Article Per Year (5 Year)
p-Index From 2020 - 2025
2.554
P-Index
This Author published in this journals
All Journal Harmonia: Journal of Research and Education ATAVISME JURNAL ILMIAH KAJIAN SASTRA MUDRA Jurnal Seni Budaya Panggung Jurnal Seni Makalangan Pantun: Jurnal Ilmiah Seni Budaya Buana Ilmu International Journal of Social Science PROSIDING SEMINAR NASIONAL DAN INTERNASIONAL HIMPUNAN SARJANA-KESUSASTRAAN INDONESIA Panggung
Endang Caturwati
Institut Seni Budaya Indonesia (ISBI) Bandung
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Medicine & Pharmacology Public Health Social Sciences Other

Published : 21 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 21 Documents
Search

 1   2   3 
Dinamika Pertunjukan Topeng pada Budaya Ngarot di Lelea Indramayu1 Sulaeman, Asep; Hidayat, H. I. Syarief; Kurnia, Ganjar; Caturwati, Endang
PANGGUNG Vol 24, No 4 (2014): Dinamika Seni Tari, Rupa dan Desain
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v24i4.134

Abstract

ABSTRACT Based on research that has been done a few years ago, about the dynamics performances Ngarot ceremonial mask, which is a cultural activity or practice of traditional ceremonies for the community to reach a meeting of Indramayu transcendental. The departure of this study encourage curiosity on the phenomena that occur on the object to be studied, it can be identified several issues that will be the basis to learn more about the phenomenon that is no change in the philosophical values, function and role in culture Ngarot mask performance, which is so Problems are how to form a mask dance in Ngarot transformation from time to time? The main problem will be revealed in this study is the change seen from asfek philosophical values, functions and roles. This study used a qualitative method, because of the problems of this research is in the area of art that narrow space, simple yet complex variable at the level of content, questioned the meaning, and questioned the phenomenon. While the approach adopted is to use a multidisciplinary approach to art, culture approach, and the approach to sociology. Target outcomes to be achieved from this study resulted in deepening the concept of meaning, and or innovat- ing dance masks to the public. The resulting concept can be used as one of the guide also to be creative/work in an effort to revitalize and innovate other mask dance. Keywords: Performance Masks, Ngarot, transformation, change    ABSTRAK Berdasarkan riset yang telah dilakukan beberapa tahun yang lalu, tentang dinamika per- tunjukan Topeng dalam upacara adat Ngarot, yaitu sebuah kegiatan atau praktik kultural ten- tang upacara adat bagi masyarakat Indramayu untuk mencapai pertemuan transedental. Ke- berangkatan penelitian ini mendorong  keingintahuan atas fenomena yang terjadi pada objek yang akan diteliti, maka dapat diidentifikasikan beberapa masalah yang akan dijadikan dasar untuk mengetahui lebih jauh tentang fenomena tersebut yaitu ada perubahan nilai-nilai filoso- fis, fungsi dan peran pertunjukan topeng dalam budaya Ngarot, yang jadi problematikanya adalah bagaimana wujud transformasi tari topeng dalam Ngarot dari masa ke masa? Masalah utama yang akan diungkapkan dalam penelitian ini adalah perubahan dilihat dari asfek nilai- nilai filosofis, fungsi dan peran.  Penelitian ini menggunakan metode kualitatif,  karena ma- salah-masalah penelitian ini ada dalam wilayah ruang seni yang sempit, variabel sederhana namun rumit dalam tataran konten, mempersoalkan makna, dan mempertanyakan fenomena. Sedangkan pendekatan yang diterapkan adalah multidisiplin dengan menggunakan pendeka- tan seni, pendekatan budaya, dan pendekatan sosiologi.Target luaran yang ingin dicapai dari penelitian ini menghasilkan konsep pendalaman makna, dan atau menginovasikan tari Topeng untuk masyarakat. Konsep yang dihasilkan dapat dijadikan salah satu panduan juga untuk berkreasi/berkarya dalam upaya merevitalisasi dan menginovasi tari Topeng lainnya. Kata kunci: Pertunjukan Topeng, ngarot, transformasi, perubahan
Estetika Tari Minang dalam Kesenian Randai Analisis Tekstual-Kontekstual Rustiyanti, Sri; Djajasudarma, Fatimah; Caturwati, Endang; Meilinawati, Lina
PANGGUNG Vol 23, No 1 (2013): Strategi dan Transformasi Tradisi Kreatif: Pembacaan, Pemaknaan, dan Pembelaja
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v23i1.86

