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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Harmonia: Journal of Research and Education Journal of Urban Society´s Arts Lakon : Jurnal Kajian Sastra dan Budaya Jurnal Pendidikan dan Kajian Seni MUDRA Jurnal Seni Budaya Jurnal Bahasa Rupa Didaktis: Jurnal Pendidikan dan Ilmu Pengetahuan Gondang: Jurnal Seni dan Budaya Pelataran Seni : Jurnal Pendidikan dan Kajian Seni Sorai: Jurnal Pengkajian dan Penciptaan Musik Abdi Seni Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Jurnal Seni Tari Jurnal Ners Enggang: Jurnal Pendidikan, Bahasa, Sastra, Seni, dan Budaya Akuntansi Bisnis & Manajemen (ABM) Jurnal Kajian Seni Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya Musik Etnik Nusantara Soshum: Jurnal Sosial dan Humaniora Prosiding Simposium Nasional Rekayasa Aplikasi Perancangan dan Industri IKHLAS: Jurnal Pengabdian Dosen dan Mahasiswa Jurnal Bahasa Rupa Exploration In Early Childhood Research (JSM) Jurnal Seni Musik Jurnal At-Tamwil: Kajian Ekonomi Syariah Harmonia: Journal of Arts Research and Education
Aris Setiawan
Institut Seni Indonesia (ISI) Surakarta
Religion Arts Humanities Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Electrical & Electronics Engineering Environmental Science Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mechanical Engineering Medicine & Pharmacology Nursing Social Sciences Other

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Aransemen Musik Baru Kesenian Ronteg Singo Ulung pada Sanggar Gema Buana, Desa Prajekan Kidul, Kabupaten Bondowoso, Jawa Timur Zulkarnain Mistortoify; Aris Setiawan; Mutiara Dewi Fatimah
Abdi Seni Vol 13, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v13i2.4343

Abstract

This research is based on community service done, aiming to create a new musical arrangement for the Ronteg Singo Ulung art in the Gema Buana Art Community, Bondowoso Regency, East Java. The concern is on musical part which has been seen as monotonous, only present to accompany the movements of Singo Ulung dances. This research employs a participatory approach, actively involved in finding new musical pattern formulations that are considered ideal for the development of Singo Ulung art in the future. In addition, experimental work on the creation of new music is carried out while still basing it on the dynamics of the culture in which the arts live that is the Madurese community. As a result, the laboratory work process in this study resulted in more dynamic musical findings, by incorporating new musical elements so that the perception of musical monotony could be eliminated. The new music produced is continuously communicated, especially to dance choreographer, so that it can become an integral and inseparable part. Thus, the creative work of new music creation also leads the emergence of a similar step in terms of choreography.
Form of Presentation of Ranup Lampuan Dance Music in the Intat Linto Procession in Banda Aceh City Alhari; Bondet Wrahatnala; Aris Setiawan
SOSHUM : Jurnal Sosial dan Humaniora Vol. 13 No. 1 (2023): March 2023
Publisher : Unit Publikasi Ilmiah, P3M, Politeknik Negeri Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31940/soshum.v13i1.32-43

Abstract

This study aims to reveal the form of presentation of ranup lampuan dance music in the intat linto baroe procession in the city of Banda Aceh. Ranup Lampuan dance music is music that is used to accompany the Ranup Lampuan dance in the procession of welcoming guests in Acehnese society. This study used a qualitative research method, a descriptive research type with an ethnomusicological approach. The results of this study reveal that the music of the ranup lampuan dance in the city of Banda Aceh is presented in several traditional events such as the intat linto procession which contains social values in the community, in the intat linto event the musicians in ranup lampuan have two roles, namely; as musicians from the guest party escorting the Linto group and as musicians for the host party (dara baroe) to accompany the ranup lamp dance. The presentation of Ranup Lampuan dance music has supporting elements, namely: Musicians, musical instruments, costumes or clothing, venues, and notations.
Daryono's artistic creativity journey in the body of Surakarta Style Javanese Dance Sonia Pangesti Lambangsari; Sri Rochana Widyastutieningrum; Aris Setiawan
Gelar : Jurnal Seni Budaya Vol 21, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i1.4952

