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Tamumatra : Jurnal Seni Pertunjukan
Published by Universitas Hamzanwadi
ISSN : -     EISSN : 26217244     DOI : 10.29408/tmmt
Core Subject : Education, Art,
Arts Education
Jurnal TAMUMATRA (e-issn: 2621-7244) mempublikasikan hasil penelitian dan kajian analitis dalam bidang pendidikan seni dan seni pertunjukkan drama, tari, dan musik. TAMUMATRA terbit dua kali setahun yaitu Juni dan Desember
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 8 Documents
 1 
Search results for , issue "vol 8 no 2 (2026)" : 8 Documents clear
PROSES PENCIPTAAN KARYA TARI LAKU JANTRA Riadiana Wita Januarika; Dwi Rahmani
TAMUMATRA Vol 8 No 2 (2026)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i2.29417

Abstract

This research examines the  Laku Jantra dance work, choreographed by Riadiana Wita Januarika in 2022, embodies the values of perseverance and determination in achieving aspirations. The spirit and resilience are symbolized through the character Arimbi. Presented as a group dance with a thematic narrative, Laku Jantra is structured into four acts: the introduction, depicting inner turmoil and desire; the first act, illustrating feminine grace; the second act, envisioning the fulfillment of aspirations; and the final act, portraying anger that transitions into acceptance and self-affirmation. This study employs a qualitative research method with a descriptive approach to analyze the creative process and structure of Laku Jantra. Alma M. Hawkins' theory, as outlined in Creating Through Dance, is used to explore the stages of creation, encompassing exploration, improvisation, and composition. Additionally, Maryono’s theory from Analisa Tari is utilized to examine the verbal and non-verbal components of the dance form. The findings reveal that the structure of Laku Jantra comprises verbal elements such as dialogue, monologue, and contemplative vocals, alongside non-verbal artistic components, including theme, storyline, movements, floor patterns, costumes, music, stage design, and lighting. The choreographic movements are rooted in the traditional Surakarta-style female dance vocabulary, further developed to align with the artistic vision. This research contributes valuable insights into the creative process and structural analysis of contemporary dance, serving as a comprehensive reference for scholarly exploration in the field.
STRATEGI PRACTICE REHEARSAL PAIRS DALAM PEMBELAJARAN DRAMA MUSIKAL BAGI SISWA SEKOLAH DASAR DI SANGGAR TARI GIRI KESWARA KEDIRI Chintya Anggun Yonada; Dilla Octavianingrum; Permata Heldisari
TAMUMATRA Vol 8 No 2 (2026)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i2.31183

Abstract

Musical drama is an art learning model that integrates three fields: drama, dance, and music. Sanggar Tari Giri Keswara Kediri teaches musical drama to elementary school students. It requires a teaching method that accommodates various skills according to the characteristics of elementary students who are beginning to build interactions with their peers. The Practice Rehearsal Pairs strategy can improve student participation in paired activities. This study aims to identify and describe the implementation of a learning strategy in musical drama lessons for elementary school students at Sanggar Tari Giri Keswara Kediri. The research method used is descriptive qualitative, with subjects consisting of musical drama instructors, students, and the management of Sanggar Tari Giri Keswara Kediri. The object of this research is the use of the Practice Rehearsal Pairs strategy in musical drama learning. Data collection techniques include observation, interviews, and documentation, with validation using source and technique triangulation. Data analysis involves data organization, comprehensive reading, coding, theme identification, and data interpretation. The results show that the Practice Rehearsal Pairs strategy is applied in musical drama learning through vocal, expression, dance, and singing exercises. This strategy enhances students' social interaction and their integrated skills in drama, dance, and music. 
NILAI RELIGIUS PARIKAN BABADANA PADA TARI TOPENG LENGGER WONOSOBO Felix Hansel Raditya Wibowo; Salsyabilla Adinda Putri
TAMUMATRA Vol 8 No 2 (2026)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i2.34245

