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Kajian Fungsi Rebab: Studi Kasus Penerapan Rebab pada Mata Kuliah Pengayaan Sulukan Prodi Pedalangan Sigit Hermono
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 20, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i1.5454

The object of this paper is the Rebab (fiddle), a stringed instrument which plays an important role in gamelan performances. This paper is more organological in nature which focuses on two things. The first is related to the characteristics of the tool and the second is the technical maintenance of the instrument. Organologically, the fiddle is classified as an instrument that has a different character from the percussive metal instruments of gamelan in the form of bIlah (blades) and pencon. The combination of wood, leather, string/wire and hair (strings) which are the main materials in the fiddle instrument makes the fiddle has its own character and requires special care. The fiddle is a very vital ricikan instrument in Javanese gamelan because it has the main role in presenting a song or gendhing, specifically to start a song. Organologically, the fiddle is the most easily damaged ricikan tool. Its shape is like a cross which consists of several parts that have names or terms in that organ.

Agus Prasetyo Aktor dan Rol Wayang Orang Sriwedari Dhestian Wahyu Setiaji; Sri Rochana Widyastutieningrum; Aminudin Aminudin
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 20, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i1.5450

Agus Prasetyo: Actors and Role of Wayang Orang Sriwedari is an analysis of a person’s character. Agus Prasetyo’s ability of acting and artistic process to become a role is interesting to study because his existence has an impact on the sustainability and development of the Wayang Orang Sriwedari. The problem that is revealed is how the process of Agus Prasetyo becomes a role and its impact in terms of the sustainability and development of the Sriwedari Wayang Orang. Habitus theory is used to examine Agus Prasetyo’s process as an actor. The text and context approaches are used to find factors that support Agus Prasetyo to be a role model. The data collection is carried out by using the methods of observation, literature studies and interview. The collected data is analyzed using a data analysis process that emphasizes interpretative descriptive. The analytical study finds that Agus Prasetyo’s process of becoming a wayang orang actor is obtained through an educational process in the family, school and environment. This analysis also reveals that Agus Prasetyo’s acting as a role is supported by his creative and improvisational abilities in applying tembung (words), tandang (work) and tembang (songs).

Sanggit Garap Pakeliran Wayang Kulit Lakon “Setyaki Tandang” R. Muhammad Akbar Syahalam; Jaka Rianto
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 20, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i1.5451

The article entitled Sanggit Garap Pakeliran Wayang Kulit Lakon Setyaki Tandang is a work that aims to convey the value of a knight’s devotion. Devotion is completely surrendering oneself to the value of truth. Devotion is also not expecting any reward or material. If a person has a strong desire to serve the truth, then his wealth and life will be sacrificed for the sake of the peace of his country. The creative methods used to compose this work include composing, observing, exploring, and improvising. The data collection technique used is literature study. The stages of this work are the preparation of the script, the selection of accompaniment and the selection of wayang puppets. Evaluation is used to find weaknesses in this work. The result of this work is the form of a new Sanggit Lakon Setyaki Tandang.

Spiritualitas Bisma Dewabrata YB. Rahno Triyogo
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 20, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i1.5452

The main purpose of this writing is to describe the process of Bisma’s spirituality building so that he becomes a loyal and tough person in dealing with various problems in his life. This is important in order to become an inspiration for anyone who wishes to have quality spirituality. The basis for choosing the character Bisma as the object of discussion is because he is a character who is able to solve various problems in his life in an amazing way. All problems of life can be solved properly because of the encouragement of the quality of living spirituality. The steps taken are to listen in detail to the process of Bisma’s spiritual development from birth, adulthood, until the end of his life. The final conclusion of this paper is that one’s personality is greatly influenced by the quality of one’s spirituality.

