Articles
<![CDATA[Incorporating the Spirit of Sandur into Grafito Akhudiats Work: A Review of Contemporary Music ]]>
<![CDATA[Putri, Ratna]]>;
<![CDATA[Hari Pramono, Koko]]>;
<![CDATA[Wicahyo, Oki Dwi]]>
<![CDATA[ Terob : Jurnal Pengkajian dan Penciptaan Seni Vol. 15 No. 2 (2025): April ]]>
Publisher : <![CDATA[Sekolah Tinggi Kesenian Wilwatikta Surabaya ]]>
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DOI: 10.20111/terob.v15i2.94
<![CDATA[Modern theatre is a pioneer that has shaped and impacted the performing arts. Currently, educational resources at both school and college levels frequently include content pertaining to modern theatre, contributing to the accessibility of information and expertise regarding this subject across numerous educational tiers. Within the robust and profound discourse surrounding contemporary theatrical materials, one finds the Sedhet Srepet studio in Bojonegoro, which distinctively integrates modern theatre with traditional theatre, specifically Sandur. Notably, while the Sedhet Srepet studio creates new theatre, it fundamentally employs a classic theatrical technique. Therefore, the researcher chose the performance piece titled Grafito for an in-depth examination concerning modern accompanying music. The analysis of music arises from the researcher's preliminary assumption that the musical accompaniment enhances the significance of the Grafito performance within the Sandur approach. Each musical scene encapsulates the atmosphere and effectively supports the actor's role. As a result, this study will employ a qualitative research methodology for analysis.]]>
<![CDATA[Pembuatan Naskah Cerita Teater Pada Kelompok Kesenian Bantengan Turangga Jaya Desa Wiyu Kecamatan Pacet Kabupaten Mojokerto ]]>
<![CDATA[Koko Hari Pramono]]>;
<![CDATA[Indar Sabri]]>
<![CDATA[ Gayatri : Jurnal Pengabdian Seni dan Budaya Vol. 1 No. 1 (2023): April ]]>
Publisher : <![CDATA[Sekolah Tinggi Kesenian Wilwatikta (STKW) Surabaya ]]>
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DOI: 10.20111/gayatri.v1i1.24
<![CDATA[The performing arts of traditional theater in the community, especially in the Mojokerto area, there are many art groups that still exist. This is evidenced by the large number of art groups spread across various regions in the regency and city of Mojokerto. One of the iconic arts that is the pride of Mojokerto residents is Bantengan art, this art has its own prestige for every Mojokerto resident. Bantengan art is almost owned by every village, usually between one village and another village competing with each other to make the banteng arts group they protect better than the others. Because of that, the banteng arts in the Mojokerto region are developing and are in demand by the younger generation. Besides that, the bullfighting art certainly has its own challenges in its conservation efforts, this is because of the challenges of modernization and technological developments. In other words, the banteng that exist in Mojokerto are able to survive because each region has its own prestige to preserve and make the banteng arts group superior to other groups. However, specifically in the community service carried out by the writer in the village of Wiyu, Pacet District, Mojokerto Regency, he found that the storyline of the banteng storyline had not been conceptualized into a traditional theatrical performance. Thus the author goes directly into the field to collect data in an effort to write a dramatic story about the bullfighting scene with a simpler packaging but conveys the meaning and message of the story.]]>
<![CDATA[FILM DRAMATURGY OF THE MONOLOGUE "PENYAMUN": PERSPECTIVES ON MUSIC, SEMIOTICS, AND ACTING ]]>
<![CDATA[Tri Laksono, Yunanto]]>;
<![CDATA[Pramono, Koko Hari]]>;
<![CDATA[Sabri, Indar]]>
<![CDATA[ Acintya Vol. 17 No. 1 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v17i1.7422
<![CDATA[Monologue based cinema presents distinct challenges in building narrative and dramatic tension, especially in the absence of verbal interaction between characters often the primary force driving a story. Penyamun serves as a compelling case study of how a complete and emotionally resonant cinematic narrative can emerge despite such limitations. The film centers on the existential struggle of a solitary individual in isolation, where internal conflict becomes the core of the drama. Through symbolic and atmospheric techniques, the film replaces conventional dialogue with layered visual metaphors and sonic textures. This study uses a descriptive qualitative method to analyze how music, visual/verbal signs, and acting strategies collaborate to construct meaning. Music functions as an emotional conduit, expressing the protagonist’s psychological shifts and inner turmoil. Visual and verbal signs are examined through a semiotic lens to reveal how layered meanings are constructed and communicated. The actor’s internal and physical performance becomes essential in generating dramatic dynamics and evoking empathy. Findings show that music, semiotic elements, and performance interact synergistically, forming a cohesive dramaturgical structure. These elements do not operate in isolation but reinforce each other to create emotional depth and narrative clarity. Penyamun thus exemplifies a new aesthetic in monologic cinema, demonstrating that powerful cinematic expression can emerge not through dialogue, but through the symbolic and emotional intensity of carefully orchestrated artistic components.]]>
