Article Per Year (5 Year)
p-Index From 2021 - 2026
4.055
P-Index
This Author published in this journals
All Journal SELONDING PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Jurnal Kawistara : Jurnal Ilmiah Sosial dan Humaniora Panggung Gondang: Jurnal Seni dan Budaya Sorai: Jurnal Pengkajian dan Penciptaan Musik Abdi Seni Acintya Clef: Jurnal Musik dan Pendidikan Musik Jurnal Kajian Seni Jurnal Mebang Boting Langi: Jurnal Seni Pertunjukan YASIN: Jurnal Pendidikan dan Sosial Budaya Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Jurnal Kawistara Panggung Harmonia: Journal of Arts Research and Education Jurnal bahasa, sastra, seni, dan pengajarannya Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik
Kiswanto Kiswanto
Institut Seni Indonesia (ISI) Surakarta
Religion Arts Humanities Decision Sciences, Operations Research & Management Education Environmental Science Languange, Linguistic, Communication & Media Library & Information Science Social Sciences Other

Published : 28 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 28 Documents
Search

 1   2   3 
Pelestarian Kesenian Tradisional Gambang di Desa Danau Lamo, Kecamatan Maro Sebo, Kabupaten Muaro Jambi Elizabeth Christiana Putri; Kiswanto Kiswanto
YASIN Vol 6 No 1 (2026): YASIN: Jurnal Pendidikan dan Sosial Budaya
Publisher : Lembaga Yasin AlSys

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58578/yasin.v6i1.8926

Abstract

Social change marked by the dominance of modern entertainment has reduced the living space of traditional arts, including the Gambang art form in Danau Lamo Village, Muaro Jambi Regency, thereby creating challenges for its continuity and preservation amid increasingly intense cultural competition. This study aimed to analyze strategies for preserving Gambang as a form of cultural adaptation in response to social change. A qualitative method with an ethnographic approach was employed and analyzed through the lens of Charles Darwin’s evolutionary theory, particularly the concept of struggle for existence. Data were collected through participant observation, in-depth interviews with key artists and members of the Komunitas Keluarga Seni (KKS), documentation, and literature study, and then analyzed thematically. The findings show that Gambang has been able to survive through intergenerational, family-based transmission; the role of key actors such as Datuk and Nyai as custodians of tradition; innovations in performance formats; and the use of technology as a medium for documentation and promotion. The shift in performance context from traditional social spaces to cultural events and festivals reflects an adaptive response to changes in the “cultural habitat” without eroding local identity and values. In conclusion, the preservation of Gambang is an adaptive and dynamic process that is strongly determined by the community’s capacity to respond to social change, and its implications underscore the importance of strengthening the role of local communities and leveraging cultural innovation as sustainability strategies for traditional arts in the modern era.
Pelestarian dan Pengembangan Alat Musik Tiup Tkud pada Masyarakat Desa Dano Lamo Jambi Rendi Surya Pamungkas; Kiswanto Kiswanto
YASIN Vol 6 No 1 (2026): YASIN: Jurnal Pendidikan dan Sosial Budaya
Publisher : Lembaga Yasin AlSys

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58578/yasin.v6i1.8927

Abstract

Modernization and technological development have reduced the living space of traditional arts, including the wind instrument Tkud in the social life and musical traditions of the Dano Lamo Village community in Jambi. This study aimed to analyze the preservation and development of Tkud amid these dynamics of social change. A qualitative approach with an ethnographic method was employed to understand Tkud as a cultural practice in context through field observations, interviews with artists and customary leaders, and documentation. The findings indicate a shift in the function and contextual use of Tkud in the community’s social life, which has weakened traditional intergenerational transmission patterns. Preservation and development efforts have been carried out through strategies of innovation and adaptation, particularly by collaborating Tkud with modern musical instruments, which has contributed to expanding performance spaces, increasing the appeal of traditional arts, and opening opportunities for the regeneration of artists. Nevertheless, low interest among the younger generation due to the dominance of digital media remains a major challenge for sustaining the tradition. These findings affirm that Tkud as a traditional art form constitutes a dynamic and adaptive cultural practice, in which transformations of form and function serve as key strategies for preservation without eroding the local cultural identity of the Dano Lamo community.
Upaya Pengembangan Kesenian Angklung Caruk pada Sanggar Jiwa Etnik Blambangan Ridho Ikhsananda Ridho ikhsananda; Kiswanto
Clef: Jurnal Musik dan Pendidikan Musik Vol. 7 No. 1 (2026): Clef: Jurnal Musik dan Pendidikan Musik
Publisher : Institut Agama Kristen Negeri Manado

