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All Journal Grenek: Jurnal Seni Musik Rekam : Jurnal, Fotografi, Televisi Animasi Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Journal of Urban Society´s Arts Mozaik Humaniora KARSA: Jurnal Sosial dan Budaya Keislaman (Journal of Social and Islamic Culture) UNEJ e-Proceeding Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Warta Pengabdian Patrawidya: Seri Penerbitan Penelitian Sejarah dan Budaya Jurnal Pakarena Jantra Jurnal Pengabdian Masyarakat Khatulistiwa JURMA : Jurnal Program Mahasiswa Kreatif Arif: Jurnal Sastra dan Kearifan Lokal Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik
Panakajaya Hidayatullah
Fakultas Ilmu Budaya, Universitas Jember
Religion Arts Humanities Computer Science & IT Earth & Planetary Sciences Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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Post – Harmony Sangposangan As Dynamic Existence of Madurese People In Digital era Hidayatullah, Panakajaya
Resital: Jurnal Seni Pertunjukan Vol 21, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v21i1.3995

Abstract

Post – Harmony Sangposangan As Dynamic Existence of Madurese People. In Digital era This paper is a result of anthropology research by using cultural studies perspectives. This article, comprehensively, discuss; 1) musical relation between Western and traditional music in sangposangan; 2) a kind of ‘post-harmony’ sangposangan by using musicology analysis through musical text of Angling Madura song. The result of study shows an encounter between western and Madurese traditional music in sangposangan music which can produce a new musical entity (harmony of other).  Post-harmony sangposangan is manifested in dynamic composition which are; 1) dangdut composition in EDM syle, and 2) contrast change from dangdut koplo to pure dangdut. Post-harmony can be read as intuition, emotion, sense and instinct which can drive creative process of sangposangan music. It does not come from rigid notation system but it is constructed from rhythm of Madurese people’s life.ABSTRAKTulisan ini merupakan hasil penelitian antropologi musik dengan menggunakan perspektif kajian budaya. Secara komprehensif artikel ini menelaah tentang 1) relasi musikal antara musik Barat dan tradisional dalam musik sangposangan; 2) menelaah tentang bentuk ‘post-harmoni’ sangposangan melalui analisis musikologis dari teks musikal gending Angling Madura. Hasil kajian menunjukkan bahwa pertemuan musikal antara musik Barat dan tradisional Madura dalam musik sangposangan mampu menghasilkan sebuah entitas musikal yang baru (‘harmoni yang lain’). Post-harmoni sangposangan diwujudkan dalam dinamika garap yang dinamis yaitu 1) garap dangdut ala EDM, dan 2) perubahan kontras dari dangdut koplo ke dangdut piur. Post-harmoni dapat dibaca sebagai sebuah naluri, emosi, sense dan insting yang menjadi penggerak dari proses kreatif musik sangposangan. Ia tidak berangkat dari sistem notasi yang kaku, tetapi dibangun dari ritme kehidupan masyarakat Madura.Kata kunci: Sangposangan; Post – Harmony; Madura, Musik
Gamelan Reinvented: Cultural Sound Transformation in Membranophone Ensembles of East Java Hidayatullah, Panakajaya; Simatupang, Gabriel Roosmargo Lono Lastoro; Setiawan, Aris; Livera, Kristen Angela
Resital: Jurnal Seni Pertunjukan Vol 25, No 3 (2024): Desember 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i3.14537

