Retno Dwimarwati
Institut Seni Budaya Indonesia (ISBI) Bandung

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Nilai Pedagosis dalam Ritual Domyak Anggy Giri Prawiyogi; Retno Dwimarwati; Suhendi Afryanto
PANTUN Vol 7, No 1 (2022): Ritual, Seni, dan Rekayasa Budaya
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v7i1.2089

Abstract

ABSTRACTDomyak is a ritual means of asking for rain at the foot of Mount Burangrang, Pasir AnginVillage, Darang District and Purwakarta Regency. In 1920, domyak was called chickpeas but in1990 it became domyak (ngadogdog and rampayak) meaning playing dogdog music with dances.This paper aims to examine the pedagogical values contained in the domyak ritual and the domyakritual process. The presentation is carried out in several stages which are also accompanied by severalforms of performing arts. The domyak ritual is performed in the form of helaran or procession orusing a stage. Bloom’s taxonomic theory is applied to explore pedagogical values in domyak rituals.Qualitative data were collected through observation, interviews, and documentation. The results ofthe study include the pedagogical values contained in the goals of education, educational content,and educational tools used. The purpose of education is that each of the member of the communitiesshould master traditional customs, especially in the domyak ritual to ask for rain; The contents ofeducation are ritual traditions which have been passed down from generation to generation fromthe 1920s to the present; Educational tools used in the form of habituation, supervision, orders,prohibitions and rewards in these ritual activities, such as: in starting the ritual by praying and thecommand to bathe the cat in the ritual activity.Keywords: Pedagogical value, domyak ritualABSTRAKDomyak merupakan sarana ritual meminta hujan yang berasal dari kaki GunungBurangrang Desa Pasir Angin Kecamatan Darangdan Kabupaten Purwakarta. Pada tahun1920 Domyak tersebut dinamakan buncis dan pada tahun 1990 berubah menjadi Domyakyang berarti (ngadogdog dan rampayak) bermain musik dogdog dengan tarian. Tulisan inibertujuan untuk mengkaji nilai-nilai pedagogis yang terdapat pada ritual Domyak sertaposes ritual domyak. Penyajiannya dilakukan dalam beberapa tahapan-tahapan yang jugadiiringi oleh beberapa bentuk seni pertunjukan. Ritual Domyak dipertunjukkan dalambentuk helaran atau arak-arakan maupun menggunakan panggung. Teori taksonomiBloom digunakan untuk menggali nilai-nilai pedagogis dalam ritual domyak. Datakualitatif dikumpulkan melalu observasi, wawancara, dan dokumentasi. Hasil Penelitianmencakup nilai-nilai pedagogis yang terdapat dalam tujuan pendidikan, pendidikan, isipendidikan serta alat pendidikan yang digunakan. Tujuan pendidikan yakni setiap wargamasyarakat harus menguasai adat tradisi terutama dalam ritual Domyak untuk memintahujan; Isi pendidikan yakni tradisi ritual yang diturunkan secara turun temurun dari tahun1920 sampai saat ini; Alat pendidikan yang digunakan berupa pembiasaan, pengawasan,perintah, larangan dan ganjaran dalam kegiatan ritual tersebut, seperti: dalam memulairitual dengan berdoa dan perintah untuk memandikan kucing dalam kegiatan ritualtersebut.Kata Kunci: Nilai pedagogis, ritual domyak
Konstruksi Sosial Nicky Astria Sebagai Lady Rocker Indonesia Yully Hidayah; Een Herdiani; Retno Dwimarwati
PANTUN Vol 6, No 2 (2021): Karakter Seni Lokal Untuk Penguatan Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i2.1814

Abstract

The focus of this study is on the social construction of Nicky Astria as a singer on the influence of the development of rock music in Indonesia. The term “constructive” refers to the structuralist-constructive theory of Pierre Bourdieu or better known as social constructivism or postmodernism which recognizes the role of subjects and objects in the development of science. The theory is then applied to map, analyze, and e xplain the construction including the realm, habitus, and capital which represent Nicky Astria as a Lady Rocker. The research method applied is Kuntowijoyo approach, namely history to understand life records, namely the era that is the background of the biography and the socio-political environment. Qualitative data are obtained by literature study, observation of the works and figures of Nicky Astria and interview with Nicky Astria and other sources related to Nicky Astria as the research subject. The results of the study shows that Nicky Astria as Lady Rocker is represented through her consistency and popularity in the world of rock music. Her activities and productivities color and contribute to the development of rock music in Indonesia.Keywords: Nicky Astria, structural constructive, Lady Rocker
Mitos Tenun Gedogan Indramayu sebagai Sistem Kebudayaan Masyarakat Juntikebon Dewi Mustika; Retno Dwimarwati; Yanti Heriyawati
PANTUN Vol 6, No 1 (2021): Glokalisasi Seni Budaya dalam Tranformasi Mitos dan Spiritualitas
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i1.1691

Abstract

Tenun (weaving fabric) of Gedogan Indramayu is no longer merely a daily clothing in its development. It has been mythized by the user community as a woven fabric that is intended for noble goals in more noble social strata. The four mythical motifs include Babaran, Kluwungan, Poléng Mentisa, and Udan Mas Prambutan motifs. The myth of the weaving of Gedogan Indramayu is used as a guide not only for religious values, but also for the ethics of the people have become part of the culture. Myths in the form of beliefs are actualized in the traditions of the people and in a sacred ceremony, such as: ritual after giving birth, Ruwatan Anak Sukerta, Kirab Kuwu tradition, and Nurubi-Mayat ritual. These traditional ceremonies and rituals are presented as transcendent events. More specifcally, the spirit which cannot be sensed is presented into the material which is tangible. The myth of Gedogan Indramayu weaving has become part of the Junti Kebon cultural system. The values are applied as the patern of the society daily behavior, individually and in society.Keywords: Myth, Babaran, Kluwungan, Poléng Mentisa, Udan Mas Prambutan.
Bentuk Film Dokumenter Ekspositoris Menggunakan Open Caption untuk Audiens dengan Keterbatasan Pendengaran I Gede Nyoman Wisnu Satyadharma; Arthur S. Nalan; Retno Dwimarwati
PANTUN: Jurnal Ilmiah Seni Budaya Vol 5, No 2 (2020): Kolaborasi Seni Desain, Film, dan Media Digital
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v5i2.1426

Abstract

The form of documentary film created in this this research is a documentary film art entitled "Berujar Dalam Sunyi". This is a documentary film with an expository style of exposure, using a comparative narrative style. This research is a creative process creating a documentary film of which applies the use of open caption to give access people with hearing impairments in Indonesia to documentary films. The issue of this research is the reality of the life of people with hearing impairments in Indonesia. This film uses koentjaraningrat’s seven elements of culture to explore the visual potential of the life of a deaf-deaf community. Access to films, especially documentary films for people with hearing impairments in Indonesia is still very limited. The form of access in question is open caption, which can help people with hearing impairments enjoy and understand the contents of a film which is an audio-visual art form. This research is a creative process of making documentary films applying the use of open captions to provide access to documentary films for deaf people in Indonesia. In its application, a combination of voiceover and open caption is used, so that this documentary film can be enjoyed by both hearing audiences and audiences with hearing impairments.The results of this study illustrate how to present the reality in the life of people with hearing impairments into a documentary film that can be enjoyed by audiences with hearing impairments.Keywords: Documentary Film, Expository Style, Comparative Narrative Style, Open Caption