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Identitas Gender dalam Penggunaan Kata-Kata Tabu Bahasa Jawa di Jawa Timur Agustin Anggraeni
Deskripsi Bahasa Vol 2 No 1 (2019): 2019 - Issue 1
Publisher : Department of Languages and Literature, Faculty of Cultural Sciences, UGM

Dalam penelitian ini, penulis mengangkat penggunaan kata-kata umpatan, makian, atau hinaan Bahasa Jawa yang digunakan oleh masyarakat Jawa Timur. Tujuan dari penelitian ini adalah untuk mengidentifikasi perbedaan antara masyarakat Jawa Timur laki-laki dan perempuan dalam menggunakan kata-kata tabu Bahasa Jawa dan faktor yang mempengaruhi perbedaan dalam penggunaan kata-kata tersebut. Penulis menggunakan pendekatan kualitatif dalam melakukan penelitian ini, lalu penyajian hasil analisis dipaparkan secara deskriptif. Metode pengumpulan data yang digunakan dalam penelitian ini adalah metode survei. Dalam melakukan survei, peneliti menggunakan kuisioner online yang disebar berdasarkan teknik random sampling kepada 95 responden, terdiri dari 27 laki-laki dan 68 perempuan. Berdasarkan hasil analisis, ditemukan bahwa masyarakat Jawa Timur menganggap bahwa kata jancuk dan asu adalah kata-kata umpatan yang paling kasar, kata ndasmu dan congormu adalah kata makian yang paling kasar, dan kata goblok dan nggatheli adalah kata-kata hinaan yang paling kasar. Laki-laki cenderung memilih leksikal dengan nilai yang paling kasar, seperti jancuk, asu, ndasmu, congormu, nggatheli, goblok ketika berbicara, sedangkan perempuan lebih memperhalus dengan memakai kata kampret, asem, nggaplek’i, pekok, bathukmu, udelmu. Perbedaan-perbedaan tersebut dapat dipengaruhi oleh beberapa faktor, antara lain usia, tingkat pendidikan, pekerjaan, tujuan, mitra tutur, dan pandangan sosial mereka tentang penggunaan kata-kata tabu.

The philosophical values of Rejang Dayung as an ancient dance inherited from Pura Luhur Batukau, Tabanan, Bali I Wayan Dana; Raja Alfirafindra; Agustin Anggraeni
Gelar : Jurnal Seni Budaya Vol. 21 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i2.5355

Rejang Dayung is an ancient dance inherited from the ancestors, serving a ritualistic function at Pura Luhur Batukau. It is exclusively performed in Jaba Tengah or the media mandala (living room) during the Sinineban (closing) ceremony at Pura Luhur Batukau. Noteworthy for its straightforward expressions in movements, floor patterns, costumes, and accompaniment, this dance merits scholarly investigation. The objectives of this study are to elucidate the philosophical value of Rejang Dayung performance as an ancient dance inherited from Pura Luhur Batukau, examine the correlation between the philosophical value of Rejang Dayung and the societal beliefs of Pura Luhur Batukau, and expound upon the significance of Rejang Dayung's philosophical value based on the concepts of Satyam (truth), Shivam (holiness), and Sundaram (beauty). The authors employed a qualitative method, incorporating field observation and interview techniques to gather data and ascertain the initial presentation of Rejang Dayung. The study's findings unequivocally reveal the philosophical values of Rejang Dayung and the embodiment of the Tri Hita Karana teachings (Balinese concepts for creating harmony), which encompass harmonious relationships between humans and God, humans and fellow humans, and humans and the universe. The philosophical value of Rejang Dayung signifies a profound surrender to the magnificence of Ida Sanghyang Widhi Wasa, God the Greatest, manifested through the collective choreography in pairs, symbolizing the convergence of Shiva-Parwati energy. This convergence, perceived by the people of Pura Luhur Batukau as the guardian of harmony in the universe and its constituents, underscores the dance's cultural and spiritual significance.

