cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
gempur sentosa
Contact Email
pepep.dw@gmail.com
Phone
+6281931254247
Journal Mail Official
jurnal.paraguna@isbi.ac.id
Editorial Address
Program Studi Seni Karawitan - Fakultas Seni Pertunjukan Institut Seni Budaya Indonesia (ISBI) Bandung Jl. Buah Batu No. 212 Bandung 40265, Telp. (022)-7314982, 7315435; Fax. (022) – 7303021
Location
Kota bandung,
Jawa barat
INDONESIA
PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan
Published by Institut Seni Budaya Indonesia Bandung
ISSN : 24076716     EISSN : 28284240     DOI : 10.26742/para
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Education Environmental Science Social Sciences Other
Jurnal Paraguna merupakan jurnal di lingkungan Jurusan Karawitan, Fakultas Seni Pertunjukan ISBI Bandung, yang mengedepankan pelestarian, pengelolaan dan pengembangan potensi seni, serta budaya dan kearifan lokal nusantara yang berdaya saing dalam percaturan global. Karawitan secara khusus dapat diartikan sebagai seni musik tradisional yang terdapat di seluruh wilayah etnik Indonesia. Khususnya di Pulau Jawa, Madura dan Bali. Dalam hal ini, jurusan karawitan ISBI Bandung menjadikan kebudayan Sunda sebagai kekhususan etnis yang dimaksud.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 7 Documents
 1 
Search results for , issue "Vol 12 No 1 (2025): MUSIC AS PERFORMING ART" : 7 Documents clear
Kacapi Jeletot sebagai Manifestasi Kreativitas Seniman Karawang Asep Wadi; Seftiyana, Gelar
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Sundanese Kacapi is a functional instrument and can be independent, because it can accompany songs, control rhythmically, as well as create a melody in the song. Sundanese Kacapi is divided into three models namely; kacapi kawih, kacapi tembang, and kacapi celempung. However, apart from these three models, there is one model that is quite eccentric because the kacapi instrument used functions as a substitute for Sundanese drums with the Jaipongan genre. The kacapi presentation model is the creativity of an artist from Karawang, Ali Gombel, who is a kacapi celempungan artist. Until now, Ali Gombel's creativity has been able to survive and become a separate color from other kacapi presentation models. But basically kacapi jeletot is a typical art of Karawang Regency, West Java, and has become one of the identities of Karawang Regency in the performing arts sector. This research refers to the existence of kacapi jeletot which is one of the identities in the performing arts sector in Karawang Regency. This research uses the Miles and Huberman qualitative method using Rahayu Supanggah's garap theory and James P Burke's identity theory. The result of this research is that it can record the history of the art of kacapi jeletot from the start of its function, position, and the period of its spread in Karawang Regency as a form of cultural wealth in the performing arts sector. In addition, this research also transfers the creativity or kacapi work produced by Ali Gombel which was passed down to Toin Paser, because it can color the repertoire of kacapi accompaniment models by producing different kacapi accompaniment patterns as usual. This research can be a reference for artists in presenting kacapi instruments, and is expected to be one of the academic foundations for art research, especially Sundanese art.
Saratuspersen Band dan Pengembangan OPK Seni di Kota Bandung Zulkarnaen, Rudy; soni reffali
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Since the invention of information and communication technology, especially what is known today as the "internet" in the early 90s, the world has experienced significant changes in terms of interconnectedness. Not only between individuals, but further involving communication between regions, countries, and especially communication between cultures that are more open, including the dimensions of art, especially the world of tradisional arts that is affected. In particular, according to Van Dijk, social media, apart from being an industrial media in its development today, before that the media platform had a dimension to the existence of users or users, which provided space for users to do activities and collaborate, or even just express themselves. (in Dilaovita, 2016) In relation to culture, especially tradisional and performing art, the presence of social media, in this case Tik-tok, has presented a new performance ecosystem. Traditionally, performing arts, whatever their form, from traditional to contemporary, always require a stage in the material sense, but after the presence of Tik-toksocial media, everyone can express themselves anytime, anywhere, with appreciators, audiences who are not limited by time and place. The study in this paper specifically focuses on the discourse of the digital stage by using a digital research approach in seeing new opportunities for performance in the digital era.
Performing the Other: Gamelan Parakan Salak dan Eksotisasi Identitas dalam Pertunjukan Etnik di Chicago Icuh Komala; Asep Nugraha