Abstract

ABSTRACT This paper reveals textual and contextual Randai, among other things, an analysis of Gerak Ga­ lombang Randai, an analysis of the character of Anak Randai, and at the end of the study series, to reveal the values contained in Randai as a cultural reality, which in principle is an inseparable part of the existence of Minangkabau community as the cultural support. The variety of motion used in Gerak Galombang Randai is not only a decoration of the motion beauty (tangible), but it also can be translated, as well as a symbol or emblem that has educational meanings (intangible), and can be an example of the daily life of the indigenous Minangkabau society. Keywords: Minang Dance aesthetic, Randai, textual­contextual analysis  ABSTRAK Tulisan ini mengungkap teksual dan kontekstual Randai, di antaranya, analisis terhadap gerak galombang Randai, analisis karakter tokoh anak Randai, dan sebagai akhir dari rang- kaian penelitian ini, mengungkapkan nilai-nilai yang terdapat pada Randai sebagai realitas budaya, yang pada prinsipnya merupakan bagian yang tak dapat dipisahkan dari eksistensi masyarakat Minangkabau sebagai penyangga kebudayaan. Ragam gerak yang digunakan dalam gerak galombang Randai itu kiranya tidak hanya sekedar hiasan keindahan gerak be- laka (tangibel), namun ia dapat diterjemahkan, sekaligus merupakan simbol atau lambang yang bermakna  mendidik (intangibel), dan dapat   menjadi teladan dalam kehidupan se- hari-hari dalam masyarakat adat di Minangkabau. Kata Kunci: estetika Tari Minang, Randai, analisis tekstual-kontekstual  
The Relation of Kendang and Jaipongan: Functions and Inspirations of Kendang Musicality on Jaipongan’s Journey Wiresna, Asep Ganjar; Sobarna, Cece; Caturwati, Endang; Gunardi, Gugun
Harmonia: Journal of Arts Research and Education Vol 20, No 2 (2020): December 2020
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v20i2.24953

Abstract

This study aims to describe the Kendang relationship, as a traditional Priangan musical instrument, to the Jaipongan performing arts and dance. Kendang, which has a central function in the Jaipongan dance performance, has received less appreciation in West Java arts’ discourse. The Jaipongan dance art focuses on dance movements, although the song (gending) that accompanies the dance movement depends entirely on the Kendang music playing. This study used qualitative research methods. The data collection technique is done through interviews, observation, and document study. Data were analyzed through complete data collection activities and then adjusted the data and literature review, and in the end, described the research data. The results showed that Kendang, as a musical instrument has a relationship and attachment with the creation and development of the Jaipongan dance art. Kendang and the player (pengendang) have a vital function, in contrast to the stereotype that these instruments are only accompaniment to songs/dances in the performing arts. The Kendang instrument is an important part that regulates the tempo and the course of the Jaipongan dance performance. Pengendang, as artists and musicians, contribute greatly in communicating the performance of the performance both with dancers and the audience. Kendang is a source of inspiration for the creation of Jaipongan dance art. During the process of creating the Jaipongan dance, Gugum Gumbira acts as a creator communicating with other artists, both dancers, and pengendang.
Tari Buyung Cigugur Kuningan di Masa Pandemi Caturwati, Endang; Subiantoro, Ign. Herry; Elisandy, Terry
PANGGUNG Vol 30, No 4 (2020): Kearifan Lokal dalam Metode, Model dan Inovasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4904.437 KB) | DOI: 10.26742/panggung.v30i4.1374

