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All Journal Gondang: Jurnal Seni dan Budaya Didaktik : Jurnal Ilmiah PGSD STKIP Subang Boting Langi: Jurnal Seni Pertunjukan Jurnal Abdimas Mahakam
Anbie Haldini Muhammad
Universitas Negeri Surabaya
Arts Humanities Education Other

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Pelatihan Manajemen dan Produksi Hibrid Pertunjukan dan Film ‘Sang Blawong’ di Pondok Pesantren Al Falah Ploso Mojo Kediri Syaiful Basri; Syafiul Anam; Anbie Haldini Muhammad
Jurnal Abdimas Mahakam Vol. 10 No. 01 (2026): Januari
Publisher : Lembaga Penelitian dan Pengabdian Masyarakat

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24903/jam.v10i01.3709

Abstract

Artikel ini membahas model pemberdayaan komunitas pesantren melalui pelatihan manajemen dan produksi seni hibrid penggabungan antara panggung pertunjukan dan film dalam proyek bertajuk Sang Blawong. Fokus kegiatannya adalah peningkatan kapasitas kreatif dan teknis santri Pondok Pesantren Al Falah Ploso Mojo Kediri sebagai bagian dari transformasi pendidikan seni berbasis nilai keagamaan. Tujuan utama pengabdian ini adalah mengembangkan keterampilan manajerial, penulisan naskah, sinematografi, seni suara, serta penyutradaraan pertunjukan hibrid dalam satu model pembelajaran berbasis pengalaman (experiential learning). Metode yang digunakan meliputi lokakarya interaktif, praktik produksi langsung, dan pendekatan partisipatif. Data dikumpulkan melalui observasi partisipatif, proses dokumentasi, dan evaluasi hasil karya. Hasil menunjukkan peningkatan yang signifikan dalam kemampuan santri dalam mengelola produksi seni secara profesional, menghasilkan naskah dan film pendek Sang Blawong, serta menampilkan pertunjukan hibrid yang merepresentasikan nilai-nilai keislaman dan lokalitas. Temuan ini menegaskan bahwa seni hibrid dapat menjadi media dakwah kreatif yang efektif sekaligus memperkuat ekonomi kreatif berbasis pesantren. Kontribusi utama kegiatan ini terletak pada pembentukan kelompok seni pesantren yang berkelanjutan serta model integrasi seni, pendidikan, dan nilai keagamaan dalam satu ekosistem kreatif yang aplikatif.
INSTRUMEN REBAB SEBAGAI MEDIA PENJUAL ARUM MANIS DI SURABAYA Anbie Haldini Muhammad
Boting Langi: Jurnal Seni Pertunjukan Vol 4, No 4 (2025): Oktober-Desember
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/bl.v4i4.76322

Abstract

This study examines the unique phenomenon of using the rebab as a sales tool for arum manis in Surabaya, illustrating an intriguing blend of musical traditions and modern economic activity within an urban context. Employing a qualitative approach and an ethnomusicological perspective, this study explores the transformation of rebabs’ function from a traditional musical instrument to an innovative promotional medium in street food sales. An in-depth analysis reveals the rebab's role as a symbol of cultural preservation and local identity amid urban modernization, as well as its creative adaptation for contemporary commercial purposes. This research also examines how the use of the rebab shapes the unique identity of arum manis sellers in Surabaya, creating differentiation in street food competition. Additionally, the study explores the sociocultural impacts of blending traditional and modern elements in an urban context, as well as its potential to revive interest in traditional music and preserve cultural heritage. The implications of this phenomenon for strategies to develop a creative economy based on local wisdom are also discussed, thereby providing valuable insights for policymakers and creative industry practitioners. In conclusion, this study highlights the flexibility of music in adapting to socio-economic changes while maintaining its role as a cultural messenger, providing a deep understanding of the dynamics of the interaction between tradition, innovation, and the economy in contemporary urban society.Kata Kunci: Rebab, Arum Manis, Ethnomusicology, Creative Economy, and Urban Cultural Identity
When Myths Incarnate Performances: The 12th Krisnayana Performances as Cultural Discourse and Emotional Experience Syaiful Qadar Basri; Setyo Yanuartuti; Anbie Haldini Muhammad; Kanzul Fikri
Gondang: Jurnal Seni dan Budaya Vol. 10 No. 1 (2026): GONDANG: JURNAL SENI DAN BUDAYA, JUNE 2026
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/3z5qgf50

