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All Journal Dimensi Interior Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Harmonia: Journal of Research and Education Heritage of Nusantara: International Journal of Religious Literature and Heritage Lekesan: Interdisciplinary Journal of Asia Pacific Arts Panggung Kamaya: Jurnal Ilmu Agama Humaniora Patrawidya: Seri Penerbitan Penelitian Sejarah dan Budaya International Journal of Visual and Performing Arts Jumantara: Jurnal Manuskrip Nusantara Heritage of Nusantara: International Journal of Religious Literature and Heritage Paradigma: Jurnal Kajian Budaya Berkala Arkeologi Dinamika Kerajinan dan Batik: Majalah Ilmiah
Timbul Haryono
Universitas Gajah Mada, Bulaksumur, Yogyakarta 55281
Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Education Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

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Lyrics in The Dolalak Dance Purworejo Central Java as a Form of Islamic Folk Songs Santosa, Djarot Heru; Haryono, Timbul; Soedarsono, RM
Heritage of Nusantara: International Journal of Religious Literature and Heritage Vol. 2 No. 2 (2013): HERITAGE OF NUSANTARA
Publisher : Center for Research and Development of Religious Literature and Heritage

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31291/hn.v2i2.109

Abstract

Dolalak dance is highly dependent on the power of the song lyrics, so it can be called a lyrical dance. The dancers will not be able to do perfect dance moventents only by musical accompaniment; the displacement and combination of dance movements are characterized by lyrics that accompany the songs. Thus, song lyrics have a very dominant role in the arrangement of the dance movements. Dolalak dance has approximately 64 types of movements. A one-night staging, as an illustration, usually begins with 13 types of movements, followed by a trance dance, and ends with 7 types of movements as the closing. Song lyrics in the Dolalak dance are mostly influenced by the nuances of Islamic teachings. This is proven by the presence of a lot of words and/ or terms in the song lyrics which are very close to the. Arabic words in Islamic teachings. More interestingly, as a form of folk songs used in the performance of traditional Javanese arts, the Arabic words are widely adapted to the speech or pronunciation of the local language, especially the Javanese one. As a result, the origin and meaning of certain words or terms in the lyrics are difficult to trace. However, it is understandable since sometimes words in the song lyrics are preferred to adjust particular sounds.
TIGA PELUKIS POTRET WAJAH KEPALA NEGARA PASCA PRESIDEN SUKARNO DI ISTANA KEPRESIDENAN REPUBLIK INDONESIA Susanto, Mikke; Simatupang, Lono Lastoro; Haryono, Timbul
Patra Widya: Seri Penerbitan Penelitian Sejarah dan Budaya. Vol. 19 No. 1 (2018)
Publisher : Balai Pelestarian Kebudayaan Wilayah X

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1499.815 KB) | DOI: 10.52829/pw.13

