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PROSES KREATIF MAMAT RAHMAT DALAM KENDANG TARI TRADISI SUNDA Riky Oktriyadi
Jurnal Seni Makalangan Vol 7, No 1 (2020): "GELIAT TARI DI BUMI TRADISI"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v7i1.1290

ABSTRAKMamat Rahmat adalah sosok pengendang tari tradisi Sunda yang pada saat ini masih konsisten dalam bidangnya sebagai pengendang. Kemampuannya dalam kendang tari tradisi Sunda banyak didedikasikan untuk ISBI Bandung karena telah memberikan penghidupan bagi dirinya. Di sisi lain, kemampuannya pun banyak diminta oleh sanggar sanggar tari yang ada di kota Bandung seperti Studio tari Indra, Pusbitari, dan sebagainya. Sebagai pengendang tari tradisi Sunda, ia mampu memberikan pengungkapan karakter dalam tari tradisi Sunda melalui tepakan kendangnya. Maka[PO1] tidaklah berlebihan dan sepantasnya apabila ia menyandang gelar sebagai maestro kendang tari. Dalam tulisan ini akan diungkap bagaimana proses kreatif Mamat Rahmat dalam mencapai kompetensinya sebagai pengendang tari Tradisi Sunda. Penulis akan mengupas pembahasannya melalui metode observasi dan wawancara. Adapun hasil dari penelitian ini adalah Mamat Rahmat mampu menjadi seorang pengendang tari Sunda yang kreatif, karena ditunjang oleh faktor keturunan (genetik), keterampilan, pengalaman, kepribadian, dan juga bisa menari.Kata Kunci: Mamat Rahmat, Proses Kreatif, Kendang Tari Sunda. ABSTRACTA Creative Process of Mamat Rahmat in Sundanese Traditional Dance Kendang, June 2020. Mamat Rahmat is a figure of drummer of Sundanese traditional dance who is still consistent in his field as a drummer. His skill in Sundanese traditional dance drums (kendang) is mostly dedicated to ISBI Bandung because he has been given his livelihood here. On the other hand, his skill has been much demanded by many dance studios in Bandung such as Indra dance studios, Pusbitari, and so on. As a drummer of Sundanese traditional dance, he is able to provide the expression of character in Sundanese traditional dance through his drum beat. So it is not excessive and appropriate if he bears the title as a maestro of dance kendang. In this paper, it will be revealed how is the creative process of Mamat Rahmat in achieving his competence as a drummer of Sundanese traditional dance. The author will explore the discussion through the method of observation and interviews. The result of this study shows that Mamat Rahmat is able to become a creativeSundanese dance drummer because he is supported by heredity (genetic), skills, experience, personality, and dancing ability.Keywords: Mamat Rahmat, Creative Process, Sundanese Dance Kendang. [PO1]Oleh sebab itu,

PENGENDANG DALAM GARAP KARAWITAN TARI SUNDA Riky Oktriyadi
Jurnal Seni Makalangan Vol 6, No 1 (2019): "Menari dengan Hati-Menandak dengan Rasa"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

ABSTRAKFungsi penyajian karawitan terbagi menjadi dua bagian, selain berfungsi untuk memenuhi estetika musikal dalam karawitan murni, juga berfungsi untuk memenuhi kebutuhan estetika seni yang lain, salah satunya yaitu untuk kebutuhan estetika tari yang disebut karawitan tari. Karawitan merupakan pendukung utama dalam tari Sunda, karena secara teknis, terutama kendang dapat berfungsi untuk menuntun pijakan irama, tempo dan dinamika tari. Dengan demikian, tujuan dari penelitian ini adalah untuk mengetahui kompetensi khusus seorang pengendang tari Sunda. Terkait dengan hal tersebut, maka dalam penelitian kualitatif ini menggunakan teori garap dan teori Kompetensi musikal dengan metode deskriptif analisis melalui teknik yang meliputi; studi pustaka, observasi, serta wawancara. Adapun hasil yang dicapai adalah diketahuinya kompetensi khusus seorang pengendang tari Sunda.Kata Kunci: Karawitan, Kendang, Kompetensi, Pengendang, Tari Sunda.ABSTRACTPengendang In Sundanese Dance Karawitan, June 2018. The function of presentation karawitan is divided into two parts, in addition to functioning to fulfill the musical aesthetic in pure karawitan, it also functions to fulfill the aesthetic needs of other arts, one of which is for the aesthetic needs of dance called dance karawitan. Karawitan is the main supporter of Sumdanese dance, because technical, especially, especially the kendang can fuction to guide the steps of rhythm, tempo and dynamics of danceThus, the purpose of this research is to find out the specific competence of a Sundanese dance performer. Related to this, in this qualitative study using the theory of work and the theory of musical competence with descriptive analysis methods through techniques that include; literature study, observation, and interview. The results achieved are known the special competence of a Sundanese dance pengendang. Keywords: Karawitan, Kendang, Competence, Pengendang, Sundanese Dance.

