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All Journal Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Jurnal Pakarena Jurnal Kajian Seni
Panakajaya Hidayatullah
Universitas Gadjah Mada
Arts Humanities Education Social Sciences Other

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Alam Pikir Masyarakat Madura yang Terepresentasikan Melalui Lagu Ta’ Andi’ Rokok (Cia-Cia) Panakajaya Hidayatullah
Jurnal Kajian Seni Vol 2, No 2 (2016): Jurnal Kajian Seni Vol 2 No 2 April 2016
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (182.652 KB) | DOI: 10.22146/jksks.22694

Abstract

Ta’ Andi’ Rokok (Cia-cia) is a Madurese dangdut song adaptated from Indian song entitledChaiyya-Chaiyya. The song lyrics are very infl uenced by the conception or perspective ofthe creator. This reasearch aims to understand paradigm of Madurese people representedthrough the song by using Foucault’s theory. The reasearch uses multidiscipline approachesby involving several different studies in order to reach comprehensive understanding.The research showsthat the Cia-cia song contains the discourse that consists of a groupof statements (speech) of debt and humour. Through the statements, the kinship andcharacteristic model of Madurese people may be taken as conclusion. Some discourse thenconstruct some dominant subjects which are,tarétan (cousins), kanca tatanggâ (neighbour),kanca main (friends), oréng teggâs (fi rm person), oréng sabbâr (patient person), humourist,and honest person. While some subordinate subjects are Bhâlâ Jâuh (extended family),moneylender, the other, oréng lécak (the indecisive), temperamental person, serious person,and deceitful.
TRADITIONAL ARTISTS' EXPRESSIONS AND NEGOTIATION PRACTICES THROUGH VIRTUAL SPACES Panakajaya Hidayatullah
JURNAL PAKARENA Vol 7, No 2 (2022): Desember
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v7i2.31692

Abstract

This ethnographic research seeks to describe the phenomenon of the artistic practices of traditional artists in looking at new technologies and media. Discourse on various performing arts events outside the mainstream, in the 'periphery' (local) areas, which are often overlooked and neglected in discussions about art. The findings in this study confirm the progressive spirit of traditional artists in Situbondo in responding to the uncertain situation due to the pandemic. Adaptation and negotiation of the technology that has been adopted, opens new perspectives, and modes of attitude towards art practices in society. Traditional artists have demonstrated good practice in terms of survival skills and a critical attitude towards modernity
BÂJÂNG KERTÈ: SENI PERTUNJUKAN WAYANG TOPENG MASYARAKAT SITUBONDO Panakajaya Hidayatullah
Dance and Theatre Review Vol 8, No 1: May 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v8i1.14465

Abstract

This research seeks to examine the bâjâng kertè art form from various aspects, including its history and developmental dynamics, form and function, transmission and regeneration, as well as performance modes and survival strategies. The study employs a qualitative research approach, utilizing ethnographic methods. Data were collected through participatory observation, interviews, and literature review. The data were then interpreted by employing a multidisciplinary perspective, including history and performing arts. The findings reveal that bâjâng kertè is an intangible cultural heritage of significant value to the community of Situbondo. It was created by a skilled Madurese puppeteer named Kertisuwignyo, who later migrated and settled in Situbondo. Bâjâng kertè flourished in Situbondo during the 1970s to the 1990s. It was performed in various contexts such as parlo, rokat panhâbâ, rokat tasè’, rokat bhumi, salamettan, and other events. Its performance structure consists of several parts, including dhing-ghendhingan, tèmangan, tari srimpi, and maen carèta. This art form serves multiple functions within the community, including educational, entertainment, spiritual, and economic purposes. The knowledge and skills related to bâjâng kertè are culturally transmitted by its artists through two pathways: informal learning (cantrik) and group training. Various challenges and problems faced by bâjâng kertè artists have ultimately sparked new innovations. These include the emergence of new performance modes such as topeng rokatan, topeng can-macanan, topeng lawak, and the incorporation of bâjâng kertè content in audiovisual recordings.
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