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All Journal JOGED Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Jurnal Kawistara : Jurnal Ilmiah Sosial dan Humaniora Journal of Urban Society´s Arts Nuansa Journal of Arts and Design Acintya Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni International Journal of Visual and Performing Arts Jantra Melayu Arts and Performance Journal Jurnal Kajian Seni Paradigma: Jurnal Kajian Budaya VISI SAKTI: Jurnal Industri Kreatif dan Inovatif Jurnal Kawistara
Rr. Paramitha Dyah Fitriasari
Universitas Gadjah Mada
Arts Humanities Decision Sciences, Operations Research & Management Education Environmental Science Languange, Linguistic, Communication & Media Library & Information Science Social Sciences Other

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EMBODIMENT OF REGIONAL CULTURAL RESILIENCE THROUGH PRESERVATION OF TRADITIONS: A STUDY ON THE TUMPENG SEWU TRADITION IN KEMIREN VILLAGE, BANYUWANGI REGENCY Danugroho, Agus; Murtinigsih, Siti; Fitriasari, Paramitha Dyah
Paradigma: Jurnal Kajian Budaya Vol. 13, No. 3
Publisher : UI Scholars Hub

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

Abstract

This study aims to find out how the preservation of the Tumpeng Sewu Tradition in Kemiren Village, Banyuwangi Regency, has direct implications for regional cultural resilience. The preservation of the Tumpeng Sewu tradition in Kemiren Village, Banyuwangi Regency, is an interesting phenomenon because it has various impacts. In the midst of a global era that demands modernization, the preservation of traditions is very necessary so that they remain sustainable. However, it is also at risk of losing its local culture as a result of modernization. This is a descriptive qualitative study. The findings of this study suggest that the preservation of the Tumpeng Sewu Tradition, which employs cultural commodification, has the potential to contribute to and have an impact on a variety of sectors, particularly tourism in Banyuwangi Regency. The preservation of the Tumpeng Sewu Tradition in Kemiren Village has direct implications for regional cultural resilience. The findings of field researchers include several aspects, such as the socio-economic and daily behaviors of people who are influential as a result of the preservation of the Tumpeng Sewu Tradition in Kemiren Village.
LEARNING STRATEGY FOR THE ENHANCEMENT OF SUNDANESE SINGERS’ EXPERTISE AND COMPETENCY: SHIFTING FROM THE “NGABEO” TO THE “PRALAGAM” SYSTEM Sumiyana, Sumiyana; Fitriasari, Paramitha Dyah; Asriningsih, Rani
Jurnal Industri Kreatif dan Inovatif Vol. 2 No. 1 (2024): Desain grafis, Seni dan Budaya
Publisher : Institut Teknologi dan Bisnis Kristen Bukit Pengharapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61696/visisakti.v2i1.313

Abstract

This study investigates two competing systems for teaching Sundanese singers to achieve better performances. It argues that the new method, named Pralagam, is better for novice Sundanese singers than the Ngabeo system. The supremacy of the Pralagam system for teaching Sundanese singers is in the rigid procedures for their occupational and cognitive-behavioral practices. In the Pralagam system, most of the Sundanese singers’ time is spent mastering the optimal distinctiveness of the musical scale, vocalizing, cords, and practicing. However, the Ngabeo method does not emphasize these systems; it stresses practice only. This research took into account a field- experimental design, which compared the Ngabeo and Pralagam teaching methods for trainee Sundanese singers. It disclosed pieces of evidence about the learning process and the quality of the song’s output when Sundanese singers were practicing a song. This conclusion is also supported by the qualitative system, which comprehended that the Pralagam system is a unique learning system. This uniqueness is in its person-environment-occupation, treatment-fit, and low error methods. This study, therefore, recommends that the learning system should be shifted from Ngabeo to Pralagam. It infers that Sundanese singers would be better singers if they practice using the Pralagam system.
Apropriasi Seni Musik Gugah Sahur: Studi Kasus Tongklek Tuban dan Tong-Tong Madura Fitriasari, Paramitha Dyah; Hamsyah, M. Ismail; Danugroho, Agus
Resital: Jurnal Seni Pertunjukan Vol 24, No 1 (2023): April 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v24i1.8410

