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All Journal Grenek: Jurnal Seni Musik SELONDING Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Journal of Urban Society´s Arts Jurnal Antropologi: Isu-Isu Sosial budaya Harmoni: Jurnal Pendidikan dan Penelitian Seni Budaya MUDRA Jurnal Seni Budaya Sorai: Jurnal Pengkajian dan Penciptaan Musik Journal of Music Science, Technology, and Industry (JOMSTI) IBDA': Jurnal Kajian Islam dan Budaya Paradigma: Jurnal Kajian Budaya Jurnal Pendidikan Progresif
Citra Aryandari
Institut Seni Indonesia Yogyakarta
Religion Arts Humanities Computer Science & IT Education Languange, Linguistic, Communication & Media Library & Information Science Social Sciences Other

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“Gringsing“ Jalinan Estetika-Mitos Ritus Perang Pandan Aryandari, Citra
RESITAL : JURNAL SENI PERTUNJUKAN Vol 11, No 2 (2010): Desember
Publisher : Institut Seni Indonesia Yogyakarta

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Abstract

Estetic and Mytos of Pandanus War. Gringsing The name of Gringsing is explained in popular etymology asmeaning free from sickness, which is in itself enough to indicate that the cloths are honoured by the people becauseof their magic infl uence. The origin of the gringsing cloths is traced back to Dewa Indra, who created shadowsin the sky so that they could be copied as pattern in the cloths. As was pointed out, the weaving of the gringsing,a sacred activity for the women. The weaving women have to take a number of adat regulations into account.Throughout Bali weavers are srict in following the adat. In he village of Tenganan Pegringsingan itself the use ofcertain gringsings is prescribed for specifi ed ceremonies. Tenganan Pegringsingan community perform religiousrites everyday to maintain the balance of the village. Tenganan Pegringsingan has unique culture, and all refer tothe concept of balance. The most famous ritual activities in Tenganan Pegringsingan is Pandanus War. In PandanusWar, gringsing always used by Truna and Daha. They believe in using gringsing, they will be spared from disease.Gringsing present in Tenganan Pegringsingan bringing myths and aesthetics. Gringsing is a picture of a communitycultural order Tenganan Pegringsingan. All have been recorded in awig-awig Tenganan Pegringsingan.
“Gringsing“ Jalinan Estetika-Mitos Ritus Perang Pandan Citra Aryandari
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 2 (2010): Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i2.511

Abstract

Estetic and Mytos of Pandanus War. Gringsing The name of Gringsing is explained in popular etymology asmeaning free from sickness, which is in itself enough to indicate that the cloths are honoured by the people becauseof their magic infl uence. The origin of the gringsing cloths is traced back to Dewa Indra, who created shadowsin the sky so that they could be copied as pattern in the cloths. As was pointed out, the weaving of the gringsing,a sacred activity for the women. The weaving women have to take a number of adat regulations into account.Throughout Bali weavers are srict in following the adat. In he village of Tenganan Pegringsingan itself the use ofcertain gringsings is prescribed for specifi ed ceremonies. Tenganan Pegringsingan community perform religiousrites everyday to maintain the balance of the village. Tenganan Pegringsingan has unique culture, and all refer tothe concept of balance. The most famous ritual activities in Tenganan Pegringsingan is Pandanus War. In PandanusWar, gringsing always used by Truna and Daha. They believe in using gringsing, they will be spared from disease.Gringsing present in Tenganan Pegringsingan bringing myths and aesthetics. Gringsing is a picture of a communitycultural order Tenganan Pegringsingan. All have been recorded in awig-awig Tenganan Pegringsingan.
'Ora Minggir Tabrak' Electronic Dance Music (EDM), a Montage of The Time-Image Citra Aryandari
Journal of Urban Society's Arts Vol 5, No 2 (2018): October 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v5i2.2185

Abstract

Electronic Dance Music (EDM) is a music genre which has been perceived in negative way because closely related to night life in which alcoholic drinks and illegal drugs. The beatings of the rhythm presented can arouse a desire to shake the body, giving instant pleasure to escape from the weariness of life. Although it could be said that this music genre is able to help the listeners to forget “the problems” of life, however, it is very rarely that the academic circle looked into this music genre and make it as a subject of interesting studies. This article is written out of subjective observations in social sphere on subjects containing a lot of secrecies and initially considered as a taboo to be discussed. The existence of EDM in line with the technological developments as montage of the time-image related with complexity of social relations, attempting to embark on a new identity in power, politics, and ideological trappings. The phenomenon comes into sight specifically in the song of “Ora Minggir Tabrak”,literally means if you get on my way I will hit you, a soundtrack of Ada Apa Dengan Cinta 2feature film. And it obviously could be seen in talent hunting for EDM musicians program broadcast by Net TV (the ReMix), and several other big events with internationally standard organized annually, such as DWP (Djakarta Warehouse Project); and Dreamfield at GWK Bali, which are worth-discussing amidst the hustle and bustle of music market in Indonesia.
Goyang Karawang: Exploration of Woman’s Body Between Rites and Fiesta Citra Aryandari; Gilang Muhamad Sidiq
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.142

