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All Journal Panggung Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences Panggung Gestus Journal
Martozet Martozet
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Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences

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Transformation of Indang Arts: from Dakwah to Prestige and Commodification Nurwani Nurwani; Martozet Martozet
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 4, No 3 (2021): Budapest International Research and Critics Institute August
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v4i3.2387

Abstract

This study aims to find out how the transformation contained in Indang art. The transformation of Indang art seen from the function includes three things, namely from da'wah to prestige, and commodification. In order to find out the transformation of Indang art, a search was carried out using qualitative methods. Data collection was carried out by direct observation, interviews and documentation to art actors and owners. Indang art originally functioned as a medium of da'wah, for the spread of Islam, which was carried out from surau to surau. However, after this art began to be in demand by the people in Pariaman, it began to be displayed in open spaces or matches. Indang art that is displayed in the matches began to be contested by holding a test of insight, agility and agility of movements, as well as the beauty of the songs or songs that were performed. In addition, each group often does a mental ability test, so each group must have a parent, called sipituang sirah who can guard and fence the group with mysticism. This art has changed its function from a religious propaganda media, to a prestige to raise self-esteem and honor for the winning group, both individually and in groups, as well as the Nagari community that owns Indang. When you are able to beat your opponent, you will feel proud, increase self-esteem, and honor. Feeling superior to the losing group and society. Currently, Indang art has undergone a change in function to become a market commodity that has economic value that has a selling value. The change in function into a commodity is able to defeat the previous values in the Nagari community, which owns Indang art.
Si Gale-Gale Folklore in the Toba Batak Society: A Study of Continuity and Change Martozet Martozet; Nurwani Nurwani; Merdy Roy Sunarya Togatorop
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 4, No 3 (2021): Budapest International Research and Critics Institute August
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v4i3.2384

Abstract

The Si Gale-Gale folklore contains exemplary values and education about the character of the Toba Batak king named Raja Rahat who is loved by the people who is fair and wise. The king had a son by the name of Raja Manggale who he loved very much and was the only child. King Manggale died on the battlefield, he heroically fought to defend his ancestral land from invaders. The death of King Manggale inflicted a deep wound on King Rahat. To entertain the king, a wooden statue was made as a representative of King Manggale, who magically can move like a dancing person, because it is believed that the spirit of King Manggale enters the statue with the help of the power of a shaman who is termed guru sibaso. This study aims to describe the continuity and change of this oral tradition in the Toba Batak people in North Sumatra. In order to know this folklore, a research was conducted using qualitative methods through field observations, interviews, documentation, and literature studies. As an oral culture and tradition, the legendary Si Gale-Gale folklore has been passed down from generation to generation throughout the Batak Toba generation which is full of values. It is not known when this tradition emerged, but the Toba Batak people believe that this oral tradition arose before the entry of religion into the Toba Batak area. It is known that the Si Gale-Gale folklore provides educational values and role models for the community about the love for the ancestral land and the important role of boys as the next generation according to the system adopted by the Toba Batak community. In its development, this folklore is not only a story that is passed down from generation to generation, but also becomes a cultural tourism offering and attraction for travelers who visit tourist enclaves in the North Sumatra area such as in the tourist area of Lake Toba, especially in the Tomok and Huta areas. Bolon Simanindo, Samosir Regency. In tourist attractions, The statue of Si Gale-Gale as a representation of King Manggale moves staccato or breaks and moves like a dancing person who is driven by a player (dalang) and is accompanied by typical Toba Batak music gondang sabangun.
The Shifting of Function and Role of the Leader in the Matrilineal Kinship System in Minangkabau in the Performing Arts of Ratok Nagari Nurwani Nurwani; Martozet Martozet; Yunaidi Yunaidi
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 3, No 4 (2020): Budapest International Research and Critics Institute November
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v3i4.1357

Abstract

Minangkabau has undergone changes in various fields including customs related to the role and function of the Penghulu. These changes greatly affect life in the kinship system in Minangkabau. This study aims to see the phenomenon of changing the role and function of the Penghulu and its influence in the life of the matrilineal community, which is interpreted and expressed in the artwork of Ratok Nagari. In order to know the shift in roles and functions, the theory of change is used. Social change is closely related to people's lives, resulting in changes in the values and order of community life. This research uses qualitative methods including literature review, observation, interviews, and documentation. While the method of creationincludes exploration, improvisation and formation.The leader has a very important position, seen from his role and function in determining the future of his people.The shifting of times and interests have made lines of society reap controversy in living social life. The lack of reviewing and maintaining the Nagari adat traditions makes a group of people forget the function and role of the Penghulu. Currently the Penghulu is no longer carrying out its role and function as a leader in the matrilineal, tribal and Nagari families, in accordance with the Nagari customs they lead. The process of creating Ratok Nagari begins with interpreting the phenomena that have occurred in the changing roles and functions of the Penghulu, followed by reinterpreting the creation of dance concepts. The creation of a dance work entitled Ratok Nagari is a reflection of the worker's reflection in seeing and responding to the Minangkabau social phenomenon.
Kinesetic Stimuli as A Study of Motion Development in the Creating of Choreography of Zapin Adab and Budi Martozet Martozet; Nurwani Nurwani; Merdy Roy Sunarya Togatorop
Budapest International Research and Critics Institute-Journal (BIRCI-Journal) Vol 5, No 3 (2022): Budapest International Research and Critics Institute August
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v5i3.6241