Abstract

This research aims to examine the representation of the myth of Krishna in the performance of the 12th Kresnayana based on the play Suta Ruhara, focusing on the relationship between dramatic structure, the emotional experience of the audience and the performer, and the aesthetic transformation of performance in the contemporary social context. The research uses a qualitative approach with a case study method, including script analysis, direct observation of performances, audiovisual documentation, and in-depth interviews with actors and audiences. The analysis is carried out through an interpretive phenomenological perspective to understand affective experience as part of the production of performance meaning. The results of the study show that myths are not positioned as static epic narratives, but rather as ethical discourses that are alive and negotiated through the tragedies of Samba, Boma, Hagnyanawati, with Krishna appearing as a figure of moral wisdom and a balancer of conflicts. The novelty of this research lies in the finding that affection in performance does not function solely as a dramatic effect, but as a space for collective ethical reflection that connects myths, bodily experiences, and the social consciousness of the audience. Aesthetic transformation through the fusion of traditional idioms and contemporary performance technologies reinforces the symbolic articulation of myths without eliminating local roots. This study concludes that the 12th Kresnayana acts as a reflective cultural practice that bridges traditions, emotional experiences, and social realities, and offers a model of traditional performing arts development that is adaptive, pedagogical, and relevant to the dynamics of today's society.
METODE LISAN SEBAGAI SISTEM PEDAGOGIS KULTURAL: PEMBELAJARAN SENI KARAWITAN DAN PEDALANGAN DI SANGGAR BALADEWA SURABAYA Tatas Aglis Budi Jatmiko; Anbie Haldini Muhammad; Indar Sabri; Welly Suryandoko
Didaktik : Jurnal Ilmiah PGSD STKIP Subang Vol. 12 No. 02 (2026): Volume 12 No. 2, Juni 2026 Release
Publisher : STKIP Subang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36989/didaktik.v12i02.15390

Abstract

Amidst the dominance of text-based formal education and the acceleration of digitalization, the oral transmission of traditional arts knowledge tends to be marginalized. Yet this method plays a vital role in preserving authenticity and cultural context in traditional arts learning. This study aims to describe the implementation patterns of the oral method, identify its pedagogical-cultural components, and analyze its contribution to student competency at Sanggar Baladewa Surabaya. A descriptive-analytical qualitative approach was employed. Data were collected through participatory observation across eight training sessions, semi-structured interviews, and documentation studies involving teachers, senior members, and students. Data analysis followed the interactive model of Miles, Huberman, and Saldaña (2020), comprising: (1) data condensation, (2) selective dialogue, (3) data presentation, and (4) conclusion drawing. The study reveals that the oral method is implemented through four main patterns: (1) direct verbal instruction and spontaneous correction, (2) oral naming of patterns and terms, (3) phrase repetition via call-and-response mechanisms, and (4) contextual narrative and symbolic analogy. This method functions as an adaptive learning scaffold while simultaneously serving as a medium for transmitting cultural values, etiquette, and artistic philosophy as reflected in the concept of Manunggaling Kawula Gusti. Its contribution is evident in stable procedural memory retention, increased improvisation confidence, and the internalization of collective identity. This study concludes that the oral method is not merely an alternative technique, but a living and relevant cultural pedagogical system worthy of integration into modern arts education curricula.
Co-Authors INDAR SABRI Kanzul Fikri Setyo Yanuartuti Syafiul Anam Syaiful Basri Syaiful Qadar Basri Tatas Aglis Budi Jatmiko Welly Suryandoko