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All Journal Harmonia: Journal of Research and Education MUDRA Jurnal Seni Budaya Panggung Pantun: Jurnal Ilmiah Seni Budaya PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Panggung
Arthur Supardan Nalan
ISBI Bandung
Religion Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

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“Wayang Kreatif” Performance of Teater Koma and Its Audience Nalan, Arthur Supardan
PANGGUNG Vol 27, No 3 (2017): Education, Creation, and Cultural Expression in Art
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v27i3.273

Abstract

ABSTRAK Teater Koma merupakan teater modern yang berhasil bertahan selama 40 tahun, dari tahun 1977 sampai sekarang. Perjalanan yang cukup panjang, mendudukkan Teater Koma sebagai teater yang mampu menyajikan pelbagai lakon teater, baik yang berasal dari para dramawan dan sastrawan dunia maupun yang hasil ciptaan sendiri oleh Riantiarno, sebagai pendiri utamanya. Salah satu kumpulan lakon ciptaan Riantiarno adalah lakon-lakon wayang yang dikemas dengan sebutan wayang kreatif. Pertunjukan wayang kreatif Teater Koma ini menjadi objek material yang dipilih untuk didekati dengan paradigma sosiologi seni dan komunikasi seni teater. Pendekatan yang digunakan adalah teori sosiologi seni dari Arnold Hauser dan teori komunikasi efektif dari Gudy Kunst. Adapun hasilnya dapat ditemukan bahwa Teater Koma sebagai teater rakyat perkotaan telah memberikan apresiasi seni kepada publiknya dengan menjalin relasi kepada publiknya melalui berbagai cara, termasuk dengan memanfaatkan media sosial, misalnya memesan tiket secara online. Selain itu, publiknya yang berasal dari segala lapisan masyarakat di Jakarta telah pula dihibur melalui humor-humor kritis yang terdapat dalam setiap pertunjukan wayang kreatif tersebut. Tindakan tersebut membawa interaksi yang berlangsung terus menerus dengan publiknya, sehingga membangun publik yang fanatik terhadap Teater Koma. Kata kunci: Teater Koma, teater rakyat perkotaan, wayang kreatif, publikABSTRACT Teater Koma is a modern theatre, which has been existing for 40 years since 1977 until today. The group has successfully performed various plays, both wri! en by the world playwrights and by Riantiarno himself as the main founder, an actor, and a play writer. Some of the Riantiarno’s plays are puppet plays called wayang kreatif (a creative puppet). The wayang kreatif performance of Teater Koma is the material object of this study, which is approached by the paradigm of the sociology of art and the communication of theatre arts, especialy by applying the theory of Arnorld Hauser’s sociology of art and Gudykunst’s effective communication theory. The result shows that Teater Koma as an urban folk theatre has been serving its audience with its variety shows promoted through diff erent media, including by utilizing social media, such as booking the ticket online to reach wider audiences. Moreover, its audiences come from diff erent levels of social classes in Jakarta, and they were entertained by sarcastic humors contained in the wayang kreatif performance. These activities maintain the continous interaction between the group and its audiences, so that the grup builds its loyal audiences. Keywords: Teater Koma, urban folk theatre, wayang kreatif, communication, audiences
KOMUNIKASI DALANG DALAM KONSEP MANDALA WIWAHA ASEP SUNANDAR SUNARYA Nalan, Arthur Supardan
PANGGUNG Vol 22, No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i3.78