Abstract

This study explores the phenomenon of pèghâ' in the musical traditions of terbhâng ghendhing and kemplang in Probolinggo and Bondowoso, which emerged as a response to past religious prohibitions on the use of metal gamelan instruments. The research focuses on uncovering the adaptation of metal gamelan music into the membranophone ensembles of terbhâng ghendhing and kemplang from a musicological perspective. Using qualitative approaches and ethnographic methods, data were collected through participant observation, in-depth interviews, and literature review. The findings reveal that elements such as kejhungan, drumming patterns, bonang patterns, and gending structures were preserved, although the shift from metal to membrane caused significant changes. These changes resulted in a playing style that is more repetitive, dynamic, and aligned with the membranophone's characteristics. This study also challenges the conventional view of membranophones as purely rhythmic instruments, demonstrating their capability to perform complex melodic roles in terbhâng ghendhing and kemplang. The process of pèghâ' underscores traditional music as a dynamic entity that continues to evolve through local creativity, creating new musical identities while maintaining its cultural roots.
TABBHUWÂN: STUDI TENTANG SENI PERTUNJUKAN KETOPRAK MADURA DI SITUBONDO Hidayatullah, Panakajaya
JURNAL PAKARENA Vol 10, No 1 (2025): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v10i1.72112

Abstract

Artikel ini mengkaji dinamika tabbhuwân—seni pertunjukan ketoprak Madura di Situbondo—sebagai seni tradisi yang hidup dan terus bertransformasi. Melalui pendekatan etnografi, penelitian ini menguraikan asal-usul, bentuk pertunjukan, fungsi sosial, serta inovasi kreatif tabbhuwân dalam menghadapi perubahan zaman. Temuan menunjukkan bahwa tabbhuwân bukan sekadar warisan budaya, melainkan ruang vital negosiasi nilai, ekspresi identitas, dan adaptasi teknologi, termasuk alih wahana ke film komedi digital saat pandemi. Studi ini menegaskan bahwa tabbhuwânmemperlihatkan vitalitas tradisi rakyat yang kreatif, fleksibel, dan berdaya hidup di tengah tekanan modernitas.
Tabbhuwân Colo’: Tradisi Gamelan Mulut Masyarakat Nelayan Panarukan, Kabupaten Situbondo Hidayatullah, Panakajaya
Grenek: Jurnal Seni Musik Vol. 14 No. 2 (2025): Grenek: Jurnal Seni Musik (December)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v14i2.71324

Abstract

This article examines tabbhuwân colo’, an oral gamelan tradition practiced within the fishing community of Panarukan, Situbondo. This tradition realizes the structural principles and repertoire of Madurese gending through vocal sound and the human body, without the use of metal musical instruments. Drawing on ethnographic experience gained from sitting in a circle with senior practitioners, the article approaches tabbhuwân colo’ not merely as a form of vocal art, but as a collective musical practice rooted in fishing labor, embodied memory, and the history of Madurese migration from Sumenep to the northern coast of East Java.The study employs an ethnographic approach through participant observation, in-depth interviews, and audio-visual documentation, analyzed within the theoretical frameworks of oral tradition, sound ecology, and embodiment. The findings demonstrate that tabbhuwân colo’ functions as a structured musical system, with a division of sonic roles that imitate the functions of Madurese gamelan instruments, sustained through egalitarian social coordination and collectively distributed musical knowledge. Its musical complexity does not rely on individual virtuosity, but on shared capacities for listening, mutual adjustment, and the maintenance of sonic balance. Historically, tabbhuwân colo’ developed within the context of fishing labor—particularly during the tèra’an period—and functioned as work music, a medium of social cohesion, and an archive of collective memory. However, changes in fishing technologies, the contraction of collective work spaces, and shifts in the coastal soundscape have placed this tradition in a condition of serious endangerment.
BÂJÂNG KERTÈ: SENI PERTUNJUKAN WAYANG TOPENG MASYARAKAT SITUBONDO Hidayatullah, Panakajaya
Dance and Theatre Review Vol 8, No 1: May 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v8i1.14465