Abstract

ABSTRACTThe Appropriation of Gugah Sahur Musical Art: A Case Study of Tongklek Tuban and Tong-Tong Madura. This study aims to identify the interrelation between Tongklek Tuban and Tong-tong Madura. Tongklek Tuban, which is a typical music art of Tuban, evolves from the Patrol art in the form of music created originally in Tuban Regency. Interestingly, at first glance, Tongklek Tuban seems to have similarities to Tong-tong art that develops in Madura. To examine both art work thoroughly in this study, the authors implemented qualitative approach, employing both the literature review and documentation techniques. The results of the study reveal that Tongklek Tuban has undergone various changes in its visual form in terms of costumes, equipment, and decorations. It takes both tangible and intangible property from Tong-tong Madura. Moreover, Tonglek Tuban is experiencing another development in terms of creativity reflected to the wheelbarrow used to push the iron xylophone. Over time, the wheelbarrow has undergone a very extraordinary change in shape. At this time, Tongklek Tuban music groups are competing to form their wheelbarrows which actually look like Madurese Tong-tong music. According to the results of the study, positively, appropriation between artworks can be interpreted both positively or negatively. On one hand, an adapted culture can develop through innovation, so that the culture can remain sustainable. On the other hand, negatively, the feelings of disapproval from the owners of the original culture could emerge since they feel that their culture is carried out as an addition to the artistic elements of the appropriating subject.ABSTRAKPenelitian ini bertujuan untuk mengetahui bagaimana apropriasi dalam kesenian antara Tongklek Tuban dan Tong-Tong Madura. Kesenian yang diambil dalam penelitian ini adalah Tongklek Tuban dan Tong-Tong Madura. Kesenian Tongklek Tuban yang muncul berawal dari kesenian Patrol merupakan kesenian yang berkembang di Kabupaten Tuban. Sekilas Tongklek Tuban jika dilihat ada kesamaan dengan kesenian Tong-Tong yang berkembang di Madura. Penelitian ini berjenis kualitatif dengan metode studi pustaka dan menggunakan teknik dokumen. Hasil penelitian menemukan bahwa Tongklek Tuban yang merupakan kesenian musik khas Tuban mengalami berbagai macam fase perubahan secara visual mulai dari kostum, peralatan yang digunakan, hingga dekorasi. Tongklek Tuban mengapropriasi secara tangible dan intangible dari Tong-tong Madura. Tongklek mengalami perkembangan lagi secara kreativitas yakni terkait gerobak dorong yang biasanya digunakan untuk mendorong gambang besi. Seiring berjalannya waktu gerobak dorong mengalami perubahan bentuk yang sangat luar biasa. Kini para grup musik Tongklek Tuban berlomba-lomba membentuk gerobak dorong mereka yang jika dilihat malah menyerupai musik Tong-tong Madura. Apropriasi dapat dimaknai secara positif maupun negatif. Secara positif, budaya yang di apropriasi mengalami perkembangan dengan inovasi sehingga budaya tersebut dapat tetap lestari. Sisi negatifnya adalah timbulnya rasa tidak terima dari pemilik budaya asal karena merasa budayanya diambil untuk digunakan sebagai penambah unsur seni subjek pelaku apropriasi.
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.3933

Abstract

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

Abstract

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. 
PERAN KEPALA DESA DALAM MEMAJUKAN KESENIAN TRADISIONAL STUDI KASUS DESA BANYUSIDI, PAKIS KABUPATEN MAGELANG Fitriasari, Rr. Paramitha Dyah
Acintya Vol. 2 No. 1 (2010)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3395.55 KB) | DOI: 10.33153/acy.v2i1.111

