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All Journal JADECS (Journal of Art, Design, Art Education and Culture Studies) MUDRA Jurnal Seni Budaya Panggung Jurnal Seni Makalangan Jurnal Pakarena Pantun: Jurnal Ilmiah Seni Budaya Buana Ilmu PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT International Journal of Social Science Panggung
Een Herdiani
Institut Seni Budaya Indonesia Bandung
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Medicine & Pharmacology Public Health Social Sciences Other

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SENI DAN TEKNOLOGI: Tantangan dan Peluang dalam Dunia Tari Een Herdiani
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 3 (2020): Seni, Tenologi, dan Masyarakat #5
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v3i0.130

Abstract

RINGKASAN Teknologi dan seni kini menjadi bidikan yang seksi oleh para kreator untuk melahirkan karya-karya dengan media baru. Termasuk dalam bidang tari. Miroto sebagai salah satu koreografer ternama di Indonesia mempelopori penggunaan teknologi dalam karya-karyanya. Kecanggihan teknologi dimanfaatkannya untuk memunculkan kebaruan dalam tari terutama dalam gerak dan tempat pertunjukan. Eksperimennya dilakukan bertahun-tahun hingga kebaruan dan orisinalitasnya terjaga. Kreator lain berlatar belakang rupa dan teknologi yaitu Harry Nuriman yang mengawinkan tari dan teknologi untuk mendigitalisasikan gerak menggunakan metode dan media Motion Capture. Dua model karya ini diangkat dengan tujuan menunjukkan dua model yang berbeda dengan fokus yang sama mengenai tari. Hal ini sebagai pemodelan untuk menangkap peluang dan menjawab tantangan dalam pemanfaatan teknologi pada bidang tari.
“Tari Batik Sekar Galuh” Upaya Pemberdayaan Masyarakat Paseban melalui Aktivitas Seni Budaya Lokal Een Herdiani
PANGGUNG Vol 23, No 2 (2013): Eksplorasi Gagasan, Identitas, dam Keberdayaan Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (458.068 KB) | DOI: 10.26742/panggung.v23i2.98

Abstract

 ABSTRACT Paseban society is one of traditional Sundanese communities which having uniqueness in their cul- tural life. The mutual aid behaviour still looks strongly developed based on the faith and wisdom inherent in the community. There is, however, a view that Paseban society has different beliefs from other communities which often creates veiled conflict. Nevertheless, Paseban society has spe- cial uniqueness that is Seren Taun activities which presenting the cultural diversity that can unite different religions and beliefs. In the presented diversity, there is an art activity which is often for- gotten, namely batik art creation, whereas batik has a high potential to be developed as a promising local asset. Key words: Tari Batik, empowerment, Paseban society  ABSTRAK Masyarakat Paseban merupakan salah satu kelompok masyarakat adat Sunda yang memi­ liki keunikan dalam kehidupan budayanya. Sifat gotong royong masih tampak kokoh ter­ bangun dengan berdasarkan  keyakinan dan kearifan lokal yang melekat  di antara ko­ munitasnya. Namun demikian, ada pandangan bahwa  masyarakat Paseban mempunyai keyakinan yang berbeda dari masyarakat umum sehingga kerap menimbulkan konflik terselubung. Kendatipun demikian ada keunikan khusus   dalam masyarakatnya yaitu adanya kegiatan Seren Taun dengan menyuguhkan keberagaman budaya yang dapat mem­ persatukan berbagai agama dan keyakinan. Dari keberagaman budaya yang disajikan, ter­ dapat satu kegiatan seni yang kerap terlupakan yaitu seni membatik, padahal batik memi­ liki potensi tinggi untuk dikembangkan menjadi aset daerah yang menjanjikan. Kata Kunci: Tari Batik, pemberdayaan, masyarakat Paseban
Ramayana Ballet Performance's Allure at Purawisata Yogyakarta Endang Caturwati; Een Herdiani; Suzen HR Lumban Tobing
Mudra Jurnal Seni Budaya Vol 37 No 4 (2022)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v37i4.2102

