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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 114 Documents
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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.  
PENGARUH KECERDASAN MUSIKAL TERHADAP LITERASI NUMERIK SISWA PADA SENI KARAWITAN DI SDN 3 KREBET (Studi Kasus di SDN 3 Krebet Ponorogo) Nuraini Nuraini; Tirta Dimas Wahyu Negara
TAMUMATRA Vol 8 No 1 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i1.29830

Abstract

This study aims to (1) determine the musical intelligence of students in the art of karawitan at SDN 3 Krebet Ponorogo. (2) to determine the numerical literacy of students in the art of karawitan at SDN 3 Krebet Ponorogo. (3) to prove whether there is an increase in musical intelligence so that it can affect the numerical literacy of students in the art of karawitan at SDN 3 Krebet Ponorogo. Musical intelligence plays a role in understanding rhythm patterns, tones, and musical structures, which are related to numerical skills such as pattern calculations and understanding fractions. The art of karawitan, as traditional music that is rich in mathematical elements, can be a tool to improve numerical literacy. The method used is a quantitative approach using the societal correlation method and data analysis techniques. Data on musical intelligence and numerical literacy were obtained from observations, questionnaires, documentation, and the data was processed with a percentage (%). The population in this study were all 32 fourth grade students at SDN 3 Krebet Ponorogo, with purposive sampling (purposeful sampling) which is a non-probability sampling technique where researchers deliberately select individuals or groups that are considered most relevant or useful to answer research questions, the sample used in this study was 18 students. In this study, data collection used a questionnaire to determine how musical intelligence influences numerical literacy in karawitan art at SDN 3 Krebet Ponorogo which was obtained through simple linear analysis techniques. The results of the study showed that there was a significant positive influence between musical intelligence and numerical literacy. The magnitude of the influence of musical intelligence on numerical literacy is 42%. So, musical intelligence influences 42% in numerical literacy in karawitan art at SDN 3 Krebet Ponorogo and the rest is influenced by other factors not included in the study. This study contributes to the development of multiple intelligence theory, especially in the context of the relationship between musical intelligence and numerical literacy. The results of this study are expected to strengthen the theory that non-academic intelligence (such as musical) also has an impact on academic abilities (such as numeracy), as well as add to the literature on the integration of arts and mathematics in elementary education.  
PENARI WANITA PADA TARI GAGAH JEMPARINGAN: SEBUAH TINJAUAN ESTETIKA Alfi Mazidah Khafidz; RM Pramutomo; Maharani Lutvinda Dewi
TAMUMATRA Vol 8 No 1 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i1.29831

Abstract

Jemparingan dance is a dance that emphasizes the strength and agility of a soldier, jemparigan dance depicts two soldiers who are practicing using properties or weapons in the form of Gendhewa (bow) and keris, created in 1979 by Sunarno Purwolelono and the dance music was created by Blacius Subono. The purpose of this research is to find out (1) how the form of Jemparingan Dance danced by women, and (2) how the aesthetics of Jemparingan Dance danced by women, with the method of participatory observation, and interviews. This research explains the calm form and aesthetics contained in Jemparingan Dance danced by women.
KARAKTERISTIK TARI BEDHAYAN CHENG HO KARYA SANGGHITA ANJALI: STUDI TENTANG INOVASI BERSUMBER TARI TRADISI Febika Fahrinisa; Sriyadi
TAMUMATRA Vol 8 No 1 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i1.29882

Abstract

Bedhayan Cheng Ho Dance, a work by Sangghita Anjali from Semarang, portrays the story of Admiral Cheng Ho, a Chinese explorer who played a significant role in the historical cultural interactions between China and the Nusantara, particularly in Semarang. The harmony between Javanese and Chinese cultures is reflected in its presentation, making it a representation of cultural acculturation in the region. This article aims to describe the characteristics of Bedhayan Cheng Ho Dance as an innovation rooted in traditional dance, particularly the Bedhaya court dance. This study employs a qualitative research method with a choreological approach. The findings indicate that innovations in this dance create a cultural expression that embodies the synthesis of Javanese and Chinese elements, serving as the choreographer’s response to the local cultural context. Beyond its artistic exploration, Bedhayan Cheng Ho Dance also represents the dynamics of cultural acculturation in Semarang. The fusion of Javanese and Chinese cultural elements serves as the defining characteristic of this dance, emerging from the choreographer’s innovation in adapting and developing the Bedhaya tradition. Structurally, the dance integrates movements from wushu martial arts with the foundational movements of Javanese dance, particularly the Surakarta style. Its composition emphasizes arm movements, legwork, and dynamic torso gestures, embodying the aesthetic synthesis of both cultures.
EKSPLORASI KREATIVITAS FALINOARY MELALUI PENCIPTAAN KARYA TARI ADAPTSEA: - Falinoary Pasudiwo; Maharani Luthvinda Dewi
TAMUMATRA Vol 8 No 1 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i1.29968

Abstract

This research aims to describe the form and creative process of the dance work Adaptsea, created by Falinoary Pasudiwo in 2025 and performed at the Main Theater Building of the Indonesian Institute of the Arts Surakarta. To analyze the creative process, this study applies the 3R theory by Eko Supriyanto, which involves the stages of Re-Visiting, Re-Questioning, and Re-Interpreting, as well as the theory of Alma M. Hawkins in her book Creating Through Dance, which supports the exploration, improvisation, and composition process. Meanwhile, to address the issue of the dance form, this research utilizes the theory from Sumandiyo Hadi in his book Aspek-Aspek Koreografi Kelompok (Aspects of Group Choreography). This study employs a qualitative approach with data collection techniques including observation, interviews, and literature review. The results indicate that the form of the dance Adaptsea includes elements such as dance movement, dance space, musical accompaniment, dance title, dance theme, dance type, number of dancers, makeup and costume, lighting design, and props. Furthermore, in its creation process, this work successfully constructs an imaginative space for the audience through its main idea, namely the adaptation of coastal communities to tidal flooding disasters.

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