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51667/clef.v7i1.2725

Abstract

Penelitian ini mengkaji upaya pengembangan kesenian Angklung Caruk di Sanggar Jiwa Etnik Blambangan sebagai bentuk pelestarian seni tradisional di tengah perubahan selera dan kehidupan budaya masyarakat Banyuwangi. Penelitian ini bertujuan untuk melihat kondisi aktual Angklung Caruk, cara sanggar mengembangkan pertunjukan agar tetap relevan, peran generasi muda sebagai penerus tradisi, serta peran pemerintah daerah dalam menjaga keberlanjutan kesenian tersebut. Penelitian menggunakan metode kualitatif deskriptif dengan pengumpulan data melalui wawancara, observasi, dokumentasi dan studi Pustaka. Hasil penelitian menunjukkan bahwa Angklung Caruk masih dijalankan secara aktif dengan tetap berpegang pada nilai tradisi, dikembangkan melalui pengemasan pertunjukan yang lebih adaptif, didukung oleh keterlibatan generasi muda, serta memerlukan kerja sama antara komunitas seni dan pemerintah daerah agar kesenian ini tetap hidup dan bermakna bagi Masyarakat.
EKSISTENSI KESENIAN MUSIK ODROT: TANTANGAN DALAM PELUANG DAN REGENERASI Andra Yonaldi; Kiswanto Kiswanto
Boting Langi: Jurnal Seni Pertunjukan Vol 4, No 4 (2025): Oktober-Desember
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/bl.v4i4.75130

Abstract

Tulisan ini membahas tentang eksistensi kesenian Musik Odrot sebagai salah satu warisan budaya tradisional yang mulai terpinggirkan di tengah arus modernisasi di Ponorogo. Musik Odrot, yang berkembang sejak tahun 1950-an, merupakan transformasi dari musik tiup kolonial yang menjadi bentuk hiburan rakyat yang khas, dengan fungsi sosial, spiritual, dan budaya yang penting dalam masyarakat. Namun, eksistensinya kini menghadapi berbagai tantangan serius seperti krisis regenerasi, kerusakan instrumen, minimnya dokumentasi, serta fokus kebijakan budaya daerah yang lebih mengutamakan kesenian Reog. Penelitian ini bertujuan untuk mengkaji dinamika eksistensi Musik Odrot serta menawarkan strategi pelestarian yang relevan dengan konteks saat ini. Metode yang digunakan adalah pendekatan kualitatif dengan pendekatan studi multi metode atau mixmethods research dengan fokus pada data kualitatif, yaitu dengan teknik pengumpulan data melalui studi literatur, wawancara langsung dengan pelaku kesenian Odrot, serta observasi dokumentasi visual dari video pertunjukan Musik Odrot yang diunggah di platform YouTube. Hasil penelitian menunjukkan bahwa eksistensi Musik Odrot dapat dipulihkan dan diperkuat melalui revitalisasi instrumen, pelibatan pendidikan, pendokumentasian, serta penyelenggaraan festival dan kolaborasi antar-lembaga. Musik Odrot tidak hanya pantas dipertahankan karena nilai tradisinya, tetapi juga karena potensinya dalam membangun kembali ekosistem budaya lokal yang adil dan beragam
PENGEMBANGAN VISUAL DRAMA TARI PANJI PADA VIDEO KLIP MUSIK METAL KELOMPOK DJIWOASTRA Bondan Aji Manggala; Kiswanto Kiswanto
Abdi Seni Vol. 14 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v14i2.4984

Abstract

Kegiatan pengembangan visual Drama Tari Panji bertujuan untuk merealisasikan konsep dan gagasan visual dalam pertunjukan musik (konser) kelompok Djiwoastra pada karya lagu terakhir yang berjudul “Panji”. Keterlibatan penulis dalam proyek ini adalah sebagai salah satu produser video klip musik, serta  berperan menjadi fasilitator gagasan visual Drama Tari Panji untuk pertunjukan musik kelompok Djiwoastra. Kegiatan dilakukan melalui metode partisipatoris yang berfokus pada upaya penemuan model pendekatan proses dan hasil (produk) kekaryaan seni pertunjukan yang berbasis pada internalisasi keberagaman pengalaman, selera, gaya, dan kompetensi dari para personil dan pendukung karya. Pengembangan visual Drama Tari Panji diharapkan dapat merepresentasikan musik metal Nusantara yang berwujud dalam simbol-simbol visual. Hasil dari kegiatan kekaryaan ini dapat membentuk pengalaman kreatif bagi penguatan ketrampilan kelompok Djiwoastra yang dapat dimanfaatkan lebih lanjut untuk mengatasi permasalahan dan tantangan kreativitas dalam pengembangan visual video klip pertunjukan musik metal Nusantara yang memperpadukan antara estetika Timur dan Barat.
Musical Creativity of the Reyog Gajah Manggolo Group at the 2022 Reyog Ponorogo National Festival Wulan Dwi Karlina Sari Wulan; Kiswanto Kiswanto
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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

