Articles
<![CDATA[Minimalist Art and the Iconization of Trees in Waiting for Godot ]]>
<![CDATA[Irianto, Adhy Pratama]]>;
<![CDATA[Timmerman, Benny Yohanes]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 9, No 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26742/pantun.v9i1.3273
<![CDATA[The minimization of performance art is aimed at presenting human darkness and innocence in a philosophical interpretation. This is what Samuel Beckett presented in his 1953 performance Waiting for Godot. Art minimization makes the number of props less, but is able to visualize the desired thematic of the script. This minimalism, which is supposed to display simplicity, becomes more luxurious due to the presence of iconic things from absurd performances. In the midst of the minimalist, gloomy, and arid decorations in Waiting for Godot, the tree becomes the center of attention. This tree becomes something very iconic and will strongly remind the audience of the show. The process of something becoming iconic is called iconization, which is a deliberate process. Beckett allegedly deliberately iconizes the tree, with a number of realities in the text (textual) and the reality of the performance (atmospheric). This iconization and minimization is intended to make the performance more basic and simple, less philosophical and metaphysical. This article is the result of an analysis of several texts written by Samuel Beckett.]]>
<![CDATA[The Movement of Sundanese Karawitan Artist in the Indie Music From the Perspectiv of Music Sociology ]]>
<![CDATA[Saputra, Firman Adi]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 9, No 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26742/pantun.v9i1.3200
<![CDATA[This research delves into the attitudes and perspectives of Sundanese karawitan artists toward the indie music movement through the lens of music sociology. Employing qualitative methodologies such as literature review and fieldwork, the study reveals that these artists do not merely act as preservers of cultural heritage but also actively adapt and integrate their traditional music into the indie music scene. As pivotal figures, they engage in collaborations with global elements within the indie world, making substantial contributions to the evolution of indie music. This active participation fosters a unique harmony that mirrors the diverse and dynamic nature of Indonesian culture. The study offers a comprehensive analysis of how Sundanese karawitan artists interact with and influence the indie music scene. Their involvement is not just a preservation of traditional art forms but a dynamic adaptation that enriches both their cultural heritage and the broader indie music movement. By blending traditional and contemporary elements, these artists create innovative music that appeals to a global audience while retaining its cultural roots. Furthermore, this research highlights the significant role of Sundanese karawitan artists in the indie music scene, showcasing their ability to navigate between tradition and modernity. Their contributions reflect a broader trend in the Indonesian music landscape where traditional art forms are not static but are continually evolving and adapting to new contexts and influences. This dynamic interplay between tradition and innovation is crucial for the sustainability and growth of both traditional and indie music genres in Indonesia.]]>
<![CDATA[Entrainment: Transcendental Condition that Affected with Musical ]]>
<![CDATA[Rizal, Samsul]]>;
<![CDATA[Wastap, Jaeni B]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 9, No 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26742/pantun.v9i1.3218
<![CDATA[This research examines the phenomenon of entrainment, which is associated with atmospheric phenomenon in meteorology, and is now also used in a persons psychological and neurological state that leads to a state of brainwave synchronization (neural entrainment). In the most extreme conditions, this neural oscillation process will make a person enter the transcendental phase. This research is examined through a qualitative method by conducting a literature study of a number of studies on the phenomenon of entrainment. The findings obtained by researchers and academics related to entrainment can be a source of evidence for this research. The results of the research conducted found that entrainment can be the most logical explanation to explain a number of transcendental phenomenon associated with traditional or modern music. Entrainment is also a scientific explanation for the phenomenon of being possessed by spirit in a number of traditional arts in Indonesia and entrainment also affects human behavior which can reach the most extreme phase when affected by music to the subconscious level. This article is not sufficient to provide a significant explanation for the phenomenon of trance in some traditional Indonesian arts. More proofs, experiments, and literature studies are needed to strengthen the explanation of the phenomenon scientifically.]]>
<![CDATA[NASKAH NARASI KAPITALISME DALAM CERITA RAKYAT DAN DRAMA MODERN ]]>
<![CDATA[Rudi Hartono Rudi Hartono]]>;
<![CDATA[Arthur S. Nalan]]>;
<![CDATA[Sukmawati Saleh]]>
<![CDATA[ PANGGUNG Vol 33 No 4 (2023): Eksistensi Tradisi dalam Narasi Seni Modern ]]>
Publisher : <![CDATA[LP2M ISBI Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26742/panggung.v33i4.2394
