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All Journal PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan
Suryaman, Atang
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Arts Humanities Education Environmental Science Social Sciences Other

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EKSISTENSI SENI ORMATAN TARAWANGSA: FUNGSI TARAWANGSA DI TENGAH EKOSISTEM MASYARAKAT BANJARAN Suryaman, Atang; Masyuning, Masyuning; Herizal, Maspon
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2944

Abstract

The existence of Tarawangsa Cangkungan, which is still alive and continues to grow, cannot be separated from its existence which is still functioned in many contexts, such as hajat overtime, ngaruat, and treating the sick. In the context of the ecosystem, the study in this paper takes focus and limits. The times have become one of the factors contributing to the loss of traditional culture and arts. Therefore, the continuity of an art cannot be separated from how the artists maintain and continue the tradition. The art of tarawangsa Banjaran is an example of a case where this art was once alive and well known in the community, but due to the lack of regeneration efforts and the decreasing number of artists who continue it, this art has finally experienced a period of vacuum and is now almost extinct. So far, one of the main problems has been the strict restrictions on the regeneration process of Banjaran's tarawangsa art. This policy requires prospective heirs to have blood ties to the previous presenting artist as the main requirement. This condition has become a barrier for the younger generation who are interested in learning this art.
KREATIVITAS NAMIN DALAM PETA PERKEMBANGAN JAIPONGAN BAJIDORAN Suryaman, Atang
Paraguna Vol 5 No 1 (2018): KARAWITAN YANG BERPROSES
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/jp.v5i1.1878

Abstract

The  game   ofkendangin  each  typeofperfonnance  art  has  its  own  peculiarities. First  in  the  context   ofkendangaspartofindependentkarawitanwork,  then  the secondin  the  kendangcontext   as  partofthefunctional  karaokework  which   is specificallyin  dance   music.  Each  player  and  drum  game   has  its  ownspecificity and  capabilities,  sothedrummeris  apersonwhois  required  tohave  specialskills. Especially  inperfonnance  artthat  requires  the  ability  todo  renewal,  development and  creativity.  Oneofthem  isintheartofBajidoran-Jaipongan,  where  inaddition to  being  united   in  karawitan,  at  the  same   time  itis  required   toserve   a  dancer (Bajidor).  From  a  series  ofkendangplayers  and  Bajidorangroups  that  are  well knowninthe  community,  the  name  Namin  and  "NaminGrup"areamong  the  most calculated.   From   various   perspectives,   especially  from   the   point  of  view   of observersand  actors,Namin  was  notonly  known  as  along-standingartistinthe performing  arts  world,  but  also  known  forhis  creativity.  In  the  development  of Bajidoran  -  Jaipongan,  the  term  "GaaNamin"  is  known,  itshows  a  distinctive pattern  that   is  identical  to  the  drum  game   created   by  Namin.  Tofind  out  the backgrounduntilfinallyNamin  isable  todisplaythe  distinctivedrum,then  Namin needsto  be  seenas  apersonwho  has  a  background  that  cannot  be  separated from  theprocessofart,  including  the  environmentand  the  carrying  capacity  itself From  thesevarious   dimensions,  Namin  is  a  creativefigureas  the  definition  ofa creative   figure  is   mentioned   as   a   unique   person  who    can   respond   to   his environment.  And   through   its  work   that   has   exceeded  the   40-year  mark   with Namin  Group,  ifNamin  has  notonly  demonstratedcreativity  inthe  artworld,  but alsoshowedconsistency,  simplicity,  and  leadershipspiritincarrying  outhis  work towardstheworld  heloves  most,  Bajidoran.
EKSISTENSI SENI ORMATAN TARAWANGSA: FUNGSI TARAWANGSA DI TENGAH EKOSISTEM MASYARAKAT BANJARAN Suryaman, Atang; Masyuning, Masyuning; Herizal, Maspon
Paraguna Vol 10 No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2944

Abstract

The existence of Tarawangsa Cangkungan, which is still alive and continues to grow, cannot be separated from its existence which is still functioned in many contexts, such as hajat overtime, ngaruat, and treating the sick. In the context of the ecosystem, the study in this paper takes focus and limits. The times have become one of the factors contributing to the loss of traditional culture and arts. Therefore, the continuity of an art cannot be separated from how the artists maintain and continue the tradition. The art of tarawangsa Banjaran is an example of a case where this art was once alive and well known in the community, but due to the lack of regeneration efforts and the decreasing number of artists who continue it, this art has finally experienced a period of vacuum and is now almost extinct. So far, one of the main problems has been the strict restrictions on the regeneration process of Banjaran's tarawangsa art. This policy requires prospective heirs to have blood ties to the previous presenting artist as the main requirement. This condition has become a barrier for the younger generation who are interested in learning this art.
Co-Authors Maspon Herizal Masyuning, Masyuning