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Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang

DTR
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Published by Institut Seni Indonesia Yogyakarta

ISSN : 25025880 EISSN : 26866027 DOI : https://doi.org/10.24821/dtr.v4i2

Core Subject : Humanities, Art,

Arts Humanities

Dance & Theater Review (DTR) is a journal published in May and November, hosted by the Faculty of Performing Arts of Institut Seni Indonesia Yogyakarta. It is firstly published in May 2018. Journal of DTR contains any results of research and creation of dance, theatre, and wayang as well as performing arts education.

Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan

Articles 71 Documents

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Dramaturgy of Ludruk Karya Budaya on the Story of Sarip Tambak Oso Jihan Kusuma Wardhani
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 2 (2018): November 2018
Publisher : Institut Seni Indonesia Yogyakarta

This paper presents the dramaturgy of Sarip of Tambak Oso (STO), performedby Ludruk Karya Budaya Mojokerto (LKBM). LKBM as a Ludruk art group inEast Java has survived for about 47 years. The STO story has outlived the LKBMgroup. Ludruk has become a typical entertainment in East Java, and STO’s storyis one of the legends which continues to live in the people of East Java, especiallySidoarjo. STO’s story is very close to the community and the conflict in the playis a common issue in the community. This story reminds us of the importanceof good communication between the government and the community. Thisplay tells about the struggle for Sarip’ rights who does not want to pay taxesbecause of his poverty. This led to the resistance to the Dutch governmentand its accomplices. The Dutch finally found Sarip’s weakness. Sarip’s motherwould awake Sarip from death when she yelled out Sarip’s name. This storyis considered a true story by some people in the East Java region, especially inthe Oso Pond area, Sidoarjo. As the development progressed, this story laterbecame a lesson for the local community to wisely respond to all policies madeby the government. The government and the people should share the rightcommunication to create harmony. The dramaturgy study of LKBM in STO playwas important because the documentation was still relatively rare, and alsothe STO story is still contextual to date. The dramaturgy study of LKBM in theSTO play is expected to be able to become a learning, whether Ludruk as a folkart group or a story that can become known for the community.Keywords: Sarip Tambak Oso; Ludruk Karya Budaya

Tepuk Tepung Tawar Sebagai Simbol Ritual Budaya Melayu Kabupaten Karimun Doni Febri Hendra
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 1: May 2022
Publisher : Institut Seni Indonesia Yogyakarta

Penelitian ini menjelaskan tentang prosesi tepung tawar yang merupakan prosesi adat yang hampir dijumpai pada setiap upacara yang dilakukan oleh Masyarakat Melayu dimana terdapat makna dan simbol Islam di dalamnya. Data yang diperoleh dengan teknik pengumpulan data secara langsung melalui observasi kelapangan merupakan penelitian deskriptif kualitatif dalam penelitian ini guna memperoleh keabsahan dari sumber. Hasil penelitian ini adalah ritual Tepung Tawar dalam Upacara pernikahan masyarakat Melayu Karimun. Tujuan penelitian ini antara lain; menjelaskan keberadaan tradisi tepung tawar dalam pernikahan Melayu Karimun; mengetahui fungsi tepung tawar dalam pernikahan melayu; proses dan tata cara tepung tawar dalam pernikahan melayu. Memiliki fungsi sebagai doa dan juga tolak bala. Pelaksanaan tepung tawar dalam perkawinan Melayu Karimun sangat penting dan juga digunakan dalam upacara tradisi melayu lainnya.Kata kunci : Ritual ,Tepung Tawar, tolak bala, Pernikahan Melayu AbstractThis study describes the procession of plain flour which is a traditional procession that is almost found in every ceremony carried out by the Malay community where there are Islamic meanings and symbols in it. The data obtained by data collection techniques directly through field observation is a qualitative descriptive study in this study in order to obtain the validity of the source. The result of this research is the Tepung Tawar ritual in the marriage ceremony of the Karimun Malay community. The objectives of this research include; explaining the existence of the tradition of white flour in Karimun's Malay marriage; knowing the function of plain flour in Malay marriage; process and procedures for plain flour in Malay marriage. Has a function as a prayer and also rejects reinforcements. The implementation of plain flour in the Malay Karimun marriage is very important and is also used in other Malay traditional ceremonies.Keywords: Ritual, Plain Flour, Reject reinforcements, Malay Wedding

