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GETER : Jurnal Seni Drama, Tari dan Musik
Published by Universitas Negeri Surabaya
ISSN : -     EISSN : 26552205     DOI : -
Core Subject : Art,
Arts
Jurnal Gétér adalah Jurnal Seni Pertunjukan yang mewadahi pikiran kritis dan akademis melalui berbagai pendekatan maupun perspektif.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 8 Documents
 1 
Search results for , issue "Vol 7 No 1 (2024): April 2024" : 8 Documents clear
DISKURSUS DISKRIMINASI GENDER DALAM TEKS LAKON LUDRUK TRENGGILING SISIK EMAS KARYA KARTOLO Aryanti, Deny Tri; Tjahyadi, Indra
GETER : Jurnal Seni Drama, Tari dan Musik Vol 7 No 1 (2024): April 2024
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v7n1.p1-16

Abstract

This research focuses on gender discrimination contained in the text of traditional ludruk art plays developed in East Java. The purpose of this study is to describe gender discrimination contained in the text of the traditional ludruk art play that developed in East Java. Sara Mills' Critical Discourse Analysis model is used as the theoretical basis in analyzing the object. The method used in this research is descriptive qualitative method. The material object in this research is the text of the ludruk play titled Trenggiling Sisik Emas by Kartolo. The formal object in this research is the dialog in the text or discourse containing gender discrimination contained in the lakon ludruk entitled Trenggiling Sisik Emas by Kartolo. The data collection technique used in this research is literature study. Based on the research conducted, it is found that (1) characters in the subject position experience gender discrimination in the form of subordination and violence, (2) characters in the object position experience gender discrimination in the form of violence, and (3) the position of readers who are invited to side with the practice of subordination and violence against women.
DINAMIKA EKSISTENSIAL KETHOPRAK BHAKTI KUNCORO KABUPATEN PATI DALAM ARUS MODERNITAS PASCA PANDEMI Fajrie, Nur Fajrie; Zahro, Nabila Fatimatuz; Wijayanto, Wasis
GETER : Jurnal Seni Drama, Tari dan Musik Vol 7 No 1 (2024): April 2024
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v7n1.p18-29

Abstract

Bhakti Kuncoro Kethoprak's art performance from Pati Regency, Central Java Province is interesting research. Based on the source of informants the head of the art group has faced existential challenges in maintaining and developing the traditional theatre art of kethoprak. This research aims to find out the strategies applied by Kethoprak Bhakti Kuncoro amid unhealthy art market competition between groups and how the significant impact of the COVID-19 pandemic affects the implementation of performances and the sustainability of traditional art groups in the era of modernity. A qualitative approach with a narrative type is used in the research by relying on empirical data from socio-cultural phenomena. Data collection was done through literature study, observation, and interviews. The results of this study include aspects of the existence of Kethoprak Bhakti Kuncoro involving the founding process, organizational structure during the performance, and factors that influence its existence. In addition, this research uses important elements in kethoprak, namely the play, dialogue actors, clothing, makeup, equipment, and musical accompaniment. Kethoprak functions as a ritual, entertainment, and a means of non-formal education through the values contained in the performance. This research is expected to make an important contribution to further understanding of the dynamics of traditional art groups amid changing times, as well as revealing the sustainability and adaptation of the Bhakti Kuncoro kethoprak group in Gunungsari Village, Batangan District, Pati Regency, Central Java Province.
dalam pementasan sebagai kajian esensi di jurusan teater STKW sSurabaya LESTARI, LILIS
GETER : Jurnal Seni Drama, Tari dan Musik Vol 7 No 1 (2024): April 2024
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v7n1.p40-62