Conservation and Development Model of Mamaca in Pamekasan Madura Dana, I Wayan; Prasetya, St. Hanggar Budi; Anggraeni, Agustin
Resital: Jurnal Seni Pertunjukan Vol 24, No 1 (2023): April 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v24i1.8200

ABSTRACTMamaca traditional performing art is an essential intangible asset for the people of Madura and Indonesia. Mamaca in Madurese language means reading. Contextually, it means reading verses from particular texts. Its diversity and uniqueness are not only known by Indonesian, but also worldwide people. Its paramount role in the life of Mamaca-supporting community is undeniable as the songs and notations generated while performing is not only functioned as performing, but also efforts to establish Madurese moral values. Unfortunately, the local people, especially younger generation currently have started to abandon this traditional art. It leads to a worrisome position of Mamaca existing in Pamekasan Regency, Madura Island. Considering that this traditional performing art emphasizes the nobility of values and norms in its form and implementation and its capability of strengthening the Indonesian character and the harmony of social life, Mamaca is urgently required to be preserved and developed in accordance to the fervor of nowadays era. The performers take turns reading and singing the verses containing some epics of Mahabharata, Ramayana, stories of Islamic Prophets, and values of benevolence regarding wisdom teachings. This research is a model for the conservation and development of noble cultural values that involves active supporting elements of Mamaca, relevant government, academics, industries or sponsors, and the role of the media.ABSTRAKModel Konservasi dan Pengembangan Mamaca di Pamekasan Madura. Seni pertunjukan tradisi Mamaca merupakan aset non bendawi yang penting bagi masyarakat di Madura dan bangsa Indonesia. Mamaca dalam bahasa Madura berarti membaca. Dalam penelitian ini, Mamaca yang dimaksud adalah tradisi membaca syair-syair dari naskah tertentu. Keanekaragaman dan keunikannya tidak hanya dikenal oleh bangsa Indonesia sendiri, tetapi juga sudah secara luas. Peran pentingnya Mamaca di dalam kehidupan masyarakat penyelenggaranya tidak dapat terbantahkan karena lagu-lagu yang dilantunkan serta notasi yang dimainkan tidak hanya berfungsi sebagai hiburan, namun sebuah upaya untuk menanamkan nilai moral. Sayangnya, Mamaca kini mulai ditinggalkan, terutama oleh generasi muda setempat. Oleh karena itu, seni Mamaca yang hidup di wilayah Kabupaten Pamekasan Pulau Madura dipandang penting dilestarikan dan dikembangkan sesuai zamannya. Mengingat bahwa seni pertunjukan tradisi yang berdasarkan pada pemanfaatan musik internal ini mengutamakan keluhuran nilai dan norma di dalam wujud dan penyelenggaraannya, Mamaca dipandang mampu menguatkan karakter bangsa dan harmoni kehidupan sosial. Para pelakunya secara bergantian membaca dan melagukan syair-syair yang memuat sebagian wiracarita Mahabharata, Ramayana, dan kisah para Nabi dalam agama Islam serta menyampaikan norma dan nilai kebaikan mengenai ajaran kebijaksanaan. Kajian ini merupakan model pelestarian dan pengembangan nilai-nilai budaya adiluhur yang melibatkan unsur penyangga aktif Mamaca, pemerintah terkait, akademisi, pihak industri atau sponsor, dan peran media.

The philosophical values of Rejang Dayung as an ancient dance inherited from Pura Luhur Batukau, Tabanan, Bali Dana, I Wayan; Alfirafindra, Raja; Anggraeni, Agustin
Gelar: Jurnal Seni Budaya Vol. 21 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i2.5355

