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All Journal Ekspresi: Indonesian Art Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Jurnal Kawistara : Jurnal Ilmiah Sosial dan Humaniora Jurnal Kajian Bali MUDRA Jurnal Seni Budaya Panggung Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Paradigma: Jurnal Kajian Budaya IDEA: Jurnal Seni Pertunjukan Jurnal Kawistara Panggung Open Access DRIVERset Dinamika Kerajinan dan Batik: Majalah Ilmiah
St. Hanggar Budi Prasetya
Institut Seni Indonesia Yogyakarta
Religion Arts Humanities Decision Sciences, Operations Research & Management Education Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Library & Information Science Social Sciences Other

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Substituting The Synthetic For The Authentic: The Contribution of Rudolf Steiner’s Biodynamic Innovations in Advancing Yos Suprapto’s Traditional Knowledge of Local Agriculture M. Dwi Marianto; Rob Goodfellow; Hanggar Budi Prasetya; Mita Purbasari Wahidiyat
Mudra Jurnal Seni Budaya Vol 38 No 4 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i4.2364

Abstract

In 1970, Indonesian President Suharto’s New Order Government formally adopted an international system of agricultural production known as ‘The Green Revolution.’ This required Indonesian farmers to adopt so-called modern farming practices as part of the first five-year national development program, which incorporated an emphasis on ‘Swasembada Pangan,’ or food production self-sufficiency. Chemical-based fertilizers, fungicides, herbicides and pesticides have been in continuous and widespread use in conventional farming in Indonesia ever since. Concurrently, international peer-reviewed scientific research has reported the detrimental effects of their widespread use on complex ecosystems, in particular, on pollinating insect populations such as bees. This situation greatly concerns many people, including Yos Suprapto, an Indonesian artist who articulates his social engagement through non-conventional creative practice. Since 2009, Suprapto has pioneered rice planting using the biodynamic agriculture (BDA) system developed in 1924 by the Austrian educator and innovator Rudolf Steiner. Yos Suprapto argues that, as with art, farming also requires innovation and novelty as well as an intimate understanding of human systems. This includes, an appreciation of the shortcomings associated with the modern world, namely reliance on complex manufacturing processes, often located abroad, and increasingly vulnerable and disrupted international supply chain networks. Farming, then, is Yos Suprapto’s ‘canvas’ and the colors he ‘paints’ are his crops and his ability to not just see the world as it is but as it should be. This study uses productive hermeneutic and aesthetic engagement theories to better understand why Yos Suprapto has insisted on implementing organic farming techniques and how he has also taken advantage of local oral traditions, local materials, and indigenous locally-produced rice varieties to increase harvest yields without the use of synthetic fertilizers and, in doing so, support and advance not only traditional knowledge and time-honoured cultural practices, but also local human food security.
Perancangan Naskah Wayang Beber Lakon Kamandaka Fujidiana Ignaningrattu; Ign. Krisna Nuryanta Putra; Hanggar Budi Prasetya; Retno Dwi Intarti; Hariyanto Hariyanto
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 1 (2023): Vol 17, No 1 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Ringkasan Penelitian ini merupakan naskah wayang beber  lakon Kamandaka. Wayang ini merupakan alih wahana cerita rakyat Lutung Kasarung kedalam wayang beber. Teori alih wahana digunakan untuk mewujudkan alih wahana cerita rakyat Lutung Kasarung ke dalam bentuk pertunjukan wayang beber. Berdasarkan teori ini berhasil dibuat naskah pertunjukan untuk pertunjukan karya beber tiga gulungan beber. Kata Kunci: Wayang Beber Priangan; Kamandaka; Banyak Catra.  Abstract. The purpose of this research is to make script for Kamandaka story of Wayang Beber. This design of wayang is a transformation from Lutung Kasarung folklór into wayang beber. The creator has used ‘alih wahana theory’. This theory was used to create and transform Lutung Kasarung folklór into wayang beber. As with the final result, the creator could make script for 3 rolls of wayang beber for Kamandaka story. Keywords: Wayang Beber Priangan; Kamandaka; Banyak Catra.
Mythologization of The Goddess Mazu: Readings through Spacial Setting and Activity in the Interior of Cu An Kiong Temple Triatmodjo, Suastiwi; Tsai, Ted Tsung-te; Burhan, M. Agus; Prasetya, Hanggar Budi; Budiarti, Endah
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v22i2.40627