<![CDATA[Cerita rakyat dan naskah drama merupakan lahir dari penulis atau pengarang yang terus mengalami dinamika perkembangan terkait tata sosial yang terjadi di masyarakat. Fokus kajian ini pada teks naskah cerita rakyat dan naskah drama yakni; cerita rakyat Legenda Situ Bagendit, Perjuangan Suku Naga dan Sobrat menjadi bahan analisis sebagai sumber data dokumen yang menyajikan representasi teks naskah cerita ditemukan tematik yakni narasi kapitalisme. Penelitian ini ntuk melakukan kajian secara analisis kualitatif dengan memahami situasi, peristiwa, kelompok atau interaksi sosial masyarakat. Kajian ini menggunakan pendekatan sosiologi seni. Naskah teks cerita ditulis dalam Legenda Situ Bagendit di ambil dari cerita rakyat Jawa Barat;Nyi Mas Inten perempuan kaya raya yang menumpuk harta, Perjuangan Suku Naga;Investasi pembangunan dan pertambangan melalui elit penguasa negara bekerjasama pengusaha asing pemilik modal sedangkan Sobrat;tenaga kerja jadi kontrak kuli di tambang emas. Gambaran kisah cerita tersebut menjadi kondisi fakta sosial budaya yang ada ditulis secara lugas dalam naskah cerita. Kata kunci: naskah cerita, kapitalisme, sosiologi seni]]>
<![CDATA[Garap Sekar Caturan: Embrio Drama Swara dan Gending Karesmén Karya Mang Koko ]]>
<![CDATA[windyagiri, sony]]>;
<![CDATA[Sukmawati Saleh]]>
<![CDATA[ Paraguna Vol 11 No 1 (2024): INTERKULTURAL - INTERTEKSTUAL ]]>
Publisher : <![CDATA[LP2M ISBI Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[Mang Koko has contributed various kawih wanda anyar patterns, such as kawih anggana sekar, kawih sekar caturan, kawih rampak sekar and others. From these various patterns, it turns out that there is a connection between one type of kawih and another, which implies that the first kawih pattern is the embryo of the second pattern and so on. This connection can be seen in the work of kawih sekar caturan which became the embryo of the drama swara and gending karesmén. The method I used is a qualitative research method (J. Moleong, 1990), that intends to understand the facts behind reality through direct observation or on-field review, while for the theory I refer to the theory garap by Rahayu Supanggah. The working process on the creation of the sekar caturan song carried out by Mang Koko is one of the steps in creating his larger works, namely drama swara and gending karesmén. The three types of Mang Koko's works have one thing in common, dramatical music, where the karawitan elements (sekar and gending) must be a medium for aesthetic expression that strengthens the dramatic elements. In his work, he goes through every process by learning, trying and repeating. The creative process that he has gone through has made Mang Koko a great artist]]>
<![CDATA[Implementation of Panca Curiga as a Method of Interpretation of Rumpaka Texts in Sundanese Culture ]]>
<![CDATA[Gardapandawa, Budi Setiawan]]>;
<![CDATA[Wastap, Jaeni B]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol. 8 No. 2 (2023): Exploring Cultural Narratives and Artistic Expressions ]]>
Publisher : <![CDATA[Postgraduate Program of Institut Seni Budaya Indonesia Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26742/pantun.v8i2.2725
<![CDATA[Panca Curiga is a method of Sundanese interpretation which is commonly used in understanding texts contained in art, especially in rumpaka songs. The existence of discourse about Panca Curiga in society until now has only been limited to discussion without scientific investigation. Efforts to understand how to interpret rumpaka, especially in art whose creator is unknown, has its own complexities. This can be seen from the rumpaka-rumpaka that appeared before the rise of artistic industrialization, for example in the Sundanese art of pantun or kawih kaulinan barudak. From the results of the study based on the application of Panca Curiga to the rumpaka pantun and kawih kaulinan barudak models, Panca Curiga actually has many similarities with the disciplines of interpretive methods such as Hermeneutics and Semiotics. Therefore, Panca Curiga can be an opportunity to be used to study rumpaka texts in Sundanese art.]]>
<![CDATA[Dadung Feast Rite As A Cultural Expression in Legok Herang Village, Kuningan district ]]>
<![CDATA[Retnawati, Nina]]>;
<![CDATA[Wastap, Jaeni B]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol. 8 No. 2 (2023): Exploring Cultural Narratives and Artistic Expressions ]]>
Publisher : <![CDATA[Postgraduate Program of Institut Seni Budaya Indonesia Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26742/pantun.v8i2.2824
<![CDATA[This research aims to examine the tradition of the Dadung Party in Legokherang village, Kuningan Regency, West Java. A tradition that expresses gratitude to God for the harvest and the entity maintaining the relationship between living creatures and nature. The research method used is qualitative with a dance anthropology approach which is elaborated with choreographic concepts. This research shows that the Dadung Party is an integral part of community life and has been passed down from generation to generation. It also has connections to the Islamic beliefs propagated by the Wali Songo. This ritual involves various stages, such as worship, Rajah Pamunah, and entertainment and ritual equipment that must be adhered to by community participants. This tradition is a preserved cultural heritage and functions as a balance to modern culture. The noble philosophical values contained in the dance at the Dadung Party although this dance does not have fixed movements, the emphasis on expression as a manifestation of feelings is very important. Local cultural continuity is a dynamic part of society, and external cultural influences must be adapted to the worldview and local culture.]]>
<![CDATA[The Movement of Sundanese Karawitan Artist in the Indie Music From the Perspectiv of Music Sociology ]]>
<![CDATA[Saputra, Firman Adi]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol. 9 No. 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to ]]>
