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All Journal Acintya Greget Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Terob : Jurnal Pengkajian dan Penciptaan Seni Jurnal Seni Tari
Nandhang Wisnu Pamenang
Institut Seni Indonesia Surakarta
Arts Humanities

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SENDHANG SINANGKA SEBAGAI SUMBER INSPIRASI TERCIPTANYA IDE KARYA SENI Nandhang Wisnu Pamenang; Silvester Pamardi
Greget Vol 16, No 1 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (872.363 KB) | DOI: 10.33153/grt.v16i1.2353

Abstract

Abstrak Sumber mata air bagi kehidupan makluk hidup menjadi kebutuhan yang sangat penting bagi keberlangsungan kehidupan. Tanpa adanya kepedulian dari masyarakatnya untuk merawat sumber mata air maka akan berpengaruh terhadap perkembangan ekosistem disekitar area tersebut. Fenomena ini menjadi ketertarikanbagi pengkarya tentang keberadaan sumber mata air yang sangat penting bagi keberlagsungan kehidupan masyarakatnya dan di transformasikan dalam bentuk karya seni pertunjukan. Keberadaan Sendhang Sinangka bagi masyarakat Desa Keloran menciptakan titik temu diantara keduanya. Dalam perspektif ini, masyarakat tidak dapat terlepas dari lingkungan sebagai sumber kehidupan. Begitu pula sebalikya, Sendhang Sinangka juga membutuhkan kesadaran dari masyarakatnya untuk bersinergi dalam membangunsebuah keseimbangan kosmos. Proses penciptaan seni sebagai representasi dari fenomena manfaat sumber air, membawa pengkarya pada pengembangan eksplorasi ruang, membuat alur cerita yang berkaitan dengan Sedhang Sinangka, serta mengakomodir beberapa elemen masyarakat setempat yang juga turut berpartisipasi melakukan proses. Untuk memperkuat esensi dari pertujukan seni, pengkarya melakukan observasi lokasi, wawancara, pendekatan secara emosional kepada penduduk setempat, pengumpulan data, studi pustaka, dokumentasi, analisis data hingga melakukan kroscek data.Kata kunci: Sendhang Sinangka, Inspirasi, Seni Pertunjukan. Abstract The source of springs for the life of living beings becomes a very important necessity for the sustainability of life. Without public awareness to treat springs, it will affect the development of ecosystems around the area. This phenomenon becomes the attraction for the pengkarya about spring which is very important for the sustainability of community life and transformed in the form of performance art. The existence of Sendhang Sinangka for Keloran Village community creates similarities between them. In this perspective, society can not be separated from the envi- ronment as a source of life. Similarly, on the contrary, Sendhang Sinangka also requires aware- ness from the community to work together in building the balance of the cosmos. The process of art creation as a representation of the phenomenon of the benefits of water resources, bringing pengkarya on the development of space exploration, create a story line associated with Sedhang Sinangka, and accommodate some elements of local communities who also participate in the  process. To strengthen the essence of art performances, pengkarya make location observations, interviews, emotional approaches to the local population, data collection, literature studies, docu- mentation, data analysis to cross check data.Keywords: Sendhang Sinangka, Inspiration, Performing Arts.
FUNGSI TEMBANG SINOM LOGONDHANG LARAS PELOG PATHET BARANG DALAM KARYA TARI PRAWESTRI Nandhang Wisnu Pamenang
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i1.3784

Abstract

Fungsi tembang sebenarnya adalah memaknai berbagai macam tembang yang terdapat dalam macapat. Macapat terdiri dari sebelas jenis dan memiliki arti sendiri-sendiri. Tembang macapat awalnya adalah berdiri sendiri atau vocal tunggal tetapi dalam perkembanganya disesuaikan dengan gamelan akhirnya menemukan bentuk pengembangan tembag macapat yang lebih menarik. Salah satu perkembangannya adalah dengan digunakannya salah satu jenis tembang macapat sebagai salah satu urutan gending tari yang memunculkan tema dan dinamika musik. Sebagai contoh tembang Sinom Logondhang yang digunakan dalam karya tari Pawestri sebagai awalan dan syairnya berisikan tema tarian. Peranan tembang Sinom Logondhang dalam karya tari Pawestri sangat penting karena sebagai penyampai isi. Kata Kunci : Fungsi, Tembang, Sinom
GARAP EKSPRESI TEMBANG DAN ANTAWECANA WAYANG BOCAH SAMPARAN SAMPIRANKU Nandhita, Chikal Safa; Pamenang, Nandhang Wisnu; Setyastuti, Budi; Karyono
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5828