Abstract

This study aims to understand the myth of the Goddess Mazu in Lasem City, Central Java. The research was conducted by observing the interior space at Cu An Kiong (CAK), the oldest temple in Lasem City. This study uses a verbal communication approach from Rapoport (1982) and a cultural approach from Koentjaraningrat (2015) to explore human relations with their environment and explain phenomena that exist in the research object. The research found that there is an exaltation space in this Mazu temple; this space is placed on the axis of space and time, it is to see the meaning of the space that has been built is practiced by the whole community, both the Chinese and the Javanese ethnicities, in a continuous flow of time from the first time the temple was built until now, as well as providing an interpretation of the phenomenon which are actually happened in Lasem. Based on the research, it can be concluded that the exaltation space shows the mythical practice of the Goddess Mazu by the local community, both Chinese and Javanese ethnicities. The mythology of Goddess Mazu, or Mak Co, is the protector of fishermen, sailorman, and common people in Lasem.  
Conservation and Development Model of Mamaca in Pamekasan Madura Dana, I Wayan; Prasetya, St. Hanggar Budi; Anggraeni, Agustin
Resital: Jurnal Seni Pertunjukan Vol 24, No 1 (2023): April 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v24i1.8200

Abstract

ABSTRACTMamaca traditional performing art is an essential intangible asset for the people of Madura and Indonesia. Mamaca in Madurese language means reading. Contextually, it means reading verses from particular texts. Its diversity and uniqueness are not only known by Indonesian, but also worldwide people. Its paramount role in the life of Mamaca-supporting community is undeniable as the songs and notations generated while performing is not only functioned as performing, but also efforts to establish Madurese moral values. Unfortunately, the local people, especially younger generation currently have started to abandon this traditional art. It leads to a worrisome position of Mamaca existing in Pamekasan Regency, Madura Island. Considering that this traditional performing art emphasizes the nobility of values and norms in its form and implementation and its capability of strengthening the Indonesian character and the harmony of social life, Mamaca is urgently required to be preserved and developed in accordance to the fervor of nowadays era. The performers take turns reading and singing the verses containing some epics of Mahabharata, Ramayana, stories of Islamic Prophets, and values of benevolence regarding wisdom teachings. This research is a model for the conservation and development of noble cultural values that involves active supporting elements of Mamaca, relevant government, academics, industries or sponsors, and the role of the media.ABSTRAKModel Konservasi dan Pengembangan Mamaca di Pamekasan Madura. Seni pertunjukan tradisi Mamaca merupakan aset non bendawi yang penting bagi masyarakat di Madura dan bangsa Indonesia. Mamaca dalam bahasa Madura berarti membaca. Dalam penelitian ini, Mamaca yang dimaksud adalah tradisi membaca syair-syair dari naskah tertentu. Keanekaragaman dan keunikannya tidak hanya dikenal oleh bangsa Indonesia sendiri, tetapi juga sudah secara luas. Peran pentingnya Mamaca di dalam kehidupan masyarakat penyelenggaranya tidak dapat terbantahkan karena lagu-lagu yang dilantunkan serta notasi yang dimainkan tidak hanya berfungsi sebagai hiburan, namun sebuah upaya untuk menanamkan nilai moral. Sayangnya, Mamaca kini mulai ditinggalkan, terutama oleh generasi muda setempat. Oleh karena itu, seni Mamaca yang hidup di wilayah Kabupaten Pamekasan Pulau Madura dipandang penting dilestarikan dan dikembangkan sesuai zamannya. Mengingat bahwa seni pertunjukan tradisi yang berdasarkan pada pemanfaatan musik internal ini mengutamakan keluhuran nilai dan norma di dalam wujud dan penyelenggaraannya, Mamaca dipandang mampu menguatkan karakter bangsa dan harmoni kehidupan sosial. Para pelakunya secara bergantian membaca dan melagukan syair-syair yang memuat sebagian wiracarita Mahabharata, Ramayana, dan kisah para Nabi dalam agama Islam serta menyampaikan norma dan nilai kebaikan mengenai ajaran kebijaksanaan. Kajian ini merupakan model pelestarian dan pengembangan nilai-nilai budaya adiluhur yang melibatkan unsur penyangga aktif Mamaca, pemerintah terkait, akademisi, pihak industri atau sponsor, dan peran media.
Musik Karawitan untuk Lagu Dolanan Anak Siswadi, Siswadi; Budi Prasetya, Hanggar; Wahyu Widodo, Tri
Resital: Jurnal Seni Pertunjukan Vol 19, No 2 (2018): Agustus 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v19i2.3918