Abstract

This study will discuss about Goyang Karawang, which always brings eroticism of woman's body in every show. Eroticism presented through swaying hips is inseparable from the history that surrounds. The changing Karawang district (32 miles of Jakarta, Indonesia) from agriculture to industrial making the culture in this area transformed. In agriculture period, which is almost the entire population of Karawang as a farmer known as Bajidoran, is used as a fertility rite to celebrate the harvest. Swaying hips of the dancers in Bajidoran later evolved into the cultural identity of the region and then known as Goyang Karawang. In 90's Goyang Karawang was also known as a dangdut song title that described the condition of the culture. Karawang has been turned into industrial city. Bajidoran was adapted to era and is popularly known as Goyang Karawang who peddles female’s body as commodity with many text weaving. Goyang Karawang: Exploring of Woman’s Body between Rites and Fiesta is a simple article about the cultural phenomena that occurred in Karawang. Goyang Karawang existence as a cultural text cannot be separated from the study of music, history, social, gender, etc., so in the process of research and writing would be in Cultural Studies for weaving the texts which are presented. Ethnography is selected as the method of data collection, considering that this method can describe with deep cultural events.Penelitian ini akan membahas mengenai Goyang Karawang yang selalu menghadirkan erotisme tubuh perempuan dalam setiap pertunjukannya. Erotisme yang dihadirkan melalui goyangan badan tidak terlepas dari sejarah yang melingkupi. Perubahan kota dari agraris menuju industri membuat kesenian yang ada di wilayah Karawang berubah bentuk. Pada masa agraris, masa dimana hampir seluruh penduduk Karawang bermata pencarian sebagai petani dikenal kesenian Bajidoran yang digunakan sebagai ritus kesuburan dalam merayakan masa panen. Goyang penari dalam Bajidoran kemudian berkembang seiring waktu dan menjadi identitas wilayah yang kemudian dipopulerkan lewat lagu Dangdut Goyang Karawang. Kini Karawang telah berubah menjadi kota Industri, sehingga Bajidoran beradaptasi dengan jaman dan kini populer dengan Goyang Karawang yang menjajakan tubuh perempuan sebagai komoditas dengan bermacam teks yang tejalin. Goyang Karawang: Penjelajahan Tubuh Perempuan diantara Ritus dan Fiesta merupakan tulisan sederhanamengenai fenomena budaya yang terjadi di Kota Karawang. Keberadaan Goyang Karawang sebagai sebuah teks budaya tidak dapat dipisahkan dari kajian musik, sejarah, gender, sosial sehingga dalam proses penelitan dan penulisan akan digunakan Cultural Studies dalam menenun teks-teks yanghadir. Metode etnografi dipilih sebagai metode dalam proses pencarian data, mengingat metode ini dapat menggambarkan peristiwa budaya dengan mendalam.
Indonesian Music Education, Industry, and Lifestyle Citra Aryandari
Journal of Music Science, Technology, and Industry Vol. 6 No. 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This research attempts to conduct a careful study of the influence of political, social, and industrial dynamics in Indonesia, which gave birth to the forms and products of music education. Method: This study uses a multidisciplinary cultural approach as the object researched is multidimensional. In its title, there are some entities: music education, industry, and lifestyle. Results and discussion: As with music (culture) itself, music education, which incidentally is one of the main foundations for the development of music, of course, does not just exist. Various searches have successfully linked the relationship between music education and the political and social dynamics in which music develops. Implication: Likewise, the growing trend affects the form of music products in the music industry. The phenomenon of the 'Mozart effect' as one of the trends in the music education industry, its controversy, and its presence in the realm of industrial promotion have become essential references for stringing a common thread of connection with other exciting phenomena in this study.
KERONCONG BIRU DALAM PERTUNJUKAN VIRTUAL DI PLATFORM YOUTUBE Tri Prasetyo; Citra Aryandari; Sudarno Sudarno
SELONDING Vol 19, No 2 (2023): September 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sl.v19i2.7899