Abstract

A leader in this regard is the head of the village is very instrumental in developing the potential existed in his village. This research studies about the role of village head in promoting traditional arts, especially in the village of Banyusidi, Pokis, Magelang. Central Java. The research method is qualitative with multidiscipline approach. The result of this study is that the village head has u role in advancing the potency of traditional arts in the village. Thefirst is the role of village head as a motivator, that is by giving his people motivation to be able to develop the arts‘ The second is village head as a facilitator providing the opportunity for people to run the arts. The third is to become a patron and decision maker for his people. With those three things, then, head of the village is believed to promote traditional arts in his village.Key words: role, leader, traditional art.
Calligraffiti on Sarong: The Challenges of Contemporary Batik Creativity in Santri Culture Taufiqur'anam, Ach. Saidika; Fitriasari, Rr. Paramitha Dyah; Tjahyadi, Sindung
Journal of Urban Society's Arts Vol 12, No 1 (2025): April 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v12i1.13284

Abstract

Calligraphy as motifs on sarongs in the santri environment is a challenge because batik motifs with calligraphy are prone to resemble writing that has a sacred meaning and makes the user feel sorry when wearing it. The purpose of this study is to analyze the creative response of contemporary batik artist, Abyan Farazdaq, in creating the motif “calligrafitty”, which is a combination of calligraphy and graffity aesthetics on sarong which is a product of santri culture. The research uses a qualitative approach on Abyan Farazdaq’s batik artwork by collecting data through observation, interviews and visual documentation of artworks. This research show that the artist created a calligraphy pattern, so that the motif cannot be read literally in order to maintain the cultural ethics of sarong users. As a result, the calligraphy motif becomes a form of visual adaptation that maintains the identity of the students and enriches the expression of contemporary batik art. Kaligrafi di Sarung: Tantangan Kreativitas Batik Kontemporer dalam Budaya Santri. Penggunaan motif kaligrafi pada sarung di lingkungan santri menjadi tantangan karena motif batik dengan kaligrafi rentan menyerupai tulisan yang memiliki makna sakral dan membuat penggunanya merasa iba ketika mengenakannya. Tujuan penelitian ini adalah untuk menganalisa respons kreatif seniman batik kontemporer, Abyan Farazdaq, dalam menciptakan motif “kaligrafiti”, yang merupakan kombinasi antara kaligrafi dan estetika graffiti pada sarung yang menjadi produk budaya santri. Penelitian menggunakan pendekatan kualitatif pada karya seni batik Abyan Farazdaq dengan menghimpun data melalui observasi, wawancara, dan dokumentasi visual karya seni. Temuan menunjukkan bahwa seniman menciptakan pola kaligrafiti agar motif tidak terbaca secara literal demi menjaga etika budaya pengguna sarung. Hasilnya, motif Kaligrafiti menjadi bentuk adaptasi visual yang mempertahankan identitas santri serta memperkaya ekspresi seni batik kontemporer.
PERAN KEPALA DESA DALAM MEMAJUKAN KESENIAN TRADISIONAL STUDI KASUS DESA BANYUSIDI, PAKIS KABUPATEN MAGELANG Fitriasari, Rr. Paramitha Dyah
Acintya Vol. 2 No. 1 (2010)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v2i1.111

Abstract

A leader in this regard is the head of the village is very instrumental in developing the potential existed in his village. This research studies about the role of village head in promoting traditional arts, especially in the village of Banyusidi, Pokis, Magelang. Central Java. The research method is qualitative with multidiscipline approach. The result of this study is that the village head has u role in advancing the potency of traditional arts in the village. Thefirst is the role of village head as a motivator, that is by giving his people motivation to be able to develop the arts‘ The second is village head as a facilitator providing the opportunity for people to run the arts. The third is to become a patron and decision maker for his people. With those three things, then, head of the village is believed to promote traditional arts in his village.Key words: role, leader, traditional art.
Exploring the traditional ritual of Jaran Kepang Papat: context, heritage, and significance Fitriasari, Rr. Paramitha Dyah; Hares Kaeksi, Maharani
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

