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All Journal Ekspresi: Indonesian Art Journal Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni

Flora Ceunfin

Universitas Katolik Widya Mandira Kupang

Author-ID : 4421175

Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

Published : 5 Documents Claim Missing Document

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HOW TO PLAY AND TUNE SASANDO IN EDON STYLE MARIA KLARA AMARILIS CITRA SINTA DEWI TUKAN; FLORA CEUNFIN; MELKIOR KIAN
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 1 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Sasando is one of the cultural artifacts of the Rote Tribe that was born from ideas, good values, and local wisdom of the Rote people. This research is a qualitative case study type research aimed at gaining an understanding of sasando plays in Edon Studio and its tuning techniques. Edon Studio chose because the Edon technique has the characteristic of only using 7 fingers to play sasando and being able to tune sasando with two scales simultaneously. The results showed that at Edon Studio, sasando was played using 7 fingers consisting of 4 fingers of the left hand and 3 fingers of the right hand. On the left hand, the thumb and index finger enter in playing the melody, while the middle finger and ring finger meet in playing the bass. Besides playing the melody, the index finger is more positioned as the center of the movement of the other fingers. On the right hand, the thumb, index finger and middle finger are used to play rhythm. The middle finger meets as the commander, while the thumb and index finger meet to form the chord. For chords consisting of four notes, for example C7 chords, one note can be played from the melody (left hand). Regarding tuning, at Edon Studio, sasando tuning is done by considering modulation, namely sasando tuned using two scales. To set two or more basic sasando tunes, three important steps are used, namely: a) analyzing the composition of the melody on the song that will be played

ANALYSIS OF GO LABA MUSICAL ELEMENT OF NGADA TRADITIONAL MUSIC AS THE ACCOMPANIMENT OF JA’I DANCE IN MORA MASA STUDIO TUAK DAUN MERAH (TDM 02) SUB-SUB DISTRICT OEBOBO DISTRICT - KUPANG Flora Ceunfin; Melkior Kian; Maria Klara Amarilis Citra Sinta Dewi Tukan
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Go Laba is the traditional musical instrument of Ngada found in the studio of Mora Masa, Kupang city Nusa Tenggara Timur. Its playing pattern emphasizes more on the repetitions of rhythm. In this article, it's discussed (1) the presentation form of Go Laba as the accompaniment pattern of Ja'l dance in Mora Masa studio, Tuak Daun Merah village, Oebobo sub-district; (2) the musical element of Go Laba as the accompaniment pattern of Ja'l dance in Mora Masa studio, Tuak Daun Merah village, Oebobo sub-district. The traditional music of Go Laba consists of five gongs namely Go Wela, Go Ute, Go Dhere, Go Doa, Laba Wai and Laba Dhera. The presentation of Go Laba is the intertwined playing of rhythm that emphasizes more on the repetition of sound in order to create an aesthetic impression with 2/4 birama. Go Laba in its playing uses allegro tempo found in the rhythm of Go Wela. Based on research results, it can be concluded that Go Laba found in Mora Masa studio functions as the accompaniment of Ja'l dance used for the necessity in entertainment event and participating in the dance festival.

ANALYSIS OF THE MUSICAL FORM OF KEDU’E AS AN ACCOMPANIMENT OF EAST SABU ETHNIC PADOA DANCE AT IE LOWE WINI STUDIO, AIR NONA VILLAGE, KOTA RAJA DISTRICT, KUPANG. FLORA CEUNFIN; MARIA KLARA AMARILIS CITRA SINTA DEWI TUKAN
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 1 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Pedoa dance is one of the traditional dance of East Nusa Tenggara, precisely from the Eastern Sabu Region. Pedoa dance in its presentation uses song and Kedu’e as accompaniment. Kedue is a rhythmic musical instrument that is tied to the feet of Pedoa dancers. The problem is how the musical form of Kedu'e as an accompaniment to the East Sabu ethnic Pedoa dance at the Ie Lowe Wini studio, Air Nona Subdistrict, Kota Raja District, Kupang City. The uniqueness that is found in the Pedoa dance is the presence of the Kedu'e musical instrument that is tied to the dancer's feet. Thus there are eight (8) Kedu'e rhythm patterns or Pedoa dance rhythm patterns, namely (1) Tede rhythm patterns or Tede Motion Variations, (2) Manale rhythm patterns or Manale movements, (3) Hala rhythm patterns Hala motions, (4) Heroda Rhythm Patterns or Heroda range of motives, (5) Dede Rhythm Patterns or Dede Motion patterns, (6) Lung Rhythm Patterns or Lung motion variations, (7) Hegede Rhythm Patterns or Hegede Motion Variations, (8) The My Rhythm Pattern or My Variety of My Motion. The above rhythmic patterns vary in tempo, namely Andante, Moderato and Allergo. The tempo variation follows the rhythm of the song that is sung by dancers while dancing Pedoa, besides that the tempo change especially from Andante ketempo Alergo is a consideration so that dancers can take power in a variety of fast tempo dance moves. The rhythm or tempo produced by these two musical instruments will give enthusiasm to dancers and add an Estonian and dynamic feeling to the Pedoa dance.

