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All Journal SELONDING PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Jurnal Kawistara : Jurnal Ilmiah Sosial dan Humaniora Gondang: Jurnal Seni dan Budaya Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Sorai: Jurnal Pengkajian dan Penciptaan Musik Abdi Seni Acintya Tamumatra : Jurnal Seni Pertunjukan Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Jurnal Kajian Seni Jurnal Mebang Jurnal Kawistara Panggung
Kiswanto Kiswanto
Institut Seni Indonesia (ISI) Surakarta
Arts Humanities Decision Sciences, Operations Research & Management Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences

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Gebrakan dan Penganekaragaman: Budaya Persaingan dalam Pertumbuhan Seni Pertunjukan Rakyat di Boyolali Jawa Tengah Kiswanto Kiswanto; Tri Joko; Aris Dwiyanto
Jurnal Kawistara Vol 11, No 2 (2021)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.v11i2.65772

Abstract

This study aims to reveal and explain the cultural practice of competition in the growth of folk performing arts in Boyolali through the monopolistic competition theory approach of Edward Hastings Chamberlin, which has been adapted and developed critically with ethnographic research methods. This research produces findings in the form of a cultural pattern of competition that occurs indirectly among folk performing arts communities in Boyolali. Its characteristics can be recognized by the pattern of development and diversification of works of art between communities which is carried out by adding and producing forms of art that are distinguished from one another. This pattern is built through the process and the result of creativity from the practice of developing, creating, and/or adopting art forms based on the intention to create and present a gebrakan. On the other hand, this process is also part of the diversification process carried out as a strategy to strengthen the community’s positioning in facing market competition. The patterns and strategies developed in it have had a positive impact on the growth of folk performing arts which are increasingly diverse, so that there are many choices of competing art forms that can be chosen to be seen or ordered to be performed.
Model Pengembangan Iringan Tari Jaran Kepang Kiswanto Kiswanto; Wahyu Nugroho; Wahyu Prihatin
PANGGUNG Vol 34 No 3 (2024): Kreativitas, Seni Kontemporer, dan Pariwisata Berkelanjutan
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v34i3.3216

Abstract

ABSTRAK Penelitian ini bertujuan untuk mengkonseptualisasikan dan memformulasikan karakteristik bentuk pola ke dalam suatu model yang merepresentasikan mengenai bangunan sistem musikal gending jaranan, metode (tahapan dan strategi) pengembangannya, serta hasil karya dari pengembangan itu sendiri. Penelitian dilakukan melalui pendekatan etnografi yang berlatar kegiatan partisipatif dan kolaboratif dengan teknik pengumpulan data melalui aktivitas pengamatan, wawancara, dokumentasi, dan studi pustaka. Penelitian ini menghasilkan temuan berupa model pengembangan sajian gending jaranan yang mengacu pada aspek penataan dan penggarapan sajian gending (musik). Model pengembangan sajian gending jaranan dapat diidentifikasi dan dijelaskan berdasarkan (1) pola dasar sajian gending jaranan, (2) metode pengembangannya, serta (3) bentuk dari hasil pengembangan tersebut. Tulisan ini didasarkan pada suatu argumen bahwa seni pertunjukan rakyat Jawa yang dahulu sering diremehkan dan dipandang sebelah mata, kini telah bertransformasi menjadi sebuah kekuatan budaya yang adaptif dan dinamis untuk menyesuaikan diri terhadap konteks kebutuhan serta perkembangan estetika dan selera masyarakat. Kata kunci: Jaran Kepang, Model Pengembangan Kesenian, Gending Jaranan, Seni Kerakyatan
Sholawat Global: Jalinan Makna Lintas Iman Nurvijayanto, Ribeth; Kiswanto, Kiswanto
SELONDING Vol 20, No 1 (2024): : Maret 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sl.v20i1.12411

