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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) CaLLs : Journal of Culture, Arts, Literature, and Linguistics Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Indonesian Journal of EFL and Linguistics Jurnal Mebang Pelita: Jurnal Pengabdian kepada Masyarakat Ruhui Rahayu: Jurnal Pengabdian Kepada Masyarakat
Yofi Irvan Vivian, Yofi Irvan
Unknown Affiliation
Arts Humanities Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Social Sciences Other

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Membaca Praktik Musik Mamanda Kutai Lewat Ekosistem Musikal Vivian, Yofi Irvan; Putra, Bayu Arsiadhi; Kuncara, Singgih Daru; Max, Jonathan Irene Sartika Dewi
Resital: Jurnal Seni Pertunjukan Vol 23, No 3 (2022): Desember 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i3.7408

Abstract

ABSTRACT Mamanda Kutai (Ladon) music is a crucial aspect of Mamanda Kutai's performance. This is because, without the music, Mamanda Kutai is just an ordinary drama. Mamanda is a show originating from South Kalimantan. Mamanda arrived in East Kalimantan because Kutai was one of the areas controlled by the Banjarmasin Sultanate. The heyday of Mamanda Kutai occurred when this art was performed regularly by Kutainese society (not only in the Kutai Kartanegara Ing Maradipura Sultanate as the Karesmenan Aji). In its heyday, every village in Kutai Kartanegara had Mamanda Kutai group. Nowadays, there is only one group left, namely Mamanda Panji Berseri. This study aims to find out how to preserve Mamanda Kutai music by the Mamanda performer and the government. This study used a descriptive analysis method by collecting several sources of text and interview. The sustainability of Mamanda Kutai has degenerated in terms of the existing group’s quantity. This is due to the lack of preservation of the Mamanda Kutai musical ecosystem. Some of the challenges faced by Mamanda Kutai are (1) the lack of teachers with cultural literacy; (2) the lack of economic welfare of the Kutai Mamanda performer; (3) the absence of the documentation of this art; and (4) the lack of broadcasting of Mamanda Kutai's performances. ABSTRAK Musik Mamanda Kutai (Ladon) menjadi aspek yang sangat penting pada pertunjukan Mamanda Kutai. Hal ini dikarenakan, tidak adanya Musik Mamanda Kutai maka pertunjukan ini hanya sebagai drama biasa. Mamanda merupakan pertunjukan yang berasal dari Kalimantan Selatan. Mamanda sampai di Kalimantan Timur dikarenakan Kutai menjadi salah satu daerah yang dikuasai Kesultanan Banjarmasin. Masa kejayaan Mamanda Kutai pada saat kesenian ini dipertunjukan di masyarakat (tidak hanya di Kesultanan Kutai Kartanegara Ing Maradipura sebagai Keresmenan Aji). Pada masa kejayaannya, setiap desa di Kutai Kartanegara memiliki kelompok Mamanda Kutai. Pada saat ini hanya tersisa satu kelompok saja, yaitu Mamanda Panji Berseri. Penelitian ini bertujuan untuk mengetahui cara preservasi musik Mamanda Kutai oleh pelaku dan pemerintah. Penelitian ini menggunakan metode deskriptif analisis dengan mengumpulkan beberapa sumber literasi dan data wawancara. Keberlanjutan Mamanda Kutai mengalami kemunduran dilihat dari kuantitas kelompok yang ada. Hal ini disebabkan oleh kurangnya preservasi ekosistem musikal dari Mamanda Kutai. Beberapa tantangan yang dihadapi Mamanda Kutai yaitu (1) kurangnya guru pembawa kebudayaan; (2) kurangnya kesejahteraan ekonomi para pelaku Mamanda Kutai; (3) tidak adanya pengarsipan dari kesenian ini; dan (4) kurangnya penyiaran pertunjukan Mamanda Kutai. 
Transitivity Analysis of Taylor Swift's Lyrics in Midnights Album Dewi Max, Jonathan Irene Sartika; Vivian, Yofi Irvan; Putra, Bayu Arsiadhi; Kuncara, Singgih Daru
Indonesian Journal of EFL and Linguistics Indonesian Journal of EFL and Linguistics, 8(2), November 2023
Publisher : Pusat Pelatihan, Riset, dan Pembelajaran Bahasa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21462/ijefl.v8i2.688