Abstract

This study aims to describe the musical presentation and analyze the creativity of the Reyog Gajah Manggolo (RGM) group from SMA Negeri 1 Ponorogo in the 2022 National Reyog Ponorogo Festival. The research employs a qualitative approach with a descriptive-analytical method. Data were collected through field observations, in-depth interviews, visual documentation, as well as document and music notation analysis. The findings reveal that the musical arrangement performed by RGM was systematically designed to support the dramatic flow of the performance. Music functioned not only as an accompaniment to dance but also played a crucial role in shaping the atmosphere and dynamics of the stage presentation. The creative process was carried out collaboratively among the coach, composer, and musicians through several stages, including planning, musical experimentation, intensive rehearsals, and a final preparation period before the festival. The creativity generated from this process brought positive impacts, both on the quality of the performance and the personal development of its members. Internally, it strengthened character, boosted self-confidence, and fostered solidarity. Externally, the group’s presence helped reinforce the role of Reyog art as a living cultural heritage within the school and the wider community. These findings indicate that musical creativity within the RGM group represents a form of traditional adaptation that aligns with contemporary developments, while also serving as an effective strategy for the regeneration and preservation of Reyog among younger generations.
Flexibility in Javanese Folk Performing Arts: Adaptation, Creation, and Innovation Kiswanto, Kiswanto; Paimin, Paimin; Prihatin, Wahyu
Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya
Publisher : citeus

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

Abstract

This study aims to uncover and explain the concept and model of flexibility as a mechanism for the sustainability of folk performing arts amidst conditions of social and cultural change. The study was conducted using an ethnographic approach, based on participatory and collaborative activities within the Turonggo Seto Boyolali group, and supported by data collection techniques including observation, interviews, documentation, and literature review. The results of this study indicate that flexibility is a principle and approach applied through the process of adaptation, creation, and innovation. This process is carried out to preserve and develop traditional performing arts, ensuring they continue to exist and evolve amid changes in their social and cultural context. Adaptation, creation, and innovation in the form and variety of artistic presentations are carried out by considering several aspects, namely the development of aesthetic needs (tastes) of performing artists, audience segmentation (social and market), the needs or requirements of the performance organization, and the spatial and temporal context of the performance organization. The process occurs through the practice of diversification and differentiation of artworks, followed by developments in almost every type of artwork. The results of this process make the TSB group more flexible in determining and selecting the types of artworks to be offered and presented for performance. In general, folk performing arts performances are divided into Full Performance Formats and Limited Performance Formats.
Ladrang Siyem: Studi Hibriditas, Diplomasi Budaya Melalui Soft Power dan Daya Hidup Gending Trisha Alexandra; Kiswanto Kiswanto
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 2 (2026): Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i2.10222

Abstract

This study aims to analyze Ladrang Siyem as a traditional musical composition of the Surakarta Palace that represents musical hybridity, cultural diplomacy, and the vitality of Javanese karawitan traditions. This qualitative study employed an ethnographic approach through five months of participant observation within the Surakarta Hadiningrat Palace environment. Data were collected through interviews with palace servants, pengrawit (Javanese gamelan musicians), and karawitan scholars, as well as through documentation studies of musical notation, recordings, and historical archives. The findings show that the musical hybridity of Ladrang Siyem is reflected in the incorporation of Siamese or Thai musical elements into the structure of Javanese gamelan, particularly in the ladrang form using the sléndro pathet nem tuning system. Its cultural diplomacy dimension is reflected in its function as a Gendhing Panembrama, performed to honor the arrival of the King of Siam during the reign of Pakubuwono X. The composition demonstrates the ability of Javanese culture to accommodate foreign cultural elements while maintaining its musical identity. Meanwhile, the vitality of Ladrang Siyem is sustained through the memories of palace servants, musicians’ knowledge, musical notation and recordings, the transmission of karawitan traditions, and contemporary academic studies. Thus, Ladrang Siyem possesses not only musical and historical significance but also represents cultural relations and the continuity of Javanese karawitan traditions.
Co-Authors Amurwaningtyas, Allya Dwi Melati Ananda Tri Ariska Andra Yonaldi Ansari, Isa Aris Dwiyanto Aton Rustandi Mulyana Bambang Sunarto Bondan Aji Manggala Dwi Setyawan Elizabeth Christiana Putri Indah Wahyuningsih Indriani, Novita Jantro, Gregorius Sukmambo Bilakso Novianto, Wahyu PAIMIN Prihatin, Wahyu Renaldi Lestianto Utomo Putro Rendi Surya Pamungkas Ribeth Nurvijayanto Ridho Ikhsananda Ridho ikhsananda Saka, Putri Ananda Santoso, Iwan Budi Seto, Novan Daru Anggoro Soladi Soladi Soladi, Soladi Sulastuti, Katarina Indah Sunardi Sunardi Tri Joko Trisha Alexandra Wahyu Nugroho Wahyu Nugroho Wahyu Prihatin Wisnu Mintargo Wisnu Mintargo Wulan Dwi Karlina Sari Wulan Yusuf Beny Setiawan