Abstract

Tembang and antawecana are one of the components of dance which is called the verbal component. These components can be enjoyed through language, speech and the intonation of a sentence. Cultivating the verbal component can influence the results of the expression produced based on the delivery of the verbal component through the intonation of the song and the emphasis of the words in the antawecana. Strengthening the expressions of wayang orang or wayang anak players can be accompanied by tembang and antawecana. It depends on the accuracy of tembang and antawecana used and placed in the right position. The existence and choice of place is also an asset in finding the desired expression for a wayang orang artist. Wayang orang Samparan Sampiranku is one of the children's wayang works that uses songs and antawecana as a form of expression in communicating and conveying emotions. This research emphasizes descriptive analysis carried out to find an analysis of the expressions obtained based on the description of the songs and antawecana contained in the Wayang Bocah work entitled Samparan Sampiranku presented by Sanggar Sarwi Retno Budoyo in 2022 at the Wayang Bocah Festival. Keywords: Tembang, Antawecana, Garap, Expression
Karya Tari Sang Kustiah Refleksi Perempuan pada Masa Kini Wisnu Pamenang, Nandhang; Dewi, Maharani Luthvinda; Samsuri, Samsuri
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.4325

Abstract

Kustiah’s dance works contain values and can be used as a reference in current and future life. One of them is that Kustiah’s dance work includes the importance of Unity, Creativity, Tough, and Abstinence, which are philosophical teachings that are upheld and can serve as role models for women at this time in moving forward in their lives. This value can be adhered to and carried out, ultimately giving women a strong character and soul.Keywords: Dance work, Kustiah, reflextion, women.
A Study on the Existence of the Lajher Pandhalungan Dance in Situbondo Regency East Java Dwi Imanda , Fatvil; Wisnu Pamenang, Nandhang; Lestianto Utomo Putro, Renaldi
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/zrpndk19

Abstract

This study analyzes Lajher Pandhalungan Dance, or popularly called Landhung Dance, as a cultural icon of Situbondo Regency in the Horseshoe region, north coast of Java. This dance was developed by the late Regent H. Dadang Wigiarto, SH, and developed by the Situbondo Arts Council. Choreographically, Lajher Pandhalungan Dance is divided into three levels (Landhung Cengker, Landhung Anom, and Landhung) with a complex movement structure, including 5 types of head movements, 16 hand movements, 4 body movements, and 2 foot movements. This flexibility allows the dances to be performed solo or in groups by dancers of various age groups. The dance theme fundamentally represents the socio-economic identity of the Situbondo community, especially the professions of fishermen and farmers, as well as the Pandhalungan cultural identity which is an acculturation between Javanese and Madurese ethnicities. The existence of Lajher Pandhalungan Dance is supported by two main factors: internal and external. Internal factors include the artistic creativity of the dance group and its inherent choreographic elements. Meanwhile, external factors include audience enthusiasm and promotional strategies through social media. The dance is consistently performed, including as the opening dance at the Situbondo Ethnic Festival 2023, and has been integrated into the compulsory extracurricular curriculum for elementary to junior high school students, demonstrating systematic efforts in cultural preservation and regeneration.
Aesthetic of Bedhaya Kidung Gayatri Dance Performance Wahyu Indriya Laksmi; Pamenang, Nandhang Wisnu; Slamet , Slamet
Terob : Jurnal Pengkajian dan Penciptaan Seni Vol. 16 No. 1 (2025): Oktober
Publisher : Sekolah Tinggi Kesenian Wilwatikta Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20111/terob.v16i1.102

Abstract

Bedhaya Kidung Gayatri Dance is a dance work created by Dwi Rahmani and directed by Didik Bambang Wahyudi in 2019. This research aims to provide information and references about the aesthetics of the performance form of Bedhaya Kidung Gayatri Dance in terms of the elements of wiraga, wirama, and wirasa addressed to a dancer. The method used in this research is to use qualitative research methods and descriptive and aesthetic approaches. The techniques used in data collection are observation, literature study, interviews, and document utilization. The results of the research can be concluded that the aesthetics of the performance form of Bedhaya Kidung Gayatri Dance can not only be seen from the visualization of motion and musical accompaniment, but also can be viewed from the elements contained in dance, wiraga, wirama, and wirasa.
Co-Authors Dewi, Maharani Luthvinda Dwi Imanda , Fatvil Karyono Nandhita, Chikal Safa Renaldi Lestianto Utomo Putro Samsuri Samsuri Setyastuti, Budi Silvester Pamardi Slamet , Slamet Wahyu Indriya Laksmi