian yang memotret pertunjukan Keroncong Wayang Gendut (Congwayndut), sebagai seni pertunjukan yang merefelksikan fungsionalisme struktural. Karena di dalam Congwayndut secara eksplisit terkandung aspek fungsionalisme struktural. Congwayndut di dalam tulisan ini diposisikan sebagai organisme yang memiliki struktur, dan memiliki fungsi secara sosial budaya.Congwayndut adalah satu satu dari sekian banyak kelompok seni pertunjukan, yang mampu menafsir seni tradisi secara kekinian, artinya merespon generasi milenial dengan konstruksi pertunjukan tradisi yakni kesenian wayang kulit. Congwayndut memiliki peran penting dalam proses pengembangan atau sebagi model seni pertunjukan yang mengakomodir disiplin seni yang lain, ada musik, wayang, teater, naskah, rupa, dramaturgi, yang dijadikan satu sebagai purwarupa seni pertunjukan yang khas Indonesia. Oleh sebab itu lah sudut pandang struktural fungsional muncul, sebagai langkah untuk menjelaskan kepada publik, tentang gejala fenomena budaya yang dialami oleh Congwayndut. Fungsionalisme struktural lahir sebagai reaksi terhadap teori evolusi. Jika tujuan dari kajian-kajian evolusi adalah untuk membangun tingkat-tingkat perkembangan budaya manusia, maka tujuan dari kajian-kajian fungsionalisme struktural adalah untuk membangun suatu sistem sosial, atau struktur sosial, melalui pengajian terhadap pola hubungan yang berfungsi antara individu-individu, antara kelompok-kelompok, atau antara institusi-institusi sosial di dalam suatu masyarakat, pada suatu kurun masa tertentu. Kata Kunci : Congwayndut, Seni Pertunjukan Lintas Batas, Fungsionalisme Struktural
Strategi Mempertahankan Popularitas Melalui Kegiatan Promosi Media Digital (Studi Kasus Pada Produksi Musik Hendra Kumbara) Fatima, Sephia Putri; Wrahatnala, Bondet; Manggala, Bondan Aji
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.5061

Abstract

Every year the music industry displays new musicians, and each has their characteristics in their work. Of course, there will be many contemporary artists with different characters. One of the music industry’s strategies is to increase marketing in music production. This is not only a matter of promotion, but the music industry is also thinking about stealing attention, building loyalty, encouraging action, and how to educate and entertain through the content that is presented. Hendra Kumbara is a Javanese musician who has popularity among young people in the digitalization era; Dalan Liyane’s song is one of the works that support his popularity in digital media. In addition, he also developed the music industry for creative space in the city of Semarang. This study aims to determine Hendra Kumbara’s music production strategy for maintaining its popularity through digital media promotion activities. The research used is a qualitative method with a case study approach, with data collection techniques through observation, interviews, and literature studies selected according to the topic of discussion regarding musical creativity in maintaining popularity through digital media. The survey results prove that: (1) Hendra Kumbara’s music production supports popularity through digital media promotion activities by knowing the concept of music production and marketing strategies through digital media platforms. (2) strategies carried out by knowing musical abilities and marketing musical works through digital media platforms Youtube, Instagram, TikTok, Spotify, Joox, Tunes, Apple Music, and Deezer.Keywords: strategy, popularity, musicians, digital media.
Bentuk dan Fungsi Gondang Buhun dalam Tradisi Ngarempug di Kasepuhan Ciptagelar/Gelaralam, Sukabumi Wrahatnala, Bondet; Prihatmojo, Hernawan
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 5 No. 2 (2025)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v5i2.190

Abstract

The Gondang Buhun art of Kasepuhan Ciptagelar/Gelaralam is an art in the tradition of the ngarempug procession. This research aims to find out what the Gondang Buhun art is according to the Kasepuhan Ciptagelar/Gelaralam society. The Kasepuhan Ciptagelar/Gelaralam society is a group of people with a rice culture. Data was obtained through direct observation and then interviews with figures who are considered credible and know about the art of Gondang Buhun. In addition, data is obtained through literature studies on gondang art and other related literature. Based on the results obtained, this study found the form and function of Gondang Buhun art in Kasepuhan Ciptagelar/Gelaralam related to life.
BABOI: THE TRADITIONAL MOTHER OF SAGULUBBEG MENTAWAI Kemala, Riski Dwi; Wrahatnala, Bondet
International Journal of Social Science Vol. 5 No. 3 (2025): October 2025
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v5i3.11709

Abstract

This study discusses the figure of Baboi or Ibu Adat in Mentawai society, particularly in Sagulubbeg Village, Southwest Siberut, as a representation of female authority in the Arat Sabulungan belief system. Using qualitative research methods with ethnography, this study explores Baboi's role in maintaining balance between humans, nature, and the spiritual world through ritual practices, self-symbolism, and ecological knowledge. Baboi acts as a mediator between ancestral spirits and humans, as well as playing a role in maintaining cosmological harmony, which is manifested in Ti'ti Geilat and Sipaggeu. The results of the study show that Baboi holds a strategic function in preserving traditional values and environmental sustainability, especially through the Simatabaik principle, which emphasizes the wise use of resources. In a social context, Baboi also negotiates women's power within patriarchal structures, while also becoming agents of cultural transformation in the era of modernization. This study shows that Baboi is not only a spiritual figure, but also a local feminist ecological symbol that maintains ethical relations between humans and nature. These findings enrich the discourse of feminist anthropology and cultural ecology in the archipelago by emphasizing the importance of indigenous women's knowledge in the social and ecological sustainability system in the Mentawai region
SYMBOLIC INTERACTIONISM IN MUSIC: ANALYSIS OF SOCIAL MEANING AND CULTURAL IDENTITY NEGOTIATION Wrahatnala, Bondet; Luwiga, Abraham Anton Febrindo; Rahman, Ifa Hanifa; Kapri, Riana; Setyanto, Kristoforus Frederic
Jurnal Kajian Seni Vol 12, No 2 (2026): Jurnal Kajian Seni Vol 12 No 2 April 2025
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.112544

Abstract

This study examines musical practice as an arena of symbolic interaction in society, using the theoretical framework of symbolic interactionism. The framework stems from the assumption that social meaning is not inherently attached to objects or actions, but is formed through symbolic exchange between individuals and through processes of reflection and self-interpretation in social interaction. This research explores how music actors (players, listeners, communities) participate in the construction of musical meaning, how musical symbols are interpreted and negotiated, and how music functions as a medium for identity formation and social transformation. Through a descriptive-interpretive approach based on literature review of theories and previous research findings, it was found that symbolic interaction in musical practice encompasses processes of symbol repetition, public negotiation, role internalization, and intergenerational reinterpretation. Music becomes more than sound: it is a vehicle for symbolic communication that actively shapes and is shaped by society. These findings confirm that music analysis in ethnomusicology must consider aspects of symbolic micro-interaction in order to understand how cultural meaning, identity, and social structure are realized and transformed through music.
Co-Authors Abraham Anton Febrindo Luwiga Agus Budiyanto Alfionita, Elya Nindy Amirah Soraya, Dhiya Silmi Arya Pradipta, Dana Adi Bondan Aji Manggala El Java, Joi Fatima, Sephia Putri Kapri, Riana Kemala, Riski Dwi Nurhadi, Muhamad Prihatmojo, Hernawan Putra, Randy Geovani Rahman, Ifa Hanifa Setyanto, Kristoforus Frederic Sri Kuncoro, Jonet