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Gondang: Jurnal Seni dan Budaya
Published by Universitas Negeri Medan
ISSN : 25990594     EISSN : 25990543     DOI : https://doi.org/10.24114/gondang.v8i1
Core Subject : Humanities, Art,
Arts Humanities
Gondang is a Journal of Art and Cultural for information and communication resources for academics, and observers of Art and Culture, Performing Arts, Educational Arts, Methodology of Art and Cultural. The published paper is the result of research, reflection, and actual critical study with respect to the themes of Art and Culture. All papers are peer-reviewed by at least two referees. The scope of Gondang is the Science of Art and Culture. Published twice a year (June and December) and first published for print edition in June 2017.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 14 Documents
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Search results for , issue "Vol 5, No 1 (2021): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2021" : 14 Documents clear
Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas Hasprita Restiamangastuti Boru Mangunsong; Djuli Djatiprambudi
Gondang: Jurnal Seni dan Budaya Vol 5, No 1 (2021): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2021
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (19.042 KB) | DOI: 10.24114/gondang.v5i1.21197

Abstract

Since long time ago, people of the archipelago have interacted with various foreign nations and it led to the integration of local cultures and migrant cultures and resulting some new cultures. One of them is Potehi Puppet, a puppetry originated from China then developed in Java. The purpose of this study is to find out and describe a face proportion of female character of Potehi Puppet in Gudo, Jombang. The method that  used is quantitative research by measuring some female characters of Potehi Puppet using Golden Proportion theory and calculate the mean of the measuring result also interview to the chairman, Toni and puppeteer of Hok Ho An (Potehi group in Gudo), Sonny and direct observation. Golden Proportion theory is not used to judge but used as tool to find out the mean of face proportion measuring. The result showed that there is an acculturation between Chinese and Javanese culture in visual, language, story, character and their characteristics and the artists behind Potehi Puppet. Potehi Puppet characters are distinguished majority by symbols on their clothes and accessories especially female characters. Some characteristics of female Potehi Puppet that Toni’s engravers made which quite different with female Potehi Puppet that made in China. It shows that artists background (Javanese) influences their Potehi Puppet work.
Sistem Kreativitas Sandur Bojonegoro dalam Pertunjukan “Selendang Kuning” Hidayah Sumiyani; Autar Abdillah
Gondang: Jurnal Seni dan Budaya Vol 5, No 1 (2021): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2021
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1188.665 KB) | DOI: 10.24114/gondang.v5i1.24551

Abstract

Pertunjukan sandur Bojonegoro dipentaskan di tanah lapang dengan panggung arena dan dibatasi dengan belabar janur kuning. Pada masa pandemi Covid-19, seniman Sandur menciptakan pertunjukan “Selendang Kuning” dengan konsep sandur rumah yaitu sandur yang dipentaskan dalam rumah atau yang dapat disaksikan di rumah. Tujuan penelitian ini adalah mengetahui aspek-aspek kreatifitas yang mendukung penciptaan karya Sandur Bojonegoro dengan konsep rumah. Metode penelitian yang digunakan adalah deskiptif kualitatif, dengan pengumpulan data observasi, wawancara semi terstruktur dan studi kepustakaan. Hasil penelitian kemudian dianalasis menggunakan sistem kreatifitas Mihaly Csikzentmihalyi. Hasil penelitian yang telah dianalisis, ditemukan bahwa karya sandur “Selendang Kuning” yang berkonsep sandur rumah dapat tercipta karena beberapa aspek, yaitu (1)domain yang ditempuh telah mengalami titik fokus pada pengembangan Sandur Bojonegoro ke bentuk dan media yang baru dengan penuh kesadaran memilih untuk mempertimbangkan unsur kepakeman yang harus dipakai ataupun yang tidak digunakan dalam proses penciptaan karya tersebut; (2)ranah dalam pertunjukan mendapatkan dukungan, kolaborasi antar aspek yang memadai; dan (3)individu kreatif dalam karya berupa para pelaku sandur Bojonegoro yang terbuka dengan segala kemungkinan penciptaan. 
Interaksi Simbolik Pada Pertunjukan Musik Keroncong oleh Orkes Keroncong Gunung Jati New Musik di Stasiun Tawang Semarang Rinaldhi Eka Kurnia Putra; Abdul Rachman; Eko Raharjo; Suharto Suharto
Gondang: Jurnal Seni dan Budaya Vol 5, No 1 (2021): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2021
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1165.983 KB) | DOI: 10.24114/gondang.v5i1.19996

Abstract

The Gunung Jati New Music Keroncong Orchestra is a keroncong orchestra that regularly performs keroncong music at Tawang Station Semarang. During the keroncong music performance there are various kinds of symbolic interactions between the players and also with the audience. The purpose of this study was to determine how the symbolic interaction in keroncong music performances by the Keroncong Gunung Jati New Music Orchestra. The research method used is qualitative. The data collection techniques used were observation, interview and documentation. The data collected through the stages of data reduction, data presentation, and drawing conclusions. The results showed that the symbolic interaction at the Keroncong Gunung Jati New Musik orchestra performance at Tawang Semarang station included a sawer box as a place for the audience to give sawer money as a form of appreciation. Symbolic interaction between the players and the players, namely during the performance the players give each other song chord codes with gestures of limbs such as finger movements, head nods, speech, winks. And symbolic interactions between the players and the audience in the form of hand movements, head nods, clapping, and sawer money. From these findings it can be concluded that the symbolic interaction that occurs is as an interaction that aims to find chemistry between players and between players and the audience so that the keroncong music performance runs well and smoothly so that the players and the audience are satisfied with their appearance and as an attraction of the Keroncong Orchestra. Gunung Jati New Musik in attracting public interest in keroncong music itself.
Kerja Etnografi dan Imajinasi Sebagai Metode Penciptaan Teater Biografi Garam Moh Wail; Yanti Heriyawati; Rahman Saleh
Gondang: Jurnal Seni dan Budaya Vol 5, No 1 (2021): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2021
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (779.135 KB) | DOI: 10.24114/gondang.v5i1.22547

Abstract

Each of art creators has their own tendencies in producing their works. The choices of form and process are significantly influenced by their cultural and aesthetical experience. The objective is to obtain the originality of the ideas and to offer novelty among the development in the field of theatre todays. This writing is aimed to reveal the creative process of the producing of a theatre work entitled Biografi Garam (The Biography of Salt). Methodologically, this is a qualitative study to describe the method or the creative process.  Ethnography and Estetika Paradoks are adopted to gain the structure of thoughts influencing the alternatives in constructing the performance aesthetic. The form of body theatre is chosen to obtain the natural structure of Madurese body as well as to release the identity to perform a free body. The creative process conducted through tubuh mengenal (the body knowing) and tubuh mengalami (the body experiencing) gives methodological experience on how the acts processed through natural body and situation becomes a theatre artwork. The background of Madurese people with all of the natural characteristics constructs the actor body so that a cultural body can be created on the stage. Ethnography and imagination process are the methods interrogating the body to become a theatre body performing Madura aesthetically to the stage. The form of a stage body is the construction result between the cultural Madura and the body execution in manifesting the ideas and imagination into an artwork that can be appreciated by the audience.  

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