Abstract

Kepala negara adalah representasi bangsa. Wajah presiden adalah wajah yang dianggap mewakili segenap masyarakatnya. Oleh karena itulah, setiap presiden memiliki keistimewaan untuk diabadikan, baik pada sebidang kanvas maupun selembar foto secara resmi. Lukisan potret akhirnya menjadi pilihan yang menarik. Lukisan potret tidak hanya berfungsi sebagai penghias dinding istana, tetapi juga memiliki fungsi lainnya, baik yang bersifat sosial maupun personal. Setelah era Presiden Sukarno, terdapat tiga pelukis potret yang sering diminta untuk melukis kepala negara: yakni IB Said, Soetarjo dan Warso Susilo. Ketiganya mengalami masa kerja dari dekade 1960-an hingga dekade pertama 2000. Selama masa tersebut ketiganya telah membuat puluhan lukisan kepala negara. Mereka tidak saja melukis wajah presiden RI, namun juga kepala negara lain. Artikel ini ingin mengupas mereka melalui pendekatan sejarah. Di samping itu tulisan ini juga ingin mengetahui sejauh mana nilai-nilai karya yang dihasilkannya. Kesimpulannya cukup mengejutkan, mereka melukis dan mendudukan lukisan potret bukan sebagai karya pribadi. Inilah potret presiden pesanan, dimana pelukis hanya menjalani tugas sebagai instrumen mimetik atas realitas, bukan interpretator.____________________________________________________________Head of state is a nation’s representation. Therefore, every president has the privilege of being immortalized, both on a canvas and photography. Portrait painting becomes an interesting option, not only serves as a decoration, but also have social and personal functions. President Sukarno had three court painters. After that era, this tradition no longer exists. The Palace ordered portraits on three portrait painters: IB Said, Soetarjo, and Warso Susilo. Research about the history of the court painters have been written in a number of books and articles, but not with these three painters, though they painted from the 1960s to the first decade of 2000. This article wants to discuss their existence and creative process through historical approach. In addition, this paper also wants to know the extent to which the value of the work it produces. The conclusion, they paint and portrait paintings portraiture not as a personal work. The painter only serves as a mimetic instrument of reality, not an interpreter. His artwork, although a formal or state portrait, also has significance for discourse of political and power.
Iconography: Sundanese Calligraphy as Artistic Expressions of Identity Raden, Agung Zainal Muttakin; Rustopo, Rustopo; Haryono, Timbul; Pratama, Dendi
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.v23i1.37716

Abstract

The Sundanese script is one of Indonesia’s traditional scripts. The existence of Sundanese script is still being preserved by cultural activists and the Sundanese script literacy community, one of which is through calligraphy in Sundanese script. This article will analyze the calligraphy of Sundanese script by Edi Dolan posted on his social media. The Sundanese calligraphy that will be discussed is in the form of puppets, animals, and humans. The Sundanese calligraphy will be reviewed through an iconographic approach. Iconography has three levels in analyzing objects, namely (1) Pre-iconography, which is to describe the formal aspects of the object; (2) Iconography, which is to interpret images, stories, and metaphors; (3) Content analysis through revealing the intricacies of the object. The results of the research elaborate on the formal aspects found in Sundanese calligraphy objects, resulting in multidimensional interpretations built on images, stories, and other multidimensional object meanings, thus showing a complete correlation of all these aspects in expressing Sundanese identity.
Kanca Indihiang sebagai Embrio Kreativitas Mang Koko Satriana, Rasita; Haryono, Timbul; Hastanto, Sri
Resital: Jurnal Seni Pertunjukan Vol 15, No 1 (2014): Juni 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v15i1.798

Abstract

Kanca Indihiang adalah sebuah grup yang dibentuk oleh Mang Koko tahun 1946, yang termasukpada genre seni Jenaka Sunda, yakni seni pertunjukan dengan format seni humor. Kreativitas MangKoko dalam melakukan berbagai inovasi garap, membuat grup Kanca Indihiang sangat berbeda denganseni Jenaka Sunda pada umumnya. Nama Mang Koko terkenal sebagai pencipta genre seni baruatau dikenal dengan sebutan karawitan wanda anyar. Untuk mengungkap perkembangan kreativitasMang Koko, digunakan metode kualitatif dengan pendekatan etnomusikologi. Berdasarkan hasilpenelitian dapat disimpulkan bahwa dalam wadah grup Kanca Indihiang, Mang Koko bereksplorasimemodernisasi kekakuan pakem seni kawih Sunda tradisi. Karawitan wanda anyar diyakini sebagaigenre karawitan Sunda yang terbentuk dari akumulasi kreativitas berkesenian dari Mang Koko.Kanca Indihiang: As a Creativity Embryo of Mang Koko. Kanca Indihiang is a group which wasfirst created by Mang Koko in 1946 and is one of the Sundanese art genres that is a performing art withsuch a humorous art format. Mang Koko’s creativity in doing works on a variety of innovations makes KancaIndihiang group may differ a lot from Sundanese humorous art in general. Mang Koko’s name then becomesfamous as a creator of a new art genre called ‘karawitan wanda anyar’. Thus, a qualitative research applyingethno-musicological approach is done to uncover the development of Mang Koko’s creativity. According to thisresearch, it can be concluded that within this Kanca Indihiang group, Mang Koko did some explorationsto modernize rigidity in the rules of traditional Sundanese kawih. Karawitan wanda anyar is believed as aSundanese karawitan genre shaped from the accumulation of Mang Koko’s artistic creativities.
Pengaruh Sri Sultan Hamengku Buwono I pada Seni Karawitan Kraton Yogyakarta -, Raharja; Haryono, Timbul; Soedarsono, R.M.; Susanto, Adhi
Resital: Jurnal Seni Pertunjukan Vol 15, No 1 (2014): Juni 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v15i1.799