Abstract

This study aims to describe the study of the choreography creation of Zapin Adab and Budi, starting with the kinesthetic stimulus popularized by Jacqueline Smit. The traditional silat and Zapin of the Malay people of East Sumatra were used as a source of movement development in producing the new choreography by Zapin Adab and Budi. The method used in this study is qualitative by conducting field observations in obtaining data, interviews, documentation, and literature studies related to Silat and Zapin traditions of the Malay community of East Sumatra. The silat movements that are used as a source of development are the praying, stabbing, elbowing and kicking motifs. While the traditional zapin motifs that are used as a source of movement development are the Opener or Worship motifs, Greetings, Alif, Drag, and Broken. Movement development is carried out based on development studies by emphasizing the elements of motion, namely energy, space, and time. After experiencing the development process, movements with new forms and new styles were born, which were different from the original motifs. Meanwhile, of the three elements of motion, namely energy, space, and time, only the spatial element is the most dominant in producing new motifs, different in shape and character from the original motif. While the elements of energy and time are to provide reinforcement in forming the space for movement and the rhythm of movement naturally. From the results of the creation, it can be concluded that kinesthetic stimulation in the creation of dance can give birth to motion with new and unique forms through the development of elements of motion, energy, space, and movement.
Creation of Lantiang Tiger Works Based on the Tiger Ilau Ritual Nurwani Nurwani; Martozet Martozet
Budapest International Research and Critics Institute-Journal (BIRCI-Journal) Vol 5, No 3 (2022): Budapest International Research and Critics Institute August
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v5i3.6745

Abstract

Performing Artworktiger terinthe inspiration of the culture of catching tigers in the Minangkabau community. For the Minangkabau community, tiger has a special meaning called inyiak or ampang limo as a title. The Minangkabau people believe in having a strong relationship with tigers, and can protect humans and pets. The myth of the proximity of the Minang people to the tiger for the Minangkabau community is considered a truth and is believed to be the incarnation of their ancestors. Besides being believed by humans to have a close relationship with tigers, tigers are still wild animals that can prey on humans and livestock at any time. Tigers that are considered detrimental to the community because they have preyed on livestock or humans, will be caught by performing the tiger ilau ritual. The ritual of catching tigers is carried out with songs and incantations performed by shamans and mothers, with sad rhythms tending to lament. Ilau tiger ritual is the longest ritual, which is carried out for an indefinite period of time. The length of time sometimes takes fifteen days, it can be six months, it can even take up to a year. The unique and interesting phenomenon of tiger light, which has the meaning of cooperation, toughness, patience, resentment, fighting power, and hope, became the inspiration in the creation of Lantiang Harimau's works. Phenomenonthe Ilau tiger ritual event becomes the concept of work, which is poured throughs motiontiger blade. The tiger silat movement has a sharp, hard and deadly motion using tiger styles and moves, such as jumping and kicking, bouncing and pounced on by the tiger. This workworked on in a new form that was touched by incorporating modern elements in a contemporary context (Art Contemporary), without losing traditional values.
Tubuh Penari Penceng sebagai Komoditi Pasar pada Masyarakat Karo Nurwani Nurwani; Martozet Martozet
PANGGUNG Vol 32, No 3 (2022): Komodifikasi dan Komoditas Seni Budaya di Era industri Kreatif
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1263.825 KB) | DOI: 10.26742/panggung.v32i3.2205

Abstract

Tubuh penari Penceng dalam dunia perhelatan muda-mudi masyarakat Karo dijadikan sebagai sesuatu yang dapat dijual atau komoditas dalam mempesona penonton. Tubuh penari Penceng menjadi komoditas yang menguntungkan penari Penceng itu sendiri dan bagi pedagang dan pelaksana kegiatan. Penari Penceng dijadikan materi untuk menguasai pasar komersial. “Tubuh” dan ekspresi penari Penceng dijelajahi secara masif guna memberikan kesan yang dapat menarik mendukung penampilan dalam tarian yang akan dibawakan. Peneliti memilih penari Penceng untuk dianalisis karena pergeseran yang terjadi dalam kegiatan muda- mudi yang menghadirkan penari bayaran yang menjadi pertentangan dalam masyarakat Karo itu sndiri, terkait dengan keberadaan penari Penceng ini. Penampilan penari Penceng dengan gerakan erotis dan busana serba ketat dapat membangun imajinasi dalam seks, dan tubuh penari Penceng sebagai komodifikasi baik oleh penari, pelaksana kegiatan maupun pedagangpedagang yang ada disekitarnya. penelitian ini menggunakan metode kualitatif dengan jenis penelitian deskriptif. Guna melihat komodifikasi terhadap penari Penceng digunakan teori komodifikasi Marxisme. Disimpulkan bahwa kemolekan tubuh penari Penceng selalu dijadikan sebagai benda yang diperdagangkan yang mampu menghimpun m modal atau menghasilkan keuntungan. Karena penari Penceng merupakan barang jasa yang dapat dijual, yang sangat menguntungkan dalam pertunjukan seni yang dipercaya mampu menguatkan pertunjukan-pertunjukan . Konsep komodifikasi dalam tarian yang dilakukan oleh penari Penceng yaitu menggunakan tubuh sebagai daya tarik seksual dengan maksud dapat menarik perhatian penonton.Kata kunci: penari Penceng, tubuh, komodifikasi.
Tubuh Penari Penceng sebagai Komoditi Pasar pada Masyarakat Karo Nurwani Nurwani; Martozet Martozet
PANGGUNG Vol 32 No 3 (2022): Komodifikasi dan Komoditas Seni Budaya di Era industri Kreatif
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v32i3.2205