Potehi Puppet (布袋戲) in Java Hirwan Kuardhani
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 1 (2018): May 2018
Publisher : Institut Seni Indonesia Yogyakarta

AbstractPotehi (布袋戏) puppet theater in Java is called as Chinese puppet and originated from Fujian (福建) and Guangdong (广东) Province. Chinese puppets that were allegedly meant here is Potehi because the forms of other kinds of puppet theater from China was not discovered the traces. Leather puppet, such as Purwa, or string puppet (marionette), or even Rod puppet is not recognized by the Javanese people, most of them are only familiar with Potehi Chinese puppet. This is confirmed by the data that most Chinese emigrants who came to Java is the Hokkien (Fujian) who owned Potehi puppet theater. Some of Potehi playhouse stage are in the form of permanent building of a brick wall that has been decorated with images of deities or knock -down building which is similar to ronda substations that can be assembled. When Potehi stage is used for shows in pagoda, it will be included in the playhouse stage. It is different if the shows take place outside the pagoda, such as in malls, galleries, churches, festivals and so on, then it will be without the playhouse stage. Potehi stage shaped like a castle building with division of imaginary spaces. The upper part is the sky or deities’ palace, and the bottom is the human castle. It can also be interpreted as two natures; macrocosm and microcosm. The Sky Palace keep supervising the administration of human castles that have been mandated to regulate human. General grip of Potehi Puppet Theatre in Java includes: material story and a common way of presenting the general grip of the story of Potehi Puppet Theatre in Java that include: materials and way of presenting sequence actions stories that are taken by sehu and the board of pagoda when holding Potehi show in pagoda are as follow: 1 Sehu prepares the figures. 2. Sehu with Lauw Cu (the board of pagoda) perform Puak Poe rituals. 3. Sehu prepare the staging equipment. 4. The show is based on the agreed time with pagoda sides. Potehi shows for the Chinese community carry out ritual, social, and educational functions.Keywords: puppet theater; Potehi; Javanese performanceAbstrakWayang Potehi di Jawa. Teater Boneka Potehi di Jawa disebut sebagai pertunjukan boneka Cina yang berasal dari Provinsi Fujian dan Guandong. Diduga pertunjukan Potehi datang ke Pulau Jawa pada abad ke-16. Wayang Potehi dikenal sebagai wayang Cina karena bentuknya tidak ditemukan di wilayah Jawa. Wayang kulit di Jawa sama dengan wayang Purwa, wayang bertangkai di Jawa dikenal dengan wayang golek. Teater boneka Potehi dibawa para emigran Hokkian (Fujian) ke Jawa, dan dimainkan pada panggung permanen ataupun panggung yang berpindah. Ketika pertunjukan Potehi dimainkan di Kelenteng, digunakan stage yang permanen berbentuk rumah-rumahan. Hal demikian berbeda dengan pertunjukan yang dimainkan di luar Kelenteng, seperti di mal, galeri seni, gereja, atau festival-festival. Panggung Potehimerupakan perwujudan simbol dunia, yakni paling atas adalah istana langit yangmerupakan tempat para dewa, sementara bagian bawah adalah istana manusiabiasa atau tempat masyarakat biasa. Hal tersebut dapat digambarkan sebagaialam makrokosmos dan alam mikrokosmos. Secara keseluruhan, pementasanPotehi di Jawa masih mengikuti patokan, lakon, tatacara Potehi asalnya, yaitu:1. Sehu atau dalang menyiapkan lakon dan mengajukan judul lakon yang akandibawakan. 2. Sehu bersama Lauw Cu (petugas upacara) melakukan ritual PuakPoe. 3. Sehu mendapatkan persetujuan mengenai lakon yang akan dibawakan. 4. Pertunjukan digelar berdasarkan lakon yang telah disetujui dewa. PertunjukanPotehi bagi komunitas masyarakat Tionghoa membawa serta fungsi sosial, ritual,dan pendidikan.Kata kunci: teater boneka; Potehi; pertunjukan Jawa