<![CDATA[Development of Drawing Art Through The Expanded Technique ]]>
<![CDATA[mubaroh, mufi]]>;
<![CDATA[Tamtomo, Sigit]]>;
<![CDATA[Pramono, Koko Hari]]>
<![CDATA[ Terob : Jurnal Pengkajian dan Penciptaan Seni Vol. 16 No. 1 (2025): Oktober ]]>
Publisher : <![CDATA[Sekolah Tinggi Kesenian Wilwatikta Surabaya ]]>
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DOI: 10.20111/terob.v16i1.98
<![CDATA[Painting, as a fine art discipline, typically involves the conversion of human experiences, both internal and external, into a two-dimensional material, such as paper or canvas. Paintings are distinguished by their emotion, necessitating effective conveyance. The production of quality paintings necessitates a foundation of knowledge and proficiency in techniques. Supporting components encompass a fundamental comprehension of visual elements and principles, as well as a diligent observation of worldwide occurrences to remain informed about contemporary issues and advancements in painting. The fundamental skills in painting encompass applying color using brush strokes, followed by the process of generating repetitive lines, known as shading techniques. Shading techniques are fundamental methods in the creation of drawing art. The current period offers boundless opportunities for elaboration and collaboration, encompassing a range of creation processes and the research of mediums, from traditional to expanded forms. The liberty to utilize diverse mediums influences the evolution of painting with shading techniques, transitioning from traditional drawing to expanded drawing, which encompasses art that transcends conventional materials like paper or canvas.]]>
<![CDATA[KONSEP SANDIWARA KI HADJAR DEWANTARA DAN IMPLIKASINYA PADA PEMBELAJARAN TEATER ]]>
<![CDATA[Pramono, Koko Hari]]>
<![CDATA[ TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 18, No 2: September, 2021 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/tnl.v18i2.5741
<![CDATA[Abstrak: Pemikiran Ki Hadjar Dewantara menjadi dasar perumusan pada sistem pendidikan nasional hingga saat ini yang disemayamkan dalam jargon “Tut Wuri Handayani”. Namun sosok bapak pendidikan nasional kini telah dilupakan dan termarjinalkan karena insan pendidikan mulai berpaling dari konsep yang dibuat olehnya, yang lebih memilukan adalah sistem pendidikan nasional kini menggunakan pola pembelajaran berbasis sistem barat. Penelitian ini bertolak dari pokok masalah, yaitu konsep sandiwara Ki Hadjar Dewantara dan Implikasinya pada Pembelajaran Seni Teater. Penelitian ini bertujuan menjelaskan kontruksi pemikiran sandiwara Ki Hadjar Dewantara dan implikasinya terhadap pembelajaran teater. Hal ini merupakan langkah untuk melestarikan pemikiran teoretis sandiwara Ki Hadjar Dewantara sebagai upaya mengenalkan kembali pemikiran bapak pendidikan nasional untuk diterapkan pada pembelajaran teater. Kesadaran atas konsep dan teori sandiwara untuk meminimalisir pergerakan teoretis teater yang selama ini memang timpang dan lebih banyak mengadaptasi istilah asing dalam segi teknis baik keaktoran maupun konsep pemanggungan. Pembelajaran teater sandiwara oleh Ki Hadjar Dewantara yang akan dikembangkan di sini adalah konsep Nonton, Niteni, Nirokake dan ditambah konsep yakni Nemokake. Kata kunci: pendidikan kesenian, sandiwara, pembelajaran teater Abstract: Ki Hadjar Dewantara's thoughts have become the basis for the formulation of the national education system to date which is embedded in the jargon "Tut Wuri Handayani". However, the figure of the father of national education has now been forgotten and marginalized because education people have started to turn away from the concepts created by him, what is even sadder is that the national education system is now using a western system-based learning pattern. This research departs from the main problem, namely the concept of Ki Hadjar Dewantara's play and its implications for learning theater arts. This study aims to explain the construction of Ki Hadjar Dewantara's theatrical thinking and its implications for theater learning. This is a step to preserve Ki Hadjar Dewantara's theatrical theoretical thinking as an effort to reintroduce the thoughts of the father of national education to be applied to theater learning. Awareness of theatrical concepts and theories to minimize theatrical theoretical movements which have been lame and have mostly adapted foreign terms in technical terms, both acting and staging concepts. The theatrical learning by Ki Hadjar Dewantara that will be developed here is the concept of Nonton, Niteni, Nirokake and added the concept of Nemokake. Keywords: art education, plays, theater learning]]>