Abstract

Indonesia is known for its Wayang Orang performances, especially in the areas of Surakarta, Yogyakarta, Semarang, Jakarta, and Bali. Among the Wayang Orang performances, there was a group that switched to ballet performances, which later became known as the Ramaya Ballet Purawisata Yogyakarta. The purpose of this study is to dissect more deeply the Ramayana Ballet Performance and the extent of its influence on people's lives. Purawisata's Ramayana Ballet, shown in full every night from 20.00–21.30 WIB since 1976 until 2001, won the 'Guinness Book of Records' (MURI) for its consistency in performing cultural performances for 29 years continuously. Consistency in maintaining the noble values of culture continues until August 10, 2021, when Purawisata's Ramayana Ballet is 45 years old. The method used in this research is a qualitative, descriptive analysis method that explores and understands the meaning of a number of individuals or groups of arts being studied. The results of the study show that the innovation strategies offered to the audience are: (1) Special Package Ramayana Performances; (2) Ramayana Edukasi; and (3) Regular Ramayana, so the Ramayana Ballet show still exists today. Even at regular shows, tickets with seating for 600 people are always full.
Identitas Mamanda Banjarmasin Dalam Sejarah Teater Tradisional Di Kalimantan Selatan (1970 - 2022) Aminuddin Aminuddin; Een Herdiani; Retno Dwimarwati
PANTUN: Jurnal Ilmiah Seni Budaya Vol 7, No 2 (2022): Keragaman Seni Tradisional & Media Baru
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v7i2.2222

Abstract

Mamanda Theatre is a traditional South Kalimantan theatre which has existed since 1897. This study aims to explain the history and identity of Banjarmasin version of Mamanda in South Kalimantan from 1970-2021. The historical method was used to collect data which was analyzed using Stuart Hall cultural identity approach. The concept of cultural identity is formulated as a process of being (internal factors) and as a process of becoming (external factors). Internal factors can be seen in the innovations and adaptations combining Mamanda Periuk and Tubau, as well as the creations on the use of modern theatre elements in the performances. The external factor is the demand from the community, especially in Banjarmasin, to package Mamanda’s performances in a short duration, and in terms of content highlight humor and up-to-date plays. In its development, Mamanda Theatre in Banjarmasin has been more dominated by the structure of modern theatre performances. These elements of modern theatre enable Mamanda in Banjarmasin, which was previously a traditional theatre, to develop into a popular theatre.Keywords: History, Identity, Mamanda, theatre. ABSTRAKTeater Mamanda merupakan teater tradisional khas Kalimantan Selatan yang sudah ada semenjak tahun 1897. Penelitian ini bertujuan untuk mengeksplanasi sejarah dan identitas Mamanda versi Banjarmasin di Kalimantan Selatan dari tahun 1970-2021. Menggunakan metode sejarah dan teori identitas budaya Stuart Hall yaitu identitas budaya sebagai sebuah wujud (faktor internal) dan identitas budaya sebagai proses menjadi (faktor eksternal). Faktor internal, inovasi yang telah dilakukan adalah hasil adaptasi yang menggabungkan Mamanda Periuk dan Tubau, dan kreasi yang telah dilakukan adalah mengadaptasi unsur-unsur teater modern. Sedangkan faktor eksternal, permintaan masyarakat terutama di Banjarmasin menjadikan Mamanda memiliki durasi pendek, menonjolkan humor, dan cerita lakon yang kekinian, sedangkan perkembangan zaman yang terjadi menjadikan Mamanda di Banjarmasin berkembang menjadi lebih modern dalam segi kemasan. Unsur-unsur teater modern tersebut yang kemudian menjadikan Mamanda di Banjarmasin yang sebelumnya merupakan teater tradisional kemudian berkembang menjadi teater populer. 
Pelestarian Budaya Jawa: Inovasi dalam Bentuk Pertunjukan Wayang Orang Sriwedari Sri Rochana Widyastitieningrum; Een Herdiani
PANGGUNG Vol 33, No 1 (2023): Nilai-Nilai Seni Indonesia: Rekonstruksi, Implementasi, dan Inovasi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (639.682 KB) | DOI: 10.26742/panggung.v33i1.1752