Abstract

Gamelan sebagai alat musik atau karawitan sebagai produk musikal dari Kraton Yogyakartamempunyai beberapa karakter yang sangat khas. Karawitan masih dipergunakan sebagai suatu identitasdan diakui oleh masyarakat hingga saat ini. Pengembangan musikal ini bermula dari Sri SultanHamengku Buwono I. Ada dua alasan penting yang mendorong gagasan penciptaan karaktergamelan. Pertama, konsepsi kedudukan raja telah mendudukkan gamelan sebagai salah satu pusakapenting. Kedua, kepribadian Sultan yang maskulin, heroik, dan patriotik menjadi model pengembangan,memberi ciri khas pada masing-masing ricikan gamelan dan musikalitasnya. Gamelan KratonYogyakarta mempunyai kesan rasa musikal: agung, gagah, tegas, mantap, berwibawa, mrabu (sepertiraja), dan ngratoni (seperti suasana di kraton). The Effect of Sri Sultan Hamengku Buwono I on Kraton Yogyakarta Karawitan. Gamelan asmusical instrument or karawitan as a musical product of Kraton Yogyakarta has some specific characters. Itis still used as an identity and is recognized by karawitan society until now. This musical development wasfirstly introduced by Sri Sultan Hamengku Buwono I. There are two important reasons which stimulatethe ideas of creating gamelan characters. First, the king’s authority conception puts the gamelan as one ofthe important heirloom. Second, Sultan’s personalities which are masculine, heroic, and patriotic becomethe influencing model of its development, and give some specific characters on each gamelan instrument andits musicality as well. Kraton Yogyakarta gamelan has many musical rasa(s)/feelings: glorious, strong, clear,steady, prestigious, ‘mrabu’ (like a king), and ‘ngratoni’ (such an atmosphere of Kraton).
Struktur, Fungsi, dan Makna Talempong Bundo dalam Upacara Maanta Padi Saratuih Sriwulan, Wilma; Haryono, Timbul; Ganap, Victor; L. Simatupang, G.R. Lono
Resital: Jurnal Seni Pertunjukan Vol 15, No 1 (2014): Juni 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v15i1.800