<![CDATA[PENGEMBANGAN MEDIA VIDEO PEMBELAJARAN UNTUK MENINGKATKAN MOTIVASI BELAJAR PADA MATAKULIAH METODE PENELITIAN TEATER MENGGUNAKAN MODEL R&D ]]>
<![CDATA[Pramono, Koko Hari]]>
<![CDATA[ TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 19, No 1: Maret, 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/tnl.v19i1.6949
<![CDATA[Penelitian pengembangan media video pembelajaran untuk meningkatkan motivasi belajar pada matakuliah metode penelitian teater menggunakan model R&D ini merupakan penelitian yang menghasilkan sebuah oroduk berupa video pembelajaran. Adapun sistematika pengembangan mengunkan metode penelitian pengembangan R&D. Pada penelitian ini penulis akan fokus pada beberapa item untuk membuat video pembelajaran dengan mengunakan konsep R&D atau research and development. Langkah-langkah penelitian R&D. 1. menentukan potensi dan masalah. 2. mengumpulkan informasi. 3. merancang desain produk. 4. validasi desain produkKata kunci: R&D, Pengembangan Bahan Ajar, Video Pembelajaran]]>
<![CDATA[Artistic Visualization Of Senja Dengan Dua Kelelawar Script By Kirdjomulyo Through Herry Dim's Art Creation Method ]]>
<![CDATA[purnomo, heny]]>;
<![CDATA[hari pramono, koko]]>;
<![CDATA[Indar Moslem, Mochamad Danuar]]>
<![CDATA[ Terob : Jurnal Pengkajian dan Penciptaan Seni Vol. 14 No. 2 (2024): April ]]>
Publisher : <![CDATA[Sekolah Tinggi Kesenian Wilwatikta Surabaya ]]>
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DOI: 10.20111/terob.v14i2.59
<![CDATA[The stage serves as a barrier between the artists and the audience, therefore theatrical activities are inextricably linked to it. In order for a theatrical performance to flow smoothly and for the audience to engage with the performers, the stage is a crucial component. Through artistic communication, aesthetic value is created. In the end, this serves as the foundation for artistic endeavours involving the visualization of artistic arrangements on stage. In order for the artistic arrangement in a performance to become more than just a connected component and instead become a whole theatrical production, the director and artistic director must also be able to give meaning to the various elements. Through the visual medium of performing arts, the audience can be given aesthetic gratification through the implementation of a comprehensive creative arrangement. In addition to using Herry Dim's method of art creation, this piece employs a representational theatre style performance approach with accurate and naturalistic environmental descriptions. The artistic arrangement of the script "Senja degan Dua Kelelawar" is another goal in the development of this piece of theatre art. The developed concept was then utilized to visualize the artistic layout of the script Senja degan Dua Kelelawar" and create works of art by combining different parts and elements of the artistic layout that ultimately resulted in a performance. Hence, it can deliver a visually stunning and harmonic performance on stage]]>
<![CDATA[Pendampingan Manajemen Produksi Pertunjukan Pada Kegiatan Barakan Pelestari Seni Budaya Nusantara ]]>
<![CDATA[Pramono, Koko Hari]]>;
<![CDATA[Sugmatimur, Yuddan Fijar]]>
<![CDATA[ Gayatri : Jurnal Pengabdian Seni dan Budaya Vol. 2 No. 1 (2024): April ]]>
Publisher : <![CDATA[Sekolah Tinggi Kesenian Wilwatikta (STKW) Surabaya ]]>
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DOI: 10.20111/gayatri.v2i1.40
<![CDATA[Mentoring activities in community organisation groups community, namely Pelestari Seni Budaya Nusantara or abbreviated as PASEBAN, is an activity to support community participation in efforts to preserve traditional arts. preservation of traditional arts. Pelestari Seni Budaya Nusantara is a cultural arts development institution with a pesantren background. cultural arts development institution that has a pesantren background, this is a commitment of the group. This is a commitment of the art preservation group to be directly involved in art activities that are held regularly. directly in art activities that are held regularly. One of the activity programmes in Pelestari Seni Budaya Nusantara is Barakan. Barakan is one of the activities carried out during the commemoration of the maulud of the great prophet Muhammad SAW. This activity is a routine activity held every year by the Babul Khoir Islamic Boarding School. by Babul Khoir Islamic boarding school. The caregiver of this boarding school is named Khirul Al Hanafi or more familiarly addressed as Gus Rul is one of the initiators of the Barakan idea. one of the initiators of the idea of Barakan, the selection of the name barakan is one of the activities that make tumpeng with arranged in the form of activities that make tumpeng arranged in the shape of a mountain and then will be contested by the surrounding community. contested by the surrounding community, then in addition there are also held social service activities and with bantengan art entertainment as a complement. Translated with DeepL.com (free version)]]>