Abstract

Tubuh penari Penceng dalam dunia perhelatan muda-mudi masyarakat Karo dijadikan sebagai sesuatu yang dapat dijual atau komoditas dalam mempesona penonton. Tubuh penari Penceng menjadi komoditas yang menguntungkan penari Penceng itu sendiri dan bagi pedagang dan pelaksana kegiatan. Penari Penceng dijadikan materi untuk menguasai pasar komersial. “Tubuh” dan ekspresi penari Penceng dijelajahi secara masif guna memberikan kesan yang dapat menarik mendukung penampilan dalam tarian yang akan dibawakan. Peneliti memilih penari Penceng untuk dianalisis karena pergeseran yang terjadi dalam kegiatan muda- mudi yang menghadirkan penari bayaran yang menjadi pertentangan dalam masyarakat Karo itu sndiri, terkait dengan keberadaan penari Penceng ini. Penampilan penari Penceng dengan gerakan erotis dan busana serba ketat dapat membangun imajinasi dalam seks, dan tubuh penari Penceng sebagai komodifikasi baik oleh penari, pelaksana kegiatan maupun pedagangpedagang yang ada disekitarnya. penelitian ini menggunakan metode kualitatif dengan jenis penelitian deskriptif. Guna melihat komodifikasi terhadap penari Penceng digunakan teori komodifikasi Marxisme. Disimpulkan bahwa kemolekan tubuh penari Penceng selalu dijadikan sebagai benda yang diperdagangkan yang mampu menghimpun m modal atau menghasilkan keuntungan. Karena penari Penceng merupakan barang jasa yang dapat dijual, yang sangat menguntungkan dalam pertunjukan seni yang dipercaya mampu menguatkan pertunjukan-pertunjukan . Konsep komodifikasi dalam tarian yang dilakukan oleh penari Penceng yaitu menggunakan tubuh sebagai daya tarik seksual dengan maksud dapat menarik perhatian penonton.Kata kunci: penari Penceng, tubuh, komodifikasi.
Memerankan Tokoh Barabah dalam Naskah Barabah dengan Penekanan Fenomena Pernikahan Beda Generasi Kristiana Berutu; Martozet Martozet
Gestus Journal: Penciptaan dan Pengkajian Seni Vol 4 No 2 (2024): GESTUS JOURNAL : PENCIPTAAN DAN PENGKAJIAN SENI
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gsts.v4i2.64547

Abstract

Tujuan dari penelitian ini ialah 1). Memerankan tokoh Barabah dalam naskah drama Barabah karya Motinggo Busye dengan menggunakan teori struktur tulang Lajos Egri 2). Menciptakan tokoh Barabah dalam naskah drama Barabah karya Motinggo Busye dengan menggunakan metode akting Lee Strassberg. Penulis menggunakan teori Surealisme, Struktur Kepribadian Sigmund Freud, Struktur Tulang Lajos Egri untuk memenuhi kebutuhan keaktoran penulis. Penulis menggunakan metode penelitian, deskriptif kualitatif. Dalam menciptakan tokoh Barabah, penulis menggunakan metode akting Lee Strassberg yaitu dengan ingatan emosi, latihan tubuh, improvisasi, pemanfaatan memori indera. Hasil penelitian memerankan tokoh Barabah dalam naskah Barabah karya Motinggo Busye dengan menggunakan teori struktur tulang Lajos Egri dapat memberikan pemahaman yang mendalam tentang karakter. Teori struktur tulang Lajos Egri menekankan pada tiga elemen utama dalam pembentukan karakter yaitu keinginan, konflik, dan perubahan. Dengan memperhatikan ketiga elemen tersebut, maka penulis dapat memerankan tokoh Barabah dengan lebih menyeluruh dan mendalam. Kemudian hasil dari menciptakan tokoh Barabah dalam naskah Barabah karya Motinggo Busye dengan menggunakan metode akting Lee Strassberg akan melibatkan pendekatan yang lebih mendalam terhadap karakterisasi dan pemahaman emosional. Memiliki langkah-langkah yang bisa diambil seperti penelitian, imajinasi, pengamatan, latihan dan eksperimen.
Co-Authors Kristiana Berutu Merdy Roy Sunarya Togatorop Nurwani Nurwani Nurwani Nurwani Yunaidi Yunaidi