Abstract

Musik Karawitan merupakan permainan musik tradisi yang harus dipelihara agar seni musik karawitan terus berlangsung. Mempertahankan keberlangsungan musik karawitan dengan cara regenerasi sumber daya manusianya. Untuk menumbuhkan kegiatan musik karawitan akan baik bila dimulai dari anak-anak. Proses musik karawaitan untuk anak tentu diperlukan teknik dan kajian tertentu. Aktivitas musik karawitan untuk anak diawali dengan lagu dolanan yang mudah dan menarik bagi anak. Artikel ini hasil dari penelitian yang bertujuan untuk menguji apakah lagu-lagu dolanan anak yang diiringi oleh gamelan sudah sesuai dengan ambitus dan jiwa anak. Penelitian yang dilakukan dengan cara mengamati lima lagu dolanan yang diiringi gamelan. Analisis lagu dolanan dilakukan dengan cara membandingkan lima lagu yang memiliki ambitus anak rata-rata. Hal yang penting dalam pembahasan musik karawitan untuk anak yaitu memberikan pemahaman untuk mencari teknik yang tepat dalam olah vokal untuk karawitan anak. Berdasarkan hasil penelitian disimpulkan bahwa lagu lagu dolanan yang berkembang saat ini masih kurang tepat untuk anak.Karawitan Music for Children's Dolanan Songs. Karawitan Music is a traditional music game that must be maintained so that the art of traditional music continues. The continuity to preserve the Karawitan music should be carried out by regenerating its human resources. It is essential to growing musical activities starting with children. The process of karawitan music activities for children certainly requires specific techniques and studies. The activities may begin with easy and exciting dolanan songs for children. This article is the result of research that aims to test whether the children's songs accompanied by gamelan are following the ambitus and soul of the children or not. The study was carried out by observing five Dolanan songs accompanied by the gamelan. The analysis of Dolanan song was done by comparing five songs which had the ambitus of an average child. The important thing in the discussion of karawitan music for children is to provide understanding to find the right techniques in vocal processing for children's music. Based on the results of the study, it is concluded that Dolanan songs which are developing at this time are still not appropriate for children.Keywords: children karawitan music; ambitus; dolanan song
Rama sebagai penjaga kehidupan dalam relief Ramayana Prambanan Hanggar Budi Prasetya; Wisma Nugraha Christianta
Jurnal Kawistara Vol 6, No 3 (2016)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.22991

Abstract

This study describes four reliefs of Ramayana Prambanan which depicts the event that Ade beenexperienced and performed by Rama as affirmation that he is the incarnation of Vishnu ―the god of thepreserver. The designer and sculptor of those reliefs considered that this event was important. Fromthe twenty-four of Ramayana’s relief panels, there are four relief panels which depict this event. Datawas collected by observing the entire Ramayana reliefs in Shiva temple and Brahma, in the Prambanancomplex. Relief was read by using the Flat Time Space (RWD) theory and compared with the textof the Old Javanese Ramayana (RJK). RJK text was used as a comparison, because the manufactureand the writings of RJK relief were made in the same period in nine centuries. It was conceivable thatboth of them were made from the same source. Based on the result, it can be concluded that the eventperformed by Rama asserts that he is the incarnation of Vishnu. As the incarnation of Vishnu, Rama isable to purify and to preserve life.
Pathêt: Ruang Bunyi dalam Karawitan Gaya Yogyakarta Hanggar Budi Prasetya
PANGGUNG Vol 22 No 1 (2012): Menggali KEkayaan Bentuk dan Makna Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i1.36