Abstract

AbstractThis study suggests the findings of field research on communication made by a puppeteer of Wayang Golek Purwa, Asep Sunandar Sunarya. This study is categorized into qualitative research with a phenomenological approach. The result of the study shows that Asep Sunandar Sunarya has performed his communication competencies as a communicative puppeteer. Communication competencies owned by Asep Sunandar Sunarya to the audience is based on his experience which is called the concept of Mandala Wiwaha. The concept of Mandala Wiwaha is a concept of technique, insight, message and audience mastery. The concept of Mandala Wiwaha has made Asep Sunandar Sunarya a famous puppeteer who posses his own “popularity" compared to the other puppeteers. Through this concept Asep Sunandar Sunarya puts the audience as an important part every time he conducts his performance. Keywords: puppeteer, communication, Mandala Wiwaha.
KOMUNIKASI DALANG DALAM KONSEP MANDALA WIWAHA ASEP SUNANDAR SUNARYA Arthur Supardan Nalan
PANGGUNG Vol 22, No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (263.521 KB) | DOI: 10.26742/panggung.v22i3.78

Abstract

AbstractThis study suggests the findings of field research on communication made by a puppeteer of Wayang Golek Purwa, Asep Sunandar Sunarya. This study is categorized into qualitative research with a phenomenological approach. The result of the study shows that Asep Sunandar Sunarya has performed his communication competencies as a communicative puppeteer. Communication competencies owned by Asep Sunandar Sunarya to the audience is based on his experience which is called the concept of Mandala Wiwaha. The concept of Mandala Wiwaha is a concept of technique, insight, message and audience mastery. The concept of Mandala Wiwaha has made Asep Sunandar Sunarya a famous puppeteer who posses his own “popularity" compared to the other puppeteers. Through this concept Asep Sunandar Sunarya puts the audience as an important part every time he conducts his performance. Keywords: puppeteer, communication, Mandala Wiwaha.
“Wayang Kreatif” Performance of Teater Koma and Its Audience Arthur Supardan Nalan
PANGGUNG Vol 27, No 3 (2017): Education, Creation, and Cultural Expression in Art
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (880.349 KB) | DOI: 10.26742/panggung.v27i3.273

Abstract

ABSTRAK Teater Koma merupakan teater modern yang berhasil bertahan selama 40 tahun, dari tahun 1977 sampai sekarang. Perjalanan yang cukup panjang, mendudukkan Teater Koma sebagai teater yang mampu menyajikan pelbagai lakon teater, baik yang berasal dari para dramawan dan sastrawan dunia maupun yang hasil ciptaan sendiri oleh Riantiarno, sebagai pendiri utamanya. Salah satu kumpulan lakon ciptaan Riantiarno adalah lakon-lakon wayang yang dikemas dengan sebutan wayang kreatif. Pertunjukan wayang kreatif Teater Koma ini menjadi objek material yang dipilih untuk didekati dengan paradigma sosiologi seni dan komunikasi seni teater. Pendekatan yang digunakan adalah teori sosiologi seni dari Arnold Hauser dan teori komunikasi efektif dari Gudy Kunst. Adapun hasilnya dapat ditemukan bahwa Teater Koma sebagai teater rakyat perkotaan telah memberikan apresiasi seni kepada publiknya dengan menjalin relasi kepada publiknya melalui berbagai cara, termasuk dengan memanfaatkan media sosial, misalnya memesan tiket secara online. Selain itu, publiknya yang berasal dari segala lapisan masyarakat di Jakarta telah pula dihibur melalui humor-humor kritis yang terdapat dalam setiap pertunjukan wayang kreatif tersebut. Tindakan tersebut membawa interaksi yang berlangsung terus menerus dengan publiknya, sehingga membangun publik yang fanatik terhadap Teater Koma. Kata kunci: Teater Koma, teater rakyat perkotaan, wayang kreatif, publikABSTRACT Teater Koma is a modern theatre, which has been existing for 40 years since 1977 until today. The group has successfully performed various plays, both wri! en by the world playwrights and by Riantiarno himself as the main founder, an actor, and a play writer. Some of the Riantiarno’s plays are puppet plays called wayang kreatif (a creative puppet). The wayang kreatif performance of Teater Koma is the material object of this study, which is approached by the paradigm of the sociology of art and the communication of theatre arts, especialy by applying the theory of Arnorld Hauser’s sociology of art and Gudykunst’s effective communication theory. The result shows that Teater Koma as an urban folk theatre has been serving its audience with its variety shows promoted through diff erent media, including by utilizing social media, such as booking the ticket online to reach wider audiences. Moreover, its audiences come from diff erent levels of social classes in Jakarta, and they were entertained by sarcastic humors contained in the wayang kreatif performance. These activities maintain the continous interaction between the group and its audiences, so that the grup builds its loyal audiences. Keywords: Teater Koma, urban folk theatre, wayang kreatif, communication, audiences
Merangkai Nusantara Melalui Seni Wadantara Ni Luh Sustiawati; I Gede Oka Surya Negara; Rano Sumarno; Arthur Supardan Nalan
Mudra Jurnal Seni Budaya Vol 35 No 2 (2020): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v35i2.1063