Abstract

Tari Buyung merupakan sebuah tarian yang dipergelarkan pada upacara adat Seren Taun diCigugur Kuningan. Tarian tersebut memiliki makna, menginjak kendi sambil membawa buyungdi kepala (nyuhun) erat hubungannya dengan ungkapan ‘di mana bumi dipijak di situ langitdijunjung’. Di masa Pamdemi Covid-19 tari Buyung tidak dipergelarkan. Artikel ini merupakanhasil Penelitian Hibah Tesis Magister ISBI Bandung, bertujuan menghasilkan berbagai aspekyang terkait dengan tari Buyung, serta re-komposisi koreografi dan pola lantai Tari Buyung,sesuai dengan kebutuhan pertunjukan di masa pamdemi Covid-19. Metode yang digunakanadalah metode ‘DO IT’, dengan mengevaluasi masalah satu persatu guna mendapatkan solusicara berpikir kreatif. Hasil peneltian, (1) Ditemukan adanya ‘perubahan konsep pertunjukan’,di masa pamdemi Covid-19; (2) Re-Komposisi Tari Buyung sesuai jumlah penari dan ruangpertunjukan out door ke in door, (3) Menemukan ‘Pola Tujuh’ dari berbagai aspek yang terkaitdengan pertunjukan Tari Buyung.Kata Kunci: Tari Buyung, Seren Taun Cigugur Kuningan
Dinamika Pertunjukan Topeng pada Budaya Ngarot di Lelea Indramayu1 Asep Sulaeman; H. I. Syarief Hidayat; Ganjar Kurnia; Endang Caturwati
PANGGUNG Vol 24, No 4 (2014): Dinamika Seni Tari, Rupa dan Desain
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (203.025 KB) | DOI: 10.26742/panggung.v24i4.134

Abstract

ABSTRACT Based on research that has been done a few years ago, about the dynamics performances Ngarot ceremonial mask, which is a cultural activity or practice of traditional ceremonies for the community to reach a meeting of Indramayu transcendental. The departure of this study encourage curiosity on the phenomena that occur on the object to be studied, it can be identified several issues that will be the basis to learn more about the phenomenon that is no change in the philosophical values, function and role in culture Ngarot mask performance, which is so Problems are how to form a mask dance in Ngarot transformation from time to time? The main problem will be revealed in this study is the change seen from asfek philosophical values, functions and roles. This study used a qualitative method, because of the problems of this research is in the area of art that narrow space, simple yet complex variable at the level of content, questioned the meaning, and questioned the phenomenon. While the approach adopted is to use a multidisciplinary approach to art, culture approach, and the approach to sociology. Target outcomes to be achieved from this study resulted in deepening the concept of meaning, and or innovat- ing dance masks to the public. The resulting concept can be used as one of the guide also to be creative/work in an effort to revitalize and innovate other mask dance. Keywords: Performance Masks, Ngarot, transformation, change    ABSTRAK Berdasarkan riset yang telah dilakukan beberapa tahun yang lalu, tentang dinamika per- tunjukan Topeng dalam upacara adat Ngarot, yaitu sebuah kegiatan atau praktik kultural ten- tang upacara adat bagi masyarakat Indramayu untuk mencapai pertemuan transedental. Ke- berangkatan penelitian ini mendorong  keingintahuan atas fenomena yang terjadi pada objek yang akan diteliti, maka dapat diidentifikasikan beberapa masalah yang akan dijadikan dasar untuk mengetahui lebih jauh tentang fenomena tersebut yaitu ada perubahan nilai-nilai filoso- fis, fungsi dan peran pertunjukan topeng dalam budaya Ngarot, yang jadi problematikanya adalah bagaimana wujud transformasi tari topeng dalam Ngarot dari masa ke masa? Masalah utama yang akan diungkapkan dalam penelitian ini adalah perubahan dilihat dari asfek nilai- nilai filosofis, fungsi dan peran.  Penelitian ini menggunakan metode kualitatif,  karena ma- salah-masalah penelitian ini ada dalam wilayah ruang seni yang sempit, variabel sederhana namun rumit dalam tataran konten, mempersoalkan makna, dan mempertanyakan fenomena. Sedangkan pendekatan yang diterapkan adalah multidisiplin dengan menggunakan pendeka- tan seni, pendekatan budaya, dan pendekatan sosiologi.Target luaran yang ingin dicapai dari penelitian ini menghasilkan konsep pendalaman makna, dan atau menginovasikan tari Topeng untuk masyarakat. Konsep yang dihasilkan dapat dijadikan salah satu panduan juga untuk berkreasi/berkarya dalam upaya merevitalisasi dan menginovasi tari Topeng lainnya. Kata kunci: Pertunjukan Topeng, ngarot, transformasi, perubahan
Estetika Tari Minang dalam Kesenian Randai Analisis Tekstual-Kontekstual Sri Rustiyanti; Fatimah Djajasudarma; Endang Caturwati; Lina Meilinawati
PANGGUNG Vol 23, No 1 (2013): Strategi dan Transformasi Tradisi Kreatif: Pembacaan, Pemaknaan, dan Pembelajar
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (584.598 KB) | DOI: 10.26742/panggung.v23i1.86