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Since its first appearance at the 1893 World’s Columbian Exposition in Chicago, the Parakan Salak gamelan has undergone a shift from a living cultural practice to an object of exotic display embedded in colonial and multicultural narratives. This study investigates how the gamelan is represented in ethnic performance contexts in Chicago and how these representations reflect dynamics of power, exoticism, and identity negotiation. Employing a qualitative approach, this research integrates historical-contextual analysis, qualitative content analysis, and comparative analysis between formal institutions (museums, universities) and community-based performance spaces. Findings reveal that the gamelan is often framed as a token of cultural diversity—visually captivating yet removed from its original social and ritual meanings. Simultaneously, Indonesian diaspora communities have reclaimed the gamelan as a medium of expression and cultural agency, navigating tensions between authenticity and adaptation through performative strategies. This study contributes to critical discourse on the representation of non-Western cultures in diasporic and institutional settings, highlighting the need to reposition traditional arts not only as heritage but as dynamic spaces for negotiating identity, history, and cultural politics in a postcolonial and globalized world.
Menjadi Panembang Unggul: Strategi Peraihan Kompetensi Vokal dalam Tembang Sunda Cianjuran : (Studi Komparatif Yus Wiradiredja dan Neneng Dinar) Budiman, Arif; Yupi Sundari; Pepep Didin Wahyudin
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This study investiges the strategies for acquiring vocal competence in tembang sunda cianjuran through a comparative approach to two prominent panembang: Yus Wiradiredja and Neneng Dinar. Addressing the limited research that explores the learning trajectories of panembang in depth, this study employs Brinner’s theoretical framework on the stages of acquiring musical competence as the primary analytical tool. The findings indicate that while Yus followed an ideal learning path aligned with Brinner’s stages—establishing himself as a multitalented panembang with exceptional and wide-ranging musical sensitivity—Neneng also attained a high level of competence through perseverance and strong personal commitment. These results highlight the vital role of experience and consistency in shaping musical competence. The study recommends the development of panembang training models grounded in integrated technical, cultural, and reflective approaches.
Konstruksi Idiologi Dalam Tradisi Mabuug-buugan di Desa Adat Kedonganan, Kuta, Bali sudarsana; Wiresna , Asep Ganjar
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This study aims to analyze and reveal the ideological construction in the Mabuug-Buugan tradition in the traditional village of Kedonganan, Kuta, Bali. The Mabuug-Buugan tradition is an annual ritual held the day after Nyepi Day as a symbol of purification of oneself and the environment from negative energy. This study uses a qualitative approach with ethnographic methods to explore the values, beliefs, and symbolism contained in the ritual. Data was obtained through observation, in-depth interviews with traditional leaders, and analysis of relevant documents and literature. The results of the study indicate that the ideological construction within the Mabuug-Buugan tradition encompasses several key aspects: (1) a religious ideology emphasizing harmonious relationships between humans, nature, and God through the teachings of Tri Hita Karana; (2) sacred and spiritual values manifested through the use of mud as a symbol of self-purification; (3) an ideology of preserving local culture amid the growing tide of modernization; and (4) collective identity and community solidarity that strengthen social bonds among village residents. This tradition also reflects resistance to consumerism, which conflicts with local cultural principles. Thus, the Mabuug-Buugan tradition has become an important means for the people of Kedonganan Village to preserve their identity, values, and local wisdom inherited from their ancestors. The results of this study are expected to contribute to cultural studies and serve as a reference for the development of cultural preservation policies in Bali.
Estetika Kolaborasi Musik Tradisi–Modern: Studi Kasus Komposisi Peucang oleh SORA Reffali, Soni; Yully Hidayah; Etti Suharti
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This article explores the aesthetic dynamics of collaboration between traditional and modern musical elements through a case study of Peucang, a composition by the music collective SORA (Sound of Heritage). The study focuses on how the integration of traditional Sundanese musical idioms with contemporary composition techniques produces a new musical expression rooted in local identity while being open to global sensibilities. The research employs an analytical-descriptive method by examining structural, thematic, and textural aspects of the composition. The findings reveal that Peucang embodies a dialogic approach, where traditional and modern elements are not juxtaposed superficially but interwoven into a cohesive musical language. This collaborative model demonstrates a pathway for sustainable cultural innovation, where tradition is not merely preserved but transformed and revitalized through creative reinterpretation. The article contributes to ongoing discourses on musical hybridity, cultural continuity, and the role of aesthetic agency in contemporary composition practices.
Ronggeng: Genealogi Perempuan Penari Dari Masa Kolonial Hingga Era Mutakhir S.Sn., M.Sn., Masyuning; Atang Suryaman; Pepep Didin Wahyudin
Paraguna Vol 12 No 1 (2025): MUSIC AS PERFORMING ART
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