Abstract

Talempong bundo adalah istilah untuk permainan musik talempong oleh sekelompok musisiperempuan di Nagari Singkarak Minangkabau. Permainan musik ini hanya dipertunjukkan dalamupacara maanta padi saratuih, yaitu upacara persembahan hasil panen yang dilakukan oleh perempuanperempuandari pihak induak bako dalam rangkaian tradisi perkawinan anak pisangnya. Dalam upacaraini induak bako menjemput anak pisang, membawanya ke rumah bako, kemudian mengantarkankembali dengan arak-arakan maanta padi saratuih. Talempong bundo merupakan satu-satunya musikprosesi yang dihadirkan dalam upacara itu, dan hingga saat ini kehadirannya masih dijunjung tinggioleh masyarakat setempat. Fokus dari tulisan ini menjelaskan latar belakang kehadiran talempong bundodi dalam upacara maanta padi saratuih, melacak dan menjelaskan struktur talempong bundo dan relasiantar struktur secara fungsional, dan kemudian menjelaskan makna talempong bundo dalam upacaratersebut. Melalui teori fungsionalisme struktural A.R. Radcliffe-Brown dibantu dengan teori simbolVictor Turner diperoleh pemahaman bahwa prosesi arak-arakan maanta padi saratuih yang didukungoleh bunyi-bunyian talempong bundo mengumandangkan kepada masyarakat bahwa eksistensi pihakinduak bako masih fenomenal di daerah tersebut. Talempong bundo merupakan simbol eksistensipihak induak bako dalam konteks legitimasi terhadap anak pisangnya. Keberadaan talempong bundodalam upacara maanta padi saratuih merupakan representasi sistem matrilineal dalam masyarakatMinangkabau di Nagari SingkarakThe Structure, Function, and Meaning of Talempong Bundo in the Ceremony of MaantaPadi Saratuih. Talempong bundo is a term that is used for music performace of talempong by some femalemusicians in Nagari Singkarak, Minangkabau. The music is typically performed only in the ceremony ofmaanta padi saratuih, namely an offering ceremony for a rice harvest that is made by some women of induakbako in a context of their anak pisang, a tradition of its marriage ceremony. In this induak bako ceremony,anak pisang is picked up, taken to rumah bako, and then returned back with maanta padi saratuih procession.It is interesting that talempong bundo is the only ritual music that is played in the ceremony, and until nowits existence is respected so much by the local community. The focus of this research is to explain a backgroundof talempong bundo in the ceremony of maanta padi saratuih, to search and explore a structure of talempongbundo and inter-structure functionally, and then to describe the meaning of talempong bundo in the ceremonyof maanta padi saratuih. With A.R. Radcliffe Brown’s structural functionalism theory, supported by VictorTurner’s symbol theory, it can be accepted that maanta padi saratuih procession enlivened by talempongbundo music performance announces to people of Nagari Singkarak specifically and Minangkabau peoplegenerally that induak bako’s existence is still phenomenon in this area. Talempong bundo is a symbol ofexistence of induak bako’s side for her legitimacy toward her anak pisang. Finally, an abstract reads that talempong bundo’s existence in the ceremony of maanta padi saratuih is a proof of matrilineal kinship systemamong Minangkabau community in Nagari Singkarak.
Pola Kellèghãn dan Teknik Vokal Kèjhungan Representasi Ekspresi Budaya Madura dan Pengalaman Estetiknya Mistortoify, Zulkarnain; Haryono, Timbul; Ganap, Victor; L. Simatupang, G.R. Lono
Resital: Jurnal Seni Pertunjukan Vol 15, No 1 (2014): Juni 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v15i1.796