Abstract

The research analyzes 20 songs in Midnights (3 a.m. version), a record-breaking album by Taylor Swift using Halliday’s transitivity framework and Simpson’s stylistic approach to the lyrics that are regarded as a form of verbal play. The objective is to prove that the transitivity choice is stylized for supporting the theme building of songs in Taylor Swift’s Midnights album. The transitivity analysis is taken as the tool to reveal the mind style impregnated in the lyric texts. Three dominant types of processes found are the human experience of the external world (material 41,09%), the internal world of consciousness (mental 16,89%), and the identification and classification to relate one aspect of the experience to another (relational 29,11%). These three dominant proccesses build the ideational meaning of the music album which reflects the songwriter’s view of the world. The songs are found to be taking four subjects of experience which are being in love, being in a bitter relationship, facing self-contempt, and scheming revenge. Such construe of the world is represented by the transitivity processes found in song lyrics enunciating one’s outlook on reality through song lyrics. The findings of the result are contributive to English learners who have an interest in examining texts of popular culture.
BELIAN BETULAH: RITUAL TOLAK BALA SUKU PASER TELAKE DI KECAMATAN LONG KALI Rahayu, Famala Eka Sanhadi; Wahyuni, Ian; Vivian, Yofi Irvan
CaLLs (Journal of Culture, Arts, Literature, and Linguistics) Special Edition: Sesanti (Seminar Nasional Bahasa, Sastra, dan Seni) 2023
Publisher : Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/calls.v9i0.13158

Abstract

Suku Paser Telake di Kecamatan Long Kali masih mempercayai warisan leluhur yang dapat dilihat dari  ritual Belian. Salah satu ritual Belian yang dilakukan, yakni Belian Betulah  untuk tujuan menolak bala atau wabah penyakit dengan bacaan selawat. Penelitian ini bertujuan untuk mendeskripsikan ritual tolak bala Belian Betulah. Penelitian ini merupakan penelitian fenomenologi yang bertujuan untuk mendeskripsikan hubungan bahasa dan ranah pengalaman pemilik budaya dengan proses pengambilan data dilakukan melalui wawancara narasumber (pemilik budaya). Berdasarkan wawancara narasumber, terdapat tiga unsur utama dalam ritual Belian Betulah yaitu pertama, unsur performansi bahasa dalam ritual Belian Betulah dapat ditemukan penggunaan mantra atau do’a, titik atau lagu, dan selawat. Kedua, unsur partisipan dalam ritual ini dapat dilihat dari peran mulung, pemusik, dan penggading. Ketiga, unsur properti, seperti minyak, sajen, krembulu, daun-daun (tumbuhan), pakaian, alat musik, jangkit, perahu tingkat tujuh, dan, mahar. Selain itu, melalui wawancara dengan pemilik budaya, Belian Betulah dilaksanakan saat ada wabah yang menerpa suatu daerah yang di dalam prosesi terbagi menjadi dua yakni belian dan larung jangkit. Akulturasi budaya Islam terlihat pada prosesi larung jangkit dalam ritual Belian Betulah karena diiringi musik dan juga puji-pujian berbahasa Arab (selawat). 
PENGARUH PELEMBAGAAN DESA BUDAYA PAMPANG Arifin, M. Bahri; Vivian, Yofi Irvan; Nasrullah, Nasrullah
CaLLs (Journal of Culture, Arts, Literature, and Linguistics) Vol 3, No 2 (2017): December 2017
Publisher : Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (971.329 KB) | DOI: 10.30872/calls.v3i2.867

Abstract

Pampang is a cultural tourism village in Samarinda, East Kalimantan. Most of Pampang’s people do the art activities. Every Sunday at 02.00 pm in Lamin, there is a dance performance of Dayak Kenyah. Three Sapeq players become a partner in this dance. The existence of this activity becomes the first step of Cultural Tourism Village of Pampang. A strong institutionalization that is able to reconstruct a village becomes a brand as cultural village. In this research,  the writer analyzed process and dynamic of the institutionalization in Cultural Tourism Village of Pampang using theories of Cultural Phase’s van Peursen, commodification, cultural industry’s Frakfurt School and mediatization.Keywords: process, transformation, institutionalization, Cultural Tourism Village of Pampang
PERFORMATIVITAS HUDSON PRANANJAYA DALAM PERTUNJUKAN MUSIK Pratama, Zamrud Whidas; Vivian, Yofi Irvan
CaLLs (Journal of Culture, Arts, Literature, and Linguistics) Vol 6, No 2 (2020): CaLLs, Desember 2020
Publisher : Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/calls.v6i2.3312