Abstract

Artikel ini membahas tentang inovasi bentuk pertunjukan wayang orang sriwedari di Surakarta. Inovasi pertunjukan wayang orang dilakukan agar tetap bertahan pada masa pandemi covid-19 yang dihadapi masyarakat. Inovasi sebagai hasil kreativitas dari para seniman muda pemain wayang orang sriwedari berupaya menghasilkan pertunjukan wayang orang yang menarik dan padat serta dapat diapresiasi masyarakat, khususnya generasi muda. Penelitian ini bersifat kualitatif, dengan pendekatan etnokoreologi dan dramaturgi. Metode pengumpulan data dengan studi pustaka, observasi, dan wawancara. Hasil penelitian menunjukkan bahwa inovasi bentuk pertunjukan wayang orang dilakukan dengan cara menggarap aspek-aspek bentuk pertunjukan yang meliputi garap lakon atau cerita, alur dramatik, garap adegan, garap tokohtokoh, garap gerak tari, garap karawitan tari, tata rias, tata busana, tata panggung, tata cahaya, dan tata suara. Inovasi dilakukan oleh sutradara, pemain, pengrawit, dan pendukung lainnya. Inovasi dilakukan dengan mengutamakan capaian nilai estetik. Inovasi menghasilkan bentuk pertunjukan wayang orang lebih padat, atraktif, dinamis, dan menarik, serta durasi waktu pertunjukan semakin singkat, yaitu 2 jam. Hal itu berpengaruh pada pertunjukan wayang orang sriwedari bersifat kekinian dan eksis, serta diapresiasi oleh masyarakat luas, terutama Surakarta. Kata kunci: inovasi, pertunjukan, wayang orang, Sriwedari.
Cittaraga: Healing Dance Studio Based On Traditional Sundanese Dance Herdiani, Een; Munggaran, Muhammad Mughni
PANTUN: Jurnal Ilmiah Seni Budaya Vol 8, No 2 (2023): Exploring Cultural Narratives and Artistic Expressions
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v8i2.2922

Abstract

Having a healthy body is the hope of every human being because with excellent health life feels more meaningful. To maintain a healthy body, routine and regular activities are needed through medical health checks and other activities such as sports and dancing. Dancing for health has not been revealed by many researchers. Generally, people understand functions for ritual, entertainment, and performance needs. However, there is a function of dance for health that has not been discussed much. This study aims to reveal one of the studio activities that develop dance for health, namely Studio Cittaraga in Bandung. This studio develops healing dance using traditional Sundanese dance movements. Qualitative-descriptive methods are used to uncover these problems. The objects he studied were the perpetrators, both figures of healing dance developers at the Cittaraga studio and training participants. Observation, interviews, and documentation carry out data collection techniques. The results showed that Studio Cittaraga succeeded in developing traditional Sundanese dance movements for healing needs carried out continuously and enjoyably.
The Construction of Sign that form Kabuyutan Cibulan Prasetyo, Eko Budi; Nalan, Arthur S; Herdiani, Een
PANTUN: Jurnal Ilmiah Seni Budaya Vol 8, No 2 (2023): Exploring Cultural Narratives and Artistic Expressions
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v8i2.2797

Abstract

Cibulan or known as Cibulan Tourism Object is a place that is believed to be kabuyutan. This belief is not only seen from the myths that develop in the community around Cibulan, but there are signs that exist in Cibulan which are the construction of a kabuyutan. This study uses a paradoxical aesthetic approach belonging to Jakob Sumardjo, namely the triple pattern or tritangtu. The concept of tritangtu is to marry two different things and produce harmony that has the properties of both. Tritangtu is needed because in kabuyutan there must be symbols of Tekad, Ucap, and Lampah which are symbols of Sang Hyang Hurip and tritangtu. In addition to the tritangtu element, kabuyutan must also be built at the confluence of male and female rivers. That is the construction of signs forming kabuyutan where this research will explain the signs and the role of the Cibulan kabuyutan in society.
DEFORESTATION ISSUE CONSTRUCTION FROM THE TAKNALAWE’ EPIC OFDAYAKKAYAAN WEST KALIMANTAN Budi, Budi; Herdiani, Een; Heriyawati, Yanti
JADECS (Journal of Art, Design, Art Education & Cultural Studies) Vol 8, No 2 (2023)
Publisher : Jurusan Seni dan Desain, Fakultas Sastra, Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um037v8i22023p138-151