Abstract

This research aims to answer a question of why two Javanese gamelan pieces (gending) of differ- ent pathêt (modes) cannot be performed consecutively without grambyangan lead. The data of this research were obtained from in-depth interview and observation of karawitan (gamelan performanc- es), focusing on karawitan training process, wayang performances, and karawitan performances for pleasure or uyon-uyon. Using phenomenology method, it can be concluded that pathêt is a space of sound. Two gamelan pieces having different modes are similar to two gamelan pieces in different spaces. There is a link between spaces that can be opened by the sound of gender or grambyangan. As a space, karawitan has three spaces of sound, i.e. space of pathêt nem, space of pathêt sanga, and space of pathêt manyura. Keywords: gending, pathêt, ruang bunyi, karawitan Jawa.
Wayang Beber Priangan: Alih Wahana Cerita Lutung Kasarung ke dalam Wayang Beber Hanggar Budi Prasetya; Haryanto Haryanto; Retno Dwi Intarti; Ignasius Krisna Nuryanta Putra; Fujidiana Ignaningratu
PANGGUNG Vol 33 No 1 (2023): Nilai-Nilai Seni Indonesia: Rekonstruksi, Implementasi, dan Inovasi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v33i1.2473

Abstract

Wayang beber merupakan salah satu genre wayang yang telah lama ada di Indonesia. Dibandingkan dengan genre wayang yang lain, wayang ini tergolong kurang berkembang. Sebagian besar literatur wayang beber membahas wayang beber Remeng Mangunjaya dan Jaka Kembang Kuning. Wayang beber masih memungkinkan dikembangkan dengan mengalihwahanakan cerita atau folklor lokal yang berkembang, salah satunya folklor Arya Kamandaka atau Lutung Kasarung. Tulisan ini bertujuan untuk menunjukkan proses alih wahana dari buku cerita Lutung Kasarung ke dalam wayang beber priangan dengan lakon Arya Kamandaka. Untuk mewujudkan ini, pengkarya menggunakan teori alih wahana dan teori ruang waktu datar (RWD). Teori alih wahana diterapkan untuk mengalihwahanakan cerita dari (wahana) buku ke dalam (wahana) wayang. Teori ruang waktu datar (RWD) diterapkan dalam mewujudkan cerita ke dalam bentuk wayang beber. Berdasarkan kedua teori ini telah berhasil dibuat wayang beber yang menceritakan kisah Arya Kamandaka kedalam tiga gulungan, setiap gulungan terdiri atas 4 sekuen. Cerita yang ditampilkan dalam wayang beber ini terlalu datar, kurang ada konflik, sehingga kurang menarik untuk dipertunjukkan. Penelitian ini menyarankan untuk dilakukan penelitian lanjutan untuk memperbaiki kelemahan-kelemahan ini. Kata kunci: Wayang Beber Priangan, Arya Kamandaka, ruang waktu datar
The Pangasuah (Shaman permeates) Strategy to Evoke Hysteria in the Rantak Kudo Performance Ediantes, Ediantes; Prasetya, Hanggar Budi; Yuliadi, Koes; Pranoto, Iwan; Sawitri, Rahmarni
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.v25i3.14194