Abstract

Supali's acting style in the play Supali gendeng Wedokan (SGW) is an original research by the author, which is an academic work to find out Supali's acting style as a creative East Javanese actor who reacts in folk theater performances such as ludruk. Ludruk has become a traditional theater that has meaning as a good learning medium in society, especially East Java. As a study, it is necessary to examine the rich acting of ludruk actors who maintain the atmosphere of ludruk art until it is owned by the interested community. Supali is not even distant from the community, the figure of Supali has become an icon in every performance he plays so that every presence in the performance is always attended by his fans, namely the community, especially East Java. The purpose of this research is to find out the extent of the development and progress of Supali's acting style as an Indonesian traditional theater actor, especially when playing roles in the SGW play. Based on the overall description that has been done in the form of analysis, the answer to the formulation of this research problem, Supali's acting style in the performance of "Supali Gendeng Wedokan" in the performance produced by Perdana Record is a representation acting that contains many elements of acting styles that can be applied in one-time performances. The author also sees that Supali does mix-acting in his application when playing a character, be it a character outside himself, or playing his own character. In terms of acting style, Supali seems to dominate the caricatural style. In some sessions, Supali's acting can also be seen as in realism theater mixed with elements of Western theater. Thanks to his cleverness in processing the acting in a stylized way, Supali's acting is able to cause an alienation effect on the audience. The performance of SGW's play then solidified Supali's characteristics as a folk theater actor, especially ludruk, which contains elements of improvisation, humor or comedy, the use of East Javanese vocabulary, scenes based on gedripan, simple staging, spontaneous acting, kinship system directing, and singing, kidung and tembang.
Semiotika Pemasaran Sanggar Seni Kinanti Sekar Yogyakarta Widharta, Elyandra
GETER : Jurnal Seni Drama, Tari dan Musik Vol 7 No 1 (2024): April 2024
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v7n1.p72-81

Abstract

This research discusses the marketing seminars of Kinanti Sekar Art Studio in Yogyakarta. Apparently the art studio is currently using a digital promotion strategy. So in its management, it uses creative ways by producing sign systems in the form of logos, symbols, messages, colors, texts, and meanings in its marketing semiotics. This research uses a qualitative method with interviews and direct observation with sources. The resource persons are the founders of Kinanti Sekar art studio, Kinanti Sekar Rahina as an artist and trainer of the studio and Bagas Arga Santosa as Program Coordinator of the studio. All discussion results are described in a descriptive analysis of all data that has been obtained. The results show that the promotional strategy using digital media seems to be quite effective because it is right on target and reaches the marketing target. Keywords: semiotics, marketing, art studio, kinanti sekar, dance.
IMPLEMENTATION OF DIFFERENTIATED LEARNING ON CULTURAL ARTS SUBJECTS IN SENIOR HIGH SCHOOL: IMPLEMENTASI PEMBELAJARAN BERDEFERENSIASI PADA MATA PELAJARAN SENI BUDAYA DI SEKOLAH MENENGAH ATAS Daryanti, Fitri; Wendhaningsih, Susi; Gustia ningsih, Lora
GETER : Jurnal Seni Drama, Tari dan Musik Vol 7 No 1 (2024): April 2024
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v7n1.p97-106

Abstract

The purpose of this research is to identify the implementation of differentiated learning in cultural arts subjects at SMAN 2 Kalianda. This research is a qualitative research, data collection was conducted through observation, interview, and documentation. Data analysis was conducted using Miles and Huberman interactive data analysis, starting from the reduction, display, and conclusion stages. Based on data analysis, the results show that differentiated learning is carried out by teachers using several steps, the first step is the teacher mapping the learning needs of students by analyzing three aspects of students' learning readiness, learning styles, and digging up information about students' interests. The second step is to design a learning strategy using the peer tutor method. Step three teachers carry out learning in accordance with the differentiated learning implementation plan that has been made, using the content differentiation approach, process differentiation and product differentiation. Step four teachers evaluate and reflect on learning to determine the achievement of learning objectives. The implementation of differentiated learning is very important and appropriate to be applied in SMAN 2 Kalianda which is located in the coastal area with different economic backgrounds, characteristics, socio-cultural conditions. The impact of the implementation of differentiated learning in this school shows that, students who have indigenous cultural background become motivated to learn the material, this can be seen from the implementation of content, process, and product differentiation. The results vary according to the learners' characters, learners are happy to get attention from the teacher, and learners' learning needs are well facilitated.
Membuka Mata Melalui Nilai Pendidikan Moral Dalam Tari Trilogi Jailolo Karya Eko Supriyanto Vindsey Wijaya, Gemma Arzetta; Widiyastuti, Asyidah Kharisma
GETER : Jurnal Seni Drama, Tari dan Musik Vol 7 No 1 (2024): April 2024
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v7n1.p63-71

