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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Multidiciplinary Output Research for Actual and International Issue (Morfai Journal) International Journal of Integrative Sciences
Kusnadi -
FBS Universitas Negeri Yogyakarta
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Energy Engineering Environmental Science Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Social Sciences Other

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SENI SINGIRAN DALAM RITUAL TAHLILAN PADA MASYARAKAT ISLAM TRADISIONAL JAWA Kusnadi -
Imaji Vol 4, No 2 (2006): IMAJI AGUSTUS
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (182.451 KB) | DOI: 10.21831/imaji.v4i2.6714

Abstract

The phenomenon of Singiran in tahlilan is typically Javanese.Singiran is a form of Javanese singing art (tembang) performed in the middle oftahlilan ritual, especially when tahlil words are being recited. The aims of thiswriting are (1) to describe the form of Singiran song found among the society ofNgemplak Nganti, Sendangadi Mlati Sleman, and (2) to describe the function ofSingiran art in the context of Islamic traditional Javanese culture.The form of Singiran song is typically different from other genres ofJavanese songs, such as those in karawitan, pedalangan and santiswara/larasmadya. The laras (pitch) used is both pelog (seven-tone gamelan scale) andslendro five-tone gamelan scale). Laras pelog is played in the opening andclosing songs while laras slendro is for songs in the middle. All the rhythms aremetrical with medium speed and then high speed at the end of the songs. Thisspeed arrangement forms a dramatic pattern of a single cone. The literaryornaments used are purwakanthi guru swara with rhyming scheme of a-a or a-aaThe functions of Singiran in the context of tahlilan ritual are (a) as an Islamicpropagating medium, and (b) as a means of tightening brotherhood among themembers of tahlil groups.Key words: Singiran, tahlilan, Islamic traditional Javanese culture
MELODI DAN LIRIK LAGU CAMPURSARI CIPTAAN MANTHOUS Kusnadi -
Imaji Vol 4, No 1 (2006): IMAJI FEBRUARI
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (127.007 KB) | DOI: 10.21831/imaji.v4i1.6705

Abstract

Campursari songs are specific phenomena in music development andJavanese traditional music. Based on forms, campursari songs composed byManthous still refer to traditional music and songs, especially the conventionalones, lelagon dolanan, or mixture between them. The most dominant literarydecoration applied in his song lyrics are purwakanthi guru swara, parikan,wangsalan, wancahan, the change of vowels at the end of stanzas, traditionalexpressions, senggakan and bebasan paribasan. The most dominant themes arelove, marriage life, beauty of nature and social life. All are in accordance withthe target of audience, namely youths and adults.Keywords: melody, lyrics, campursari songs
Form of Presentation and Character Value on Nayakatama Dance Diah Purwandari; Kusnadi
International Journal of Integrative Sciences Vol. 2 No. 10 (2023): October 2023
Publisher : PT FORMOSA CENDEKIA GLOBAL

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55927/ijis.v2i10.6458

Abstract

This study aims to determine the form of presentation of the Nayakatama dance and its character values originating from the Special Region of Yogyakarta. This study includes the form of presentation and character values in the Nayakatama dance. Nayakatama Dance, one of the Yogyakarta Style dance dramas. This study uses a qualitative approach and ethnographic methods. The data collection techniques are observation, interviews, and documentation studies. The instruments used for data collection were observation sheets, interview guides, and documentation guides. The data is validated using interviews with informants. The resource person in this study is the creator of the Nayakatama dance. The results of the study concluded that the form of presentation of the Nayakatama Dance originates from the Mahabharata story, namely the story of Arjuna Wiwaha. In the performance, it is danced in the form of bedhayan, namely by nine dancers, one person as Raden Arjuna, one person as Prabu Newatakawaca, one person as Dewi Supraba and six people as Rampak Putri. This dance contains character values that exist in humans, that greed, greed, arrogance, and all ambitions that are achieved in a way that is not good can bring disaster. Only humans who have a clean soul, who are not tempted by the splendor of the world, can eradicate bad traits, that is the human being needed to maintain world peace and eternity
CULTURAL HEGEMONY IN THE TRANSFORMATION OF DOLALAK DANCE MUSICAL INSTRUMENTS Peter Petra Pradipta; Kusnadi
Multidiciplinary Output Research For Actual and International Issue (MORFAI) Vol. 6 No. 6 (2026): Multidiciplinary Output Research For Actual and International Issue
Publisher : RADJA PUBLIKA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5281/zenodo.22661400

Abstract

This study examines the transformation of musical accompaniment in Dolalak dance within the Budi Santoso Group in Kaliharjo Village, Purworejo Regency, Central Java, Indonesia, through Antonio Gramsci’s theory of cultural hegemony. Using a qualitative case study design, data were collected through participant observation, in-depth interviews, focus group discussions, and document analysis. The findings show that musical transformation occurs through selective adaptation rather than radical change. Traditional instruments such as jidur, kendang, terbang, and traditional vocals remain the core musical structure, while nontraditional elements such as keyboards, kendang jaipong, multi pads, hand clapping, and nontraditional vocals function as supporting components that enrich performance without replacing traditional identity. Their acceptance depends on cultural legitimacy, performance context, and collective evaluation. From a Gramscian perspective, this process reflects cultural hegemony, where senior custodians, younger generations, audiences, and institutions negotiate acceptable boundaries of change through moral authority, shared consent, and institutional support. This study highlights selective adaptation as a strategy for sustaining Kaligesingan identity and preserving Dolalak as a living performance tradition.
Co-Authors Diah Purwandari Peter Petra Pradipta