Publisher : <![CDATA[Postgraduate Program of Institut Seni Budaya Indonesia Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26742/pantun.v9i1.3200
<![CDATA[This research delves into the attitudes and perspectives of Sundanese karawitan artists toward the indie music movement through the lens of music sociology. Employing qualitative methodologies such as literature review and fieldwork, the study reveals that these artists do not merely act as preservers of cultural heritage but also actively adapt and integrate their traditional music into the indie music scene. As pivotal figures, they engage in collaborations with global elements within the indie world, making substantial contributions to the evolution of indie music. This active participation fosters a unique harmony that mirrors the diverse and dynamic nature of Indonesian culture. The study offers a comprehensive analysis of how Sundanese karawitan artists interact with and influence the indie music scene. Their involvement is not just a preservation of traditional art forms but a dynamic adaptation that enriches both their cultural heritage and the broader indie music movement. By blending traditional and contemporary elements, these artists create innovative music that appeals to a global audience while retaining its cultural roots. Furthermore, this research highlights the significant role of Sundanese karawitan artists in the indie music scene, showcasing their ability to navigate between tradition and modernity. Their contributions reflect a broader trend in the Indonesian music landscape where traditional art forms are not static but are continually evolving and adapting to new contexts and influences. This dynamic interplay between tradition and innovation is crucial for the sustainability and growth of both traditional and indie music genres in Indonesia.]]>
<![CDATA[Entrainment: Transcendental Condition that Affected with Musical ]]>
<![CDATA[Rizal, Samsul]]>;
<![CDATA[Wastap, Jaeni B]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol. 9 No. 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to ]]>
Publisher : <![CDATA[Postgraduate Program of Institut Seni Budaya Indonesia Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26742/pantun.v9i1.3218
<![CDATA[This research examines the phenomenon of entrainment, which is associated with atmospheric phenomenon in meteorology, and is now also used in a person’s psychological and neurological state that leads to a state of brainwave synchronization (neural entrainment). In the most extreme conditions, this neural oscillation process will make a person enter the transcendental phase. This research is examined through a qualitative method by conducting a literature study of a number of studies on the phenomenon of entrainment. The findings obtained by researchers and academics related to entrainment can be a source of evidence for this research. The results of the research conducted found that entrainment can be the most logical explanation to explain a number of transcendental phenomenon associated with traditional or modern music. Entrainment is also a scientific explanation for the phenomenon of being possessed by spirit in a number of traditional arts in Indonesia and entrainment also affects human behavior which can reach the most extreme phase when affected by music to the subconscious level. This article is not sufficient to provide a significant explanation for the phenomenon of trance in some traditional Indonesian arts. More proofs, experiments, and literature studies are needed to strengthen the explanation of the phenomenon scientifically.]]>
<![CDATA[The Role of Sinden in Wayang Golek: Functions And Challenges ]]>
<![CDATA[Krismayanty, Mayang]]>;
<![CDATA[Wastap, Jaeni B]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol. 9 No. 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to ]]>
Publisher : <![CDATA[Postgraduate Program of Institut Seni Budaya Indonesia Bandung ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26742/pantun.v9i1.3262
<![CDATA[In this era, the artists who preserve wayang golek are elderly. The urge need of the next generation to continue the journey of this art. Especially a sinden, in this art the role of sinden is very important even almost equivalent to the dalang. There are many young people who already have artist legality, whether academically or not. But rarely are they willing and able to be involved in the realm of wayang golek. This obstacle is related to the very high musical complexity. The focus of this research is to analyze the role of a sinden in wayang golek performances, both in terms of functions and challenges. The method in this research uses descriptive qualitative, with data collection techniques through literature and field study. Literature study is in the form of theses and dissertations. This technique to analyze previous studies related to the object of research. Field study techniques, namely data collection by means of observation, interviews, document collection, and triangulation. The position of sinden in this performance is very important, visual aesthetics and musicality of sinden are very influential on the success of a wayang performance. This is a big challenge for anyone who wants to become a wayang singer. Understanding Sundanese musical knowledge and lakon wayang is the main asset for a sinden. Also the risk of social pressure by facing society’s negative paradigm towards the profession of sinden. This study explored more deeply the specific functions and challenges of sinden wayang golek, visually, musically and socially.]]>