Abstract

Takna' Lawe' is an oral tradition of the Kayaan people. Lii' Long and Ding Ngo wrote down this oral tradition in a book entitled Poetry Lawe'. The epic Takna' Lawe' is famous for the story of heroism and love from the figure of Lawe'. Apart from this story, there are also signs from the Takna' Lawe epic which constructs the issue of deforestation. This study is focused on the interpretation of the signs in the episode "Hingaan Stuck in Beraan". This episode is found in the book Poetry Lawe', which was rewritten in prose in Indonesian. The purpose of this research is to reveal the meaning behind the story in the hope that people will become aware of the dangers of deforestation that are currently happening in Kalimantan. This study uses qualitative methods with Paul Ricoeur's hermeneutical approach. The analysis is carried out through the stages of semantic meaning, phenomenological meaning, and ontological meaning to produce a new contextual meaning. The results of the research show that there is a meaning that leads to the issue of deforestation, namely exploitation and destruction of forests, the anger of nature, and disasters for natural destroyers, including actions against ancestral teachings.
“Tari Batik Sekar Galuh” Upaya Pemberdayaan Masyarakat Paseban melalui Aktivitas Seni Budaya Lokal Een Herdiani
PANGGUNG Vol 23 No 2 (2013): Eksplorasi Gagasan, Identitas, dam Keberdayaan Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v23i2.98

Abstract

 ABSTRACT Paseban society is one of traditional Sundanese communities which having uniqueness in their cul- tural life. The mutual aid behaviour still looks strongly developed based on the faith and wisdom inherent in the community. There is, however, a view that Paseban society has different beliefs from other communities which often creates veiled conflict. Nevertheless, Paseban society has spe- cial uniqueness that is Seren Taun activities which presenting the cultural diversity that can unite different religions and beliefs. In the presented diversity, there is an art activity which is often for- gotten, namely batik art creation, whereas batik has a high potential to be developed as a promising local asset. Key words: Tari Batik, empowerment, Paseban society  ABSTRAK Masyarakat Paseban merupakan salah satu kelompok masyarakat adat Sunda yang memi­ liki keunikan dalam kehidupan budayanya. Sifat gotong royong masih tampak kokoh ter­ bangun dengan berdasarkan  keyakinan dan kearifan lokal yang melekat  di antara ko­ munitasnya. Namun demikian, ada pandangan bahwa  masyarakat Paseban mempunyai keyakinan yang berbeda dari masyarakat umum sehingga kerap menimbulkan konflik terselubung. Kendatipun demikian ada keunikan khusus   dalam masyarakatnya yaitu adanya kegiatan Seren Taun dengan menyuguhkan keberagaman budaya yang dapat mem­ persatukan berbagai agama dan keyakinan. Dari keberagaman budaya yang disajikan, ter­ dapat satu kegiatan seni yang kerap terlupakan yaitu seni membatik, padahal batik memi­ liki potensi tinggi untuk dikembangkan menjadi aset daerah yang menjanjikan. Kata Kunci: Tari Batik, pemberdayaan, masyarakat Paseban
Perubahan Fungsi Ketuk Tilu Di Priangan (1900-2000-an) Een Herdiani
PANGGUNG Vol 24 No 4 (2014): Dinamika Seni Tari, Rupa dan Desain
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v24i4.128