PERANCANGAN PERTUNJUKAN OPERA MINANGKABAU MALIN NAN KONDANG SEBAGAI ALIH WAHANA KABA MALIN KUNDANG EDY SUISNO; ISWANDI ISWANDI; R.M PRAMUTOMO; LILI SUPARLI; NOVESAR JAMARUN
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 1: May 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v4i1.4373

Perancangan Pertunjukan Opera Minangkabau Malin Nan Kondang sebagai Alih Wahana KabaMalin Kundangadalah proses penciptaan pertunjukan Opera Minangkabau yang bertitik tolak dari penafsiran ulang kaba Malin Kundang. Proses penciptaan pertunjukan Opera Minangkabau tersebut, diawali dari sebuah riset terhadap berbagai penafsiran atas kaba Malin Kundang sebagai titik tolak terbentuknya penafsiran baru atas kaba tersebut..Penafsiran baru tersebut kemudian dikreasi untuk menghasilkan bentuk lakon baru, yang kemudian diberi judul Malin Nan kondang.Lakon baru inilah yang menjadi pijakan dalam perancangan pemanggungan (spektakel) yang mencirikan sebuah pertunjukan Opera Minangkabau.Penuangan tersebut merupakan bentuk perancangan yang dimulai dari analisis lakon, pembuatan adegan demi adegan dan penempatan aspek pendukung opera yang meliputi gerak, dendang dan penghayatan seni peran. Aksentuasi opera diwujudkan dengan penggunakan ragam seni tradisi Minangkabau bagi kebutuhan perancangan Opera Minangkabau secara keseluruhan. Aksentuasi itu meliputi dialog dengan dendang, penggunaan koreografi dan paduan suara dan dialog yang berbentuk puisi.Kata kunci : Kaba Malin Kundang; Lakon Malin Nan Kondang; Opera Minangkabau

Membangkitkan Kembali Tari “Melemang” yang Tenggelam Masa Doni Febri Hendra; Nur Sekreningsih Marsan
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 1 (2020): May 2020
Publisher : Institut Seni Indonesia Yogyakarta

Reviving the Drowning Period of Melemang Dance. Melemang dance is a traditional art form. In ancient times, this dance was functioned for ceremonies in the kingdom and as a means of legalizing and celebrating the king’s existence. The performance may only be done within the palace. This dance has not been performed for a long time due to the lack of guidance from the supporting community. This research uses descriptive and analytical methods to present data objectively based on facts or phenomena as they are. Furthermore, the facts and phenomena are analyzed according to the context of the discussion. Therefore, the research objective, namely the revitalization of the Melemang dance, can be achieved.Keywords: melemang dance; drowning period; revitalization

Wayang Palembang Dalam Lakon Bambang Dharmojati oleh Dalang Kiagus Wirawan Bersama Sanggar Sri Palembang Aminatul Fadilla
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 1 (2019): May 2019
Publisher : Institut Seni Indonesia Yogyakarta