IBING TAYUB KHAS KASUMEDANGAN SEBAGAI INSPIRASI GARAP TARI RINGKANG MENAK Jatnika, Asep; Oktriyadi, Riky
Jurnal Seni Makalangan Vol 9, No 2 (2022): "Dimensi Kreativitas Ketubuhan Penari Sunda"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v9i2.2384

Ada dua bentuk Ibing Tayub yang terdapat di daerah Sumedang yaitu tayub menak dan tayub somah. Tayub menak penarinya merupakan para menak karena menari dalam peristiwa tayuban merupakan sebagai identitas sosial, salah satu syarat seorang bangsawan yaitu terampil ibing tayub. Sedangkan tayub somah pelakunya merupakan masyarakat biasa yang meniru kebiasaan menak, karena anggapan masyarakat bahwa bangsawan atau menak merupakan panutan. Peran ronggeng dalam tayub sangat signifikan karena merupakan roh dalam pertunjukan dan ronggeng merupakan magnet nya pertujukan tayuban. Penelitian karya seni untuk membuat alternatif karya tari inovatif yang beripijak pada ibing tayub khas kasumedangan, juga bertujuan melestarikan kembali ibing tayub dalam penafsiran lain, sehingga dapat hidup kembali di tengah masyarakat yang sedang mengalami proses transisi masuknya pengaruh modernisme. Metode yang diterapkan, menggunakan metode Participation Action Research (PAR). Metode tersebut memiliki kesi-nambungan, karena memuat siklus partisipasi, riset, dan aksi. Target luaran yang ingin dicapai menghadirkan kembali ibing tayub dalam bentuk kemasan baru secara tekstual dan kontekstual sehingga diharapkan dapat hidup di masyarakat. Kata Kunci: Ibing Tayub, Ronggeng, Kasumedangan. ABSTRACT IBING TAYUB SPECIAL KASUMEDANGAN AS AN INSPIRATION FOR WORKING ON THE MENAK RINGKANG DANCE. December 2022. Two forms Ibing Tayub that found in Sumedang, there are the tayub menak and tayub somah. The dancer of tayub menak is a nobleman because dance in tayuban is part of social identity since the condition of the nobleman is to be skilled in ibing tayub. While the dancer of tayub somah is the commoner that imitates the tradition of the nobleman, it is based on the belief that the nobleman is the role model. The appearance of ronggeng is very significant because it is the soul of the show and not only that ronggeng is also a magnet of the tayuban show. The study of this artwork is to make an alternative of innovative ibing work that stands on ibing tayub, also to maintain the ibing tayub in other perception, in purpose to regenerate it in the middle of society who go through the modern transition. The method used is the Participation Action Research (PAR). This method has a continuity because consists of the cycle of participation, research, and action. the output target to achieve is to reintroduce ibing tayub in other forms of textual or contextual until it can develop in the middle of society. Keywords: Ibing Tayub, Ronggeng, Kasumedangan.

