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All Journal Panggung PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan Panggung
Sudarsono, Tarjo
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PASINDEN: AWAL KEHADIRANNYA DALAM PERTUNJUKAN WAYANG GOLEK Tarjo Sudarsono
Paraguna Vol 5, No 1 (2018): KARAWITAN YANG BERPROSES
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (14683.663 KB) | DOI: 10.26742/jp.v5i1.1877

Abstract

In  1930  Sinden  became part of the  Wayang Golek show.  This phenomenon is  the creativity  of the  puppeteer Baraja  who  was   not  satisfied  with  the  conventional wayang   gol~k    performance.    Finally     Sinden     presented   songs     that     was entertainment   in   Wayang   Golek   show  performances.   Furthermore,   the   other puppeteers imitated   him  and  in the  end  the  sind~n  and  the puppeteers  became a unity  called the "Dwi Tunggal"  who complemented and worked together  in the performance.  In the  beginning,  the presence of sind~n  in the  Waang  Golek  show gave   the  famous  sind~n   in  the  community.  They   have  the  name   code  (popular name)    and   the   song    that characterizes   them.   This  phenomenon  shows   the dynamism of a traditional form ofperformance in the supporting community.
Estetika Lagu Rincik-rincik dalam Pertunjukan Ronggeng Tayub Ocoh Suherti; Tarjo Sudarsono
PANGGUNG Vol 29, No 4 (2019): Keragaman Seni dan Inovasi Estetik
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (448.581 KB) | DOI: 10.26742/panggung.v29i4.1050

Abstract

AbstrakTujuan dari penelitian ini menjelaskan estetika musikal dalam pertunjukan Ronggeng Tayub, khususnya lagu Rincik-rincik yang dalam sajiannya terdapat perpaduan garap musikal karawitan Sunda dan karawitan Jawa (Banyumasan). Ronggeng Tayub merupakan salah satu bentuk kesenian rakyat di Kabupaten Ciamis dan sekitarnya. Penelaahan dilakukan melalui kajian teknik tabuhan, repertoar lagu, syair lagu, serta menelaah relasi masyarakat dengan seni karawitan dalam kaitannya dengan pertunjukan Ronggeng Tayub di wilayah perbatasan Ciamis-Cilacap. Metode yang digunakan dalam penelitian ini, yaitu metode deskriptif analisis kualitatif. Teknik mengumpulkan data dilakukan melalui observasi lapangan yang didukung dengan wawancara dan perekaman kejadian guna mendapatkan validitas data yang lebih utuh dan menyeluruh. Sajian gending dalam lagu ini menghadirkan kesan kesedarhanaan yang mencerminkan konsep hidup masyarakat pendukungnya. Ronggeng Tayub memiliki bentuk pertunjukan yang sangat merakyat, menyatu, dan komunikatif dengan penontonnya. Lagu Rincik-rincik termasuk pada lagu “pesanan” dari penonton, sajian gendingnya khas, unik, dan dinamis dengan iringan instrumen gamelan salendro yang relatif sederhana.Kata Kunci: estetika musikal, rincik-rincik, ronggeng tayub, kesenian rakyat AbstractThe purpose of this study is to explain the musical aesthetic of the Ronggeng Tayub performance, especially the Rincik-rincik song, which combines Sundanese and Java musical instruments (Banyumasan). Ronggeng Tayub is folk art in District Ciamis and surrounding. The study of Rincik-rincik song includes percussion techniques, song repertoire, song poetry, and the relationship between the community and the Ronggeng Tayub. This study uses a qualitative descriptive-analytical method. The techniques used in this study are observation, interview, and recording in order to obtain a more complete and comprehensive data validity. The performance of gending in Ronggeng Tayub presents the impression of simplicity, reflecting the concept of the life of the people. Ronggeng Tayub has a simple form of performance, blending, and communicative with the audience. Rincik-rincik is one of “special request” song from its audience, by which its gending is unique and dynamic, accompanied by a simple gamelan slendro.Keywords: aesthetic, rincik-rincik, ronggeng tayub, artfolks 
Tarawangsa Padepokan Pusaka Lembur: Upaya Pengembangan Dalam Mempertahankan Seni Tarawangsa di Cangkuang Kabupaten Bandung Sudarsono, Tarjo
Paraguna Vol 10, No 1 (2023): LOCUS TEMPUS: SENI TRADISI DALAM KONTEKS RUANG DAN WAKTU
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i1.2899

Abstract

Tarawangsa is a type of art that lives in an agrarian cultural ecosystem. Its existence cannot be separated from the lifestyle of the Sundanese people known as the people of the fields. One form of cultural expression between agrarian society and art, for example, can be found in the seren taun ceremony, ngalaksa. These ceremonies in particular have values related to the expression of people's gratitude for the produce of the earth, the harvest that nature has given to people's lives. In the Rancakalong Sumedang community, for example, some of these processes can still be found, especially in the ngalaksa ceremony procession. Apart from ceremonial activities related to an agrarian lifestyle, Tarawangsa also attends activities such as; the celebration of the birth of a baby and the ritual of treating the sick. This is because the agrarian lifestyle in some places tends to disappear, Tarawangsa is difficult to find in the context of agrarian rituals. One of these conditions can be found in Tarawangsa Cangkuang in Bandung Regency where its existence has further reduced the decline in the agrarian contextual function. Tarawangsa Cangkuang is not found in the ngalaksa ceremony, because in the people of Bandung Regency, it can hardly be found in the ngalaksa ceremony. Tarawangsa Cangkuang to a certain extent can only be found at the time of entertainment, and thanksgiving ceremonies for the birth of a baby. For this reason, development efforts are needed to maintain the existence of Tarawangsa Cangkuang. This paper is a record of participatory observation in recording the existence of Tarawangsa Cangkuang, as well as being involved in efforts to develop the show
Estetika Lagu Rincik-rincik dalam Pertunjukan Ronggeng Tayub Ocoh Suherti; Tarjo Sudarsono
PANGGUNG Vol 29 No 4 (2019): Keragaman Seni dan Inovasi Estetik
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v29i4.1050

Abstract

AbstrakTujuan dari penelitian ini menjelaskan estetika musikal dalam pertunjukan Ronggeng Tayub, khususnya lagu Rincik-rincik yang dalam sajiannya terdapat perpaduan garap musikal karawitan Sunda dan karawitan Jawa (Banyumasan). Ronggeng Tayub merupakan salah satu bentuk kesenian rakyat di Kabupaten Ciamis dan sekitarnya. Penelaahan dilakukan melalui kajian teknik tabuhan, repertoar lagu, syair lagu, serta menelaah relasi masyarakat dengan seni karawitan dalam kaitannya dengan pertunjukan Ronggeng Tayub di wilayah perbatasan Ciamis-Cilacap. Metode yang digunakan dalam penelitian ini, yaitu metode deskriptif analisis kualitatif. Teknik mengumpulkan data dilakukan melalui observasi lapangan yang didukung dengan wawancara dan perekaman kejadian guna mendapatkan validitas data yang lebih utuh dan menyeluruh. Sajian gending dalam lagu ini menghadirkan kesan kesedarhanaan yang mencerminkan konsep hidup masyarakat pendukungnya. Ronggeng Tayub memiliki bentuk pertunjukan yang sangat merakyat, menyatu, dan komunikatif dengan penontonnya. Lagu Rincik-rincik termasuk pada lagu “pesanan” dari penonton, sajian gendingnya khas, unik, dan dinamis dengan iringan instrumen gamelan salendro yang relatif sederhana.Kata Kunci: estetika musikal, rincik-rincik, ronggeng tayub, kesenian rakyat AbstractThe purpose of this study is to explain the musical aesthetic of the Ronggeng Tayub performance, especially the Rincik-rincik song, which combines Sundanese and Java musical instruments (Banyumasan). Ronggeng Tayub is folk art in District Ciamis and surrounding. The study of Rincik-rincik song includes percussion techniques, song repertoire, song poetry, and the relationship between the community and the Ronggeng Tayub. This study uses a qualitative descriptive-analytical method. The techniques used in this study are observation, interview, and recording in order to obtain a more complete and comprehensive data validity. The performance of gending in Ronggeng Tayub presents the impression of simplicity, reflecting the concept of the life of the people. Ronggeng Tayub has a simple form of performance, blending, and communicative with the audience. Rincik-rincik is one of “special request” song from its audience, by which its gending is unique and dynamic, accompanied by a simple gamelan slendro.Keywords: aesthetic, rincik-rincik, ronggeng tayub, artfolks 
PASINDEN: AWAL KEHADIRANNYA DALAM PERTUNJUKAN WAYANG GOLEK Sudarsono, Tarjo
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.v5i1.1877

Abstract

In  1930  Sinden  became part of the  Wayang Golek show.  This phenomenon is  the creativity  of the  puppeteer Baraja  who  was   not  satisfied  with  the  conventional wayang   gol~k    performance.    Finally     Sinden     presented   songs     that     was entertainment   in   Wayang   Golek   show  performances.   Furthermore,   the   other puppeteers imitated   him  and  in the  end  the  sind~n  and  the puppeteers  became a unity  called the "Dwi Tunggal"  who complemented and worked together  in the performance.  In the  beginning,  the presence of sind~n  in the  Waang  Golek  show gave   the  famous  sind~n   in  the  community.  They   have  the  name   code  (popular name)    and   the   song    that characterizes   them.   This  phenomenon  shows   the dynamism of a traditional form ofperformance in the supporting community.
Estetika Lagu Rincik-rincik dalam Pertunjukan Ronggeng Tayub Suherti, Ocoh; Sudarsono, Tarjo
PANGGUNG Vol 29 No 4 (2019): Keragaman Seni dan Inovasi Estetik
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v29i4.1050

Abstract

AbstrakTujuan dari penelitian ini menjelaskan estetika musikal dalam pertunjukan Ronggeng Tayub, khususnya lagu Rincik-rincik yang dalam sajiannya terdapat perpaduan garap musikal karawitan Sunda dan karawitan Jawa (Banyumasan). Ronggeng Tayub merupakan salah satu bentuk kesenian rakyat di Kabupaten Ciamis dan sekitarnya. Penelaahan dilakukan melalui kajian teknik tabuhan, repertoar lagu, syair lagu, serta menelaah relasi masyarakat dengan seni karawitan dalam kaitannya dengan pertunjukan Ronggeng Tayub di wilayah perbatasan Ciamis-Cilacap. Metode yang digunakan dalam penelitian ini, yaitu metode deskriptif analisis kualitatif. Teknik mengumpulkan data dilakukan melalui observasi lapangan yang didukung dengan wawancara dan perekaman kejadian guna mendapatkan validitas data yang lebih utuh dan menyeluruh. Sajian gending dalam lagu ini menghadirkan kesan kesedarhanaan yang mencerminkan konsep hidup masyarakat pendukungnya. Ronggeng Tayub memiliki bentuk pertunjukan yang sangat merakyat, menyatu, dan komunikatif dengan penontonnya. Lagu Rincik-rincik termasuk pada lagu “pesanan” dari penonton, sajian gendingnya khas, unik, dan dinamis dengan iringan instrumen gamelan salendro yang relatif sederhana.Kata Kunci: estetika musikal, rincik-rincik, ronggeng tayub, kesenian rakyat AbstractThe purpose of this study is to explain the musical aesthetic of the Ronggeng Tayub performance, especially the Rincik-rincik song, which combines Sundanese and Java musical instruments (Banyumasan). Ronggeng Tayub is folk art in District Ciamis and surrounding. The study of Rincik-rincik song includes percussion techniques, song repertoire, song poetry, and the relationship between the community and the Ronggeng Tayub. This study uses a qualitative descriptive-analytical method. The techniques used in this study are observation, interview, and recording in order to obtain a more complete and comprehensive data validity. The performance of gending in Ronggeng Tayub presents the impression of simplicity, reflecting the concept of the life of the people. Ronggeng Tayub has a simple form of performance, blending, and communicative with the audience. Rincik-rincik is one of “special request” song from its audience, by which its gending is unique and dynamic, accompanied by a simple gamelan slendro.Keywords: aesthetic, rincik-rincik, ronggeng tayub, artfolks 
Co-Authors Ocoh Suherti