Abstract

Keroncong Biru adalah kelompok Keroncong yang berasal dari Hargobinangun, Pakem, Sleman, Yogyakarta sejak tahun 2016. Ia adalah pemuda Katolik St. Maria Assumpta Pakem. Tujuan Keroncong Biru adalah menjadi musik pengiring gereja untuk melestarikan dan memperkenalkan musik keroncong kepada generasi muda; dan memperkenalkan komunitas keroncong di Yogyakarta kepada dunia melalui Community, Scene, Tribe, Subculture, Audience, dan Consumer. Keroncong Biru mengemas musik populer ke dalam keroncong. Situasi pandemi mau tidak mau membuat grup ini tampil live (offline) yang dihadiri penonton, namun berubah menjadi virtual performance. Penelitian ini menganalisis aktivitas Keroncong Biru dalam situasi pandemi dengan menggunakan metode etnografi. Makalah ini menggambarkan alam semesta maya sebagai ruang belajar.
SOCIAL MEDIA ENGAGEMENT NGAYOGJAZZ SEBAGAI FESTIVAL MUSIK DI YOGYAKARTA Andi Zulfikar Alam; Citra Aryandari; Andi Taslim Saputra
Harmoni: Jurnal Pemikiran Pendidikan, Penelitian Ilmu-ilmu Seni, Budaya dan Pengajarannya Vol 13, No 2 (2023): HARMONI: OCTOBER 2023
Publisher : Program Studi Pendidikan Seni Rupa Fakultas Keguruan dan Ilmu Pendidikan Universitas Muham

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26618/jh.v13i2.12881

Abstract

This study aims to find out 1). How social media engagement is present in Ngayogjazz as a music festival in Yogyakarta. 2). How Social media plays a role in portraying the Ngayogjazz festival. To achieve the objectives of the study, qualitative research methods were used with a virtual ethnographic approach from Christine Hine where Social media was chosen as the locus of research. Social media theory is used as a foundation in framing thoughts and discussions.Data collection techniques are carried out in two ways, namely observing Ngayogjazz's activities on Social media and conducting interviews to confirm some data found directly with several sources directly related to this event. In addition, existing literature and documentation data are also used as references in describing and analyzing Ngayogjazz events in Social media.The results of this study show that Social media that is present in Ngayogjazz as a music festival in Yogyakarta, using four platforms, namely Facebook, Twitter, Instagram and Youtube shows a binding interaction between Ngayogjazz as a festival and the community at large. Ngayogjazz utilizes Social media as one of the strategies in branding itself as a music festival whose presence is taken into account in the country, improvisation and musical interaction that characterize jazz.
Ulahahan Babatu Orchestra: Concept and Functional Role of Inclusive Music Community Aryandari, Citra; Siahaya, Karel Martinus; Hazmi, Fariz Al
Harmonia: Journal of Arts Research and Education Vol 23, No 1 (2023): June 2023
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v23i1.42411

Abstract

The presence of Toki Batu music in Ulahahan Village as a cultural product cannot be separated from the musical narrative of the Maluku people, which has been part of social and cultural life since ancient times. This study aims to explain the concept of inclusiveness within the group and its functional role in society as an inclusive music community. The research method uses a descriptive qualitative with an ethnographic approach. Data collection techniques were carried out through observation, semi-structured interviews, and documentation. The study results explain that the concept of inclusiveness in the Ulahahan Babatu Orchestra community lies in membership open to people from various backgrounds, both children and adults. The Community also does not provide special requirements to be able to join the group because Toki Batu’s music belongs to the Community, and anyone should be able to contribute. The leadership style used is based on local culture by adopting respect for elders. As a result, the leader is someone who is older and more experienced in community management rather than someone who has mastered music. Functionally the role of the Toki Batu music community revives community creativity and influences collectively in various fields such as recreational, educational, communication and religious facilities.
Jaap Kunst Legacies: A Site of Forgetting, Remembering and History-Making Aryandari, Citra
Resital: Jurnal Seni Pertunjukan Vol 23, No 3 (2022): Desember 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i3.7766