<![CDATA[Pembinaan Strategi Sosialisasi Seni Teater Tradisi Sandur Kepada Masyarakat Melalui Media Sosial Dalam Gaya Pertunjukan Di Sanggar Sedhet Srepet ]]>
<![CDATA[lestari, lilis]]>;
<![CDATA[hari pramono, koko]]>;
<![CDATA[mestikasari, ratna]]>;
<![CDATA[fidaus, mujib]]>
<![CDATA[ Gayatri : Jurnal Pengabdian Seni dan Budaya Vol. 2 No. 2 (2024): Oktober ]]>
Publisher : <![CDATA[Sekolah Tinggi Kesenian Wilwatikta (STKW) Surabaya ]]>
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DOI: 10.20111/gayatri.v2i2.49
<![CDATA[In accordance with the purpose of community service, this PkM activity is oriented to restore the community's interest and enthusiasm for traditional theater arts through coaching and mentoring with material on the strategy of socializing traditional sandur theater arts to the community through social media in the performance style at the Sedhet Srepet Studio. The phenomenon found in the community is that the next generation of traditional theater art activists is decreasing due to the lack of information and education from families, schools to the scope of electronic media and the onslaught of modern culture that shifts the character of the younger generation. This problem encouraged the author to carry out this activity to be able to encourage and assist traditional theater art practitioners so that they can regenerate and increase public interest in this art so that it is not eroded by modern culture from outside. This PkM activity program is carried out using the Training and Capacity Building method through the Service Learning approach through the application of technology and innovation. The results of this PkM activity program concluded that the optimization of the traditional theater performance style based on the need to maximize innovation in traditional theater performances so that they are in accordance with the context of development and the needs of the times and can adapt according to the needs of this performance. The Sanggar Sedhet Srepet Team has effectively used social media on Instagram and Youtube and in the future will be added other social networking accounts, because by utilizing these media it is considered to have been able to increase the enthusiasm of the Bojonegoro community to enjoy the performance. Instagram media has proven to be able to introduce theater arts well to the Instagram user community, this is evident from the existence of several followers who are interested in watching and studying theater arts and are interested in joining the community on the Instagram account @sandur_sedhet_srepet.]]>
<![CDATA[Pendampingan Sandur Sedhet Srepet di Jetak Bojonegoro dengan Strategi Pengembangan Produk Karya Pertunjukan ]]>
<![CDATA[pramono, koko hari]]>;
<![CDATA[lestari, lilis]]>;
<![CDATA[putri, ratna mestikasari]]>;
<![CDATA[firdaus, mujib]]>
<![CDATA[ Gayatri : Jurnal Pengabdian Seni dan Budaya Vol. 2 No. 2 (2024): Oktober ]]>
Publisher : <![CDATA[Sekolah Tinggi Kesenian Wilwatikta (STKW) Surabaya ]]>
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DOI: 10.20111/gayatri.v2i2.50
<![CDATA[Traditional arts have challenges in preserving in the future, this is due to developments in information and technology which underlie the inheritance of traditional theater arts which need adjustments in order to remain sustainable. This important point in community service certainly makes it a service that has bargaining value for the people of Kalianyar Village, Kapas District, Bojonegoro Regency to become an option and strategy for developing research so that it can be carried out and become an understanding of the identity and inheritance of traditional theater. In this community service activity, the author created a sub-theme with research material on traditional arts using the four D (4D) development research model. In this article on community service, the author chooses the development method of S. Thiagarajan, Dorty S, Semmel, and Melvyn I. Where in R&D the Four-D development model consists of four stages, namely: Define, Design, Develop. ), Disseminate. Of these 4 stages of development, Sandur in Graffito by Oky Dwi Wicahyono will be described]]>