Abstract

Merangkai Nusantara melalui Seni Wadantara merupakan Penelitian Penugasan dalam bentuk skema Konsorsium Riset Unggulan Peguruan Tinggi (KRU-PT) tahun 2019 s.d tahun 2021. Tujuan penelitian menghasilkan satu model seni pertunjukan yang mengkolaborasikan jenis kesenian dari multi etnis dalam satu kemasan seni pertunjukan wayang, drama, karawitan dan tari Nusantara dalam satu repertoar bernama Seni Wadantara. Dampak positif yang diperoleh adalah penguatan ideologi bangsa dan ekonomi melalui pengembangan seni pertunjukan panggung terkoneksi secara digital untuk memudahkan akses dan mutu pertunjukan. Desain penelitian yang digunakan adalah research and development, sedangkan desain manajemen produksinya melalui tiga tahapan yaitu tahap pra produksi, produksi dan pasca produksi. Dalam proses penciptaan berintikan ekplorasi, improvisasi, pembentukan. Teknik pengumpulan data digunakan wawancara, observasi, dokumentasi, angket, catatan lapangan.Teknik analisis data digunakan analisis kuantitatif dan kualitatif. Data kuantitatif dianalisis dengan menggunakan penyekoran, sedangkan data berupa komentar dan saran dianalisis secara kualitatif. Hasil Penelitian menunjukkan (1) hasil need assessment (a) bangsa Indonesia yang sedang memperkuat persatuan dan kesatuan dalam bingkai negara kesatuan Republik Indonesia memerlukan dukungan untuk kebersamaan yang dilandasi oleh toleransi bermasyarakat yang dapat ditawarkan oleh seni pertunjukan dengan muatan budaya lokal sebagai ungkapan budaya Nusantara; (b) kesenian selalu tumbuh dan berkembang dan memerlukan adanya perubahan dalam memproduksi seni baru bersifat kolaborasi; (c) hadirnya revolusi industri 4.0 menjadi peluang dalam menciptakan seni pertunjukan secara kolaboratif antara tradisi dan kontemporer. (2) Seni pertunjukan Wadantara Satria Nusantara Mahawira dengan struktur tiga babak mengangkat lakon Sumpah Palapa Gajah Mada. (3) Hasil uji efekivitas terhadap produk seni pertunjukan Wadantara Satria Nusantara Mahawira melalui FGD dan Uji Lapangan Terbatas, responden yang berjumlah 50 orang sebagian besar menyatakan sangat baik.
R.H Tjetjep Supriadi Dalang Kondang dari Karawang Asep Wadi; Arthur Supardan Nalan; Suhendi Afryanto
Paraguna Vol 9, No 1 (2022): TAFSIR-TAFSIR KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v9i1.2099