Abstract

This research seeks to examine the bâjâng kertè art form from various aspects, including its history and developmental dynamics, form and function, transmission and regeneration, as well as performance modes and survival strategies. The study employs a qualitative research approach, utilizing ethnographic methods. Data were collected through participatory observation, interviews, and literature review. The data were then interpreted by employing a multidisciplinary perspective, including history and performing arts. The findings reveal that bâjâng kertè is an intangible cultural heritage of significant value to the community of Situbondo. It was created by a skilled Madurese puppeteer named Kertisuwignyo, who later migrated and settled in Situbondo. Bâjâng kertè flourished in Situbondo during the 1970s to the 1990s. It was performed in various contexts such as parlo, rokat panhâbâ, rokat tasè’, rokat bhumi, salamettan, and other events. Its performance structure consists of several parts, including dhing-ghendhingan, tèmangan, tari srimpi, and maen carèta. This art form serves multiple functions within the community, including educational, entertainment, spiritual, and economic purposes. The knowledge and skills related to bâjâng kertè are culturally transmitted by its artists through two pathways: informal learning (cantrik) and group training. Various challenges and problems faced by bâjâng kertè artists have ultimately sparked new innovations. These include the emergence of new performance modes such as topeng rokatan, topeng can-macanan, topeng lawak, and the incorporation of bâjâng kertè content in audiovisual recordings.
Pagelaran Mamaca dan Proses Menjadi Manusia Madura Panakajaya Hidayatullah
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 2 No. 2 (2020)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v2i2.44

Abstract

Masyarakat Madura mewarisi tradisi sastra lisan yang sampai saat ini masih dipertahankan, yakni tradisi mamaca. Mamaca adalah salah satu seni tradisi yang hidup dalam masyarakat Madura sejak masuknya Islam ke Jawa dan Madura. Teks mamaca ada beragam jenisnya di antaranya yaitu Nor Bhuwwât (Kisah kanjeng Nabi Muhammad), Pandhâbâ (kumpulan cerita Pandawa), dan Juwâr Manik. Teks tersebut memiliki fungsi dan pemaknaannya sendiri. Biasanya pemilihan teks yang dibacakan menyesuaikan dengan konteks acaranya. mamaca biasa digunakan dalam dua jenis acara yakni acara yang bersifat sakral seperti Rokat Pandhâbâ (ruwat anak pandawa), Mèrèt Kandung (selamatan kehamilan), Molotan (peringatan maulud Nabi) dan Isra' Mi'raj (peringatan Isra' Mi'raj); serta acara yang bersifat profan yaitu kompolan mamaca (perkumpulan mamaca), arisan mamaca (arisan mamaca), dan hiburan. Bagi masyarakat Madura khususnya di Sumenep Madura, mamaca tidak hanya sekedar pagelaran seni semata namun sebuah proses untuk mengenali diri (Ngajhi Abâ’), mempelajari tatakrama (adhâb), internalisasi nilai-nilai Islam dan menjadi manusia Madura seutuhnya. Manusia Madura yang sopan, rendah hati, berbahasa halus, dan berserah diri. Perihal ini menarik untuk ditelaah, karena bertolak belakang dengan stereotype yang cenderung melekat pada masyarakat Madura sebagai masyarakat yang kasar, udik, suka berkelahi, dan keras kepala. Melalui pendekatan performance studies, pagelaran mamaca dapat ditafsir beberapa moda pertunjukannya (mode of performance) antara lain cara berpakaian yang menunjukkan simbol kehormatan dan relasi kuasanya, posisi pertunjukan, bentuk musikal yang lembut dan lambat, serta penggunaan beberapa perangkat pengeras suara yang mengingatkan akan nilai-nilai kehidupan dan sebagai simbol masyarakat komunal. KATA KUNCI : tradisi lisan, mamaca, madura, pagelaran, sumenap
Co-Authors Akhmad Sofyan Ali Badrudin Aris Setiawan Dewi Angelina Dewi Setyari, Agustina Livera, Kristen Angela Mei Artanto Raden Mohamad Herdian Bhakti Rijadi, Arief Simatupang, Gabriel Roosmargo Lono Lastoro