This study aimed to analyzing the dynamics of the existence of the Wayang Palembang from the beginning of birth until that brought by Kiagus Wirawan with Sanggar Sri Palembang nowaday (2019). So, to be more focused, Bambang Dharmojati’s sample was chosen in order to give an overview of the Wayang Palembang performance. This research was conducted using qualitative methods and ethnographic approaches. During the process of research found that Wayang Palembang is a typical art that originated from Wayang Purwa. This art began to live and be known in the community since the collapse of the Palembang Darussalam sultanate. There were three very strong cultural elements in the Wayang Palembang, namely the Melayu Palembang, Java and Cirebon. Wayang Palembang today was experiencing a decline in audience interested. This phenomenon raises fundamental questions about how the Wayang Palembang performance, how Sanggar Sri Palembang survives and why it has decreased audience interested. For this reason, Hausers, Tomars and Wolff’s theories were used which said that social change in a place will present a unique art renewal in accordance with the social patterns of the community at that time, then Kernodle’s structured and textured theory was used to analyzing the form of performances to be able to presenting interpretations of interested preferences show. Furthermore, the way to survive is analyzed by Scott’s theory which said that efforts to fight and survive consist of open and hidden form resistance. The results of this study indicated that the Wayang Palembang performance today was still very classical in nature, resulting in a difference between public demand and the availability of performance space. However, to maintain its existence, Kiagus Wirawan and Sanggar Sri Palembang will always hold Wayang Palembang performances independently and do not care about the number of spectators.Keywords: Wayang Palembang; performance, society, Sanggar Sri Palembang; Bambang Dharmojati

Traditional Elements in the Iranian Realistic Drama Farindokht Zahedi
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 2 (2018): November 2018
Publisher : Institut Seni Indonesia Yogyakarta

Modern Iranian drama developed in line with a liberal school of thought, bothbefore and after the Constitutional Revolution in 1906. It came during thetransition from a traditional to a new type of society that was able to tolerateand accept the revolution. The arrival of European theatre in 1878, with itsdependence on a written text rather than improvisatory acting, was part of themodernization process in Iran that enjoyed its height in the early years of thetwentieth century. At the same time, traditional theatre was being rediscovered,and playwrights started using some of its forms to develop indigenous modernIranian theatre to meet the standards of the genuine past and dynamic present.Although there was an assimilation of certain secular tendencies, the newlyappearing type of drama satisfied the need for modernity through defendingpolitical and social liberties. The road to transition began in the 1850’s andgained momentum during the 1940’s through the 1970’s, leaving its effects onIranian drama in such a way that its legacy persists to date.Keywords: realistic drama; Iranian drama; Iran Constitutional Revolution

Bedaya Duradasih, Sebuah Ekspresi Budaya pada Masa Sunan Pakubuwana III-IV di Keraton Surakarta Indah Nuraini; Supriyanti Supriyanti
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 2: November 2021
Publisher : Institut Seni Indonesia Yogyakarta

Bedaya Duradasih: A Cultural Expression During the time of Sunan Pakubuwana III-IV in the Surakarta Palace. Bedaya Duradasih is a form of bedaya dance created at the Surakarta Palace. Its creator was Sunan Pakubuwana IV who at that time, still had the title of Kanjeng Gusti Pangeran Adipati Anom. Sunan Pakubuwana IV was a king who had a very significant artistic spirit, so it cannot be denied that artistic and cultural life was very flourishing during his reign. Bedaya Duradasih was one of the cultural expressions at that time. The created expression was inspired by the mood of being infatuated/falling in love with the Madurese princess. Looking at the words Duradasih and Madura can be connected with several opinions regarding the meaning of the word Duradasih. It is said that Duradasih derived from the words Dura and dasih, which mean a woman from Madura. Then it is also mentioned from the words Dara and dasih, which means girl/virgin who brings happiness. Furthermore, it is interpreted from the words Dora and dasih, which means lying for political interests at that time, which ended up with a love affair. From these descriptions, it can be concluded that Bedaya Duradasih reflects one of the cultural expressions.Keywords: bedaya; Surakarta; expression

Garapan Tari “Akegh Cahayegh”: Representasi Budaya Ritual Pengobatan Tolak Bala Suku Talang Mamak, Desa Gedabu Suvina Suvina; Martion Martion; Ali Sukri
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