Abstract

Identitas R.H Tjetjep Supriadi dalam dunia padalangan sangatlah jelas adanya pada tahun 1975 sampai 1990an, dengan membawa nama group Nya yakni Panca Komara, dan diperkuat juga oleh istrinya yaitu H Idjah Hadidjah yakni juara Sinden Jawa Barat tahun 1980. R.H Tjetjep Supriadi adalah sosok yang benar-benar tekun dalam membuat naskah kakawen atau nyandra dan cerita-cerita wayang, hal tersebut ditunjang dari background kebiasaannya yakni seorang guru dan melek akan ilmu pengetahuan yang terus update. Puncaknya karir R.H Tjetjep Supriadi yakni pada rilis nya lakon Nurkala Kalidasa yang mengusung tema kemanusiaan, lakon tersebut sangat di gandrungi para penggemar Wayang Golek pada saat itu, karena rata-rata orang mengenal R.H Tjetjep Supriadi karena Haleuang-nya. Teori yang digunakan oleh penulis yakni Teori Identitas dari James P Burke dengan menggunakan Metode Sejarah, adapun Teori Penguat yakni Teori Agen Perubahan/Agent Of Change. Karena peran R.H Tjetjep Supriadi dalam dunia padalangan sangatlah besar, dari mulai karya-karyanya yang mampu membuat ideologis dalam pakeliran pada tahun 1975 sampai 1990. Pada tahun 2010 R.H Tjetjep Supriadi telah merancang program untuk dunia Padalangan sampai pada tahun 2030, hal tersebut bisa dibuktikan pada tulisan proposal nya yang berjudul pengembangan ilmu padalangan nasional dari tahun 2010 sampai 2030.Kata Kunci : R.H Tjetjep Supriadi, Panca Komara, Identitas.
Wadantara: Refleksi Multikultur dan Kearifan Lokal Ni Luh Sustiawati; I Gede Oka Surya Negara; Rano Sumarno; Arthur Supardan Nalan
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 1 (2021): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Ide digarapnya karya seni pertunjukan Wadantara (Wayang, Drama, Karawitan, Tari Nusantara) untuk memperkuat persatuan dan kesatuan dalam bingkai NKRI memerlukan dukungan untuk kebersamaan yang dilandasi oleh toleransi bermasyarakat. Seni pertunjukan yang sarat dengan muatan budaya lokal dapat memberikan sumbangsih dengan mengupayakan kedayaan nilai kelokalan (indigenous), dapat mempertebal penghargaan masyarakat terhadap kebhinekaan budaya Nusantara, dan menjadi kepanjangan norma serta nilai yang diharapkan oleh masyarakat dalam menjaga kebersamaan dan harmoni bermasyarakat. Penelitian ini berpendekatan research and development. Produksinya melalui tahap pra produksi, produksi, pasca produksi, dan digunakan konsep Hibriditas dalam membuka wacana mengenalkan bentuk produksi seni kolaborasi yang menggabungkan secara bersama-sama potensi berbagai etnik (Chris Barker). Pengumpulan data melalui wawancara, observasi, dokumentasi, angket, dan datanya dianalisis secara kuantitatif dan kualitatif. Penelitian ini mengangkat lakon Sumpah Palapa Gajah Mada diiringi musik tradisi dipadukan dengan mutimedia, narasi dan vokal. Hasil uji efektivitas produk menunjukkan seni pertunjukan Wadantara sangat bagus, sangat menarik karena memberikan kesan dan pesan persatuan Nusantara dan kaya dengan inovasi yaitu perpaduan antara seni tradisi dan kontemporer didukung musik digital dan multimedia.
Gong Rénténg Transformation From Sacral to Profan Suhendi Afryanto; Arthur Supardan Nalan; Gustiyan Rachmadi
Mudra Jurnal Seni Budaya Vol 39 No 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i1.2520