Abstract

Hudson Prananjaya is a singer who has a unique performance that is able to sing in the colors of the voice of men and women like a couple who is a duet. One of the songs he once brought back was the Gethuk song. The purpose of this study is to examine how the performance of a Hudson Prananjaya in exploring the gethuk song so that it has the characteristics of other singers. The theory used in this research is the theory of performativity, Habitus. This study aims to describe how Hudson's performativity in gethuk songs. Data collection is done by (1) literature study, (2) observation, (3) interview, (3) documentation. The stages in analyzing data with (1) data reduction, (2) data presentation, and (3) histography writing (4) conclusion. Clarification of the data was again carried out both to the subject of the study and to other informants. Hudson gained cultural insight in singing because he was accustomed to experimenting in singing. One of the songs that was brought back was Gethuk song. The visual aspect is shown by the concept of two face shows nuances of Javanese customs both makeup and clothes. The results of the transcription and analysis of musical aspects in the introduction section are marked with X sung using the basic tone of Fis Major by taking the first verse of the song yen ing tawang ono latitude. The introduction is sung in a free vocal style without a tempo called the recitative vocal style. Modulation to the Bes Major scale occurs when getting to the Gethuk song starts from the song intro until the song is finished. The gethuk song that Hudson reproduces back to part B (b1 '), (b2'). In the repetition section there is a dialogue technique in singing called unpicth vocal technique.
Tindakan Sosial Pelaku Kesenian Damarwulan di Desa Sebemban Novita, Winda; Vivian, Yofi Irvan; Setyoko, Aris
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 4 No. 1 (2024)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v4i1.90

Abstract

Damarwulan art is a traditional art originating from Java and developed by the people of Sebemban Village, Kutai Kartanegara Regency. The lack of interest in Damarwulan by the people of Sebemban Village has resulted in social action by cultural actors to protect this art. The sustainability of Damarwulan art to date cannot be separated from the social actions of its artists. There is music and scripts that have not changed from the past until now. This research uses qualitative methodology by applying observation techniques, data collection and data analysis. The observation technique includes the research object, namely focusing on damarwulan art in Sembemban Village. Data collection techniques include literature study, determining informants, interviews, and documentation. The final step is to use analytical techniques to process field data. The results of this research will explain the facts found in the field by the author. The social actions of Damarwulan artists towards the sustainability of this art include traditional, instrumental rational and value rational actions. Traditional acts include aspects such as rituals, male performers, scripts, and musical forms that have been passed down through generations. Instrumental rational action includes the use of musical instruments and other equipment in performance. Meanwhile, value rational actions involve collaboration with village government, extracurricular activities at schools, and arts groups as an effort to ensure the sustainability of Damarwulan Arts.
Soliditas Nilai Karakter Pendidikan melalui Instrumen Gambus Melayu Riau di Universitas Islam Riau Fitriah, Laila; Ritawati, Tengku; Vivian, Yofi Irvan
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 4 No. 1 (2024)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v4i1.116

Abstract

Riau Malay Gambus. This research utilizes a descriptive qualitative approach to observe the solidity of educational character values through the Riau Malay Gambus instrument at the Islamic University of Riau. The data collection techniques employed in this research include literature review, informant selection, interviews, and documentation. Three educational character values are embedded in the Riau Malay Gambus: religiosity, discipline, and environmental concern. The religious value inherent in the Riau Malay Gambus lies in the utilization of its lyrics, which are related to the Islamic religion, stories or messages conveyed relating to Allah, prophets, and other Islamic histories. The value of discipline is evident in the students' dedication to practice and presentational efforts to achieve maximum grades.
PELATIHAN PENASKAHAN SURAT DINAS DI KELURAHAN JAHAB, KECAMATAN TENGGARONG, KABUPATEN KUTAI KARTANEGARA : Business Correspondence Training in Jahab Village, Tenggarong Subdistrict, Kutai Kartanegara District Arifin, M. Bahri; Wahyuni, Ian; Tawakal, Alamsyah; Vivian, Yofi Irvan; Yudista, Rensiana
Jurnal Ruhui Rahayu: Jurnal Pengabdian Masyarakat Ilmu Humaniora Vol 1 No 1 (2022)
Publisher : Program Studi Sastra Indonesia Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/ruhuirahayu.v1i1.36