TEPAK CIWARINGINAN PADA SENI PENCAK SILAT DI KOTA BANDUNG Oktriyadi, Riky; Sentosa, Gempur
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.v10i2.2948

Pencak silat is a martial art of Indonesia's cultural identity that has been designated by UNESCO as an Intangible Cultural Heritage. Pencak silat in West Java is not only categorized as a martial sport, but also as one of the arts. Pencak silat in the context of performing arts is often called Kendang Penca (from the perspective of musical aesthetics) and Ibing Penca (from the perspective of dance aesthetics). The focus of this article is to describe the variety of tepak ciwaringinan patterns in the pencak silat family in Bandung. The consideration is that these songs and tepak no longer appear in every kendang penca performance, it can be said that their existence is starting to become extinct. In this article, the author uses a qualitative approach from Jhon W. Creswell by collecting data through observation, documentation, and interviews. After the data is obtained, the author then analyzes the data to test the truth of the data. This article discusses an overview of pencak silat as a performing art, the musical accompaniment of pencak silat in Bandung, and a description of the Ciwaringinan tepak pattern in pencak silat. The article concludes that pencak silat is one of the most important aspects of the performing arts in Indonesia, especially in West Java. Aesthetically, pencak silat generally consists of the aesthetics of the Pencak Silat dance form (ibing penca), music aesthetics (karawitan), and traditional fashion aesthetics. In addition, the findings in this study are that there are a variety of Ciwaringinan tepak patterns that have not been recognized by the public.

TEPAK CIWARINGINAN PADA SENI PENCAK SILAT DI KOTA BANDUNG Oktriyadi, Riky; Sentosa, Gempur
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.v10i2.2948

Pencak silat is a martial art of Indonesia's cultural identity that has been designated by UNESCO as an Intangible Cultural Heritage. Pencak silat in West Java is not only categorized as a martial sport, but also as one of the arts. Pencak silat in the context of performing arts is often called Kendang Penca (from the perspective of musical aesthetics) and Ibing Penca (from the perspective of dance aesthetics). The focus of this article is to describe the variety of tepak ciwaringinan patterns in the pencak silat family in Bandung. The consideration is that these songs and tepak no longer appear in every kendang penca performance, it can be said that their existence is starting to become extinct. In this article, the author uses a qualitative approach from Jhon W. Creswell by collecting data through observation, documentation, and interviews. After the data is obtained, the author then analyzes the data to test the truth of the data. This article discusses an overview of pencak silat as a performing art, the musical accompaniment of pencak silat in Bandung, and a description of the Ciwaringinan tepak pattern in pencak silat. The article concludes that pencak silat is one of the most important aspects of the performing arts in Indonesia, especially in West Java. Aesthetically, pencak silat generally consists of the aesthetics of the Pencak Silat dance form (ibing penca), music aesthetics (karawitan), and traditional fashion aesthetics. In addition, the findings in this study are that there are a variety of Ciwaringinan tepak patterns that have not been recognized by the public.

Relasi Ibing dan Tepak Kendang: Studi Kasus Pada Perbedaan Musikal Tiga Paguron Pencak Silat Panglipur, Gajah Putih, dan Budhi Kancana oktriyadi, riky; sentosa, gempur
Paraguna Vol 11 No 1 (2024): INTERKULTURAL - INTERTEKSTUAL
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar

The research titled “Relation between Ibing and Tepak Kendang: A Case Study on the Musical Differences of Three Silat Pagurons; Panglipur, Gajah Putih, and Budhi Kancana” is an interactive study of tepak kendang playing patterns. (textual-contextual) study of tepak kendang playing patterns. The textual study focuses on the musicality of the tepak kendang. musicality, while contextual is focused on the relationship between tepak kendang and ibing penca in each paguron. The data used in this This research consists of qualitative and quantitative data. Qualitative data in the form of musical and ibing relationships based on the emic point of view of the performers in the 3 (three) paguron that became the art in 3 (three) paguron which became the subject of research. Meanwhile, the data quantitative data is in the form of notations of drumming in the structure of silat performances in three different pagurons. 3 (three) different paguron. From the quantitative data in the form of notation, then from the quantitative data in the form of notation, a comparison was made of the drumming patterns in Paguron Panglipur, Gajah Putih, and Budi Kancana. The urgency of this research to see the ibing relationship in each paguron with musical consequences built in order to fulfill the aesthetic needs of ibing penca which is directly related to the aesthetics of tepak kendang. with the aesthetics of tepak kendang. With this research, the correlative relationship between musicality and ibing can be mapped. musicality and ibing, so that it can be The importance of maintaining the values in ibing penca cannot be separated from the musicality in tepak kendang

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