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All Journal PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan
Pepep Didin Wahyudin
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Arts Humanities Education Environmental Science Social Sciences Other

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Menjadi Panembang Unggul: Strategi Peraihan Kompetensi Vokal dalam Tembang Sunda Cianjuran : (Studi Komparatif Yus Wiradiredja dan Neneng Dinar) Budiman, Arif; Yupi Sundari; Pepep Didin Wahyudin
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

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Abstract

This study investiges the strategies for acquiring vocal competence in tembang sunda cianjuran through a comparative approach to two prominent panembang: Yus Wiradiredja and Neneng Dinar. Addressing the limited research that explores the learning trajectories of panembang in depth, this study employs Brinner’s theoretical framework on the stages of acquiring musical competence as the primary analytical tool. The findings indicate that while Yus followed an ideal learning path aligned with Brinner’s stages—establishing himself as a multitalented panembang with exceptional and wide-ranging musical sensitivity—Neneng also attained a high level of competence through perseverance and strong personal commitment. These results highlight the vital role of experience and consistency in shaping musical competence. The study recommends the development of panembang training models grounded in integrated technical, cultural, and reflective approaches.
Ronggeng: Genealogi Perempuan Penari Dari Masa Kolonial Hingga Era Mutakhir S.Sn., M.Sn., Masyuning; Atang Suryaman; Pepep Didin Wahyudin
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

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Abstract

In the current discourse of performing arts, ronggéng has been specified or narrowed down to mean only female dancers. The opposite of ronggéng is known as "pamogoran" or men from the audience who join in the dancing and also give money to the ronggéng. Based on a phenomenological perspective with a discussion of interactive time boundaries, combining synchronic and diachronic time boundaries, it can be concluded that historically, the female body in Ronggéng's identity has been distorted since colonialism. Ronggéng, which is synonymous with a sacred body in the life of an agrarian society, has been drawn into the industrial dimension by the interests of colonialism. Since then, a new image has been created that is synonymous with a negative stigma towards the bodies of women dancers, especially Ronggéng, which is associated with sexuality. In recent times, female dancers have emerged who "fight" against this stigma by making themselves not only a manageable dancer, but metamorphosing into a dancer as well as a leader, creating new dance ideas.
Co-Authors Arif Budiman Atang Suryaman S.Sn., M.Sn., Masyuning Yupi Sundari