Abstract

The Topeng Lengger Wonosobo Dance is a traditional art form that serves not only as entertainment but also contains strong religious values, particularly in the Parikan Babadana as the opening ritual in this performance. This study aims to analyze the religious values of Parikan Babadana in the Topeng Lengger Wonosobo Dance. This study uses a qualitative method with an ethnographic approach through observation, interviews, documentation, and discourse and semiotics analysis to interpret the lyrics of Parikan Babadana. The results show that Parikan Babadana contains spiritual exhortations to always remember God, reflections on transience, dependence, and prayers for safety. Thus, Parikan Babadana functions as a medium for the inculturation of religious values as well as a representation of the integration between Islamic teachings and Javanese culture. This study is expected to enrich the study of religious-based performing arts and support the preservation of spiritual meaning in traditional arts.  
EKSPLORASI TIMBRE VIBRAPHONE MELALUI TEKNIK BOW PADA KOMPOSISI GEMA SWARA KARYA JUAN ARIEF Firstian Qq Ananda; Juanita Vannesa Livia Asnawi
TAMUMATRA Vol 8 No 2 (2026)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i2.34690

Abstract

This study aims to analyze the exploration of timbre on the vibraphone instrument through the use of bow techniques in the composition Gema Swara by Juan Arief. The background of this study encourages the exploration of timbre through bow techniques on the vibraphone. The method used is a qualitative approach with a musical analysis that focuses on playing techniques, sound character, and composition structure. Data collection was carried out through literature studies, observation of performance recordings, and analysis of the work's scores. The results show that the bow technique is able to produce a soft, long-resonating, and atmospheric timbre, thus playing an important role in forming musical texture and atmosphere. The interaction between the bow and mallet techniques creates a timbre contrast that enriches the dynamics. In addition, the use of improvisation with the slendro scale shows an integration between traditional and western musical elements. In conclusion, the exploration of timbre through bow techniques not only expands the possibilities of musical expression on the vibraphone. Keyword: Eksploration, Vibraphone, Bow Technic.
PENGARUH AKULTURASI BUDAYA BARAT MELALUI PERKEMBANGAN INSTRUMEN KEYBOARD TERHADAP MUSIK ETNIS BATAK TOBA Lamberto Auro Sinaga; Christian Timothy hasugian
TAMUMATRA Vol 8 No 2 (2026)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i2.34744

Abstract

This research discusses the influence of Western cultural acculturation through the development of keyboard instruments on Toba Batak ethnic music. Batak Toba ethnic music is one of Indonesia's rich cultural heritages, with rich melodies, rhythms, and lyrics that reflect the history, beliefs, and lives of the Batak Toba people. This research was conducted to help understand how Western cultural influences have affected Batak Toba ethnic music, especially in the development of instruments used and the development of Batak Toba ethnic music. This research uses a quailitative method with an ethnographic reset design and data sources include interviews, observations, and documentation. The results showed that the use of keyboard instruments has had a significant impact on Toba Batak ethnic music. Keyboards have enabled Batak Toba musicians to produce a variety of sounds and harmonies that cannot be achieved with traditional musical instruments. This research helps to understand how Western cultural influences have affected Batak Toba ethnic music, especially in the development of the instruments used and the development of Batak Toba ethnic music. The results of this research are expected to improve the quality of Batak Toba music and as an education to the community to maintain and defend Batak Toba Culture. 
DUA PULUH LIMA TAHUN FTMP DAN PEMBENTUKAN HABITUS DRAMATURGI TEATER PELAJAR DI NUSA TENGGARA BARAT Taufik Mawardi; Nahdlatuzzainiyah; Yuga Anggana Sosani
TAMUMATRA Vol 8 No 2 (2026)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i2.35200