Abstract

One type of gamelan art that is developing in West Java is Gong Rénténg which used to be often used in sacred ceremonial activities. The sacredness built into the art is inseparable from the belief system adopted by the community as its supporting community. Gong Rénténg's whereabouts then and now are experiencing dynamics of change which are quite important to study, especially his journey which was stopped for various reasons. Stagnant regeneration factors, changes in people's perspectives due to changes in belief systems, as well as the influx of imported arts that continue to intrude on traditional art life, are some of the main reasons this art has experienced ups and downs in its life. The research carried out has the style of cultural research involving key informants as triggers to explore the depth of the material. There are three models of cultural research as approaches taken by researchers, including; Life Story models, Grounded Theory, and Personal Narrative. While the research method used still uses qualitative research by taking locations in two different areas, namely: (1) Ciwaru Village, Cimalaka District, Sumedang Regency, and (2) Kedungsana Village, Plumbon District, Cirebon Regency. In Ciwaru village, the object of research is the art of Gong Rénténg Pusaka Langgeng, while in the village of Kedungsana it is the art of Gong Rénténg Ki Muntili. The results of the research conducted obtained the following information: (1) The Gong Rénténg Pusaka Langgeng art still adheres to adat in a standard way even though the next generation continues to decrease, and (2) The Gong Rénténg Ki Muntili art does two ways to keep it alive, namely ritual ceremonies as part of ancestral traditions are carried out as well as the process of inheritance with new interpretations.
Visual Identity Logo Collaboration Eiger 1989 x National Park Collection 2022 Taufiq, Muhammad; Nalan, Arthur Supardan; Iskandar, Andang
PANTUN: Jurnal Ilmiah Seni Budaya Vol 8, No 2 (2023): Exploring Cultural Narratives and Artistic Expressions
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v8i2.2722

Abstract

Every brand in the industry competition increasingly creates unlimited choices. That way, every brand is always trying to find ways to connect emotionally with consumers. Through this research, we can find out how the visual identity communicated through the collaboration logo design of the Eiger 1989 x National Park Collection is connected with the message of meaning to be conveyed. The research method uses qualitative to facilitate the analysis process. The authors also use a four-stage approach to visual communication design research methods, including description, analysis, interpretation, and assessment. The findings based on the research that has been done are collaboration logos that, at first glance, seem to use headlines with taglines. After being analyzed as a whole, the collaboration logo was designed based on following the anatomy of the logo formation, besides that, there are overall visual elements that can represent brand identity and collaboration concepts. Logo design through good composition and the meaning of good communication messages will increase customer loyalty.
Evaluation of the Management of Performing Arts Creation Learning Sustiawati, Ni Luh; Negara, I Gede Oka Surya; Sumarno, Rano; Nalan, Arthur Supardan
Harmonia: Journal of Arts Research and Education Vol 23, No 1 (2023): June 2023
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.v23i1.43486

Abstract

The purpose of this study is to evaluate the learning management in the creation of performing arts at the Performing Arts Education Study Program at ISI Denpasar. The evaluation results of the learning management in the performing arts creation can be used as input for improving the learning management related to performing arts courses, which in turn can enhance students’ competence in the field of performing arts. The learning of performing arts creation is directed towards the development of nationalism among the next generation towards the cultural heritage of the nation in the field of arts. The research design used is an evaluative research design with the CIPP model. The research subjects consist of program managers, lecturers of the performing arts creation course, and students who have taken or are currently taking the performing arts creation course. Data collection is done using questionnaires, observations, and interviews. The data is analyzed using quantitative descriptive analysis. The research findings indicate that: (1) the quality of the Context Aspect of the learning management in the Performing Arts Education at ISI Denpasar is classified as good; (2) the quality of the Input Aspect of the learning management in the Performing Arts Education at ISI Denpasar is classified as fairly good; (3) the quality of the Process Aspect of the learning management in the Performing Arts Education at ISI Denpasar is classified as not good or poor; and (4) the quality of the Product Aspect of learning management in the Performing Arts Education at ISI Denpasar is classified as fairly good improved; (2) maximizing the use of technology in the learning process; (3) facilitating collaborative learning among students from different study programs or universities.
Co-Authors Andang Iskandar, Andang Asep Wadi Gustiyan Rachmadi I Gede Oka Surya Negara Muhammad Taufiq Ni Luh Sustiawati Rano Sumarno Suhendi Afryanto, Suhendi