In the current discourse of performing arts, ronggéng has been specified or narrowed down to mean only female dancers. The opposite of ronggéng is known as "pamogoran" or men from the audience who join in the dancing and also give money to the ronggéng. Based on a phenomenological perspective with a discussion of interactive time boundaries, combining synchronic and diachronic time boundaries, it can be concluded that historically, the female body in Ronggéng's identity has been distorted since colonialism. Ronggéng, which is synonymous with a sacred body in the life of an agrarian society, has been drawn into the industrial dimension by the interests of colonialism. Since then, a new image has been created that is synonymous with a negative stigma towards the bodies of women dancers, especially Ronggéng, which is associated with sexuality. In recent times, female dancers have emerged who "fight" against this stigma by making themselves not only a manageable dancer, but metamorphosing into a dancer as well as a leader, creating new dance ideas.

Page 1 of 1 | Total Record : 7

 1 

Filter by Year

2025 2025


Reset
Filter By Issues
All Issue Vol 12 No 1 (2025): MUSIC AS PERFORMING ART Vol 11 No 2 (2024): TAFSIR BUNYI Vol 11 No 1 (2024): INTERKULTURAL - INTERTEKSTUAL Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS Vol 10 No 2 (2023): KEDALAMAN TEKS DAN KONTEKS Vol 10, No 1 (2023): LOCUS TEMPUS: SENI TRADISI DALAM KONTEKS RUANG DAN WAKTU Vol 10 No 1 (2023): LOCUS TEMPUS: SENI TRADISI DALAM KONTEKS RUANG DAN WAKTU Vol 9, No 2 (2022): DISKURSUS KARAWITAN I Vol 9, No 1 (2022): TAFSIR-TAFSIR KARAWITAN Vol 9 No 1 (2022): TAFSIR-TAFSIR KARAWITAN Vol 8, No 1 (2021): BUNYI DAN EKOLOGI I Vol 7, No 1 (2020): DINAMIKA KHAZANAH KARAWITAN Vol 7 No 1 (2020): DINAMIKA KHAZANAH KARAWITAN Vol 6 No 1 (2019): WACANA ENTITAS KARAWITAN Vol 6, No 1 (2019): WACANA ENTITAS KARAWITAN Vol 5, No 2 (2018): ENTITAS WAYANG DAN GAMELAN Vol 5 No 2 (2018): ENTITAS WAYANG DAN GAMELAN Vol 5 No 1 (2018): KARAWITAN YANG BERPROSES Vol 5, No 1 (2018): KARAWITAN YANG BERPROSES Vol 4, No 1 (2017): TOKOH, HUKUM, DAN PENDIDIKAN KARAWITAN Vol 4 No 1 (2017): TOKOH, HUKUM, DAN PENDIDIKAN KARAWITAN Vol 3, No 1 (2016): FENOMENOLOGI KARAWITAN II Vol 2 No 1 (2015): FENOMENOLOGI KARAWITAN Vol 2, No 1 (2015): FENOMENOLOGI KARAWITAN More Issue