Abstract

This study examines the form and implementation of moral value education in the Trilogy Jailolo, a performance art series by Eko Supriyanto. The research aims to describe the moral values embedded in the Trilogy Jailolo and their potential role in education. Employing a qualitative method with a library research approach, the study analyzes data through interviews and descriptive analysis to generate written observations. The findings indicate that moral value education can be effectively conveyed through performance art. The three works in the Trilogy Jailolo—each inspired by the real-life experiences of the people of Jailolo, West Halmahera—highlight diverse moral values that serve as important references for moral education in both local and broader societal contexts. These works emphasize themes of cultural preservation, community resilience, and harmony, illustrating the capacity of art to address ethical principles and social responsibility. The study underscores that moral value education need not be confined to formal educational settings. Performance art, such as the Trilogy Jailolo, offers a meaningful medium to engage audiences and foster deeper understanding of moral principles. This research contributes to the discourse on integrating arts into educational frameworks, highlighting how creative expression can enhance moral development and cultural awareness. By analyzing the Trilogy Jailolo, this study provides insights into the intersection of performance art and moral education, offering practical implications for educators and cultural practitioners. Further research could explore similar applications in other cultural and artistic contexts.
Adaptasi Pola Permainan Dangdut Gaya New Pallapa Pada Komunitas Pemusik Dangdut di Kec, Selo, Kab. Boyolali Suranto, Suranto
GETER : Jurnal Seni Drama, Tari dan Musik Vol 7 No 1 (2024): April 2024
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v7n1.p82-96

Abstract

This study explores the adoption of the Pallapanan style of dangdut music by musicians and music communities in Selo, Boyolali District, Central Java. Originating from the "New Pallapa" music group in East Java, the Pallapanan style is characterized by unique playing patterns, particularly in rhythm keyboards, ketipung drums, and bass instruments, which distinguish it from other dangdut music styles. This research investigates the distribution of the Pallapanan style, forms of its adoption, and the impacts on the adaptive behavior of Selo’s musicians and dangdut music community. The study employs a qualitative approach, drawing on Ghufron and Rini's psychological adaptation theory, which frames adaptation as self-regulated behavior in response to environmental challenges or threats to well-being. Data were collected through interviews, field observations, and analysis of online media content showcasing "New Pallapa" performances. Findings reveal that internet media, particularly recorded videos of "New Pallapa" performances, is the primary driver of the Pallapanan style's spread in Selo. The adoption process involves imitating playing patterns, instrumental techniques, and vocal styles. This adaptation has led to skill development among musicians, the creation of job opportunities, and shifts in audience behavior, highlighting the transformative impact of this stylistic adoption on the local dangdut scene. This study contributes to the understanding of musical adaptation and cultural diffusion in the context of regional music trends, providing insights into the interplay between digital media, community practices, and artistic evolution in traditional music genres.
AESTHETIC ELEMENTS OF TURAK DANCE IN MUSI RAWAS DISTRICT: Elemen Estetis, TariSambut Turak Puspa Sena, Puspa Sena; Rochayati, Rully; Kurniawan, Irfan
GETER : Jurnal Seni Drama, Tari dan Musik Vol 7 No 1 (2024): April 2024
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v7n1.p30-39

Abstract

This study is to determine the aesthetic elements of Tarisambut Turak in Musi Rawas Regency which includes motion, space, time. This research method will use qualitative method. Data collection techniques used by researchers are observation, interviews, and documentation. This research concludes that the aesthetic elements of Turak Peat Dance in Musi Rawas Regency consist of three parts, namely motion elements including movement and motion. The space element includes positive-negative space, floor pattern level, direction, dimension. Time elements include tempo, rhythm, and duration. The Turak Welcoming Dance movement was inspired by the Dutch colonization who wanted to control the area of the Lakitan Ulu Terawas Middle Tribe because the area was rich in natural resources, so it was developed in the form of a dance that could be enjoyed by the community through unique and meaningful movements that described the story of life during Dutch colonization. Turak Welcoming Dance has 5 varieties of movements, the arrangement of dance steps is sorted by researchers from the smallest to the largest. . Keywords: Aesthetic Elements, Turak Welcome Dance

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