Abstract

The Festival Teater Modern Pelajar (FTMP) is one of the oldest and most sustainable student theatre festivals in West Nusa Tenggara, Indonesia. Having been organized twenty-five times and entering its twenty-sixth year in 2026, FTMP has long functioned as a platform for student theatre competition and artistic development. However, studies examining its long-term influence on the formation of dramaturgical practices among student theatre communities remain limited. This study aims to analyze the role of FTMP in shaping the dramaturgical habitus of student theatre groups in West Nusa Tenggara. This research employs a qualitative approach using Pierre Bourdieu’s sociological framework, particularly the concepts of field, habitus, and cultural reproduction. Data were collected through document analysis, festival archives, festival guidelines, media reports, and interviews with festival organizers and theatre practitioners. The data were analyzed using a descriptive-interpretative method to identify patterns of cultural reproduction within the festival ecosystem. The findings reveal that FTMP has evolved beyond a mere annual competition into a cultural field where organizers, judges, alumni, trainers, and student theatre groups interact and negotiate artistic values. Through festival regulations, judging mechanisms, alumni networks, and continuous training practices, FTMP contributes to the reproduction of specific artistic dispositions that shape the dramaturgical habitus of student theatre communities. This habitus is characterized by the dominance of social realism, linear dramatic structures, actor-centered performance practices, interpretative directing approaches, representational stage aesthetics, and the use of music as a dramatic reinforcement. This study demonstrates that FTMP has not only contributed to the growth of student theatre communities in West Nusa Tenggara but has also functioned as a cultural institution that shapes and reproduces dramaturgical traditions across generations. The findings provide a new perspective on the role of theatre festivals as agents of cultural reproduction and artistic formation within regional performing arts ecosystems.
PROSES KREATIF DAN MANIFESTASI ESTETIKA MUSIKAL PADA IRINGAN TARI KIRANA RASMI I Made Dwi Andika Putra; I Ketut Garwa; Ni Putu Hartini; I Nyoman Kariasa; Putu Tiodore Adi Bawa
TAMUMATRA Vol 8 No 2 (2026)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i2.35270

Abstract

This research aims to describe the creative process of creating the accompaniment of the Official Kirana Dance and analyze the musical aesthetic manifestations formed in the work. Kirana Rasmi conceptually raises the idea of " light within sacred utterance", which is the inner journey of man from silence to spiritual consciousness. The method of creation used is the Panca Sthiti Ngawi Sani Method. The following are the stages of inspiration; the exploration stage; Conception (planning); Stage of Execution (Build); And Snoop Dogg. The accompaniment was created by combining the Balinese karawitan idiom of the Kebyaran style tradition with exploration through double-barreled playing (slendro pelog) through flute instruments, as well as dramatic dynamics. The results of the creation show that the Kirana Rasmi dance accompaniment not only functions as an accompaniment to the dance movements, but also as a symbolic medium that strengthens the meaning and atmosphere of the work. The findings suggest that the integration of the double barrel through flute playing results in musical characters that reinforce representations of spiritual journeys in choreography that depict spiritual flows: contemplation, conflict, and enlightenment. Aesthetic analysis emphasizes the integrity of form, complexity of sound, and intensity of expression as the foundation of the beauty of the work. With the integration of the double barrel through the flute playing, it produces a musical character that reinforces the representation of spiritual journey in the choreography. Through a collaborative and reflective approach that places music as a language of spiritual expression.  
METODE PEMBELAJARAN KESENIAN GENDANG BELEQ DI SMP N 3 MASBAGIK Ashwan Kailani; Alwan Hafiz; Teguh Bayu Alam
TAMUMATRA Vol 8 No 2 (2026)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i2.35312

Abstract

Cultural arts education plays a vital role in fostering creativity and preserving local culture; however, in practice, it is often dominated by theoretical approaches, resulting in a learning experience that falls short of being optimal for students. One potential solution is the implementation of clear teaching methods in traditional music education, such as Gendang Beleq. This study aims to describe the teaching methods for traditional Gendang Beleq music among seventh-grade students at SMP Negeri 3 Masbagik and to identify supporting and inhibiting factors in the learning process. This study employs a qualitative approach with a descriptive design and a case study framework. The research subjects include the Arts and Culture teacher and seventh-grade students selected through purposive sampling. Data collection techniques included observation, interviews, and documentation. The results indicate that several methods effectively foster students’ understanding of Gendang Beleq—both theoretically and practically—including the lecture method, demonstration method, and drill method. This study contributes to the development of practice-based cultural arts education and supports the preservation of traditional arts through formal education.  

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