Rejang Dayung is an ancient dance inherited from the ancestors, serving a ritualistic function at Pura Luhur Batukau. It is exclusively performed in Jaba Tengah or the media mandala (living room) during the Sinineban (closing) ceremony at Pura Luhur Batukau. Noteworthy for its straightforward expressions in movements, floor patterns, costumes, and accompaniment, this dance merits scholarly investigation. The objectives of this study are to elucidate the philosophical value of Rejang Dayung performance as an ancient dance inherited from Pura Luhur Batukau, examine the correlation between the philosophical value of Rejang Dayung and the societal beliefs of Pura Luhur Batukau, and expound upon the significance of Rejang Dayung's philosophical value based on the concepts of Satyam (truth), Shivam (holiness), and Sundaram (beauty). The authors employed a qualitative method, incorporating field observation and interview techniques to gather data and ascertain the initial presentation of Rejang Dayung. The study's findings unequivocally reveal the philosophical values of Rejang Dayung and the embodiment of the Tri Hita Karana teachings (Balinese concepts for creating harmony), which encompass harmonious relationships between humans and God, humans and fellow humans, and humans and the universe. The philosophical value of Rejang Dayung signifies a profound surrender to the magnificence of Ida Sanghyang Widhi Wasa, God the Greatest, manifested through the collective choreography in pairs, symbolizing the convergence of Shiva-Parwati energy. This convergence, perceived by the people of Pura Luhur Batukau as the guardian of harmony in the universe and its constituents, underscores the dance's cultural and spiritual significance.

Fungsi Tari Gunungsari Kalibagoran di Masyarakat Desa Kalibagor, Kecamatan Kalibagor, Kabupaten Banyumas Suryaningsih, Suryaningsih; Winahyuningsih, M. Heni; Anggraeni, Agustin
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 18, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/idea.v18i2.13660

Tulisan ini mendeskripsikan fungsi tari Gunungsari Kalibagoran di masyarakat Desa Kalibagor, Kecamatan Kalibagor, Kabupaten Banyumas. Tari Gunungsari Kalibagoran adalah tari tradisional tunggal putri gaya banyumasan. Penelitian terkait fungsi tari ini mencakup tiga elemen pokok yakni objek tari Gunungsari Kalibagoran, masyarakat Kalibagor, dan teori fungsi. Persoalan fungsi diselesaikan dengan teori Robert K. Merton yang menyatakan fungsi ke dalam dua kategori yaitu fungsi manifest yakni akibat atau konsekuensi positif yang tampak dan fungsi latent yakni akibat atau konsekuensi positif yang tersembunyi. Fungsi latent walaupun tersembunyi namun terus mengikuti dan suatu saat dapat muncul dan menjadi penjaga keutuhan dalam suatu masyarakat. Merton tidak menyebutkan secara spesifik fungsi tari, maka dalam penelitian ini teori fungsi Merton dibantu oleh konsep Kraus untuk memudahkan kategorisasi fungsi tari. Hasil penelitian menunjukkan bahwa fungsi manifest dalam tari Gunungsari Kalibagoran ialah bentuk tarinya, berfungsi sebagai hiburan, dan berfungsi sebagai pekerjaan. Fungsi latent atau fungsi yang tersembunyi dalam tari tersebut yakni fungsi konseptual (nilai sosial, nilai historis, nilai kesuburan, dan nilai estetis), fungsi kontinyuitas atau keberlangsungan tari, fungsi pemelihara sistem kelas sosial, serta fungsi penguat identitas bagi masyarakat Banyumas.The Function of the Gunungsari Kalibagoran Dance in the Community of Kalibagor Village, Kalibagor District, Banyumas RegencyThis article describes the functions of the Gunungsari Kalibagoran dance within the community of Kalibagor Village, Kalibagor Subdistrict, Banyumas Regency. The Gunungsari Kalibagoran dance is a traditional solo female dance in the Banyumasan style. The research on the functions of this dance encompasses three key elements: the dance as an object, the Kalibagor community, and functional theory. The issue of function is analyzed using Robert K. Merton's theory, which categorizes functions into two types: manifest functions, which are visible positive outcomes, and latent functions, which are hidden positive outcomes. Latent functions, although concealed, persist and may emerge to serve as a unifying force within society. Since Merton does not explicitly address dance functions, this research integrates Merton's functional theory with Kraus's concepts to categorize dance functions. The findings reveal that the manifest functions of the Gunungsari Kalibagoran dance include its form, its role as entertainment, and its economic function as a livelihood. The latent functions of the dance include conceptual functions (social, historical, fertility, and aesthetic values), the continuity of the dance tradition, its role in maintaining the social class system, and its reinforcement of Banyumas's communal identity.

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