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<![CDATA[Penciptaan Karya Seni Drama Belas Me Maling Menyoal Pernikahan Dini ]]>
<![CDATA[Renda, Rapi]]>
<![CDATA[ TAMUMATRA Vol 3, No 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hamzanwadi ]]>
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DOI: 10.29408/tmmt.v3i1.2863
<![CDATA[Seni sebagai estetika emosional telah mampu menunjukan eksistensinya dalam kontek ruang dan waktu. Estetika emosional dimaksudkan sebagai pendidikan emosi bagi setiap manusia. Melalui seni manusia dapat merasakan, merefleksikan kehidupan melalui estetika yang ditawarkan oleh setiap bentuk repetoar karya seni. estetika dapat diartikan sebagai nilai keindahan seni yang mampu membuat penikmat seni berada pada posisi penyadaran diri atas segala soalan hidup. nilai estetis sebagai bentuk drama menolak pernikahan dini tersebut dalam lakon Belas Me Maling terdapat tiga unsur, 1) unsur kesatuan (unity) yang memuat tentang, naskah lakon, tema, tokoh, pesan/amanat, setting/panggung, dan musik. 2) unsur Keutuhan (complexity) memuat tentang Naskah Belas Me Maling yang menawarkan konsep semi realis dengan bentuk seni simbolik, dan 3) unsur kesungguhan (infinity) memuat tentang naskah Belas Me Maling yang dinamis dengan struktur adegannya yang ketiganya menunjukan bentuk penolakan terhadap pernikahan dini. Metode yang digunakan dalam menganalisis nilai estetika adalah metode Monroe Beardsley dengan konsep kesatuan, keutuhan, dan kesungguhan.]]>
<![CDATA[Fungsi Seni Teater sebagai Media Kritik Sosial dalam Cerita Rakyat “Putri Mandalika†]]>
<![CDATA[Desnayanti, Rosita]]>;
<![CDATA[Kailani, Ashwan]]>
<![CDATA[ TAMUMATRA Vol 2, No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Hamzanwadi ]]>
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DOI: 10.29408/tmmt.v2i1.1624
<![CDATA[This research aims to know the presentation form of Putri Mandalika theater and function of Putri Mandalika theater as a medium of social criticism. This research is descriptive qualitative research. The theory of social criticism as a tool to dissect social relationship that occur because of the forms and rules of life that are caused by humans.The research has ben conducted in Seriwe village, Jerowaru district and the presentation theater of Putri Mandalika. Data collection techniques used by research is observation, interview and documentation. Data analysis technique in this research is data reduction, data display and conclusion drawing. After data analysis, it can be concluded that: (a) The form presenting of Putri Mandalika theater uses a different concept that has been modified. (b) Putri Mandalika theater can be a media of social criticism.]]>
<![CDATA[Pertunjukan Keruncong Stambul Fajar Sebagai Simbol Sejarah ]]>
<![CDATA[Saputra, Iqbal H.]]>
<![CDATA[ TAMUMATRA Vol 1, No 1 (2018) ]]>
Publisher : <![CDATA[Universitas Hamzanwadi ]]>
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DOI: 10.29408/tmmt.v1i1.1127
<![CDATA[Stambul was introduced in Kota Pelabuhan Surabaya the late nineteenth century, until the early twentieth century. Stambul Music is part of a drama performance, the music accompaniment nuanced typical of Stambul, a variation of keroncong music. Keruncong Stambul Fajar in Mendanau Island, Belitung Regency, Bangka-Belitung Islands Province, has the same roots of the arts. Keruncong Stambul Fajar Pulau Mendanau is one form of artifacts, of the many artifacts in Belitung Island. This basic rhythmic music is a proof that the assimilation and alkuturation of Belitong Island has long been happening, as it has been in other parts of the archipelago, in different variants and forms. The problems studied in this paper are: 1) How can the Stambul music get to Belitung Island ?; 2) What is the concrete proof of cultural intercrops which then gave birth to assimilation and acculturation in music art Stambul Fajar Pulau Mendanau, Bangka Belitung Islands province with the same art, both spread in the archipelago, as well as those in the area of origin? ]]>
<![CDATA[Interaksi Mamak dan Kamanakan Sebagai Sumber Penciptaan Karya Tari Buek Arek Karang Taguah ]]>
<![CDATA[Cufara, Dwindy Putri]]>;
<![CDATA[Oktavianus, Oktavianus]]>;
<![CDATA[Gusmanto, Rico]]>
<![CDATA[ TAMUMATRA Vol 4, No 1 (2021) ]]>
Publisher : <![CDATA[Universitas Hamzanwadi ]]>
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DOI: 10.29408/tmmt.v4i1.4745