Abstract

ABSTRACT This paper reveals textual and contextual Randai, among other things, an analysis of Gerak Ga­ lombang Randai, an analysis of the character of Anak Randai, and at the end of the study series, to reveal the values contained in Randai as a cultural reality, which in principle is an inseparable part of the existence of Minangkabau community as the cultural support. The variety of motion used in Gerak Galombang Randai is not only a decoration of the motion beauty (tangible), but it also can be translated, as well as a symbol or emblem that has educational meanings (intangible), and can be an example of the daily life of the indigenous Minangkabau society. Keywords: Minang Dance aesthetic, Randai, textual­contextual analysis  ABSTRAK Tulisan ini mengungkap teksual dan kontekstual Randai, di antaranya, analisis terhadap gerak galombang Randai, analisis karakter tokoh anak Randai, dan sebagai akhir dari rang- kaian penelitian ini, mengungkapkan nilai-nilai yang terdapat pada Randai sebagai realitas budaya, yang pada prinsipnya merupakan bagian yang tak dapat dipisahkan dari eksistensi masyarakat Minangkabau sebagai penyangga kebudayaan. Ragam gerak yang digunakan dalam gerak galombang Randai itu kiranya tidak hanya sekedar hiasan keindahan gerak be- laka (tangibel), namun ia dapat diterjemahkan, sekaligus merupakan simbol atau lambang yang bermakna  mendidik (intangibel), dan dapat   menjadi teladan dalam kehidupan se- hari-hari dalam masyarakat adat di Minangkabau. Kata Kunci: estetika Tari Minang, Randai, analisis tekstual-kontekstual  
THE EXISTENCE OF TEJAKULA WAYANG WONG DANCE DRAMA, A CULTURAL HERITAGE FOR PRESERVATION, DELAMINATION, AND TOURISM ATTRACTION Een Herdiani; I Gusti Ngurah Sudibya; Endang Caturwati; Sri Rochana W; Suzen HR Lumbuan Tobing; Muhammad Mughni Munggaran
International Journal of Social Science Vol. 1 No. 5: February 2022
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v1i5.1304

Abstract

The various extent of publications by Tejakula Wayang Wong (literally Human Wayang) indicates the conservation efforts of art observers who jointly maintain this tremendous cultural heritage conforming to their respective capacities.Pengempon residents perform this art performance as sincere and earnest offerings to the Almighty for the abundance of His Blessings. In Bali, there are types of Wayang Wong, e.g., Wayang Wong Parwa and Wayang Wong Ramayana. The Wayang Wong Parwato the play from the epic Mahabharata, while Wayang Wong Ramayana took the play from the epic Ramayana. The emergence of the Wayang Wong dance-drama in Bali is estimated when Balinese artistic life experienced its peak of glory during the reign of Dalem Watu Renggong. It is estimated that artists such as I Dewa Batan from Bunutin Village (Bangli) brought the Parwa dance around the XVII- XVIII centuries, and I Gusti Ngurah Made Jelantik from Blahbatuh Village (Gianyar) brought the Gambuh Dance.These two artists create Wayang Wong's performance art in Tejakula Village. How can this Wayang Wong drama dance still exist and even become a tourism attraction? What are the residents doing to maintain this cultural heritage?These questions become the trigger to find out the answers through interviews, watching live performances, and literature studies to find references as supporting data for this article. Community participation in the owners is the main determining factor for the sustainability of this Wayang Wong dance drama. The district and provincial governments' customs, attention, and motivationtrigger the growth of new awareness for the millennial generation to love their own culture.People's dedication is very high and no doubt because their offerings are not measured financially, but the satisfaction for being able to pray and their own pride because their family witnesses it, children, wives, grandchildren and even very possibly by their own parents. Wayang Wong is regarded as intangible cultural heritage is the correct and precise act to appreciate and motivate its sustainability.
RESISTENSI DEWI SITI SAMBOJA DALAM KARYA TARI DARMA RENGGANIS Aulia Permatasari; Endang Caturwati; Lili Suparli
BUANA ILMU Vol 6 No 2 (2022): Buana Ilmu
Publisher : Universitas Buana Perjuangan Karawang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36805/bi.v6i2.2352

