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All Journal PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik NOTION: Journal of Linguistics, Literature, and Culture
Nugroho, Aji Santoso
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Arts Humanities Languange, Linguistic, Communication & Media

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Visual comparison of Rama’s and Rahwana’s characters in Javanese and Kelantanese wayang kulit Wibowo, Arif Ardy; Puspita, Ida; Nugroho, Aji Santoso; Nasir, Roziani Mat Nashir @ Mohd; Probosiwi, Probosiwi; Tur, Ajar Pradika Ananta
NOTION: Journal of Linguistics, Literature, and Culture Vol. 6 No. 1 (2024): NOTION: Journal of Linguistics, Literature, and Culture
Publisher : Universitas Ahmad Dahlan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.12928/notion.v6i1.10201

Abstract

Ramayana, a well-known tale originating from India, has been embraced across Southeast Asia. In regions like Yogyakarta, Indonesia, and Kelantan, Malaysia, local customs have influenced its portrayal, character representation leading to deviations in storyline and. The aim of this study to compare the visual depiction of key characters, particularly Rama and Rahwana, in Javanese and Kelantanese Wayang Kulit, symbolizing the protagonist and antagonist, respectively. This study intends to contribute by revealing the impact of local visual traditions on the enduring grandeur of the Ramayana tale. The method is comparative study, begin with defining data, collecting data from Yogyakarta and Kelantan master of puppets through interview and documentation, analyzing data, displaying data and draw conclusion. The result is found that there are visual similarities and differences related to Rama and Rahwana character. The common visual similarities such as crown, weapon, cloth and accessories. Meanwhile the difference shows that Javanese and Kelantanese is only about the detail of the cloth, the animal rides (Kelantan version), and the size of the Wayang Kulit. In Yogyakarta, Indonesia, and Kelantan, Malaysia, the story of Ramayana is depicted in unique ways, influenced by cultural variations. These distinctions manifest in the characters' looks, headgear, weapon characteristics, facial expressions, and facial coloring. Further investigation is necessary to delve into these differences and understand the puppeteers' role in conveying moral messages to the community.
Rekonseptualisasi Metode Pembelajaran Ricikan Gender Berbasis Model Aural: Pendekatan Interpretasi Rasa Dalam Pendidikan Formal Nugroho, Aji Santoso; Satoto, Angga Bimo; Saepudin, Asep
PROMUSIKA Vol 13, No 1 (2025): April 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v13i1.14962

Abstract

Penelitian ini dilakukan untuk mengidentifikasi evektivitas penerapan model aural dalam pembelajaran  ricikan gender di lingkungan pendidikan formal ISI Yogyakarta. Gender merupakan salah satu ricikan gamelan Jawa yang memiliki peran musikal sangat penting. Pola penyajian ricikan gender dimainkan menggunakan dua tangan secara bersamaan maupun bergantian yang menghasilkan melodi yang disebut dengan cengkok-cengkok genderan.  Cengkok genderan merupakan sebuah tafsir (interpretasi), imajinasi atau kreatifitas seorang pengrawit untuk menentukan pola, teknik dan gaya dalam memainkan ricikan gender. Kemampuan tafsir, imajinasi dan kreatifitas tersebut muncul tidak terlepas dari pengaruh metode belajar. Metode penelitian menggunakan metode kualitatif dengan pendekatan studi kasus. Obyek materi dalam penelitian terdiri dari mahasiswa Jurusan Karawitan ISI Yogyakarta semester dua. Total mahasiswa sebanyak 10 anak yaitu terdiri dari 9 mahasiswa dan 1 darmasiswa dari Negara Canada dengan latar belakang belum mengenal gamelan Jawa. Dalam penelitian ini data diperoleh melalui observasi partisipan dan wawancara. Validasi data didapat melalui member checking, selanjutnya dilakukan pengukuran melalui kuesioner self-report serta diskusi kelompok terpadu. analisis tematik akan digunakan untuk mengidentifikasi tema dan pola dalam data dengan Kerangka kerja pengkodean 6 fase. Hasil penelitian menunjukkan bahwa 7 dari 10 mahasiswa reguler dan darmasiswa menyatakan bahwa model aural lebih efektif digunakan sebagai metode pembelajaran untuk mencapai tingkat daya tafsir (interpretasi), imajinasi atau kreatifitas dalam menguasai cengkok genderan.Reconceptualizing Aural-Based Instruction of the Gender Ricikan: An Interpretive Approach to Inner Musical Sense in Formal EducationAbstractThis study aims to identify the effectiveness of applying an aural model in teaching the Ricikan gender within the formal educational environment of ISI Yogyakarta. Gender is one of the essential ricikan (instrumental components) in Javanese gamelan, holding a critical musical role. It is performed using both hands simultaneously or alternately to produce melodic patterns known as cengkok genderan. These cengkok represent interpretations, imaginative constructs, or creative expressions of a pengrawit (gamelan musician) in determining the patterns, techniques, and stylistic approaches when playing the gender. The chosen learning method profoundly influences interpretative, imaginative, and creative abilities. This research employed a qualitative methodology with a case study approach. The research subjects consisted of second-semester students of the Karawitan Department at ISI Yogyakarta, totaling ten participants: nine local students and one darmasiswa (foreign scholarship student) from Canada, all of whom had no prior experience with Javanese gamelan. Data were collected through participant observation and interviews. Data validation was conducted via member checking, followed by measurements using self-report questionnaires and focused group discussions. Thematic analysis used a six-phase coding framework to identify recurring themes and patterns. The study results indicate that seven out of ten participants, including both regular students and the darmasiswa, affirmed that the aural model proved more effective as a learning method in enhancing interpretative, imaginative, and creative capacities in mastering cengkok genderan.Keywords: Javanese gamelan; gender ricikan; aural learning model; interpretive musical feeling; formal music education
Co-Authors Ajar Pradika Ananta Tur BAMBANG SRI ATMOJO Ida Puspita Nasir, Roziani Mat Nashir @ Mohd Probosiwi, Probosiwi Saepudin, Asep Satoto, Angga Bimo Suhardjono Wibowo, Arif Ardy