<![CDATA[The social phenomenon between mamak and kamanakan in Minangkabau is the source of the creation of the dance title Buek Arek Karang Taguah. Looking at the current phenomenon, there is a dissociative interaction that causes the waning of tolerance and harmony between mamak and kamanakan. The purpose of the creation of this art is to create a work of dance art originating from the phenomenon between mamak and kamanakan which is viewed from social values and to reveal the condition of closeness between mamak and kamankan which has been reduced through dance movements. This work is done using a literary theme which is actualized in three ideas, namely; (1) expressing the relationship between mamak and kamanakan as indak bapamatang fields, (2) expressions of dissociative interactions as the cause of the breakdown of tolerance and harmony between mamak and kamanakan, (3) expressions of the relationship between mamak and kamanakan that should be in the value of cooperation. The manufacturing methods used include research, concept surgery, exploration, movement arrangement, and evaluation. The creation of this work provides knowledge about the importance of harmony between mamak and kamanakan. ]]>
<![CDATA[REPRESENTASI PESAN MORAL PEMENTASAN TEATER BERJUDUL TUA KARYA PUTU WIJAYA ]]>
<![CDATA[rizky, shahal]]>;
<![CDATA[Lubis, Fardiah Oktariani]]>;
<![CDATA[Kusumaningrum, Rastri]]>
<![CDATA[ TAMUMATRA Vol 3, No 2 (2021) ]]>
Publisher : <![CDATA[Universitas Hamzanwadi ]]>
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DOI: 10.29408/tmmt.v3i2.3694
<![CDATA[Teater merupakan salah satu seni pertunjukan kebudayaan yang memiliki konteks komunikasi stuktur dan realitas sosial dari satu orang ke orang lainnya. Dalam teater, kita bisa mengungkapkan segala hal pesan yang sangat bermakna. Penelitian ini bertujuan untuk menganalisis pesan moral yang terkandung dalam pementasan tua karya Putu Wijaya. Metode penelitian yang digunakan dalam penelitian ini adalah metode kualitatif yang bersifat deskriptif dengan cara mengumpulkan dokumen dalam bentuk audio, video, kata-kata, gambar, dan bukan angka-angka. Analisis yang digunakan adalah analisis semiotika Roland Barthes dengan tatanan signifikansi yang terdiri dari konotasi, denotasi, dan mitos. Dalam Penelitian ini, nanti kita bisa menyimpulan 1) Bagaimana kita mengetahui analisis makna denotasi pada pementasan tua karya Putu Wijaya yang dipentaskan oleh Teater Lima Wajah Bandung, 2) Untuk mengetahui analisis makna konotasi pada pementasan Tua Karya Putu Wijaya, dan 3) Untuk mengetahui makna mitos yang terdapat dalam pementasan Tua karya Putu Wijaya.]]>
<![CDATA[Hubungan Antara Musik dan Sastra dalam Upacara Kahiya pada Masyarakat Mawasangka Kabupaten Buton Tengah Sulawesi Tenggara ]]>
<![CDATA[Watulea, Ilham]]>
<![CDATA[ TAMUMATRA Vol 2, No 2 (2020) ]]>
Publisher : <![CDATA[Universitas Hamzanwadi ]]>
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DOI: 10.29408/tmmt.v2i2.2292
<![CDATA[Kahiya as one of the local wisdoms that is still maintained and run by the Mawasangka people’s. Although there have been many studies in the context of the kahiya rites that have been done, this research is categorized as research that has not been done much. This study aims to analyze the relationship between music and poetry as well as the meaningful relationship in the kahiya rites. In a cultural context, kahiya is not only a form of rites for Mawasangka people’s especially women, but also as a cultural experience. Poetry in the form of a metaphor delivered to participants kahiya and instrumental accompaniment presented in the implementation of this rites has a purpose as a means to achieve something that is intended and to give participants kahiya to an understanding for life in the future. This is intended so that participants can understand, and practice teaching, when they get married and live in their environment. In conclusion, that the use of metaphors seeks to illustrate the understanding of certain experiences or situations using other languages, and while the music is presented as an accompaniment and forms the atmosphere in the kahiya rites procession, with Islamic teachings as the basic. This study tends to be a literature review, but refers to the results of previous studies that still have relationships with different locations.]]>
<![CDATA[Elemen dan Makna Gerak Tari Dara Ngindang di Sanggar Seni Teruna Bebadosan Desa Lenek Kecamatan Lenek, Lombok Timur ]]>
<![CDATA[Muhimmah, Siti Hidatullah]]>
<![CDATA[ TAMUMATRA Vol 1, No 2 (2019) ]]>
Publisher : <![CDATA[Universitas Hamzanwadi ]]>
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DOI: 10.29408/tmmt.v1i2.1396
<![CDATA[The research aims to know the elements and the meaning of Dara Ngindang Dance Motion at Lenek villageof Bebadosanart Teruna Art. The study used the theory of motion element and semiotics theory of Charles Sanders Peirce. The study used was qualitative descriptive. The result of this study shows that there are three, the supporting elements of Dara Ngindang dance, namely space, time and energy. The meaning of found in Dara Ngindang dance motion of by using the theory is ngindang in qualisign meaning dynamic and freedom, nyumping in away. Qualisign means soft and gracefully, joltak in sinsign means jumping, mematuk in sinsign means eating, bekerap in qualisign means standard and degrees, bekeketer in sinsign means mating, as well as motion begeroh in sinsign means menggiring (leading).]]>