Abstract

Sholawat Global adalah karya seni musik  yang merepresentasikan sikap toleransi praktik keberagamaan. Karya ini menyimpan pelbagai makna-makna yang mendalam. Penelitian ini dikerjakan dengan pendekatan kualitatif eksplanatoris dengan mewacanakan analisis semiotika yang ditawarkan Umberto Eco yang ditinjau dari kesatuan teks dan konteks Etnomusikologis. Penggalian makna  dalam Sholawat Global dianalisis menggunakan perspektif semiotika yang ditawarkan oleh Umberto Eco yaitu pemaknaan konotatif dan denotatif. Makna denotatif dalam karya ini ditinjau dari simbol-simbol hasil  manifestasi agama dunia yaitu kristen, Yahudi, dan Islam berupa lagu-lagu yang disajikan. Lagu-lagu yang dibawakan mengandung ekspresi yang menyuarakan perdamaian dalam konteks kehidupan sosial agama-agama dunia. Ekspresi musikal dan non musikal dalam karya ini merepresentasikan sebuah konten berupa kontruksi budaya dan konflik sosial yang hadir dalam persinggungan antar agama-agama dunia tersebut. Sholawat Global memiliki makna konotasi yang memposisikan lagu tersebut sebagai media komunikasi masyarakat. Pemaknaan denotasi dan konotasi mencerminkan kesatuan makna yang saling menguatkan. Lewat ekspresi musikal dan non musikal, pesan dari perdamaian yang memberikan efek keselamatan dan kesejahteraan bagi umat manusia yang dikumandangkan. Kata kunci: Sholawat Global, Semiotika, Etnomusikologis
PEMBERDAYAAN PEREMPUAN MELALUI KESENIAN GEJOG LESUNG PADA KOMUNITAS SANGGAR SANGIR DI KABUPATEN SRAGEN Indriani, Novita; Kiswanto, Kiswanto; Utami, Fawarti Gendra Nata
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5489

Abstract

Gejog Lesung is folk traditional music that still survives and develops in various rural agricultural areas in Java. The research aims to look at the relationship or connection between the existence of women, gejog dimples, and the Sanggar Sangir group in Sragen, as well as the role and contribution of the three in maintaining traditions passed down from ancestors for more diverse development purposes. This research uses a qualitative approach, which is carried out through data collection stages, including observation, interviews and literature study, as well as data analysis stages through descriptive and analytical interpretation methods to end with drawing conclusions. The results of this research show that the art of gejog mortar in the Sanggar Sangir group has (1) become a forum for expression and self-actualization for women to appear in public; (2) provided a forum for women, especially mothers, and teenagers, to interact with each other and exchange information that is useful in maintaining close social relations; and (3) become a means of empowering women in their participation to increase progress in the economic, social and cultural fields.
NEGOSIASI MUSIKAL ORKES KERONCONG FARIES NAFISA NUSANTORO DALAM PERTAUTAN PERKEMBANGAN MUSIK POPULER DANGDUT Ramadhan, Raihan Jelang; Kiswanto
TAMUMATRA Vol 7 No 2 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i2.29177

Abstract

This paper aims to uncover and explain the process of adaptation and negotiation of keroncong music amidst the dominance of popular dangdut music culture. This study focuses on the cultural dialectics undertaken by Faries Nafisa Nusantoro and Sanggar Rindu Malam in their efforts to confront the dominance of mainstream music. This research is based on an ethnographic approach conducted through building direct involvement in the midst of the study, supported by techniques such as observation, interviews, documentation, and literature review. This study produces findings in the form of adaptations referring to the marriage (hybridization) between keroncong music and dangdut music, musical negotiations that occur in the development of keroncong music, and its significance in the development of keroncong music in meeting the needs of the music industry in Indonesia. The findings of this research are expected to provide discourse and knowledge that contribute to the preservation and development of keroncong music in Indonesia.
Suara Genta dalam Ritual Persembahyangan Melasti oleh Umat Hindu di Blitar, Jawa Timur Wahyuningsih, Indah; Kiswanto
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 5 No. 1 (2025)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v5i1.165

Abstract

This study aims to determine the use and function of the bell in the Melasti prayer of Hindus in Blitar Regency. The bell in the Melasti prayer has an important role. The role of the bell in the series of Melasti prayers includes making tirta, eteh-eteh, nglarung sesaji, and sembahyang tri sandya. This study uses a qualitative method with an ethnographic approach. Alan P. Merriam in the Anthropology of Music, said that the use and function are references to examine the issue of how to use the bell, and its function in the Melasti prayer. Through the opening of the anthropological glasses, Merriam produced the use of the bell in the Melasti Prayer as an accompaniment to the Pandita's mantram and the five main functions of the bell in the Melasti Prayer, namely the Emotional Expression Function, Communication Function, Social and Religious Institution Validation Function, Physical Reaction Function, Hindu Community Integration Function. So that the bell in the Melasti prayer is not only religious music, but is able to create more space so that the bell can convey solemnity, human unity to communicate with Sang Hyang Widhi and culture.
Co-Authors Aris Dwiyanto Bambang Sunarto Bondan Aji Manggala Dwi Setyawan Indah Wahyuningsih Indriani, Novita Jantro, Gregorius Sukmambo Bilakso Ramadhan, Raihan Jelang Ribeth Nurvijayanto Santoso, Iwan Budi Seto, Novan Daru Anggoro Soladi Soladi Tri Joko Wahyu Nugroho Wahyu Prihatin Wisnu Mintargo Yusuf Beny Setiawan