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Fungsi, Bentuk, dan Makna Gerak Tari Jaranan Turonggo Yakso Kecamatan Dhongko Kabupaten Trenggalek Tri Rusianingsih; Yuddan Fijar Sugma Timur
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 4 No. 2 (2020)
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v4i2.13631

Kehadiran jaranan Turonggo Yakso pada awal-mulanya diinspirasi oleh keberadaan kegiatan upacara adat yang sering disebut dengan baritan. Upacara yang dilakukan masyarakat tersebut merupakan bentuk upacara bersih desa yang bertujuan untuk memohon kepada Hyang Widi (Tuhan Penguasa Alam) dan mensyukuri atas hasil panen, maupun supaya hewan ternak mereka juga dapat dihindarkan dari segala jenis penyakit. Penelitian bertujuan mendeskripsikan fungsi, bentuk penyajian dan makna gerak tari jaranan Turonggo Yakso. Konsep pertunjukan digunakan sebagai alat analisa penelitian. Penelitian menggunakan metode deskriptif-kualitatif. Teknik pengumpulan data dengan observasi, wawancara, studi pustaka serta dokumentasi. Analisis dilakukan dengan deskripsi mendalam. Hasil penelitian menunjukkan terjadi pergeseran fungsi dari fungsi sakral ke profan. Bentuk penyajian terdiri dari gerak baku dan gerak tambahan. Gerakan pertunjukan ini memiliki makna yang berkaitan dengan kegiatan bertani. Gambaran jaranan (turonggo) yang berkepala raksasa (yakso) merupakan simbol dari hawa nafsu yang harus dijinakkan atau ditunggangi agar tidak liar.Â

TRANSFORMASI KESENIAN POJHIÂN KE DALAM PENCIPTAAN KOMPOSISI MUSIK TRADISI INOVASI BERBASIS LOKAL WISDOM Sugmatimur, Yuddan Fijar; Widianto, Suwandi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i2.5480

The transformation of Pojian art into the creation of innovative music compositions can be an alternative to regenerate the existance of Pojhian art actors. This effort is to maintain the existence of Pojhian art in the midst of the onslaught of increasingly sophisticated technology, so that it can stimulate the attractiveness of the millennial generation to be proud and take part in the Pojian art which is full of noble values. The purpose of this research is to find out the extent to which the potential of the performance form and song material in Pojian can be exposed to be fresher through the novelty of original musical works. The method used in this research consists of 2 stages, namely; conceptual stage and operational stage. The conceptual stage con- sists of determining objectives, determining musical themes, gathering information, analyzing information, determining instruments, melodies and determining artistic design. The operational stage includes music exploration, notation modification, arrangement variation, music composition, song verse writing, notation writing, artistic design selection and artistic research. There are 3 types of data in this research that are used as measuring instruments, namely; validity, originality of artwork, and novelty. The test subjects in this study were two validators, namely validators of traditional art preservationists to measure the suitability of the appli- cation of the Pojhiân art presentation structure contained in the Gâdhisa ritual and validators of music experts (composers) to measure the originality of the work, and the novelty of the music composition presented.

TRANSFORMASI KESENIAN POJHIÂN KE DALAM PENCIPTAAN KOMPOSISI MUSIK TRADISI INOVASI BERBASIS LOKAL WISDOM Sugmatimur, Yuddan Fijar; Widianto, Suwandi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 2 (2023): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i2.5480

The transformation of Pojian art into the creation of innovative music compositions can be an alternative to regenerate the existance of Pojhian art actors. This effort is to maintain the existence of Pojhian art in the midst of the onslaught of increasingly sophisticated technology, so that it can stimulate the attractiveness of the millennial generation to be proud and take part in the Pojian art which is full of noble values. The purpose of this research is to find out the extent to which the potential of the performance form and song material in Pojian can be exposed to be fresher through the novelty of original musical works. The method used in this research consists of 2 stages, namely; conceptual stage and operational stage. The conceptual stage con- sists of determining objectives, determining musical themes, gathering information, analyzing information, determining instruments, melodies and determining artistic design. The operational stage includes music exploration, notation modification, arrangement variation, music composition, song verse writing, notation writing, artistic design selection and artistic research. There are 3 types of data in this research that are used as measuring instruments, namely; validity, originality of artwork, and novelty. The test subjects in this study were two validators, namely validators of traditional art preservationists to measure the suitability of the appli- cation of the Pojhiân art presentation structure contained in the Gâdhisa ritual and validators of music experts (composers) to measure the originality of the work, and the novelty of the music composition presented.

Pendampingan Manajemen Produksi Pertunjukan Pada Kegiatan Barakan Pelestari Seni Budaya Nusantara Pramono, Koko Hari; Sugmatimur, Yuddan Fijar
Gayatri : Jurnal Pengabdian Seni dan Budaya Vol. 2 No. 1 (2024): April
Publisher : Sekolah Tinggi Kesenian Wilwatikta (STKW) Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20111/gayatri.v2i1.40

Mentoring activities in community organisation groups community, namely Pelestari Seni Budaya Nusantara or abbreviated as PASEBAN, is an activity to support community participation in efforts to preserve traditional arts. preservation of traditional arts. Pelestari Seni Budaya Nusantara is a cultural arts development institution with a pesantren background. cultural arts development institution that has a pesantren background, this is a commitment of the group. This is a commitment of the art preservation group to be directly involved in art activities that are held regularly. directly in art activities that are held regularly. One of the activity programmes in Pelestari Seni Budaya Nusantara is Barakan. Barakan is one of the activities carried out during the commemoration of the maulud of the great prophet Muhammad SAW. This activity is a routine activity held every year by the Babul Khoir Islamic Boarding School. by Babul Khoir Islamic boarding school. The caregiver of this boarding school is named Khirul Al Hanafi or more familiarly addressed as Gus Rul is one of the initiators of the Barakan idea. one of the initiators of the idea of Barakan, the selection of the name barakan is one of the activities that make tumpeng with arranged in the form of activities that make tumpeng arranged in the shape of a mountain and then will be contested by the surrounding community. contested by the surrounding community, then in addition there are also held social service activities and with bantengan art entertainment as a complement. Translated with DeepL.com (free version)

Learning Banyuwangi Traditional Music at Sanggar Jiwa Etnik Blambangan: A Model of Inheritance and Innovation Setiawan, Aris; Mistortoify, Zulkarnain; Sugmatimur, Yuddan Fijar
Journal of Urban Society's Arts Vol 12, No 2 (2025): October 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v12i2.16381

This study examines the mechanisms of traditional music transmission at Sanggar Jiwa Etnik Blambangan in Banyuwangi, a rapidly growing sanggar (studio) where most members are young learners. The research focuses on the learning process, supporting factors, and documentation strategies that can be replicated as a teaching model for curriculum development in arts institutions. Specifically, this study supports plans to establish an arts campus in Banyuwangi. The research employs a participatory ethnographic approach, structured interviews, and creative organizational analysis to explore pedagogical interactions, sanggar structure, and innovations in musical practice. The theoretical framework integrates Lave & Wenger’s community of practice, Florida’s creative organization concepts, and an ethnomusicological approach to analyze musical structures and their social contexts. Findings reveal that Sanggar Jiwa Etnik Blambangan employs effective methods to simplify complex musical patterns, incorporates cultural context in each learning session, and makes traditional music more engaging and accessible to younger generations. This process not only enhances the accessibility of traditional music education but also fosters greater interest and active participation among sanggar members. These findings reinforce the potential of the sanggar’s learning model as a reference for arts curriculum development, particularly in the context of establishing an arts campus in Banyuwangi.

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