<![CDATA[Pengaruh Jaipongan terhadap Seni Bangreng ]]>
<![CDATA[Rustandi, Yuyus]]>;
<![CDATA[Supriatna, R. Atang]]>
<![CDATA[ TAMUMATRA Vol 4, No 1 (2021) ]]>
Publisher : <![CDATA[Universitas Hamzanwadi ]]>
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DOI: 10.29408/tmmt.v4i1.4335
<![CDATA[In the Priangan area live and develop several types of dances. One of the diversities of dance types is one of them is the type of folk dance. Folk dance is a dance that has undergone development since primitive times, usually still very simple and attaches importance to the norms of beauty in standard form. West Java folk art with each other different forms, functions, and values. One of the interesting folk dances to research is bangreng art that lived and developed for decades in the Sumedang area. This research is intended as an effort to find out about the extent of Jaipongan's influence on Bangreng art. Based on many allegations that dance in Bangreng art is in the form of improvised movements, whereas Bangreng art has a specific pattern of motion and song. To get to know the art of Bangreng as a whole, research is needed to be revealed that Bangreng art is not the same as Jaipongan both dance, accompaniment, and the property used. To what extent Jaipongan's influence on the purity of Bangreng art needs to be expressed so that a picture of the changes concerning previous values is obtained.]]>
<![CDATA[Estetika Tari Gandrung Suku Sasak ]]>
<![CDATA[Trisna Dewi, Made Utami]]>
<![CDATA[ TAMUMATRA Vol 3, No 1 (2020) ]]>
Publisher : <![CDATA[Universitas Hamzanwadi ]]>
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DOI: 10.29408/tmmt.v3i1.2867
<![CDATA[Abstrak: Tari Gandrung Lombok adalah tarian tradisional yang berasal dari suku Sasak Lombok. Penelitian ini bertujuan untuk mengetahui nilai estetika yang terdapat dalam tari Gandrung Lombok. Metode penelitian adalah metode kualitatif dengan menggunakan pendekatan koreografis teori instrumental Djelantik. Selain itu menggunakan teori filsafat Yunani dari Plato yang menggagas mimesis sebagai bagian dari representasi atau imitasi. Hasilnya adalah terdapat nilai estetis pada tari Gandrung Lombok dengan mengadopsi atau meniru pergerakan alam dan binatang, seperti pohon-pohon palem yang bergerak dengan anggun dan dinamis serta kupu-kupu yang terbang dan hinggap dengan indah. Pengumpulan data dilakukan dengan observasi partisipatif. Analisis data dilakukan dengan teknik deskriptif. Hasil penelitian menunjukkan bahwa tari Gandrung Lombok memiliki nilai estetika berupa aspek bentuk koreografi (komponen pokok koreografi dan komponen pendukung koreografi), bobot/ isi tari (suasana, gagasan dan pesan), dan penampilan (wiraga, wirama, wirasa). Kata Kunci: teori estetika; nilai estetika;Â tari gandrung lombok]]>
<![CDATA[Eksistensi Gamelan Amak Aber di Desa Mendane Raya Kecamatan Keruak Kabupaten Lombok Timur ]]>
<![CDATA[Azizah, Naila Yusri]]>
<![CDATA[ TAMUMATRA Vol 2, No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Hamzanwadi ]]>
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DOI: 10.29408/tmmt.v2i1.1633
<![CDATA[This study aims to describe the existence of Gamelan AmakAber at Mendae Raya Village, KeruakSub-district, and EastLombok Regency. This art has the important role to play, this study focused on the existence and function of Gamelan AmakAber. This study used a qualitative descriptive method. The subject of this study was Gamelan AberAber. The data collection technique used in this study was interview, observation and documentation. The validity check of the data in this study used source triangulation. The data analysis technique used consist of four stages, namely, data collection (data collection), reduction (data reduction), display data (data presentation), and conclusions drawing / verification (conclusion examiner and verification). The result of this study included the existence of AmakAber gamelan in detail. The art of Gamelan AberAmak was first brought to Mendane Raya in 1920 by DatukDaiman. Gamelan AmakAber art that does not allow woman to play in this art is very sacred. The preservation of Gamelan AmakAber art is carried out by always maintaining the authenticity of the art and recruiting young player or friend. This art function is entertainment, nyongkolan, khitanan, village peririk and source of livelihood.]]>
