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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 Sorai: Jurnal Pengkajian dan Penciptaan Musik 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

Author-ID : 636535

Arts Humanities Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Social Sciences Other

Published : 16 Documents Claim Missing Document

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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

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

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.

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

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

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 Arifin, Muhammad 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

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