The Creation of "Akegh Cahayegh" Dance: The Culture Representation of Medicinal Ritual on Calamity Reversal of Talang Mamak Tribe, Gedabu Village. The Talang Mamak tribe is a group of people included in the KAT category (Remote Indigenous Community), which is another name for the Tribe of Anak Dalam. The Talang Mamak tribe belongs to the Proto Melayu group. The Talang Mamak tribe's life inspires this source of work in the neighborhood where the workmen live. The craftsmen were very interested in the Mahligai treatment (Tolak Bala), which was located in the inland tribal area of Talang Mamak, Gedabu village in Rakit Kulim sub-district—inspired to work on this culture to survive in today's life. The craftsmen certainly feel proud when this culture is preserved and displayed with new cultivation (innovation) without leaving the medicinal ritual's distinctive features. This work was worked on with the results of the interpretation and imagination of the writer. The values contained in this work are the values of loyalty, obedience, and togetherness. The implicit message conveyed is that the development and change of time is not a barrier for the inland tribe of Talang Mamak, Gedabu village to carry out rituals and preserves ceremony, namely the treatment of Mahligai Tolak Bala as a ritual of cleaning the village.Keywords: preserving culture; obeying; togetherness

Strategi Penguatan Kreativitas Seniman Ketoprak DIY dari Tahun 1999 hingga Tahun 2009 Yudiaryani Yudiaryani; Wahid Nurcahyono; Sylvia Angreni Purba
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 2 (2019): November 2019
Publisher : Institut Seni Indonesia Yogyakarta

Cultural identity in ketoprak performance should depart from all cultural products themselves. Strengthening the form of ketoprak performance in the middle of the era becomes important for artists in building their creativity. The strategy was designed so that people assume that ketoprak was theirs and able to be their representation. Based on the data collected, the number of groups, performances, and ketoprak artists in DIY were as follows. The number of groups in four districts and one municipality were 497 groups. The number of ketoprak showed from 1999-2009 was 145 times. The highest number of ketoprak groups was in Kulonprogo Regency, followed by Gunungkidul Regency, Bantul Regency, Sleman Regency, and finally the Municipality. The year 2005 was a milestone in the development of ketoprak to the present. The successful renewal of ketoprak shows can be seen by the number of shows which are 113 times over five years (from 2005 to 2009), which means that there were twenty ketoprak shows every year, and every month there were two ketoprak shows. The condition was triggered by several factors as follows. First, local government awareness to determined the icon of DIY tourism as part of globalization. Second, the awareness of artists to package performances that match the demands of the times. Third, awareness of the artistic layout strategy using symbolic and supported by Tobong ketoprak tricks. Fourthly, the influence of ketoprak humor and ketoprak R&D which still uses the style of play and jokes, causes the ketoprak show to be no longer a mere political tool, but a tool and place of friendship for the citizens. Fifth, the story was no longer based on myths, chronicles and legends, but penetrated the wayang story but with a more contextual interpretation of the story with the present. By seeing the many activities of ketoprak performances in DIY it can be said if ketoprak has become an icon of culture and tourism in DIY. Ketoprak performances tread its survival was no longer a traditional art, but has become a form of modernist art. Over the past ten years, the ketoprak show has experienced quite improved conditions. The vigilance of artists and audiences must be constantly reminded. The trick was to continuing to enhance the role of government as a protector of arts and culture. The ketoprak festival must continuing to be held continuously. Improving the skills of ketoprak artists must continuing to be sharpened. Of course the friendship between Ketoprak artists must continuing to be encouraged. Government’s appreciation for ketoprak artists must be increased.Keywords: identity; ketoprak; strengthening; globalization

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Contact Name
Surya Farid Sathotho

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suryafarid@isi.ac.id

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+6282228334645

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dtreview@isi.ac.id

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Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Surya Farid Sathotho

Contact Email suryafarid@isi.ac.id

Phone +6282228334645

Journal Mail Official dtreview@isi.ac.id

Editorial Address Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta

Location Kab. bantul, Daerah istimewa yogyakarta INDONESIA

Abstract

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Abstract

Contact Name
Surya Farid Sathotho

Contact Email
suryafarid@isi.ac.id

Phone
+6282228334645

Journal Mail Official
dtreview@isi.ac.id

Editorial Address
Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA