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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 98 Documents
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Nilai Tanggung Jawab dalam Pementasan Wayang Wong dengan Lakon Kikis Tunggorono oleh Sanggar Wiraga Apuletan Jamal, Caesar; Muslimin, Genta Rafi
TAMUMATRA Vol 6 No 2 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v6i2.25670

Abstract

Character education is an important component in developing the personality of each individual in a nation. The government's efforts to support the development of education are evidenced by the existence of Presidential Regulation No 87 of 2017 article 2 which states that there are 18 character education values, one of which is responsibility. However, the efforts made by the government have not been successful. The number of cases of misuse of power is clear evidence that the value of responsibility has not been applied properly in each individual. The lack of the value of responsibility for a mandate is the background of the research on the value of responsibility character education in the wayang wong performance with the play "Kikis Tunggorono". This research was conducted because of the value of responsibility character education in the wayang wong performance with the play "Kikis Tunggorono" by Wiraga Apuletan studio. The wayang wong performance of the play "Kikis Tunggorono" can be a medium in conveying the value of responsibility. Because the cultural approach can be an effective communication tool. This research uses descriptive qualitative research methods, video analysis, and uses literature study as a basis for collecting data. The results of this study show that the value of responsibility is clearly depicted in every scene and every character in the wayang wong performance.
Penciptaan Tari Beyond Terinspirasi oleh Konflik Diri Dengan Pengidap Attention Deficit Hiperactivity Disorder Rahmania, Finka Nur
TAMUMATRA Vol 6 No 2 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v6i2.25850

Abstract

The work Tari Beyond is a work that originates from the author's empirical experience in dealing with self-conflict when dealing with a sibling who suffers from Attention Deficit Hyperactivity Disorder (ADHD). Conflicts that can give rise to awareness and acceptance that this is a gift from God Almighty. This research answering two questions, namely: (1) The form of the Beyond dance by Finka Nur Rahmania and (2) The process of creating the dance work Beyond by Finka Nur Rahmania. The theory used to identify forms is the theory of Sri Rochana W. in her book entitled Sejarah Tari Gambyong: Seni Rakyat Menuju Istana, which contains expressed forms and physical forms. Meanwhile, to describe the creation process, we use theories from Sri Rochana W. and Dwi Wahyudiarto in a book entitled Pengantar Koreografi which includes exploration, organization, unity, presentation. This research uses interpretive descriptive research methods through qualitative data. This research uses data collection techniques through observation, interviews and literature study. Data from this research was obtained from researchers as authors or participant observers. Beyond's dance work is unique in its form which is based on hip-hop and contemporary dance which expresses awareness and acceptance of situations that do not match expectations.
Pembelajaran Kreatif Tari Jaipong Tingkat Anak Usia Dini: Tinjauan pada Sanggar Kartika Chandra Kirana Bekasi Nikita, Listy Pregita Aidani; Sari, Anggy Murtrias
TAMUMATRA Vol 6 No 2 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v6i2.25903

Abstract

The education system in Indonesia consists of three important sub-systems: formal, informal and non-formal education. The main focus in this research is non-formal education, which has become an alternative for those who wish to explore their talents and interests outside the scope of formal education. This research highlights the significant role of dance studios as a form of non-formal education that has experienced rapid development in Indonesia, especially in big cities such as Bekasi. The Kartika Chandra Kirana dance studio is a type of non-formal education that has an important role in preserving Indonesian arts and culture, especially in the context of dance. The aim of learning dance at this studio is not only focused on developing technical skills, but also on understanding and appreciating cultural values ​​and can increase the creativity of young children. In the learning process, this studio applies various learning methods, including cooperative methods, peer tutoring, demonstrations, discussions and lectures. Students are also evaluated regularly, including through participation in the Jaipong Dance competition at Taman Mini Indonesia Indah every six months. Through these various learning and evaluation methods, students can develop their dance skills, increase self-confidence, and gain a deeper understanding of Indonesian culture. In this way, Sanggar Kartika Chandra Kirana plays a role not only as a place for dance learning, but also as a forum for preserving and developing Indonesia's cultural heritage and forming students' character holistically.
Idiom-idiom Estetik Cerita Teater Tradisional Amaq Abir Rapi
TAMUMATRA Vol 6 No 2 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v6i2.25908

Abstract

The traditional drama story Amaq Abir is a story performed in the traditional Amak Abir theater performance in Nyampe hamlet, Marong village. As an art form, the story highlights the local wisdom values of the Sasak tribe which is interesting to study, especially in eastern aesthetic studies. Eastern aesthetics as a study of traditional drama has not been widely studied. The aim of this research is to find the form and meaning of eastern aesthetics which are keywords in the traditional drama story Amaq Abir. The theory used is eastern aesthetics. Aesthetics can be interpreted as the beauty/truth that forms a work. Meanwhile, the method is used in this research is a qualitative method with a descriptive nature. In interpreting data, holistic methods are used. This method used in interpreting philosophical meaning. The results of the research found that there are aesthetic idioms that form the traditional drama story Amak Abir, including steadfast, explaining human character who has principles in thinking and acting. Adigang-adigung explains the arrogant and arrogant character of humans. Manut explains the human character who obeys the orders. Jiwe-seli explains the human character who cares about others/gotong royong. Sekti explains the character of humans who have extensive knowledge. Litem-putek explains the character of humans who have the characteristics of good and bad.
Popularitas Tari Lengger Lanang di Kalangan Anak Muda Banyumas Sherly Dwi Caroline Enhar
TAMUMATRA Vol 6 No 2 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v6i2.25912

Abstract

The Banyumas lengger dance has become an integral part of the communal life of the Banyumas people because of its rapid development. One example of this dance variation is the Banyumas Lengger Lanang dance. Cross gender is a role or characteristic that is different from a person's gender identity, which is also known as cross gender. Nowadays, the Lengger Lanang dance is still very popular because every year there are always successors or generations who continue to continue the Lengger Lanang dance culture. The aim of this researcher is to reveal the popularity or existence of the Lengger Lanang dance among young people today as well as the enthusiasm of young people to preserve the Lengger Lanang dance culture in Banyumas. This research uses descriptive qualitative methods. In descriptive qualitative research, data analysis is carried out based on observed symptoms, which are not always represented by numbers or coefficients that connect variables. The research subject is the impact of the lengger house on young people's interest in preserving the Banyumas lengger dance in Banyumas district. This research uses researchers as the main instrument, supported by writing tools such as books, pens, voice recorders and other assistive devices. Data collection techniques include literature study, observation, interviews and documentation. Data analysis steps include data reduction, data presentation, and data conclusion. The research results show that the popularity of Lengger Lanang continues to increase among today's young generation.
Kearifan Lokal Sebagai Budaya Dan Inspirasi Penciptaan Tari karang Tumandang Dara Adelia; Vito Widyatama
TAMUMATRA Vol 7 No 1 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i1.25965

Abstract

As one of the objectives to know and understand the creative process in the creation of a dance that becomes the identity of a region and as an effort to conserve the values of local wisdom. The author aims to examine the process of creating dance originating from an area, namely Karanganyar Regency, and what meaning it contains. In today's era, there are many young people who are indifferent to the cultures around them, but the effort to create the Tumandang Coral Dance is aimed at children until this teenager has succeeded in maintaining the existing history as a forum for cultural preservation. This dance is introduced in one way, namely the disdikbud held a Tumandag Coral Dance competition through a festival, at the annual event commemorating the anniversary of Karanganyar Regency, with this art makes children to teenagers understand the history contained in the region, and also enthusiastic to get to know more about the arts and culture in the region.
Peran Pemanasan Menggunakan Teknik Scale Mayor dan Minor Terhadap Pembelajaran Instrumen Piano Bagi Anak-Anak Fian Priatna, Sekar Aurellia Septi Priatna
TAMUMATRA Vol 7 No 1 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i1.26256

