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Journal : Jantra

PANJHAK SEBAGAI AGEN PENGEMBANG KARAKTER BUDAYA DALAM MASYARAKAT MADURA DI SITUBONDO Panakajaya Hidayatullah
Jantra. Vol 12 No 2 (2017): Peran Tokoh Masyarakat dalam Pembangunan Karakter
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

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Abstract

Tulisan ini merupakan hasil penelitian etnografi dengan menggunakan perspektif historis antropologis. Secara komprehensif artikel ini menelaah tentang; 1) Makna panjhak bagi masyarakat Madura di Situbondo; 2). Peran panjhak sebagai agen pengembang karakter budaya di Situbondo, serta 3) Relasi antara panjhak dengan masyarakat Madura di Situbondo. Hasil kajian menunjukkan bahwa dalam konteks masyarakat Madura di Situbondo, panjhak dimaknai sebagai figur yang mewakili tokoh 'ghuru'. Ia mampu mengartikulasikan nilai religiusitas dan sosial kepada masyarakat. Panjhak dan masyarakat merupakan suatu jalinan relasi dialektik yang mampu membangun dan mengembangkan karakter budaya di Situbondo. Panjhak menjalankan peran pentingnya sebagai agen pengembang karakter budaya melalui refleksi dan konstruksi identitas kultural dalam karya seni pertunjukan yang bersifat estetik dan simbolik.
Menjadi Tandâ’ Binè’: Perjalanan Trisnawati Sebagai Penari Remo dan Pemain Ludruk Geddongan Panakajaya Hidayatullah
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.v15i2.139

Abstract

This study examines the dynamics of Trisnawati’s life as a female artist in the realm of Madurese culture in Situbondo. The highlight of this research is to describe the dynamics of Trisnawati’s life journey, the problems faced by Madurese female artists, and her contribution as agents of cultural development in the regions.This study uses a qualitative approach, which elaborates the research data through in-depth interviews, literature review, and direct performance observations.The findings of this study are 1). Trisnawati’s life journey as a Madurese artist is motivated by her family, who also works as a traditional artist. Trisnawati’s artistic career began in the geddongan arena, from which she began to learn to understand the dynamics of life, absorb reality, and build her character.2). Trisnawati is known as a multitalented artist, she is a remo dancer, ludruk player, tokang kèjhung, and comedian. Her most recognizable contribution is her creation of the Remo Trisnawati dance which eventually became the attention of many dance academics and critics from various universities.3) In the realm of cultural development, Trisnawati succeeded in breaking through the dominant discourse in Madurese society which in turn opened up opportunities for women to take part in the public sphere. This also opens upnew possibilities and opportunities for the development of performing arts in Situbondo as an artistic aesthetic consequence of the involvement of female artists in the Madurese performing arts scene.