Garap Sanggit Pakeliran Padat Lakon Bima Bungkus Sajian Ki Bambang Suwarno Catur Nugroho; Yudha Ibnu Mutaqin
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5856

This research departs from the assumption that “sanggit lakon” is one of the main elements of work in Pakeliran Padat. The forms of Pakeliran Padat have room for creativity and expression that is broad, complicated, and/or even limitless. The puppeteer as the main creator has the freedom to work on the sanggit lakon based on his sensitivity and accuracy in observing the phenomena that occur. This research aims to find out what is related to Sanggit Lakon Bima Bungkus in Pakeliran Padat. This is important as a stimulant for artistic research studies, especially discussions regarding concepts and work in Pakeliran Padat. Ki Bambang Suwarno’s lakon Bima Bungkus was chosen as a case study research object which was deemed representative of the analysis needs. The approach used is the basic concept of Pakeliran Padat, the concept of sanggit garap lakon, the basic aesthetic concept of puppetry nuksma and mungguh, as well as the application of hermeneutics analysis. The qualitative descriptive data analysis method is carried out by observing the validity of the data through data triangulation and method triangulation. It is hoped that the collection of appropriate data through literature study, interviews and observations will be able to explain the work of the lakon Bima Bungkus in Pakeliran Padat presented by Ki Bambang Suwarno. Based on the discussion that has been carried out, it shows that the pakeliran padat of Ki Bambang Suwarno’s lakon Bima Bungkus is produced using the concept of pakeliran padat. The garap lakon is presented in a complex manner with a focus on Bima’s characterization as the main character. Garap catur includes janturan, pocapan, and ginem and also implements the concept of garap padat, namely conveying it effectively, efficiently, and focusing on the main problem of the scene. Garap sabet presents thematic puppet movements which represent garap padat. Through thematic sabet, events of lakon can be visualized through a series of unique, distinctive and meaningful wayang movements. Meanwhile, garap karawitan pakeliran presents musical compositions that are packaged for the needs of the events of lakon, although the vocabulary for the musical compositions still comes from traditional musical compositions.

Penciptaan Lakon Pancakusuma Labuh dalam Upaya Penyampaian Nilai-nilai Keteladanan Seorang Negarawan Muhammad Setyo Mukti Wicaksono Mukti Wicaksono; Sri Harti
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5857

Pancakusuma Labuh is a creation that raises the issue of nationalism with the figure of Pancakusuma. The creation of this work aims to offer ideas as a mirror of life that upholds exemplary values in the life of the nation and state. Moreover, this creation intends to increase the vocabulary of garap lakon Pakeliran. In the process of creating, the creators use the concept of pakeliran padat and the aesthetic concept of nuksma and mungguh as a frame for the performance. To create the artwork of Pancakusuma Labuh, Alma Hawkins’ method of work creation was used, that is exploration, improvisation, and creation of artworks. The result of this artistic work is a wayang kulit performance lakon Pancakusuma Labuh which actualizes exemplary values in the form of nationalism values, bawalaksana values, and dedication values.

Martabat Manusia dalam Mahabarata Episode Pandhawa Dhadhu YB. Rahno Triyogo
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5860

The dice game episode in the Mahabarata epic, in the Javanese wayang tradition, is known as lakon Pandhawa Dhadhu. It is called that because the tool used is called ‘dhadhu’. This episode tells the story of gambling between the Pandhawa and the Kurawa which had an impact on the erosion of human dignity at the lowest level. This happens because as the betting items are not only worldly possessions, but also human gamblers. It is said that in this game the Pandhawa always lost so that their wealth ran out. Because of his uncontrolled lust, Puntadewa placed his four brothers and himself at stake, as did Draupadi. The game ends when the Pandhawa have nothing to bet on. As a result of their defeat, they had to accept the consequences of becoming Kurawa slaves. The peak of tension occurred when Dushasana dragged Draupadi by grabbing her hair and pulling the cloth covering her private parts to strip her naked. In this episode, the treatment occurred beyond the limits of human values, which resulted in the abuse of human dignity. This article was written in order to provide a reaction to an extraordinary story that touches the deepest human values, namely the value of humans as a noble creation. Its glory should be maintained, cared for and developed so that it becomes more dignified, but what happens is just the opposite. Appreciation of this dice game episode is carried out based on moral values and cultural values that have been upheld since the beginning, namely the value of humans as noble creatures because they are equipped with reason, thoughts, conscience and feelings. The steps taken to produce a good article are to pay close attention to the development of the conflict plot which of course gives rise to tensions experienced by the story actors which ultimately have an impact on the reader or audience.