Makna Simbolik Upacara Wulla Poddu dalam Masyarakat Loli Sumba Barat Nusa Tenggara Timur Flora Ceunfin
EKSPRESI Vol 10, No 1 (2010)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v10i1.7853

The Symbolic Meaning of the Wulla Paddu Ceremony. The research on the Wulla Paddu ceremony of the Loli community in West Sumba, East Nusa Tenggara province, intends to find out the symbolic meaning expressed in local traditional music called talla. The ceremony represents ritual activity during the Holy month of Loli New Year observed once a year according to the cultural calendar of the local community who believed in the supreme being of Marapu. The aim of the ceremony is to show respect and to express gratitude and requests to Ama wolu-Ama rawi (The Creator) through the intercession of Marapu. Wulla Paddu ceremonial event is organized in several phases which are always accompanied by talla music. The performance of talla music represents a symbolic meaning in terms of worshipping the supreme being of Marapu. The performance of talla music has been compulsory as an important part of the annually observed Wulla Paddu where the rhythm of the music reflects the symbolic meaning of the ceremony. The outcome of this research has shown that the performance of talla music in Wulla Paddu ceremony has played an important role in revealing the meanings of religious, social, and cultural symbols. The music is worthy to be preserved in accordance with its local cultural values, as well as an intangible heritage of West Sumba people, that hopefully will remain observed by the Loli community for many generations to come. Keywords: Talla, Marapu, Loli community

SYMBOLIC MEANING OF COSTUMES AND PROPERTY GONG DANCE OF THE DAWAN TRIBE NANSEAN VILLAGE Kadek Paramitha Hariswari; Flora Ceunfin; Yohanis Devriezen Amasanan
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 1 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i1.2362

Gong Dance is a profane dance of the Dawan Tribe community in Insana District, North Central Timor (TTU) Regency, East Nusa Tenggara Province which is usually danced in various events, both traditional events and as a reception dance.a symbol of authority, toughness, courage and masculinity of a Dawan tribe man. In particular, the symbolic meaning of Gong Dance is analyzed in terms of the costumes and properties used which are divided into three parts, namely the head which consists of pilu and pet no’o, body part consists of foke, molo, kain beti, pasu, sbeta and aluk. The leg consists of poentuf, bukhaef and giring-giring. While the properties of the gong dance are sumi and selendang. To analyze the symbolic meaning of the costumes and properties of the gong dance using qualitative descriptive analytical methods. Data obtained through observation and interviews as well as documentation.Keywords: Gong Dance; Symbolic Meaning; Costume and PropertyMAKNA SIMBOLIK PADA KOSTUM DAN PROPERTITARI GONG SUKU DAWAN DESA NANSEAN AbstrakTari Gong merupakan sebuah tari profan masyarakat Suku Dawan yang ada di Kecamatan Insana Kabupaten Timor Tengah Utara (TTU) Provinsi Nusa Tenggara Timur yang biasanya ditarikan dalam berbagai acara baik acara adat maupun sebagai tarian penerimaan tamu. Tari Gong secara umum dimaknai oleh masyarakat Suku Dawan sebagai simbol kewibawaan, ketangguhan, keberanian dan kejantanan seorang laki-laki Suku Dawan. Secara khusus, makna simbolik Tari Gong dianalisis dari segi kostum dan properti yang digunakan yang terbagi menjadi tiga bagian yakni bagian kepala yang terdiri dari pilu dan pet no’o, bagian badan terdiri dari foke, molo, kain beti, pasu, sbeta dan aluk. Bagian kaki terdiri dari poentuf, bukhaef dan giring-giring. Sedangkan properti tari gong adalah sumi dan selendang. Untuk menganalisis makna simbolik kostum dan properti tari gong menggunakan metode kualitatif deskriptif analitikal. Data diperoleh melalui observasi dan wawancara serta dokumentasi.Kata Kunci: Tari Gong, Makna Simbolik, Kostum dan Properti

Co-Authors Hariswari, Kadek Paramitha Maria Klara Amarilis Citra Sinta Dewi Tukan Melkior Kian Yohanis Devriezen Amasanan

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