Abstract

Penelitian ini bertujuan untuk mendeskripsikan resistensi yang dilakukan Dewi Siti Samboja kepada para badjo sebagai bentuk resistensi terbuka atau resistensi tertutup melalui karya Darma Rengganis. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan kualitatif dengan metode deskriptif analisis untuk mendapatkan data deskriptif. Hasil yang diperoleh dari segi pertunjukan adalah karya tari Darma Rengganis sebagai simbol resistensi yang dilakukan Dewi Siti Samboja, menggambarkan seorang perempuan yang mempunyai pribadi unggul dan ulet dalam mempertahankan pemerintahan Kerajaan untuk menuju kebenaran, keadilan dan kesejahteraan masyarakat. Dilihat dari penggunaan patrem atau tutusuk sanggul yang dijadikan sebuah senjata untuk menumpas para badjo. Selain itu gerakan bertempo cepat, dinamikanya dan gerakan yang lentur pun menggambarkan sebuah perlawanan bahwa seorang perempuan harus fleksibel dan tidak kaku dalam menghadapi sebuah persoalan. Makna yang ingin disampaikan dari karya tari Darma Rengganis bahwa dibalik kelembutan seorang perempuan, keinginan kuat untuk memperjuangkan hak dan keadilan dapat membuat perempuan mengambil tindakan yang berani. Kata Kunci: Resistensi, Perempuan, Tari Darma Rengganis
Creative Thinking dalam Manajemen Seni Dangdut Kontemporer Grup “Pasukan Perang” Rini Nur Mega; Endang Caturwati; Suhendi Afryanto
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.v6i1.1694

Abstract

This paper examines the management of a music group ‘Pasukan Perang’, the Dangdut Orchestra band, in Bandung city. The goal is to reveal the management process in breaking down the music industry in Indonesia and the world in general. Alfred Schutz's phenomenological theory is applied to provide the overview of art management based on creative thinking and work structure innovation to measure the achievement of success. The data were collected through conducting in-depth interviews; reflecting thoughts to seek meaning and a frame of reference for symptoms; constructing the meaning and essence. The results of the analysis show that the Dangdut Music group “Pasukan Perang” is a prism to view Indonesian society. Its existence reflects the state of national culture in economic, political, and ideological practices. It contributes to shape ideas of class, gender, and ethnicity in the modern era. “Pasukan Perang” touches various musical genres so that it becomes a Contemporary Dangdut Icon nicknamed the Loving Band Group.Keywords: creative thinking, contemporary dangdut, war troops, art management
Transformasi Kesenian Genye Kabupaten Purwakarta Kania Rahmatul Ulum; Endang Caturwati; Enok Wartika
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.v6i1.1693

Abstract

The focus of this study is on the transformation of Genye art as an icon of Purwakarta Regency. The study has been conducted starting from the formation of genye art to the process of changing appearances at various events, namely from 2009 to 2021 at this time. The Transformation theory of Anthony Antoniades (1990) is used to examine the process of changes occuring in genye art gradually regarding the performances in the context of its society as well as internally from the aesthetics sides. Qualitative data are collected by observation both through interviews and documents including performance photos, videos, and other visual objects. The results of the analysis show that the art of genye experienced dynamic changes from the aesthetics elements associated with music, dance, and artistic. Its existence as an icon of a region shows the community’s identity for their concern and taste for art.Keywords: genye art, transformation, icon, Purwakarta.
Co-Authors Asep Sulaeman Asep Sulaeman, Asep Aulia Permatasari Cece Sobarna Deni Hermawan Diana Novita Sari Een Herdiani Elisandy, Terry Enok Wartika Fadly Fathul Ulum Fatimah Djajasudarma Ganjar Kurnia Gugun Gunardi H. I. Syarief Hidayat H. I. Syarief Hidayat, H. I. Syarief Haruna, Ilham Heri Herdini Ifan Iskandar Ignasius Herry Subiantoro Ilham Revangga Kania Rahmatul Ulum Lili Suparli S.Sn., M.Sn Lina Meilinawati Lina Meilinawati, Lina Miftahulkhairah Anwar Muhammad Mughni Munggaran Novi Anoegrajekti Rini Nur Mega Rustiayanti, Sri Siti Gomo Attas Sri Rochana W Sri Rustiyanti Sudartomo Macaryus Sudartomo Macaryus, Sudartomo Sudibya, I Gusti Ngurah Suhendi Afryanto, Suhendi Sukmawati Saleh Suzen HR Lumban Tobing Suzen HR Lumbuan Tobing Terry Elisandy Wiresna, Asep Ganjar