Garuda - Garba Rujukan Digital

Sahrul N

Institut seni indonesia padangpanjang

Author-ID : 1705135

Arts Humanities Computer Science & IT Education Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

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Transformasi Dramaturgis Indang Piaman dalam Pertunjukan Teater “Anggun Nan Tongga” Karya Wisran Hadi N, Sahrul; Yusril, Yusril; H, Afrizal
Aksara Vol 36, No 1 (2024): AKSARA, EDISI JUNI 2024
Publisher : Balai Bahasa Provinsi Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29255/aksara.v36i1.4170.68--82

Kaba "Anggun Nan Tongga" is a Minangkabau folktale, precisely in the Pariaman area. This Kaba tells a story of power struggle and a very complex love affair, then transformed by Wisran Hadi (director and leader of the Bumi Teater group) into a modern theater form. Wisran Hadi interpreted the Kaba "Anggun Nan Tongga" differently, so it can be said that this work is a counter kaba to the traditional kaba. For Wisran Hadi, kaba is not a holy book that cannot be changed. The majority of Wisran Hadi's works rely on kaba as inspiration for the creation of his plays and theater performances, so they are different from the original form. The interesting thing in the theater work "Anggun Nan Tongga" lies in the pattern of three lines on the left, right and back. This pattern is basically based on one of the traditional Minangkabau art forms in Pariaman, called Indang Piaman. This Indang Piaman pattern is then used as an attractive performance spectacle element in motion, as well as dendang (singing) combined with modern western theater dramaturgy. This research method relies on a qualitative method that prioritizes interviews and literature studies. Meanwhile, to answer the research problem, the dramaturgical approach developed by Mary Luckhurst is used. Through this dramaturgy, the theater can be analyzed to see the extent to which the dramatic potential of Indang Piaman is able to make a significant contribution to the spectacle of the theater work "Anggun Nan Tongga" by Wisran Hadi. This research is expected to find various aspects that shape the creation of Indang Piaman's dramatic potential in the theater work "Anggun Nan Tongga". AbstrakKaba “Anggun Nan Tongga” merupakan cerita rakyat Minangkabau, tepatnya di daerah Pariaman. Kaba ini mengisahkan tentang perebutan kekuasaan dan hubungan percintaan yang sangat kompleks, kemudian ditransformasi oleh Wisran Hadi (sutradara dan pimpinan kelompok Bumi Teater) ke dalam bentuk teater modern. Wisran Hadi melakukan penafsiran yang berbeda terhadap Kaba “Anggun Nan Tongga” tersebut, sehingga bisa dikatakan karya ini merupakan kontra kaba terhadap kaba tradisi. Bagi Wisran Hadi, kaba bukan kitab suci yang tidak boleh diubah. Mayoritas karya Wisran Hadi bertolak pada kaba sebagai inspirasi penciptaan naskah drama maupun pertunjukan teaternya sehingga memiliki perbedaan dengan bentuk aslinya. Hal yang menarik di dalam karya teater “Anggun Nan Tongga” terletak pada pola tiga garis yang berada di sebelah kiri, kanan, dan belakang. Pola seperti ini pada dasarnya bertolak pada salah satu bentuk kesenian tradisi Minangkabau di Pariaman, yang disebut dengan istilah Indang Piaman. Pola Indang Piaman ini, kemudian dijadikan sebagai elemen spektakel pertunjukan yang atraktif secara gerak, maupun dendang (nyanyian) yang dipadukan dengan dramaturgi teater modern barat. Metode penelitian ini bertolak pada metode kualitatif yang mengutamakan pada aspek wawancara dan studi literatur. Sementara, untuk menjawab permasalahan penelitian, digunakan pendekatan dramaturgi yang dikembangkan oleh Mary Luckhurst. Melalui dramaturgi ini, teater mampu dianalisis untuk melihat sejauh mana potensi dramatik Indang Piaman mampu memberikan kontribusi signifikan terhadap spektakel karya teater “Anggun Nan Tongga” karya Wisran Hadi. Penelitian ini diharapkan mampu menemukan berbagai aspek yang membentuk terciptanya potensi dramatik Indang Piaman pada karya teater “Anggun Nan Tongga”.

Transformasi Dramaturgis Indang Piaman dalam Pertunjukan Teater “Anggun Nan Tongga” Karya Wisran Hadi Sahrul N; Yusril Yusril; Afrizal H
Aksara Vol 36, No 1 (2024): AKSARA, EDISI JUNI 2024
Publisher : Balai Bahasa Provinsi Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29255/aksara.v36i1.4170.68--82

Kaba "Anggun Nan Tongga" is a Minangkabau folktale, precisely in the Pariaman area. This Kaba tells a story of power struggle and a very complex love affair, then transformed by Wisran Hadi (director and leader of the Bumi Teater group) into a modern theater form. Wisran Hadi interpreted the Kaba "Anggun Nan Tongga" differently, so it can be said that this work is a counter kaba to the traditional kaba. For Wisran Hadi, kaba is not a holy book that cannot be changed. The majority of Wisran Hadi's works rely on kaba as inspiration for the creation of his plays and theater performances, so they are different from the original form. The interesting thing in the theater work "Anggun Nan Tongga" lies in the pattern of three lines on the left, right and back. This pattern is basically based on one of the traditional Minangkabau art forms in Pariaman, called Indang Piaman. This Indang Piaman pattern is then used as an attractive performance spectacle element in motion, as well as dendang (singing) combined with modern western theater dramaturgy. This research method relies on a qualitative method that prioritizes interviews and literature studies. Meanwhile, to answer the research problem, the dramaturgical approach developed by Mary Luckhurst is used. Through this dramaturgy, the theater can be analyzed to see the extent to which the dramatic potential of Indang Piaman is able to make a significant contribution to the spectacle of the theater work "Anggun Nan Tongga" by Wisran Hadi. This research is expected to find various aspects that shape the creation of Indang Piaman's dramatic potential in the theater work "Anggun Nan Tongga". AbstrakKaba “Anggun Nan Tongga” merupakan cerita rakyat Minangkabau, tepatnya di daerah Pariaman. Kaba ini mengisahkan tentang perebutan kekuasaan dan hubungan percintaan yang sangat kompleks, kemudian ditransformasi oleh Wisran Hadi (sutradara dan pimpinan kelompok Bumi Teater) ke dalam bentuk teater modern. Wisran Hadi melakukan penafsiran yang berbeda terhadap Kaba “Anggun Nan Tongga” tersebut, sehingga bisa dikatakan karya ini merupakan kontra kaba terhadap kaba tradisi. Bagi Wisran Hadi, kaba bukan kitab suci yang tidak boleh diubah. Mayoritas karya Wisran Hadi bertolak pada kaba sebagai inspirasi penciptaan naskah drama maupun pertunjukan teaternya sehingga memiliki perbedaan dengan bentuk aslinya. Hal yang menarik di dalam karya teater “Anggun Nan Tongga” terletak pada pola tiga garis yang berada di sebelah kiri, kanan, dan belakang. Pola seperti ini pada dasarnya bertolak pada salah satu bentuk kesenian tradisi Minangkabau di Pariaman, yang disebut dengan istilah Indang Piaman. Pola Indang Piaman ini, kemudian dijadikan sebagai elemen spektakel pertunjukan yang atraktif secara gerak, maupun dendang (nyanyian) yang dipadukan dengan dramaturgi teater modern barat. Metode penelitian ini bertolak pada metode kualitatif yang mengutamakan pada aspek wawancara dan studi literatur. Sementara, untuk menjawab permasalahan penelitian, digunakan pendekatan dramaturgi yang dikembangkan oleh Mary Luckhurst. Melalui dramaturgi ini, teater mampu dianalisis untuk melihat sejauh mana potensi dramatik Indang Piaman mampu memberikan kontribusi signifikan terhadap spektakel karya teater “Anggun Nan Tongga” karya Wisran Hadi. Penelitian ini diharapkan mampu menemukan berbagai aspek yang membentuk terciptanya potensi dramatik Indang Piaman pada karya teater “Anggun Nan Tongga”.

Branding Produk Keripik Ubi Ungu Darum Sebagai Upaya Pembentukan Identitas Visual Setianengsih, retno; N, Sahrul
Besaung : Jurnal Seni Desain dan Budaya Vol. 11 No. 1 (2026): Besaung: Desember 2025-Maret 2026
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36982/jsdb.v11i1.6513

Purple sweet potato chips are a snack with a distinctive flavor and are widely favored by people of various age groups. However, in the marketplace, competition among purple sweet potato chip products is quite intense. Products with attractive visual appearances tend to become market favorites, while those with unappealing packaging and an ordinary brand image are often overlooked. This condition is experienced by Darum brand purple sweet potato chips, which are produced in 2X11 Kayutanam District, Padang Pariaman Regency, West Sumatra. The brand ing design of Darum brand purple sweet potato chips aims to establish and strengthen the product’s visual identity in the minds of consumers in order to increase sales. The design method applied in this project is design thinking, which consists of five stages: empathize, define, ideate, prototype, and test. Data analysis in this design process uses the SWOT analysis method. The results of this brand ing design are expected to produce a consistent visual identity that can create a strong brand image in the minds of consumers. The main medium of this design is a logo presented in the form of a Graphic Standard Manual, while the supporting media include product packaging, employee name tags, uniforms, posters, X-banners, aprons, stickers, social media content, and a neon box. The final design is tested on the client’s product to evaluate whether the brand ing successfully creates a positive brand perception and attracts consumers to purchase Darum brand purple sweet potato chips.

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