Abstract

Letter activity - correspondence is an indirect communication process carried out by an institution or agency. Effective delivery of information can be achieved by armed with basic knowledge of correspondence writing, linguistic rules, and letter forms, so that the intent and purpose of the letter is well received by the recipient of the letter. In addition, digital knowledge of archiving is also needed for data storage. The method used in the official letter scripting training, namely the direct method with mentoring, question and answer, and instructional techniques in writing official correspondence. The training participants consisted of thirteen people consisting of the village head, secretary of the village head, section head, and staff of Jahab Village, Tenggarong Subdistrict, Kutai Kartanegara District. The results of this activity are in the form of improving the performance capability of the Jahab Village apparatus in the distribution of public administration correspondence in terms of mastery of correspondence science, the requirements for official letters by referring to the national rules for official manuscripts, the language of official letters must be effective, reasonable, logical, efficient, careful, polite, and interesting. It is also necessary to know that note that the letter format or format of the letter varies, including: full straight shape, straight shape, half straight shape, notched shape, old Indonesian form, new Indonesian form, hanging shape. Digital archiving training is also needed in addition to being economical, safe, and practical as well as increasing the capacity of village human resources to be able to keep up with the globalsasid flow in the digital industry era.
Gagrak Blitaran: Proses Belajar Kebudayaan di Paguyuban Turonggo Budoyo Mugirejo Yulinanda, David Bagus; Vivian, Yofi Irvan; Setyoko, Aris
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (367.424 KB) | DOI: 10.30872/mebang.v1i1.1

Abstract

Turonggo Budoyo Mugirejo is a Kuda Lumping group Gagrak Blitaran in the city of Samarinda through the transmigration process. Gagrak Blitaran, on its own, was the identity of this group. The process of learning culture alone played a crucial role in preserving Kuda Lumping Gagrak Blitaran in Samarinda. This study aims to explain the characteristics of Gagrak Blitaran’s music; describe the process of self-study at the Turonggo Budoyo Mugirejo. The study employs qualitative methodologies by applying three phases, some of which define the location of research, data collection techniques, and analysis. Determination of the location aims to focus on the object of research. Data-collection techniques include library studies, informers, interviews, and documentation. The last one is the analysis technique by utilising field data. The study results in accord with the background of the problem and the purpose of the study. Gagrak Blitaran’s music characteristic have been achieved through the four rhythms of sampak, gangsaran, dua-satu (pegon and dangdutan), and satu-satu. The instruments on which these rhythms are based are the kenong, kempul, gong suwukan, and gong ageng. The process of learning its own culture includes internalisation, socialisation and enculturation. The three processes allow each member of the company to have a deeper understanding of Kuda Lumping. It involves a dance technique, beating the Gamelan according to the characteristic of Kuda Lumping Gagrak Blitaran.
Fungsi Daak Maraa’ dalam Upacara Hudo’ Kawit pada Masyarakat Suku Dayak Bahau di Kota Samarinda Fajriansyah, Achmad Ali; Vivian, Yofi Irvan; Pratama, Zamrud Whidas
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (565.007 KB) | DOI: 10.30872/mebang.v1i1.2

Abstract

Daak maraa’ was presented in the context of the traditional activities of the Dayak Bahau tribe community that carried the ritual. Problems related to social aspects when daak maraa’ 'is not implemented, so it raises the assumption of how important daak maraa’ is for the Dayak Bahau people. This study aims to: explain the musical structure of the Hudo’ Kawit ceremonies held by the Dayak Bahau people in Samarinda; describe the function of daak maraa’ presented at the Hudo’ Kawit ceremony for the Dayak Bahau community in Samarinda. This research uses a qualitative methodology by applying observation techniques, data collection, and data analysis. Observation techniques include the object of research that is the focus of research. Data collection techniques are based on literature study, informants, interviews, and documentation. Analysis techniques by reducing data and concluding. Research results in accordance with the background of the problem and objectives. The musical structure and function have a connection, that the application of rhythmic sound daak maraa’ is presented as a accompaniment to rituals and prayers. The application of daak maraa’ is actualized with a static rhythm, namely: (a) sukat 4/4; (b) tempo (andantino) 78-83; (c) motive (literal); (d) dynamics (forte); (e) timbre (teng, pliers, tung, and dung). The research findings contain a value that the function of daak maraa’ is present and applied as an anticipation goal on the basis of the potential for bad sound (yog) which can come to disrupt and cancel the traditional ceremonial activities. Yog is believed to exist by the Dayak Bahau tribe based on legend over folk prose stories that are thought to have taken place in the real world and are bad (magi).
Co-Authors Andiansyah, Andiasnyah Aprazaq, Fikri Yassaar Arifin, M Bahri Asril Gunawan, Asril Fajriansyah, Achmad Ali Fitriah, Laila Jonathan Irene Sartika Dewi Max Kawulusan, Frans Rivaldo Mubarok, Ahmad Nasrullah Nasrullah Pratama, Zamrud Whidas Rahayu, Famala Eka Sanhadi Ritawati, Tengku Saputra, Muhammad Iqbal Setyoko, Aris Singgih Daru Kuncara Tawakal, Alamsyah Wahyuni, Ian Winda Novita Yudista, Rensiana Yulinanda, David Bagus