Abstract

Strategi pangasuah (dukun meresap) dalam membangkitkan histeria merupakan upaya melestarikan kesenian tradisional pertunjukan Rantak Kudo. Strategi pangasuah dalam Rantak Kudo tradisional Kerinci menjadi rujukan penting agar tidak hilang dan tergerus dalam perkembangan seni pertunjukan Rantak Kudo modern. Strategi yang dilakukan para pangasuah dalam membangkitkan histeria diharapkan dapat menjadi pedoman bagi Rantak Kudo modern. Kehadiran Rantak Kudo tradisional sangat penting bagi masyarakat karena berfungsi sebagai sarana penyembuhan spiritual masyarakat. Metode penelitian yang digunakan adalah penelitian kualitatif, dan data diperoleh melalui observasi lapangan dan wawancara mendalam dengan kelompok pangasuah dan Rantak Kudo. Berdasarkan penelitian dapat disimpulkan bahwa pangasuah berperan penting dalam membangkitkan histeria yang ada dalam adat Rantak Kudo. Penelitian ini menunjukkan bahwa strategi yang digunakan oleh pangasuah dalam menciptakan suasana histeris ditentukan oleh (1) syair cerita Rantak Kudo, (2) karakter pangasuah, dan (3) pementasan Pementasan Rantak Kudo. Strategi-strategi tersebut secara signifikan memengaruhi pelestarian histeria dalam seni pertunjukan tradisional Rantak Kudo.
Wayang Beber Priangan: Alih Wahana Cerita Lutung Kasarung ke dalam Wayang Beber Prasetya, Hanggar Budi; Haryanto, Haryanto; Intarti, Retno Dwi; Putra, Ignasius Krisna Nuryanta; Ignaningratu, Fujidiana
PANGGUNG Vol 33 No 1 (2023): Nilai-Nilai Seni Indonesia: Rekonstruksi, Implementasi, dan Inovasi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v33i1.2473

Abstract

Wayang beber merupakan salah satu genre wayang yang telah lama ada di Indonesia. Dibandingkan dengan genre wayang yang lain, wayang ini tergolong kurang berkembang. Sebagian besar literatur wayang beber membahas wayang beber Remeng Mangunjaya dan Jaka Kembang Kuning. Wayang beber masih memungkinkan dikembangkan dengan mengalihwahanakan cerita atau folklor lokal yang berkembang, salah satunya folklor Arya Kamandaka atau Lutung Kasarung. Tulisan ini bertujuan untuk menunjukkan proses alih wahana dari buku cerita Lutung Kasarung ke dalam wayang beber priangan dengan lakon Arya Kamandaka. Untuk mewujudkan ini, pengkarya menggunakan teori alih wahana dan teori ruang waktu datar (RWD). Teori alih wahana diterapkan untuk mengalihwahanakan cerita dari (wahana) buku ke dalam (wahana) wayang. Teori ruang waktu datar (RWD) diterapkan dalam mewujudkan cerita ke dalam bentuk wayang beber. Berdasarkan kedua teori ini telah berhasil dibuat wayang beber yang menceritakan kisah Arya Kamandaka kedalam tiga gulungan, setiap gulungan terdiri atas 4 sekuen. Cerita yang ditampilkan dalam wayang beber ini terlalu datar, kurang ada konflik, sehingga kurang menarik untuk dipertunjukkan. Penelitian ini menyarankan untuk dilakukan penelitian lanjutan untuk memperbaiki kelemahan-kelemahan ini. Kata kunci: Wayang Beber Priangan, Arya Kamandaka, ruang waktu datar
Co-Authors Adhi Susanto Agustin Anggraeni Cahyani, Isma Awal Fitroh Dayani, Elin Siska Ediantes, Ediantes Endah Budiarti Fujidiana Ignaningrattu Fujidiana Ignaningratu Hariyanto Hariyanto Haryanto Haryanto Hinzler , Hedwig Ingrid Rigmodis I Dewa Ketut Wicaksana, I Dewa Ketut I Dewa Ketut Wicaksandita I Wayan Dana Ign. Krisna Nuryanta Putra Ignaningratu, Fujidiana Iwan Pranoto Koes Yuliadi L. Simatupang, Lono L. Lono L. Simatupang M Agus Burhan M. Dwi Marianto Mita Purbasari Wahidiyat Nugraha, Wisma Ch. R. Putra, Ignasius Krisna Nuryanta Retno Dwi Intarti Retno Dwi Intarti Retno Dwi Intarti Ria Rahmawati Rob Goodfellow Sawitri, Rahmarni Shiba, Asyfa Putri Siswadi Siswadi Suastiwi Suastiwi Timbul Haryono Timbul Haryono Tri Wahyu Widodo Tsai, Ted Tsung-te