Abstract

Kèjhungan adalah gaya nyanyian Madura yang memiliki ciri-ciri kontur melodi dengandidominasi nada-nada tinggi, penuh dengan ketegangan suara (nyaring), ekspresif, dan terpola.Kèjhungan seringkali dianalogikan sebagai sebuah bentuk ekspresi “keluh-kesah” semata. Kelantangansuara, ketinggian nada, dan pengolahan melodi yang penuh melismatis mengesankan nyanyian iniseperti orang yang sedang berteriak, membentak, dan merintih-rintih. Penelitian ini dilakukan untukmengungkap hubungan antara karakteristik kèjhungan dengan dunia pengalaman manusia pemiliknya.Oleh karenanya, aspek yang dikaji tidak hanya melihat aspek materi nyanyian itu sendiri, melainkanmelihat pula perilaku menyanyikannya. Melalui analisis struktural-hermeneutik dan pendekatanetnoestetik, ditemukan bahwa kellèghãn (pola-pola kalimat lagu) menjadi karakteristik pokok daribentuk kèjhungan dan teknik vokalnya yang bertumpu pada capaian ekspresi yang “menggebu-gebu”.Ide dan konsep yang tergali dibalik itu menunjukkan adanya relasi antara kebiasaan menyanyi orangMadura dengan pengalaman sejarah sosial-budayanya. Hasil penelitian ini menunjukkan bahwanyanyian Madura secara fenomenologis memberikan petunjuk yang sangat jelas sebagai representasidari ekspresi budaya dan pengalaman estetik, khususnya pada sub kultur barat Madura. Kellèghãn Pattern and Kèjhungan Vocal Technique, the Representation of Madurese CulturalExpression and Aesthetic Experience. Kèjhungan is a singing style specific to Madurese. It features thepatterned melodic contour dominated by high pitch vocal, expressiveness, and full of vocal intensity. Maduresekèjhungan is often misperceived only as a form of “moaning” due to its piercing sound, high pitch note, andmelismatic melody. Kèjhungan gives an impression of a person shrieking and moaning at the same time. Thestudy of kèjhungan was conducted to reveal the relationship between the singing characteristic and humanexperiences. Therefore, kèjhungan aspects should not only focus on the singing material itself, but it shouldalso include a study on how people sing it. Using the structural-hermeneutic analysis and ethno aestheticapproach, the kellèghãn (patterns of musical phrase) and vocal techniques that rest upon volatile expressionare the basic characteristics of kèjhungan. The idea and concept behind those techniques show a connectionbetween Madurese singing practice and the chronicle of their socio-cultural experience. Finally, this researchshows that in phenomenological aspect it gives a very clear clue on the representation of the Madurese cultureexpression and aesthetic experience, especially the sub-culture of West Madura.
Angklung Dogdog Lojor pada Upacara Seren Taun Upaja Budi, Dinda Satya; Soedarsono, R. M.; Haryono, Timbul; Narawati, Tati
Resital: Jurnal Seni Pertunjukan Vol 15, No 2 (2014): Desember 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v15i2.848

Abstract

Tujuan penelitian ini menjelaskan pertunjukan Angklung Dogdog Lojor dalam siklus upacara Seren Taun pada masyarakat Kasepuhan Ciptagelar, Kasatuan Adat Banten Kidul. Penelitian ini menggunakan metode kualitatif. Data diperoleh melalui pengamatan di lapangan dan wawancara mendalam. Berdasarkan penelitian disimpulkan bahwa pertunjukan Angklung Dogdog Lojor dalam upacara Seren Taun bukan semata-mata hanya sebagai seni pertunjukan dalam paradigma Barat atau kelengkapan ritual, akan tetapi merupakan salah satu media do’a dalam upacara ritual ngadiukeun pare sebagai upacara pokok dalam rangkaian upacara Seren Taun. Pertunjukan Angklung Dogdog Lojor merupakan ekspresi budaya masyarakat Kasepuhan Ciptagelar. Bagi para pemainnya, Ngangklung merupakan tugas pokok atau kewajiban sebagai anggota masyarakat adat. Angklung Dogdog Lojor Performance in Seren Taun Ritual Ceremony. This paper describes Angklung Dogdog Lojor performance in Seren Taun ritual ceremony on Kasepuhan Ciptagelar community. The method used in this paper is a qualitative method that is based on the data in the form of text, the analysis in the form of interpretation, and the prototype in the form of in-depth interviews. The conclusion is that Angklung Dogdog Lojor in Seren Taun ritual ceremony is not solely as an art performance in the Western paradigm or completeness of any rituals. Angklung Dogdog Lojor is one of the ‘prayer’ media of various ‘prayer’ media in Seren Taun rituals, especially in ritual of ‘ngadiukeun pare’ as the main ritual in a series of Seren Taun ceremonies. Angklung Dogdog Lojor performance is an expression of culture Kasepuhan Ciptagelar Communities. Ngangklung, for the players, is a kind of the main duty or obligation to their community as indigenous people.
Lessons from comedy group management in Yogyakarta: a case study of organizational management practices of “Double S” group as a microenterprise Putra, Trisna Pradita; Irawanto, Budi; Haryono, Timbul
International Journal of Visual and Performing Arts Vol 6, No 2 (2024)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v6i2.1645