Abstract

ABSTRACT The study interrogate and reconfigure the project of disclosing the heritage of ethnomusicologist Jaap Kunst. Jaap Kunst recorded a lot of Indonesian music while living in Indonesia from 1919-1934. The teaching material and the development of ethnomusicology concepts as knowledge based on the sound record and his research experience. Now, after nearly 100 years, the Musicology Department of University van Amsterdam is initiating the opening of the Jaap Kunst legacy that has not yet been published. Because this heritage is related to Indonesia's cultural history and memory, University van Amsterdam collaborates with academics from Indonesia and trying to find support from the Indonesian government.   This study introduces philosophical approaches to reflection: critical, hermeneutic, and finally phenomenological. Reveal the dynamic relationship between Jaap Kunst legacies as a historical artifact and a site of forgetting, remembering, and history-making. How were the memory and identity stored in the Jaap Kunst materials reinterpreted in the postcolonial era? How is ethnomusicology addressing this matter related to shaping the colonial knowledge into the various subject positions? This paper is discussed with a retrospective approach in which individuals are sampled and information is collected about their past. Through interviews in some participants are asked to recall important events, or by identifying relevant administrative data to fill in information on past events and circumstances. With that method I assumed that tracking down Kunst's legacy was like taking a vacation at grandma's house, bringing back all the memories but not necessarily related to the present.  ABSTRAK Tulisan ini menginterogasi dan mengonfigurasi ulang proyek pembukaan warisan etnomusikolog yang Bernama Jaap Kunst. Jaap Kunst merekam banyak musik Indonesia selama tinggal di Indonesia dari tahun 1919-1934 dan menjadikan sebagai bahan ajar serta pengembangan konsep etnomusikologi sebagai ilmu pengetahuan berdasar rekaman suara dan pengalaman penelitiannya. Kini, setelah hampir 100 tahun, Departemen Musikologi Universitas Amsterdam memprakarsai pembukaan warisan Jaap Kunst yang belum sempat dipublikasikan. Warisan ini terkait dengan sejarah dan ingatan budaya Indonesia, Universitas Van Amsterdam bekerja sama dengan akademisi dari Indonesia dan berusaha mencari dukungan dari pemerintah Indonesia. Tulisan ini memperkenalkan pendekatan filosofis untuk refleksi: kritis, hermeneutik, serta fenomenologis. Mengungkapkan hubungan dinamis antara warisan Jaap Kunst sebagai artefak sejarah dan situs melupakan, mengingat, dan membuat sejarah. Bagaimana ingatan dan identitas yang tersimpan dalam materi Jaap Kunst diinterpretasikan ulang di era pascakolonial? Bagaimana etnomusikologi menyikapi hal ini terkait dengan pembentukan pengetahuan kolonial ke dalam berbagai posisi subjek? Pembahasan dalam tulisan ini menggunakan pendekatan retrospektif di mana individu diambil sampelnya dan dikumpulkan informasi tentang masa lalunya. Melalui wawancara beberapa partisipan diminta untuk mengingat kembali peristiwa-peristiwa penting, atau dengan mengidentifikasi data administrasi yang relevan untuk mengisi informasi tentang peristiwa dan keadaan masa lalu. Dengan cara itu dapat diasumsikan menelusuri peninggalan Kunst  seperti berlibur ke rumah nenek, membawa kembali semua kenangan tapi tidak harus terkait dengan masa kini.
Musical Expression of Islamic Identity: The Syncretism of Blangikhan Ritual in Lampung Aryandari, Citra; Chaniago, Delsi
IBDA` : Jurnal Kajian Islam dan Budaya Vol. 22 No. 2 (2024): IBDA': Jurnal Kajian Islam dan Budaya
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Islam Negeri Profesor Kiai Haji Saifuddin Zuhri Purwokerto Purwokerto

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24090/ibda.v22i2.9708

Abstract

The Blangikhan ritual underscores the significance of dignity within Lampung's culture, where the community is renowned for its hospitality and compassion towards one another. Blangikhan is a celebration and reflects community values, norms, and beliefs. This study aims to comprehend and explore the intertwined musical practices in the Blangikhan tradition of the Lampung community's religious and cultural identity. The researcher explores the correlation between the music produced in the Blangikhan tradition and the strengthening of Islamic identity among the community. The research utilized an ethnographic method. The data collection techniques were observation, interview, literature study, and documentation. The result concludes that music is an integral component of this event and reflects the Islamic Identity within Lampung's culture. The music in this ritual encompasses various genres, including Hadrah music, a religious musical tradition with sholawat lyrics, the music accompanying the Bedana dance that blends Malay-Islamic nuances, and even pop music with religious themes. This research delves deeper into how music in the Blangikhan ritual mirrors the Islamic identity and how the Lampung community incorporates Islamic elements into their performing arts. The study also considers how the production of this music influences the representation of Islamic identity within the Blangikhan ritual. This research holds significant relevance in comprehending how culture and religion can interact and shape identity within a cultural ritual context.
Co-Authors Adenta, Cristoforus Danendra Caesarea Andi Taslim Saputra Andi Zulfikar Alam Aris Setyawan Chaniago, Delsi Gilang Muhamad Sidiq Hazmi, Fariz Al Hendrawan, Danu Siahaya, Karel Martinus Sudarno Sudarno Tri Prasetyo