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All Journal E-Journal Of Cultural Studies Panggung International Journal of Visual and Performing Arts Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Panggung Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Nil Ikhwan
Faculty Of Performing Art Indonesia Institute Of Arts Surakarta
Arts Humanities Education

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KARAWITAN TARI BALA: AKULTURASI BUDAYA DI DESA WIRATA AGUNG, KECAMATAN SEPUTIH MATARAM, KABUPATEN LAMPUNG TENGAH, PROVINSI LAMPUNG Gutami Hayu Pangastuti; Nil Ikhwan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 21 No. 2 (2021)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4095

Abstract

Wirata Agung adalah salah satu desa di Provinsi Lampung, terbentuk dari peristiwa transmigrasi pada tahun 1963-1964 pasca letusan Gunung Agung, Bali. Masyarakat Bali dan Lampung hidup berdampingan, saling berinteraksi, dan beradaptasi membentuk akulturasi budaya, demi mempertahankan identitas terlihat pada kebiasaan harian, tak terkecuali seni. Karawitan Tari Bala sebagai sebuah karya, diciptakan oleh I Wayan Kartiana Saputra dengan mengkolaborasikan unsur-unsur Bali dan Lampung, didengar pada akulturasi dan transfer melodi melalui alunan karawitan. Fokus permasalahan fenomena Karawitan Tari Bala di Desa Wirata Agung, Kecamatan Seputih Mataram, Kabupaten Lampung Tengah, Provinsi Lampung dianalisis melalui metode pengumpulan data, analisis data, dan penyajian analisis data, bertujuan untuk mengetahui struktur, bentuk akulturasi, unsur-unsur pembentuk, proses akulturasi budaya, dan faktor-faktor terciptanya karawitan Tari Bala. Secara deduktif, hasil penelitian dijabarkan menjadi teks deskriptif dari umum ke khusus sebagai bentuk penyesuaian diri, adaptasi, dan aplikasi fenomena, berkacamata dari sudut pandang seorang seniman yang tertuang pada sajian Karawitan Tari Bala.
RELASI ANTARA GENDING PONORAGAN DENGAN PROSES PAYAH DALAM PERTUNJUKAN JATHILAN DI KABUPATEN SLEMAN Caecilia Maria Andriana Kristyanti; Muhammad Nur Salim; Nil Ikhwan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 22 No. 2 (2022)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4667

Abstract

The research on the relationship between Gending Ponoragan and the process of payah performance in the Jathilan Krido Budoyo Turonggo Mudo in Sleman Regency reveals the form of Gending Ponoragan's presentation and its relationship with the process of payah formation. The word payah has various equivalent terms such as kerasukan, possession, or trance. This event became the highlight of the performance of Jathilan Krido Budoyo Turonggo Mudo. To reveal the relationship between Gending Ponoragan and the process of payah, Jankowsky's theory of music plays an essential role in stimulating trance experiences. It requires elements to be achieved in melody, rhythm, tempo and volume, and dynamics. In addition, Pilch's theory is also used to dissect issues related to the relationship between trance and music, which states that the best music that leads a person to experience a trance is music that has a regular number of beats and a repeating pattern based on a certain threshold or pitch level. However, the writer does not only look at the textual form of the music but also the context that surrounds it. The results of this study indicate that the activities of the association and the performance property support the process of payah and the conditions that must be met. The conditions for achieving payah include: spirit, offerings, handlers, sound system, dancers' behavior, situation or atmosphere of the performance, and musical presentation. The relationship between Gending Ponoragan and the process of payah does not occur directly but has a role in stimulating dancers to experience payah.
MAKNA SIMBOLIK KETAWANG UNDUR-UNDUR KAJONGAN DALAM UPACARA TINGALAN JUMENENGAN DALEM DI KARATON SURAKARTA Rival Sandhika Hermawan; Nil Ikhwan
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 24 No. 1 (2024): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

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Abstract

Ketawang Undur-Undur Kajongan is a gending pakurmatan relic of Sultan Agung during the Islamic Mataram kingdom for the purpose of the tingalan jumenengan ceremony, and presented at the jengkar dalem procession. The use of Ketawang Undur-Undur Kajongan for the tingalan jumenengan ceremonies was continued by the Surakarta Kasunanan Palace for the jengkar dalem of Susuhunan Pakubuwana. Ketawang Undur-Undur Kajongan specifically to honor the king and only with the king's permission Ketawang Undur-Undur Kajongan can be performed. The use of gambang gangsa instruments in the gamelan ageng instrument makes Ketawang UndurUndur Kajongan has an own unique and also becomes one of the categories of gending pamijen. Ketawang UndurUndur Kajongan has two functions as a symbolic representation of the king's greatness, as well as a marker in the tingalan jumenengan ceremony. To dissect the problems in the material object, researcher uses a qualitative method with observation, interview and data analysis. Using the theory of music function by Alan P. Merriam with using two elements of function, namely the function of music as communication and the function of music as a symbol representation, as well as the semiotic theory of Marcel Danesi to sharpen the argument about symbolism. Chapter two discusses an overview of Surakarta Palace and an overview of the tingalan jumen ceremony. Overview of the tingalan jumenengandalem ceremony, chapter three discusses the the structure of Ketawang Undur-Undur Kajongan from the point of view of musical communication in the ceremony, and chapter three. Musical communication in the ceremony, and chapter four discusses the symbolic meaning of Ketawang Undur-Undur Kajongan.
Co-Authors Caecilia Maria Andriana Kristyanti Gutami Hayu Pangastuti Hermawan, Rival Sandhika Regina Cintya Arumba Rival Sandhika Hermawan Salim, Muhammad Nur Sugiyanto, Danis Yuliarmaheni, Ni Nyoman