Darlenis, Teti
Institut Seni Indonesia Surakarta

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Representasi Identitas Budaya Musi Banyuasin pada Garap Musik Tari Puyang Putri Rinai Gregori Rahim Yuli Riadi; Teti Darlenis; Geardena Putra Yuli Riadi
Grenek: Jurnal Seni Musik Vol. 15 No. 1 (2026): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v15i1.73643

Abstract

The Puyang Putri Rinai Dance is a performing art work inspired by the legend of Puyang Putri Rinai Munai in Sungai Lilin District, Musi Banyuasin Regency. This study aims to describe the musical composition of the Puyang Putri Rinai Dance and analyze the representation of Musi Banyuasin cultural identity contained therein. The study uses a qualitative method with a descriptive approach. Data were collected through observation, interviews, documentation, and literature studies, then analyzed using an interactive analysis model. The results show that the musical composition is played live using Malay drums, gongs, accordions, keyboards, bass, drum pads, and darbuka. The musical structure is arranged according to the needs of choreography and dramatic flow and adapts the nuances of Gending Sriwijaya as a representation of South Sumatran Malay culture. Musi Banyuasin cultural identity is represented through the legend of Putri Rinai, a symbol of female heroism, the Dawas River, and Malay musical elements. Thus, music functions not only as dance accompaniment, but also as a medium for preserving and strengthening local cultural identity.
TAMAR JAYA'S ACTIVISM IN STRENGTHENING AND PRESERVING ENREKANG MUSIC CULTURE IN SOUTH SULAWESI Ilham Ilham; Bondan Aji Manggala; Teti Darlenis
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 18 No. 2 (2025): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

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Abstract

This article explores the contributions of Tamar Jaya as an art activist committed to advocating for the preservation of traditional music in Enrekang, a region characterized by its remoteness and lack of external support. This study applies a qualitative methodology, utilizing a character study framework based on Abdul Mustakim. It incorporates a historical lens and individual life narratives to explore his life journey, intellectual contributions, original concepts, and the socio-historical backdrop that influenced his activism. The findings indicate that Tamar Jaya's decisions are shaped by an intellectual wisdom acquired after higher education, which fosters a critical viewpoint on the stagnation within the arts ecosystem in South Sulawesi. This perspective particularly highlights the deficiencies in life skills among artists and the fluctuating political commitment from the local government. His activism unfolded in two strategic phases: an initial decade-long grassroots initiative (Gerakan Akar Rumput) aimed at revitalizing communal traditions, followed by a shift towards embodying a cultural survivor through the adoption of a hybrid Artist-Farmer model, characterized by a nuanced approach to political engagement. This study can be used to describe the Tamar Jaya activism movement as a model of cultural-political management, which aims to maintain and disseminate the existence of marginalized arts and culture by optimizing management skills, networks, and funding literacy.