Abstract

This study aimed to explore the Daryono’s artistic, creative journey in the body in the Surakarta Style of Javanese Dance. The research method was carried out through observation of dance performances presented by Daryono, that is, Beksan Diradameta. Through this dance, the researcher studied the form and characteristics of Daryono's dance expertise. The observation focused on the process of achieving the quality of Daryono dance through various stages. In-depth interviews were conducted to reinforce the data obtained through the observation. The results showed that the factors and stages that were passed caused Daryono's expertise in Javanese dance, Surakarta style, to reach taksu. The stages are mastery of techniques, formation of the body, spiritual mastery, and awareness of philosophical concepts. On spiritual and philosophical principles, Daryono has always adhered to the concepts of Hasthasawanda, Joged Mataram, Mandala, and Asta Brata. This research can contribute to the development of artistic knowledge, especially Javanese dance in the Surakarta style.
Reconstruction of The Selodang Mayang Dance at Amantubillah Palace in Mempawah, West Kalimantan Province Deki Prasetya Ardiansyah; Slamet Slamet; Aris Setiawan
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.64415

Abstract

This article is the result of research that focuses on the main issue of how the process of reconstructing the Selodang Mayang dance at Amantubillah Palace takes place. The Selodang Mayang dance is a welcoming dance that developed within the Royal Palace of Amantubillah in Mempawah Regency, West Kalimantan Province. The aim of this research was to understand and explain each stage of the reconstruction process of the Selodang Mayang dance, which aimed to revive the Selodang Mayang dance. The forms of the reconstructed Selodang Mayang dance include 1) Movement, 2) Music, 3) Costumes and Makeup, 4) Props, and 5) Floor Patterns. This research employed a qualitative method with an interaction analysis approach. The results of this research revealed a series of movements of the Selodang Mayang dance that use basic graceful steps of lenggang, with arms waving left and right in accordance with the rhythm of the accompanying music. In these movements, there are absolute rules from the palace regarding the motifs of the Selodang Mayang dance, such as graceful steps, arms not lifted beyond 45 degrees, a smiling face, no spinning movements, not turning the back to guests, keeping the legs from spreading wide, and adapting the movements to the lyrics used in the accompanying Selodang Mayang dance. The research findings also include the process conducted by the Selodang Mayang dance reconstruction team in the effort to preserve classical dance art. The objective of this research was to understand, study, and preserve the cultural values existing in Mempawah Regency, so that the Selodang Mayang dance continues to exist and thrive within the palace and the local community.
Batak Cultural Change in Ngeri-ngeri Sedap Movie: Robert N Entman Framing Analysis Ega Damayanti; Handriyotopo; Aris Setiawan
SOSHUM : Jurnal Sosial dan Humaniora Vol. 13 No. 2 (2023): July 2023
Publisher : Unit Publikasi Ilmiah, P3M, Politeknik Negeri Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31940/soshum.v13i2.146-155

Abstract

This research aims to reveal the changes in Batak culture in the movie Ngeri-ngeri Sedap. Ngeri-ngeri Sedap is a family-drama film with a Batak ethnic background, conveying the unrest of overseas children who are bound by customs and culture. The method used in this research is media text analysis with a critical approach. The theory used is Robert N ENtman’s framing analysis theory, which analyses using the scalpel of issue selection framing and issue highlighting. The selection of issues that will be highlighted in this film is the change in Batak culture. The results of the study show that in the film Ngeri-ngeri Sedap the three sons of Mr and Mrs Domu experience cultural changes because they migrate or do not live in their area. The changes in Batak culture that occur in the film Ngeri-ngeri Sedap are: the first son Domu, did not marry a fellow Batak tribe, Sahat the last son, did not live at home and preferred to migrate away from his parents, and Sahat also began to forget the designation of the Batak family or can be called Bertutur culture.
The Meaning of Gendhing Kodhok Ngorek in the Panggih Procession of a Traditional Javanese Wedding Ceremony Suyoto Suyoto; Aris Setiawan
Journal of Urban Society's Arts Vol 10, No 1 (2023): April 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v10i1.8472

Abstract

This article aims to understand the meaning of Gending Kodok Ngorek, as the music that accompanies wedding rituals (Panggih) in Java. The data were collected through observation, a literature review, and interviews. The problem was addressed using Clifford Geertz’s cultural interpretive concept, which argues that cultural facts exist in the mind (as knowledge), are manifested in models, and determine behaviour and action in life, and Yasraf Amir Pilliang’s semiotics of culture, which describes how meaning is formed through media and signs. The research concludes that the panggih ceremony, a procession in which the bride and bridegroom come together, can be interpreted philosophically, socially, and symbolically. Based on the musical pitches used, philosophically understood as a marker of a husband and wife who are making love. Its masculine character is manifested in the panunggul alit pitch (1), which symbolizes a male frog, while its feminine character is manifested in pitch nem (6), which symbolizes a female frog. Etymologically, Kodhok Ngorek means singing frog, of course in the water. Water is understood as a symbol of fertility, as a sign of the hope that the husband and wife will soon be blessed with offspring. Makna Gendhing Kodhok Ngorek Dalam Prosesi Panggih Upacara Pernikahan Adat Jawa. Artikel ini bertujuan untuk memahami Gending Kodok Ngorek sebagai musik pengiring upacara pernikahan (Panggih) di Jawa. Pengumpulan data dilakukan melalui observasi, studi literatur, dan wawancara. Masalah tersebut dianalisis dengan menggunakan konsep interpretasi budaya Clifford Geertz, yang berpendapat bahwa fakta budaya ada dalam pikiran (sebagai pengetahuan), diwujudkan dalam model, dan menentukan perilaku dan tindakan dalam kehidupan, dan semiotika budaya Yasraf Amir Pilliang, yang menggambarkan bagaimana makna dibentuk melalui media dan tanda. Hasil penelitian menunjukkan bahwa upacara panggih, sebuah prosesi di mana kedua mempelai bertemu, dapat dimaknai secara filosofis, sosial, dan simbolis. Berdasarkan nada musik yang digunakan, secara filosofis dipahami sebagai penanda kedua sejoli yang sedang bercinta. Sifat maskulinnya diwujudkan dalam nada panunggul alit (1) yang melambangkan katak jantan, sedangkan sifat femininnya diwujudkan dalam nada nem (6) yang melambangkan katak betina. Secara etimologi Kodhok Ngorèk berarti katak bernyanyi, sudah barang tentu di dalam air. Air dipahami sebagai simbol kesuburan, sebagai penanda harapan agar pasangan sejoli segera dikaruniai keturunan.
The concept of Tritangtu at Tarawangsa music performance in Pasir Biru Village, Rancakalong, Sumedang Sri Rahayu Ferawati; Aris Setiawan
Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya Vol 51, No 2 (2023)
Publisher : Fakultas Sastra Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um015v51i22023p243

Abstract

This study aims to reveal the aesthetics of the concept of Tritangtu (the trinity) in the Tarawangsa music performance in Kampung Pasir Biru, Rancakalong, Sumedang. Tarawangsa is a ritual ceremony related to religious magic to honor Keursa Nyai (goddess of fertility). The music in this ritual is not just an accompaniment or ritual compliment but even deeper shows a strong connection with the concept of Tritangtu, namely the world of heaven, the human world, and the underworld. This study uses the ethnographic method, by performing an in-depth recording of the event. The recording is to find out in more detail why Tarawangsa music is played, in what context, and how do people believe in it. In addition, the concept of Tritangtu, belief in three main elements (metacosm, microcosm, and macrocosm) shows a thought of the Rancakalong people about the balance of human life with God and nature. The study results show that the cultural customs of the Pasirbiru community, in general, indicate how this balance is maintained. They believe there will be a significant impact if one of the Tritangtu elements is not fulfilled, and Tarawangsa's music is an essential element in this effort.Konsep Tritangtu pada pertunjukan musik Tarawangsa di Desa Pasir Biru, Rencakalong, SumedangPenelitian ini bertujuan untuk mengungkap estetika konsep Tritangtu (urutan tiga unsur) dalam pertunjukan musik Tarawangsa di Kampung Pasir Biru, Rancakalong, Sumedang. Tarawangsa adalah upacara ritual yang berhubungan dengan ritual keagamaan untuk menghormati Keursa Nyai (dewi kesuburan). Musik dalam ritual ini bukan sekedar pengiring atau pujian ritual, tetapi lebih dalam lagi menunjukkan keterkaitan yang kuat dengan konsep Tritangtu yaitu dunia surga, dunia manusia, dan dunia bawah. Penelitian ini menggunakan metode etnografi, dengan mencatat secara mendalam suatu peristiwa. Pencatatan itu untuk mengetahui lebih detail mengapa musik Tarawangsa dimainkan, dalam konteks apa, dan bagaimana masyarakat mempercayainya. Selain itu, konsep Tritangtu, kepercayaan pada tiga unsur utama (metakosmos, mikrokosmos, dan makrokosmos) menunjukkan pemikiran masyarakat Rancakalong tentang keseimbangan hidup manusia dengan Tuhan dan alam. Hasil kajian menunjukkan bahwa adat budaya masyarakat Pasirbiru secara umum menunjukkan bagaimana keseimbangan itu dijaga. Mereka yakin akan ada dampak yang signifikan jika salah satu unsur Tritangtu tidak terpenuhi, dan musik Tarawangsa menjadi unsur penting dalam upaya tersebut.
RELASI MUSIK DAN SAWER DALAM PERTUNJUKAN DANGDUT NEW MONATA Satria Rizky Utama; aris setiawan
Jurnal Musik Nusantara Vol 4, No 1 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i1.4175

Abstract

This research is motivated by sawer activities in the New Monata dangdut music performance space. Sawer and dangdut music have a close relationship as performing arts. What we want to explain in this article is how saweran occurs in New Monata dangdut music performances and what the relationship is between music and saweran activities. This research was conducted using qualitative methods with stages of observation, interviews, document study, data presentation, data analysis, and drawing conclusions. Based on the analysis, it was found that the saweran activity in the New Monata dangdut music performance was carried out during the song. The act of nyawer is a reflective (spontaneous) and non-reflective (planned) action of the audience. Sawer is part of the reaction to the action of New Monata's dangdut music presentation. The relationship between music and sawer is a cause and effect relationship. The action of New Monata's dangdut music is the cause, the audience's reaction is the effect. Action and reaction are a natural phenomenon in a dangdut performance, music as action, and sawer as reaction.
Questioning the role of puppet masters today Jungkung Setyo Utomo; Sugeng Nugroho; Aris Setiawan
JPKS (Jurnal Pendidikan dan Kajian Seni) Vol 9, No 1 (2024)
Publisher : Universitas Sultan Ageng Tirtayasa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30870/jpks.v9i1.24183

Abstract

The development of the times has brought significant changes in various aspects of life, including traditional arts. One of the traditional arts that still exists and is undergoing transformation is shadow puppetry. The puppeteer, as the leader of the wayang kulit performance, has a central role in maintaining the continuity and relevance of this art. This research aims to document and analyze the role of shadow puppet puppeteers in the current cultural and social context. The research methods used were participatory observation and in-depth interviews with several active puppeteers. Research findings reveal that the role of the puppeteer is not only limited to presenting traditional stories, but also involves adaptation to contemporary realities. Modern puppeteers are faced with the challenge of maintaining the authenticity of the art of shadow puppetry while meeting the expectations and interests of today's audiences. Apart from that, the role of the puppeteer also involves educational and cultural preservation functions. The puppeteer acts as an intellectual leader who is able to convey moral and social messages through wayang stories. They are also involved in educating the younger generation about traditional values and cultural history through wayang performances. The results of this research provide in-depth insight into the role of shadow puppet puppeteers in a modern context. The sustainability of this art not only depends on maintaining tradition, but also on the ability of the puppeteer to adapt to the dynamics of the times. Therefore, this research makes an important contribution in understanding how traditional arts such as shadow puppetry can remain relevant and develop in the contemporary era
The Humour and Novelty of Congwayndut Puppet Group: An Overview of Performance Studies Dekanipa, Gendot; Setiawan, Aris
SOSHUM : Jurnal Sosial dan Humaniora Vol. 13 No. 3 (2023): November 2023
Publisher : Unit Publikasi Ilmiah, P3M, Politeknik Negeri Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31940/soshum.v13i3.248-257

Abstract

As a dynamic cultural event, the contemporary art of the Congwayndut group is always produced with a unique dramaturgy, contemporary and innovative setting. Congwayndut provides a sense of humour with an all-ages segmentation to entertain audiences. Regarding to the case, this paper attempts to examine performance studies through the use of performance studies reading schemes, social drama theory, and trickster in cultural practice. Through the "abnormality" of the Congwayndut perfomance, the research shows three findings namely the categorisation of stage attacks, subsidised cross-performances, and pure performances. This performance is executed with flexibility which indicating a novelty. Planning or the performance strategy that set in back stage can be different when it has been on the stage. The improvisation even provides the aesthetics of its puppet performance. The key aspect of humour and novelty in the Congwayndut is positioned at the role strategy of entul and trickster. This is very crucial in bringing the atmosphere of the performance to life, sowing the messages of the performance, and fostering a renewed image of contemporary puppet performance that is attractive to all levels of society.
Co-Authors Agung Waluyo Aida Mahmudah Alhari Anggri Noorana Zahra Apris Yulianto Saefatu Arif, M. Fauzan Barasa, Zepanya Saputra Belinda Astriddana Bondan Aji Manggala Bondet Wrahatnala Darlenis, Teti Dekanipa, Gendot Deki Prasetya Ardiansyah Diajeng Stevani Dwi Ismiati Ega Damayanti Elly Nurachmah Febriati, Febriati Hadzrat Maulana Muhammad Zulfikar Handriyotopo Handriyotopo I Nyoman Sukerna, I Nyoman Ida Ayu Putu Sri Widnyani Ismiati, Dwi jaurino Ji Pyo, Chung Jungkung Setyo Utomo Lambangsari, Sonia Pangesti Livera, Kristen Angela Mukhtar Effendi Mutiara Dewi Fatimah Nanik Sri Prihatini Nifa, Kholishotun Nugraha, Wisma Ch. R. Panakajaya Hidayatullah Pramutomo Putro, Galuh Argo Rachman, Anung Rizki Fakhrul Yahya Rosy Tristanti Sari, Wilda Sarjito, S Satria Rizky Utama Satria, Dioda Sidik, Adi Permana Simatupang, Gabriel Roosmargo Lono Lastoro Soladi, Soladi Sonia Pangesti Lambangsari Sri Rahayu Ferawati Sri Rochana Widyastutieningrum sugeng Nugroho Sugiyanto - Sunardi Suyanto - Suyanto Suyanto Suyoto Suyoto Suyoto Suyoto Suyoto Wahyu Widanarto, Wahyu Wardana, Sapto Widyastutieningrum, Sri Rochana Wilda Sari Yahya, Rizky Fakhrul Zulkarnain Mistortoify