Abstract

Performing arts organizations at the micro level often face challenges threatening their sustainability. The big challenge is how good organizational management practices can be done with limited resources, local competition, and changing market dynamics. This research aims to examine and improve the effectiveness of micro-organizational management in the context of performing arts, focusing on a case study of the comedy group “Double S” in Yogyakarta. This research is exploratory, using a qualitative approach and case studies as an analytical framework. Data were collected through in-depth interviews with group members, direct observation of performances, and document analysis related to organizational management. Organizational management concepts, such as strategic planning, organizing, and leadership, were applied in the context of micro-performing arts. The results showed that comedy groups as micro organizations have unique characteristics of organizational management practices, namely, organizational management in the context of a very flexible comedy group and the emergence of the central role of the artist who doubles as the group manager. Although it is done with complete improvisation and tends to be unstructured, the flexibility of organizational management has become a strength for the comedy group. The flexibility of management allows the comedy group to adapt to various uncertainties. Microorganizations need managers who have improvisational skills in organizational management. This research contributes to understanding organizational management at the micro level in the performing arts industry. The practical implication is to guide similar performing arts groups to improve competitiveness and sustainability. This study can also serve as a reference for further research on micro-level performing arts organization management and its influence on the development of local performing arts.
Makna Hadrah dalam Prosesi Baharak pada Masyarakat Negeri Olok Gading Lampung Hidayatulloh, Nofriyan; Arsana, I Nyoman Cau; Haryono, Timbul
Resital: Jurnal Seni Pertunjukan Vol 25, No 2 (2024): Agustus 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i2.11904