Abstract

ABSTRACT Ketuk tilu is one of traditional arts which lives and thrives in Priangan community. At the beginning of its creation, Ketuk tilu was allegedly an art having ritual functions to express gratitude as well as to beg for safety and prosperity of mankind. The history methode used to explain that matter. This research describes changes in the social life of Priangan society, especially after the entry of Islamic influence that was then followed with the influence of the West, the function of Ketuk tilu has changed from ritual into entertainment. After the independence of Indonesia, the creativity of community and the needs of aesthetic values began to grow and thrive in Priangan society, thus the function of Ketuk tilu has also changed into performing arts. Keywords: changes, function, Ketuk tilu, priangan    ABSTRAK Ketuk tilu merupakan salah satu  kesenian tradisional  yang hidup dan berkembang pada masyarakat Priangan. Pada awal kelahirannya, Ketuk tilu  diduga kuat sebagai kesenian yang berfungsi ritual untuk mengungkapkan syukur maupun memohon keselamatan dan kese- jahteraan umat manusia. Metode yang digunakan untuk mengungkap permasalahan tersebut adalah metode sejarah. Penelitian ini menjelaskan perubahan kehidupan sosial masyarakat Pri- angan, terutama setelah masuknya pengaruh Islam yang kemudian disusul masuknya penga- ruh Barat, fungsi Ketuk tilu mengalami perubahan dari fungsi ritual, ke fungsi hiburan. Setelah Indonesia merdeka, kreativitas masyarakat dan kebutuhan nilai-nilai  estetika mulai tumbuh dan berkembang dalam masyarakat Priangan, maka Ketuk tilu pun berubah fungsi menjadi seni pertunjukan. Kata kunci: perubahan, fungsi, Ketuk tilu, prianganABSTRACT Ketuk tilu is one of traditional arts which lives and thrives in Priangan community. At the beginning of its creation, Ketuk tilu was allegedly an art having ritual functions to express gratitude as well as to beg for safety and prosperity of mankind. The history methode used to explain that matter. This research describes changes in the social life of Priangan society, especially after the entry of Islamic influence that was then followed with the influence of the West, the function of Ketuk tilu has changed from ritual into entertainment. After the independence of Indonesia, the creativity of community and the needs of aesthetic values began to grow and thrive in Priangan society, thus the function of Ketuk tilu has also changed into performing arts. Keywords: changes, function, Ketuk tilu, priangan    ABSTRAK Ketuk tilu merupakan salah satu  kesenian tradisional  yang hidup dan berkembang pada masyarakat Priangan. Pada awal kelahirannya, Ketuk tilu  diduga kuat sebagai kesenian yang berfungsi ritual untuk mengungkapkan syukur maupun memohon keselamatan dan kese- jahteraan umat manusia. Metode yang digunakan untuk mengungkap permasalahan tersebut adalah metode sejarah. Penelitian ini menjelaskan perubahan kehidupan sosial masyarakat Pri- angan, terutama setelah masuknya pengaruh Islam yang kemudian disusul masuknya penga- ruh Barat, fungsi Ketuk tilu mengalami perubahan dari fungsi ritual, ke fungsi hiburan. Setelah Indonesia merdeka, kreativitas masyarakat dan kebutuhan nilai-nilai  estetika mulai tumbuh dan berkembang dalam masyarakat Priangan, maka Ketuk tilu pun berubah fungsi menjadi seni pertunjukan. Kata kunci: perubahan, fungsi, Ketuk tilu, priangan
Co-Authors Aminuddin Aminuddin Budi Budi Eko Budi Prasetyo Endang Caturwati Haruna, Ilham Heri Herdini Ignasius Herry Subiantoro Ipit Saefidier Dimyati Kustiana Kustiana Lilis Sumiati, Lilis Muhammad Mughni Munggaran Munggaran, Muhammad Mughni Nalan, Arthur S Retno Dwimarwati Retno Dwimarwati Rustiayanti, Sri Saefurridjal, Anggha Nugraha Sri Rochana W Sri Rochana Widyastitieningrum Sudibya, I Gusti Ngurah Sukmawati Saleh Suzen HR Lumban Tobing Suzen HR Lumbuan Tobing Wastap, Jaeni B Yanti Heriyawati Yosep Gunawan Yulisa, Dwi Yully Hidayah