Abstract

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.
Perkembangan Bentuk Penyajian Raminten Cabaret Show di Gedung Hamzah Batik Malioboro Dianto, Elan Fitra; Sushartami, Wiwik; Fitriasari, Paramitha Dyah
Joged Vol 23, No 1 (2024): APRIL 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v23i1.12765

Abstract

RINGKASANRaminten Cabaret Show adalah salah satu hiburan yang berada di Raminten 3 Resto, Gedung Hamzah Batik Malioboro Yogyakarta. Istilah kabaret di Raminten 3 Resto berarti sebuah pertunjukan layaknya konser musik (lipsync), para laki-laki yang berdandan seperti perempuan atau disebut sebagai draq queen, mengenakan busana yang dirancang agar dapat menyerupai artis-artis papan atas Indonesia bahkan diva dunia dan dilengkapi dengan riasan wajah yang menguatkan terbentuknya karakteristik seorang draq queen. Permasalahan dari penelitian ini adalah menganalisis perkembangan bentuk penyajian Raminten Cabaret Show berdasarkan elemen-elemen pendukungnya seperti tema, gerak, musik, tata rias dan busana serta tata rupa pentas. Hal tersebut dikarenakan keinginan dari pemilik Hamzah Batik yakni Hamzah Sulaiman untuk menjadikan pertunjukan Raminten Cabaret Show sebagai tujuan wisata. Penelitian ini menggunakan teori bentuk penyajian dari Soedarsono dengan pendekatan kualitatif etnografi. Pengumpulan data dilakukan dengan menggunakan teknik studi literatur, observasi, wawancara dan dokumentasi.Hasil penelitian menunjukkan bahwa Raminten Cabaret Show telah mengalamati perkembangan bentuk penyajian karena adanya kreativitas dari setiap pemainnya. Selain itu, keinginan dari pemilik untuk menjadikannya sebagai tujuan wisata juga membuat tim manajemen terus melakukan perbaikan dari semua sisi pertunjukan Raminten Cabaret Show.ABSTRACTRaminten Cabaret Show is one of the entertainment venues located at Raminten 3 Resto, Hamzah Batik Malioboro Building Yogyakarta. The term cabaret at Raminten 3 Resto means a show like a music concert (lip sync), men who dress up as women or referred to as draq queens, wearing clothes designed to resemble Indonesia's top artists and even world divas and equipped with facial makeup that strengthens the formation of the characteristics of a draq queen. The problem of this research is that Raminten Cabaret Show has developed in the form of its presentation. This is due to the desire of the owner of Hamzah Batik, Hamzah Sulaiman, to make the Raminten Cabaret Show a tourist destination. This research aims to see the development of the presentation form of Raminten Cabaret Show by using Soedarsono's presentation form theory. This research analyzes the development of the presentation form of Raminten Cabaret Show based on supporting elements such as theme, motion, music, makeup and clothing and stage layout. This research was conducted at Hamzah Batik Building on the third floor using a qualitative ethnographic approach. Data collection was done by using literature study, observation, interview and documentation techniques. The results showed that Raminten Cabaret Show has experienced the development of the form of presentation due to the creativity of each player. In addition, the desire of the owner to make it a tourist destination also makes the management team continue to make improvements from all sides of the Raminten Cabaret Show
Co-Authors Asriningsih, Rani Danugroho, Agus Dianto, Elan Fitra Fery Setyaningrum Fitriana, Rifa Galih Prakasiwi Hamsyah, M. Ismail Hares Kaeksi, Maharani Heni Siswantari Kaeksi, Maharani Hares Lono Lastoro Simatupang Murtinigsih, Siti Rahmatika Luthfiana Sholikhah Rifa Fitriana Sal Murgiyanto Sal Murgiyanto, Sal Sindung Tjahyadi Sumiyana Sumiyana Taufiqur'anam, Ach. Saidika Wening Udasmoro Wiwik Sushartami Wiwik Sushartami