Abstract

 Hadrah adalah musik yang mengiringi prosesi baharak (prosesi arak-arakan pengantin pada upacara pernikahan). Hadrah sebagai tanda yang berisi pengetahuan dan nilai, terus melahirkan interpretasi dalam mengonstruksi makna. Dengan kata lain, hadrah (sebagai material) bisa dibaca sebagai sebuah peristiwa bahasa atau gejala kebahasaan. Penelitian ini menggunakan metode penelitian kualitatif dengan etnografi sebagai metode pengumpulan data. Analisis tanda menggunakan teori semiotika dari Charles S. Peirce. Hasil penelitian menunjukkan bahwa hadrah bagi masyarakat adat Lampung adalah sesuatu yang tidak dapat dipisahkan dari pandangan masyarakat terhadap dunia natural (aspek sosial) dan supernatural (aspek religius). Hadrah dalam aspek sosial yakni mengatur bagaimana berperilaku berdasarkan norma adat dan norma dalam Islam, sedangkan dalam aspek religius, hadrah adalah upaya manusia dalam mendekatkan diri kepada Allah melalui dzikir. Dengan kata lain, hadrah berisi pandangan hidup masyarakat dalam membentuk perilaku. Hadrah sebagai musik yang mengiringi prosesi baharak dalam gawi adat, memiliki makna bagi masyarakat Negeri Olok Gading sebagai sebuah simbolisasi dari perjalanan hidup manusia. Bahwa perjalanan hidup seorang Lampung harus diikuti oleh perubahan kualitas hidup (terkait pemenuhan kebutuhan lahir dan batin manusia). Hal ini menunjukkan bahwa hadrah sebagai kebudayaan masyarakat Negeri Olok Gading adalah materialisasi dari nilai dan pengetahuan yang mengandung dimensi religius sekaligus dimensi sosial.Kata kunci: Hadrah, religius, sosial, dan maknaHadrah is the music that accompanies the baharak procession (bridal procession at a wedding ceremony). Hadrah as a sign that contains knowledge and values, continues to give birth to interpretations in constructing meaning. In other words, hadrah (as material) can be read as a language event or linguistic symptom. This research uses a qualitative research method with ethnography as the data collection method. Sign analysis uses Charles S. Peirce's pragmatic semiotics theory. The results showed that hadrah for Lampung indigenous people is something that cannot be separated from the community's view of the natural world (social aspect) and supernatural (religious aspect). Hadrah in the social aspect is regulating how to behave based on customary norms and norms in Islam, while in the religious aspect, hadrah is a human effort to get closer to Allah through dhikr. In other words, hadrah contains the community's worldview in shaping behaviour. Hadrah, as the music that accompanies the baharak procession in the traditional gawi, has a meaning for the people of Negeri Olok Gading as a symbolisation of the journey of human life. The life journey of a Lampungese must be followed by changes in the quality of life (related to the fulfilment of human physical and spiritual needs). This shows that hadrah as a culture of the people of Negeri Olok Gading is a materialisation of values and knowledge that contains both religious and social dimensions.Keywords: Hadrah, religious, social, and meaning.Hadrahadalah musik yang mengiringi prosesibaharak(prosesi arak-arakanpengantinpadaupacarapernikahan).Hadrahsebagaitandayangberisipengetahuandannilai,terusmelahirkaninterpretasidalammengonstruksimakna.Dengankatalain,hadrah(sebagaimaterial)bisadibacasebagaisebuahperistiwabahasaataugejala kebahasaan. Penelitian ini menggunakan metode penelitian kualitatif denganetnografisebagaimetodepengumpulandata.AnalisistandamenggunakanteorisemiotikadariCharlesS.Peirce.HasilpenelitianmenunjukkanbahwahadrahbagimasyarakatadatLampungadalahsesuatuyangtidakdapatdipisahkandaripandanganmasyarakatterhadapdunianatural(aspeksosial)dansupernatural(aspekreligius).HadrahdalamaspeksosialyaknimengaturbagaimanaberperilakuberdasarkannormaadatdannormadalamIslam,sedangkandalamaspekreligius,hadrahadalahupayamanusiadalammendekatkandirikepadaAllahmelaluidzikir.Dengankatalain,hadrahberisipandangan
Co-Authors A.M. Hermien Kusmayati, A.M. Hermien Adhi Susanto Agung Zainal Muttakin Raden Aton Rustandi Mulyana Budi Irawanto Cahya Cahya Christianto R, Wismanugraha Dendi Pratama DENI SETIAWAN Dinda Satya Upaja Budi Djarot Heru Santosa Djoko Suryo Eko Supriyanto G.R. Lono L. Simatupang G.R. Lono Lastoro Simatupang Hariana, Hariana Hidayatulloh, Nofriyan I Nyoman Cau Arsana Ismet Ruchimat, Ismet Kosasih, Rosa Ivana Kuncoro, Sri Kuncup Putih Kusumadhata, Kuncup Putih L. Simatupang, Lono L. Laksmi Kusuma Wardani Lono Lastoro Simatupang M Agus Burhan Mikke Susanto Nugraha, Wisma R. M. Soedarsono R.M. Soedarsono R.M. Soedarsono -, R.M. Soedarsono R.M. Soedarsono, R.M. Soedarsono R.M. Soedarsono, R.M. Soedarsono R.M. Soedarsono R.M. Sudarsono -, R.M. Sudarsono Raharja Raharja Raharja, R Bima Slamet Raharja, R. Bima Slamet Rasita Satriana Richardus, Wisma Nugraha Christianto RM Soedarsono, RM Rustopo Rustopo Sal Murgiyanto, Sal Silvester Pamardi, Silvester Simatupang, GR. Lono L. Soetarno Soetarno SP. Gustami SP. Gustami, SP. Gustami SP. Gustami Sri Hastanto St. Hanggar Budi Prasetya Supriaswoto, Supriaswoto Supriaswoto Suwarno Wisetrotomo Tati Narawati Trisna Pradita Putra Victor Ganap W a d i y o - Wadiyo Wadiyo Wilma Sriwulan Zulkarnain Mistortoify