Gaya Bahasa Personifikasi dalam Novel Drupadi Karya Seno Gumira Ajidarma Dewi Nurnani
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5861

The article entitled “ Gaya Bahasa Personifikasi Dalam Novel Drupadi Karya Seno Gumira Ajidarma (Personification Language Style in the Novel Drupadi by Seno Gumira Ajidarma)” attempts to describe the personification language style that is dominantly used by the author in expressing his thoughts and ideas in the novel Drupadi. Apart from that, the influence of the personification language style on Drupadi’s story as outlined by the author in the novel is also the focus of the analysis. This research uses a qualitative descriptive method with a structural (intrinsic) approach. Data was obtained through literature study and interviews. The results of this research show that the dominant personification language style used by the author in the novel Drupadi gives a beautiful, dramatic and lively impression so that it attracts the reader’s attention and interest. Apart from that, the personification language style also helps and gives space to the reader’s imagination in capturing and understanding what the author wants to express. The readers will be able to judge or conclude that the literary work or novel is good, interesting, or impressive, and so on.

Penyusunan Lakon Sudarsana Labuh Sebagai Media Penyampai Nilai-nilai Kemanusiaan Pranowo Aryo Widyastoto; Sri Harti
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5862

The article with the title Penyusunan Lakon Sudarsana Labuh Sebagai Media Penyampai Nilai-Nilai Kemanusiaan (Preparation of Lakon Sudarsana Labuh As A Medium For Transmitting Human Values) is an effort to explore the human values contained in the character Sudarsana as outlined in the wayang madya performance. This research uses the pakeliran padat concept approach and the theory of sanggit lakon, the idea of Sugeng Nugroho, which is used in the creation of lakon “Sudarsana Labuh”. Sudarsana, the main character in this work, is one of the children of Parikesit who lives with Begawan Druwasa, his grandfather, in the Jatipitu hermitage. One day he wanted to serve the country but experienced various problems that arose both from within and outside himself. Sudarsana’s efforts in resolving these various problems ultimately became a ground for interpretation to explore human values, in this case selfless sacrifice. The preparation of this work went through 3 stages, namely orientation, observation and exploration. Orientation includes searching for information both verbally and in writing. Observation is an in-depth observation carried out by the writer to adjust the theme, main idea and lakon, and exploration, namely pouring everything obtained in the previous stages into a script and wayang performance. The results of the observations are (1) Sudarsana’s sincere desire to defend the Yawastina State, (2) Sudarsana’s sacrifice in protecting the state which is symbolized by saving the king from danger, (3) Sudarsana’s motivation to defend the state.

Pemasangan Mikrofon untuk Instrumen Rebab pada Gamelan Wayang Adi Wasono
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Article with the title “ Pemasangan Mikrofon untuk Instrumen Rebab Pada Gamelan Wayang (Installation of Microphones for Rebab Instruments in Gamelan Wayang)” are various possibilities that can be applied in selecting the type of microphone and its placement on the ricikan rebab (rebab string) so that it can be used as an alternative in installing it. Installing microphones is part of the sound system work. Considerations for sound system work are usually based on room conditions, number of spectators and noise levels. Sound system devices are used to convey the sound of instruments to the musicians, to the audience, and to the performers on stage (dance, dhalang, theater). The amplification of all instruments and the human voice is the overall reference. A harmonious musical connection of course requires a quality sound system. One instrument that really needs attention is rebab. Musically, the rebab has a very important role in wayang performances, namely as a pamurba for songs. The source of the sound comes from the strings that are rubbed with a bow with an acoustic chamber in the form of wood which is made concave and covered with thin skin and a string is attached as an intermediary between the strings and the skin. The condition of this rebab organ gives it its own character. The frequency produced by the rebab sound is approximately 160 Hz and above. The microphone installation that is often used is the dynamic Shure SM57 type, and other types of microphones that have been used are the AKG C535, AKG SE-391B with condenser type. As technology develops, new microphone products are discovered that are more suited to the needs of rebab sound amplification. Explorations have been carried out so that several types and brands of microphones can be considered for use on rebab instruments.

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Contact Name
-

Contact Email
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Phone
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Journal Mail Official
-

Editorial Address
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Location
Kota surakarta,

Jawa tengah

INDONESIA