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RITUAL SEBAGAI MEDIA TRANSMISI KREATIVITAS SENI DI LERENG GUNUNG MERBABU Fitriasari, Rr. Paramitha Dyah
Jurnal Kawistara Vol 2, No 1 (2012)
Publisher : Sekolah Pascasarjana UGM

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (148.027 KB)

Tradition developed in a community should continue to be preserved from generations to generations.Efforts are being made one of which is the process of transmission or inheritance. Transmission can bedone in various ways, one of which is ritual. Rituals which are performed continuously and regularlycan be a good medium for the transmission process. The ritual process of artistic creativity that wasdeveloped by the community on the slopes of Mount Merbabu is an example. Art goes hand in handwith the ritual is one of the transmission mediums used to continue an existing tradition. This researchseeks to show how ritual can be a transmission medium of art, particularly on the slopes of Merbabu.

Festival Lima Gunung : Strategi Identitas Lokal Masyarakat Di Lereng Gunung Di Jawa Tengah Fitriasari, Paramitha Dyah
Nuansa Journal of Arts and Design Vol 1, No 1 (2017): September
Publisher : Universitas Negeri Makassar

Five Mountains Festival is the party of the people who regularly held one year, is a representation of local culture. Prepare all kinds of both performance and visual arts which were the work of the villagers around. The potential is there in five mountain communities are quite large and intertwined emotional bond between the artists and the public. Artists vying to display the distinctive traditions of each village by displaying characteristic and new creativity in the grand event.

RITUAL SEBAGAI MEDIA TRANSMISI KREATIVITAS SENI DI LERENG GUNUNG MERBABU Rr. Paramitha Dyah Fitriasari
Jurnal Kawistara Vol 2, No 1 (2012)
Publisher : Universitas Gadjah Mada

Tradition developed in a community should continue to be preserved from generations to generations.Efforts are being made one of which is the process of transmission or inheritance. Transmission can bedone in various ways, one of which is ritual. Rituals which are performed continuously and regularlycan be a good medium for the transmission process. The ritual process of artistic creativity that wasdeveloped by the community on the slopes of Mount Merbabu is an example. Art goes hand in handwith the ritual is one of the transmission mediums used to continue an existing tradition. This researchseeks to show how ritual can be a transmission medium of art, particularly on the slopes of Merbabu.

Jogja Dance Community Ruang Negosiasi dalam Jagad Tari di Yogyakarta Paramitha Dyah Fitriasari; Galih Prakasiwi
Jurnal Kawistara Vol 10, No 3 (2020)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.49816

Kesenian Yogyakarta memiliki identitas yang kuat dengan upaya preservasi seni tradisi berbasis kuasa dominan Kraton Yogyakarta sebagai sentralnya. Aturan seni tradisi yang mengikat, memunculkan peluang pengembangan maupun inovasi baru berdasar kebebasan. Tulisan ini melihat perwujudan kebebasan dan strategi dalam memposisikan diri pada jagad tari di Yogyakarta. Pengambilan data dilakukan melalui studi pustaka dan wawancara. Data tersebut dikelindankan dengan pengamatan pada 2016 hingga 2018. Jogja Dance Community merupakan jaringan yang menaungi kelompokkelompok tari di Yogyakarta. Beberapa kelompok yang tergabung diiniasiasi oleh anak-anak muda dalam pengejawantahan kebebasan melalui kekontemporerannya. Pilihan tersebut memerlukan strategi untuk dapat bernegosiasi dengan jagad tari di tempatnya bernaung.

Hidden Curriculum Design of Traditional Art Community Rampak Kendang Fery Setyaningrum; Heni Siswantari; Lono Lastoro Simatupang; Paramitha Dyah Fitriasari
International Journal of Visual and Performing Arts Vol 1, No 2 (2019)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i2.65

The hidden curriculum is defined as the hidden curriculum imposed on system-specific education (both formal and non-formal. Discussion of the curriculum in Indonesia is interesting is related to the hidden curriculum in non-formal education is the Rampak Kendang community. The characteristics of the population and the different teaching processes from other cities can form different and exciting outputs to be studied. The purpose of this study is to find and describe curriculum designs in the traditional art community of Rampak Kendang in Patimuan Cilacap, Indonesia. This study used a qualitative descriptive method. Data collection techniques using observation, interviews, and documentation. Participation observation with the subject of scrutiny and discussions with the Rampak Kendang community, Patimuan community, the Department of Education in Patimuan. Analysis of the data used data reduction, data presentation, and data verification. The results of this study are the discovery of curriculum design in the form of a hidden curriculum prototype of the Patimuan Rampak Kendang. In the prototype, there is an art learning process through agents as trainers (community leaders) equipped with Patimuan (Sundanese Javanese) art and arts (engineering creativity). This is then taught through training (learning processes) to other members of the Rampak Kendang community, in the long learning process influenced by the consensus (mutual agreement), and the support system form society. So that six more slices are found in the form of P, T, I (Process, Textual, Internal), K, P, I (contextual, Internal Process), T, P, E (Textual, Process, External), K, H, E (contextual, result, external), T, H, E (Textual, Result, External), K, I, H (Contextual, Internal, Result). These processes resulted in the discovery of the development of multiple intelligence members, namely kinesthetic, musical, visual-spatial, verbal, interpersonal, and intrapersonal.

PERKEMBANGAN KESENIAN WARAK DUGDER DI KOTA SEMARANG MELALUI APROPRIASI BUDAYA paramitha dyah fitriasari
Melayu Arts and Performance Journal Vol 2, No 1 (2019): Melayu Art and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v2i1.597

Penelitian ini mengkaji bentuk kesenian Warak Dugder yang bersumber dari tradisi Dugderan di Kota Semarang. Tujuan penelitian yakni untuk menunjukkan bentuk apropriasi budaya sebagai upaya perkembangan kesenian Warak Dugder. Kesenian Warak Dugder merupakan hasil apropriasi, meskipun secara teks Tari Warak Dugder merupakan hasil dari kreativitas maskot hewan rekaan Warak Ngendhog yang ada pada prosesi Dugderan. Adapun bentuk apropriasi yakni berupa pemunculan gerak-gerak Warak yang dibuat lebih variatif dan mementingkan unsur-unsur keindahan tari, properti yang digunakan dalam kesenian warak dugder juga bervariatif. Apropriasi yang dilakukan oleh pencipta maskot binatang rekaan Warak Ngendhog merupakan bentuk akulturasi dan kesetaraan budaya yang diadopsi dan diadaptasi secara kreatif, selektif, dan atraktif, tetapi masih bisa dikenali. Dengan demikian Tari Warak Dugder dapat dikatakan sebagai hasil dari proses apropriasi, berupa produk baru yang bersumber dari tradisi Dugderan di Kota Semarang.

Male Gaze dalam Tari Sekapur Sirih Jambi Rahmatika Luthfiana Sholikhah; Wening Udasmoro; Rr. Paramitha Dyah Fitriasari
Jantra. Vol 15 No 2 (2020): Desember
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52829/jantra.v15i2.140

Sekapur Sirih Dance is a welcoming dance for important guests in Jambi. This dance must be performed to welcome very important guests at the airport/port. This kind of dance is usually performed by 9 women and 3 men as bodyguards. This is very feminine showing the action of making up performed by the ladies. The article talks about the men’s gaze in the Sekapur Sirih Jambi dance. The male gaze is a theory for dissecting films. The author uses this theory to dissect the performing arts of dance. To see the operation, the male dancers’ gaze can be seen from the stage and also from their movement. This research is qualitative research by conducting literature study, observation, and interview. The results of this study indicate that the operation of the male gaze in a dance performance can be seen from the form of the stage, lighting, and dancer movements.

‘Being Contemporary’: Proses Ari Ersandi Dalam Karya Lalube Galih Prakasiwi; Rr. Paramitha Dyah Fitriasari; Sal Murgiyanto
Jurnal Kajian Seni Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020
Publisher : Universitas Gadjah Mada

Artikel ini melihat bagaimana perspektif kekontemporeran seorang koreografer muda, yakni Ari Ersandi, melalui pengalaman serta prosesnya berkarya Lalube. Pelabelan tari kontemporer secara ekplisit maupun implisit pada festival maupun pergelaran karya tari. Produksi karya terus dihasilkan namun tidak seturut dengan produksi wacananya. Penelitian ini menggunakan metode kualitatif dengan memperhatikan fenomena yang terjadi melalui proses latihan dan pengalaman koreografer. Pewacanaan rasionalitas, kebebasan, kreativitas, dan kemanusiaan oleh Sal Murgiyanto dipadukan dengan konsep kekontemporeran Giorgio Agamben. Ari Ersandi, koreografer urban yang datang dari Lampung ke Yogyakarta mulai belajar tari di perguruan tinggi. Keterbatasannya menari tarian tradisi dan pengalaman hidupnya membuat Ari terpacu untuk mencari teknik gerak sendiri. Lalube menjadi ungkapan resistensi dan eksistensi Ari Ersandi. Kata Kunci : Kekontemporeran, Koreografer, Muda

Pesona Seni dan Teknologi pada Pertunjukan Fire Dance di Komunitas Flownesia Rifa Fitriana; Rr. Paramitha Dyah Fitriasari; Wiwik Sushartami
Jurnal Kajian Seni Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020
Publisher : Universitas Gadjah Mada

Flownesia is one of the Indonesian flow-art communities that use visual performance with fire props. Based on the existing phenomena, researchers see the existence of special tricks that are used when performing and also various forms of property for enchanting the audience, so this research will explore the aesthetic impact that has emerged on visual fire dance performances and the role of technology in the Flownesia community. This research uses a qualitative method, that is done with participant observation. Alfred Gell's (2006) theory of technology of enchantment was chosen to analyze the forms of visual art and technology performances in flow-art performances. The results of this research flow-art performances in the Flownesia community is a manifestation of art and technology, especially when exploring innovations in their performances. The enchantment that displayed is the result of extraordinary techniques also thr concept of modern and tradition, elaborated on the fire dance props. The movement structure, floor pattern, choreography and tool exploration are important aspect to create interesting visual effects in the Flownesia community performance

Exploring the traditional ritual of Jaran Kepang Papat: context, heritage, and significance Rr. Paramitha Dyah Fitriasari; Maharani Hares Kaeksi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.4896

This paper investigates the traditional ritual of Jaran Kepang Papat, examining its contextual significance, cultural heritage, and the profound role it plays within the Indonesian cultural landscape. Jaran Kepang Papat is a unique and captivating ritual deeply rooted in Javanese culture. Through an interdisciplinary exploration encompassing anthropology, history, and cultural studies, this research unravels the intricate web of meaning and symbolism embedded in the ritual. The method employed in this research is descriptive qualitative. Researchers initiated the data collection process through in-depth interviews with ritual participants, community leaders, and cultural experts knowledgeable about Jaran Kepang Papat. These interviews provide comprehensive insight into the history, meaning, and significance of this ritual. Additionally, researchers engaged in participatory observation during the implementation of the ritual to gain a direct understanding of how it is carried out and experienced by the participants. The paper concludes by emphasizing the importance of understanding and safeguarding Jaran Kepang Papat as a valuable cultural treasure, advocating for its continued recognition and appreciation within the broader cultural discourse. This exploration serves as a testament to the enduring significance of traditional rituals in our globalized society, offering valuable insights into the preservation and appreciation of cultural heritage.

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