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All Journal Jurnal Sekolah Dasar (JSD) PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan
Asep Wadi
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Banyol in Panakawan Wayang Golek Style Karawang Asep Wadi; Anggy Giri Prawiyogi
Jurnal Sekolah Dasar Vol 6 No 2 (2021): Jurnal Sekolah Dasar
Publisher : LPPM Universitas Buana Perjungan Karawang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36805/jurnalsekolahdasar.v6i2.1914

Abstract

Banyol panakawan is a form of sempal kapiguyon, because in essence the meaning of sempal kapiguyon is to entertain the figures of the knights or ponggawa among them. Because a panakawan figure is a character that describes a person who always accompanies and entertains his employer. However, in this day and age, the function of gagging has become very significant because it is so coveted and becomes a dish that is so intriguing for the audience. This is very much in line with the function of panakawan in general, namely as a medium for educators, lighters, and entertainers. Panakawan figures are also often used as a medium for expressing the soul of the puppeteers who play them, because jokes will continue to develop and in different ways in each place or region. As for the theory used in writing this time, namely the theory of humor from Thornos and Powell (1993) using a qualitative approach, literacy sources used include interviews, literature study, and observation. The case study carried out is the Karawang gagrak which has its own characteristics from time to time, including in the days of R.H Tjetjep Supriadi, Ujang Mukhtar, and Apep As Hudaya, which have a distinction and packaging in their own humor.
R.H Tjetjep Supriadi Dalang Kondang dari Karawang Asep Wadi; Arthur Supardan Nalan; Suhendi Afryanto
Paraguna Vol 9, No 1 (2022): TAFSIR-TAFSIR KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v9i1.2099

Abstract

Identitas R.H Tjetjep Supriadi dalam dunia padalangan sangatlah jelas adanya pada tahun 1975 sampai 1990an, dengan membawa nama group Nya yakni Panca Komara, dan diperkuat juga oleh istrinya yaitu H Idjah Hadidjah yakni juara Sinden Jawa Barat tahun 1980. R.H Tjetjep Supriadi adalah sosok yang benar-benar tekun dalam membuat naskah kakawen atau nyandra dan cerita-cerita wayang, hal tersebut ditunjang dari background kebiasaannya yakni seorang guru dan melek akan ilmu pengetahuan yang terus update. Puncaknya karir R.H Tjetjep Supriadi yakni pada rilis nya lakon Nurkala Kalidasa yang mengusung tema kemanusiaan, lakon tersebut sangat di gandrungi para penggemar Wayang Golek pada saat itu, karena rata-rata orang mengenal R.H Tjetjep Supriadi karena Haleuang-nya. Teori yang digunakan oleh penulis yakni Teori Identitas dari James P Burke dengan menggunakan Metode Sejarah, adapun Teori Penguat yakni Teori Agen Perubahan/Agent Of Change. Karena peran R.H Tjetjep Supriadi dalam dunia padalangan sangatlah besar, dari mulai karya-karyanya yang mampu membuat ideologis dalam pakeliran pada tahun 1975 sampai 1990. Pada tahun 2010 R.H Tjetjep Supriadi telah merancang program untuk dunia Padalangan sampai pada tahun 2030, hal tersebut bisa dibuktikan pada tulisan proposal nya yang berjudul pengembangan ilmu padalangan nasional dari tahun 2010 sampai 2030.Kata Kunci : R.H Tjetjep Supriadi, Panca Komara, Identitas.
Kacapi Jeletot sebagai Manifestasi Kreativitas Seniman Karawang Asep Wadi; Seftiyana, Gelar
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

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

Abstract

Sundanese Kacapi is a functional instrument and can be independent, because it can accompany songs, control rhythmically, as well as create a melody in the song. Sundanese Kacapi is divided into three models namely; kacapi kawih, kacapi tembang, and kacapi celempung. However, apart from these three models, there is one model that is quite eccentric because the kacapi instrument used functions as a substitute for Sundanese drums with the Jaipongan genre. The kacapi presentation model is the creativity of an artist from Karawang, Ali Gombel, who is a kacapi celempungan artist. Until now, Ali Gombel's creativity has been able to survive and become a separate color from other kacapi presentation models. But basically kacapi jeletot is a typical art of Karawang Regency, West Java, and has become one of the identities of Karawang Regency in the performing arts sector. This research refers to the existence of kacapi jeletot which is one of the identities in the performing arts sector in Karawang Regency. This research uses the Miles and Huberman qualitative method using Rahayu Supanggah's garap theory and James P Burke's identity theory. The result of this research is that it can record the history of the art of kacapi jeletot from the start of its function, position, and the period of its spread in Karawang Regency as a form of cultural wealth in the performing arts sector. In addition, this research also transfers the creativity or kacapi work produced by Ali Gombel which was passed down to Toin Paser, because it can color the repertoire of kacapi accompaniment models by producing different kacapi accompaniment patterns as usual. This research can be a reference for artists in presenting kacapi instruments, and is expected to be one of the academic foundations for art research, especially Sundanese art.
Co-Authors Anggy Giri Prawiyogi, Anggy Giri Arthur Supardan Nalan Seftiyana, Gelar Suhendi Afryanto, Suhendi