Abstract

The development of the times has made many changes in society. If in the past music was considered contrary to the surrounding culture, the situation is different now. At this time the existence of music is very important, because it can provide stimulation for children to be creative through the art of music. The use of music will make children more free in expressing or expressing their feelings. Schools are also starting to provide music learning materials, although in practice this is not free from the challenges they face. Whether it's from teachers who don't have a music background, or the process of digesting children or students who are different. Therefore, to start piano learning activities, a warm-up is carried out using major and minor scale techniques. The aim is for each child to practice their piano playing, while also flexing their fingers; wrist; elbow; as well as shoulders. Qualitative methods were used to study this problem. So we came to the conclusion that the role of warming up using major and minor scale techniques is to support their learning process when studying music
Regenerasi Kelompok Kesenian karawitan Laras Budaya untuk Pemuda di Desa Bligo, Magelang Estu Ari Nugroho; Alvina Yusarianti; Nur Arif Anandhita
TAMUMATRA Vol 7 No 1 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i1.26353

Abstract

This article aims to identify the regeneration process undertaken by the Laras Budaya Karawitan Art Group in Bligo Village, Ngluwar, Magelang Regency, Central Java. Traditional arts such as karawitan should ideally be utilised to preserve this musical heritage. Karawitan is a traditional music performance involving the use of gamelan instruments. The Laras Budaya Karawitan Art Group, established in 1976 and led by Temu Riyadi, represents this musical tradition in Bligo Village. The regeneration of members within this art group has significantly contributed to preserving karawitan in Bligo Village. Data collection was focused on research needs and employed qualitative techniques. A qualitative methodology was used to explain the phenomena under study comprehensively. Based on observations and research conducted, it was found that the regeneration process by the Laras Budaya Karawitan Art Group has been successful. This is evidenced by the forming a karawitan group of youth from Bligo Village aged 18 to 25. The regeneration was carried out through training sessions directly supervised by Indonesian Institute of the Arts (ISI) Yogyakarta students. The training method employed in this regeneration process was the demonstration method, enabling the youth to grasp the material effectively.
TEKNIK PERMAINAN DAN PENYAJIAN NEVICATA OPUS 29 PASTORALE KARYA BENVENUTO TERZI Berutu, Kristin Advent J; Kartini R.M Manalu
TAMUMATRA Vol 7 No 1 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i1.27945

Abstract

This study discusses the interpretation and presentation techniques of Nevicata Op. 29 Pastorale by Benvenuto Terzi. The techniques used are interpretation techniques based on musical elements such as dynamics, tempo, and playing techniques in the form of barre, vibrato, arpeggio, harmonics, trills, glissando, slur, nano izi quardo solo, tone color, apoyando, tirando, sul tasto, and sul ponticello techniques. This study also explains the difficulties experienced by the author when presenting nevicata in a recital and how to overcome them during the practice process. The very basic level of complexity in this nevicata is the use of larghissimo (slow) and piano (soft) tempos. In the last section, the author explains the presentation of nevicata op. 29 when performing a recital.
The Integration of Selober Traditional Music Within the song “Hakikat Sebuah Cinta” by Dr. Azam Dungun Lalu Ahmad Alfian Bakti; Mohd Azam Sulong; Affendi Ramli
TAMUMATRA Vol 7 No 1 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i1.27961

Abstract

This study aims to explore the integration of traditional Lombok music, particularly the "Selober," into modern music through a unique composition titled *Lagu Hakikat Cinta* by Prof. Madya Azam Sulong. Employing a practical-based research design supported by document analysis, this project is structured into two main phases to achieve a coherent blend of traditional and contemporary elements. In the initial phase, the distinctive sounds of the Selober instrument were recorded and inputted into the digital audio workstation software *Sample One* to preserve its authentic timbre. Following this, in the second phase, the Selober sound was transformed and layered into four distinct tracks: Track Selober Transpose-12, Track Selober Delay, Track Selober Reverse, and Track Selober Snare. Each track reflects a different aspect of musical adaptation, allowing the traditional tones to harmonize with modern music elements. This method enabled the creation of a dynamic fusion, merging Selober’s traditional tones with digital sound effects, resulting in a distinctive piece that embodies cultural heritage within a modern musical framework. The final output, available in mp3 format, highlights the potential of digital technology in revitalizing traditional music and underscores its adaptability within contemporary musical landscapes.

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