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All Journal Gondang: Jurnal Seni dan Budaya Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora (KAGANGA) Tambuleng: Jurnal Pendidikan Seni Drama, Tari, dan Musik
Marrisa Aulia Mayangsari
Universitas Palangka Raya
Arts Humanities Education Social Sciences

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Benang Bintik: Batik Motif Babukung sebagai Pilar Ekonomi Kreatif Lamandau Nawung Asmoro Girindraswari; Muh. Andis Hidayatullah; Andi Arie Astuti; Hendro T.G. Samosir; Marrisa Aulia Mayangsari
Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora Vol. 7 No. 2 (2024): Kaganga: Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora
Publisher : Institut Penelitian Matematika, Komputer, Keperawatan, Pendidikan dan Ekonomi (IPM2KPE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31539/kaganga.v7i2.12707

Abstract

Tujuan penelitian ini adalah mendeskripsikan ide konsep motif batik berupa visual, warna, ragam hias, pertunjukan dan nilai sejarah Babukung. Peneliti menggunakan metode penelitian kualitatif. Metode yang digunakan termasuk metode kreatif yang terdiri dari beberapa tahap; merumuskan kreasi ide motif Babukung, eksplorasi ide konsep, eksplorasi desain dan teknik, proses kreatif mewujudkan motif benang bintik, hasil kreatif motif benang bintik, termasuk analisis desain, kajian pasar, dan teknik produksi digital printing. Hasil penelitian menunjukkan bahwa penerapan motif Babukung pada benang bintik tidak hanya memperkaya warisan budaya tetapi juga berpotensi meningkatkan daya saing produk lokal di pasar kreatif. Simpulan penelitian ini diharapkan dapat memberikan wawasan bagi pengembangan strategi ekonomi kreatif yang berkelanjutan dan mempromosikan pelestarian budaya di kabupaten Lamandau. Kata kunci: Benang Bintik, Festival Babukung, Lamandau.
The Creation of the Performative Theater Ruang Ketubuhan Galuh Tulus Utama; Riswani Riswani; Fantri Pribadi; Marrisa Aulia Mayangsari; Iga Ayu Intan Candra
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.69164

Abstract

Site-specific performance is established in international practice, yet its application in post-disaster contexts remains under appreciated. This study addresses this gap by exploring the creation of ‘Ruang Ketubuhan’ (The Embodied Space), a performative theater work developed in the ruins of Mount Merapi eruption, Sleman, Yogyakarta, in 2010. Grounded in Practice-as-Research method, site-specific ethnography, and autoethnography, this study documents a creative process where ruins, objects, and borrowed narratives from survivors become active dramaturgical events. The findings demonstrate that the performer’s body functioned as a medium to translate historical trauma into a shared and empathetic experience. It gained through methods of spatial attunement and emotional memory reflection. The study concludes that Ruang Ketubuhan offers a model for ‘embodied site-specificity’ which argued that the interweaving of body, space, and memory in performance constitutes a significant mode of knowledge production. This moves beyond aesthetic documentation to show how performative practice can actively mediate challenging history, making it accessible and relevant for both live and mediated audiences.
Penyutradaraan Sendratari Putir Busu dan Bawi Sandah islamiyah islamiyah; Ichyatul Afrom; Marrisa Aulia Mayangsari
Tambuleng Vol 6 No 2 (2025): Tambuleng: Jurnal Pendidikan Seni Drama, Tari, dan Musik
Publisher : FKIP, Universitas Palangka Raya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37304/jt.v6i2.24828

Abstract

The creation of the dance-drama Putir Busu and Bawi Sandah aims to convey moral values while introducing the legend of the Dayak Ngaju people of Central Kalimantan, so that local culture and wisdom continue to thrive and be appreciated. This work is a new creation, conceptually arranged through the application of basic directing techniques to build dramatic unity, continuity of meaning, and character development through acting and movement. In addition to serving as a medium for cultural development, the work is also intended as a source of motivation and inspiration for other artists. The creative process is based on performing arts theories proposed by Ardini and Seten, including aesthetic, functional-structural, and symbolic theories, which are analyzed using a directing approach drawn from Riantriano’s research and character development concepts by Misnawati and Aswari. The dance-drama is performed by six actors and twelve dancers and is structured into three main scenes: prologue, conflict, and resolution. The performance employs 13 blocking patterns, 24 floor patterns, audio music accompaniment in MP3 format with a duration of 45 minutes and 20 seconds, as well as costumes and makeup reflecting Dayak Ngaju culture to reinforce cultural identity and inspire other artists.
Co-Authors Astuti, Andi Arie Fantri Pribadi Galuh Tulus Utama Ichyatul Afrom Iga Ayu Intan Candra islamiyah islamiyah Muh. Andis Hidayatullah Nawung Asmoro Girindraswari Riswani Riswani Samosir, Hendro T.G