Michael H.B. Raditya
Pengkajian Seni Pertunjukan dan Seni Rupa Sekolah Pascasarjana, Universitas Gadjah Mada

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Hibriditas Musik Dangdut dalam Masyarakat Urban Raditya, Michael H.B.
Journal of Urban Societys Arts Vol 13, No 1 (2013): April 2013
Publisher : Institut Seni Indonesia Yogyakarta

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Abstract

Dangdut, merupakan jenis musik yang mengalami dan menemani perubahanyang terjadi di Indonesia. Eksistensinya menandakan dangdut merupakan jenismusik yang paling bertahan selama beberapa dekade. Konsistensinya yang tidakkunjung memudar memutuskan bahwa dangdut merupakan jenis musik yangdapat mewakili rakyat Indonesia. Eksistensi dan konsistensi dangdut diwujudkandengan adanya proses hibriditas yang dilakukan. Dangdut tidak semata-matabersikeras menjunjung nilai keaslian dangdut, tetapi dangdut selalu mengikutike mana arah perkembangan zaman. Hibriditas menjadi kekuataan dangdut,dan membedakan jenis musik ini dengan yang lain. Dangdut menerima segalaperbedaan, bahkan dangdut memadupadankan seluruh elemen yang ada. Dalammelihat proses hibriditas yang terjadi, habitus musikal menjadi poin terpentingdalam keberadaannya. Habitus yang ada membentuk hibriditas dalam arena-arenayang ada. Memadupadankan konsep habitus dan hibriditas merupakan mediasidalam memecahkan proses eksistensi dangdut. Etnografi, metode penelitian senidan pembacaan sejarah menjadi metode yang digunakan dalam menafsirkanfenomena yang ada. Hasil yang didapat dalam penelitian ini, bahwasanya dangdutsebagai musik hibrid tidak dapat mengacu pada satu gaya saja. Habitus menjadipoin terpenting, terlebih bila halnya terjadi di urban area. Habitus dalam arenaarenatertentu berbaur dan membentuk habitus baru, dan seterusnya. Habitussebagai unsur dalam hibriditasi itu tidak mengarah pada keglobalan semata, tetapijuga kelokalan yang ada. The Hybridity of Dangdut Music in Urban Society. Dangdut is a type of music thatendures and witnesses the transformation which has existed in Indonesia. Its existenceindicates that dangdut is the most durable type of music that has been sustained for somedecades. The consistency of dangdut which is not faded over time, has made dangdutto be a type of music that is able to represent Indonesian people. The existence andconsistency of dangdut can be realized by the hybridity process. Dangdut has adjustedits nature to the respective era instead of maintaining its original nature. The hybridityis the strength of dangdut that is able to differentiate dangdut with other types of music.Dangdut embraces all differences and is even able to matchmake with all other existingelements. In looking at how the hybridity process exists, the musical habitus has beenthe most important element. The habitus has shaped the hybridity in the existing arena.Matchmaking the concept of habitus and the hybridity is the mediation in solving theexistence process of dangdut. The ethnography is the method of art research and historythat have been employed in interpreting the existing phenomena. The finding of thisstudy contends dangdut, as the hybrid music, that cannot refer to only one style. The habitus plays as the most important point, in particular in the urban area. In certain arenas, thehabitus mingles and forms the new habitus and etc. The habitus as an element in the hybridity doesnot only merely aim at the globalization, but also at the localization.
MEMBACA ULANG KONTESTASI DANGDUT DAN ROCK ERA 1970-AN RADITYA, MICHAEL H.B.
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 23, No 1 (2021): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (972.381 KB) | DOI: 10.26887/ekspresi.v23i1.1579

Abstract

AbstrakArtikel ini berangkat dari kegelisahan saya atas analisis sebelumnya mengenai kontestasi antara genre musik dangdut dan rock pada era 1970-an. Analisis yang muncul dari fenomena itu adalah kontestasi usai dengan jalan damai antara dua genre. Alih-alih sepakat, saya justru melihat hal yang berbeda, di mana damai tidak benar-benar terjadi, melainkan saling bersiasat melanggengkan dominasi ataupun mengikis kekuasaan. Dari kontestasi dua genre ini, saya kembali mengartikulasikan konflik antara dangdut—yang diwakili oleh Rhoma Irama—dengan rock—mulai dari Benny Soebardja hingga Ahmad Albar. Untuk membongkar hal tersebut saya menggunakan data literatur, analisis tekstual, dan elaborasi kontekstual. Dari temuan yang saya dapatkan, konflik antara dangdut dan rock tidak pernah usai. Mereka terus berkontestasi dengan caranya masing-masing. Bagi saya, trayektori kontestasi ini mengejawantahkan jika konflik tersebut hanya soal berebut kuasa dan dominasi.AbstractThis article departs from my anxiety over the previous analysis of the contestation between dangdut and rock music genres in the 1970s. The analysis that emerges from this phenomenon is that the contestation ended peacefully between the two genres. Instead of agreeing, I actually see a different thing: peace does not happen, but rather mutually tactics to perpetuate domination or erode power. I re-articulated the conflict between dangdut—represented by Rhoma Irama—and rock—from the contestation of these two genres- from Benny Soebardja to Ahmad Albar. To uncover this, I use literature data, textual analysis, and contextual elaboration. From what I found, the conflict between dangdut and rock never ends. They continue to compete in their way. For me, this contestation trajectory shows that the match is only a matter of fighting for power and domination.
Dangdut Koplo: Memahami Perkembangan hingga Pelarangan Raditya, Michael H.B.
Studi Budaya Nusantara Vol. 1 No. 1 (2017)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21776/ub.sbn.2017.oo1.01.02

Abstract

ABSTRACT Nowadays, Dangdut Koplo has become a mass product, which commodified by industry music of Indonesia. Was born in the northern coast of Java -Pantura-, Dangdut Koplo has develop since Dangdut Television become popular. In 2003, Inul phenomenon was replacing Dangdut star whose fame at the time, such as: Rhoma Irama. But Rhoma and colleagues didn't accept that, and try to ban Inul and Dangdut Koplo in Dangdut Industry.  It is undeniable that Dangdut Koplo developed by ban process. Rhoma Irama and Many Groups who has a corelation with religion tried to ban Dangdut Koplo, and Inul. But the commodification's power worked, Inul and singers from Pantura more popular. In 2016, KPI do the ban Dangdut Koplo. Thirteen songs Dangdut Koplo blocked. Regarding from these thing, this article will discuss about existance of Dangdut Koplo, about developing and barriers. And this article isn't support group who confronted each other, this article who i wrote it, is trying to articulate about essence that contained on Dangdut Koplo. The result of this article is an alternative point of view's to face the problem in holistic way.