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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
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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 150 Documents
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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

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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

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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.
Es Lilin Mursih dan Fenomena Anonim Lagu Sunda Wiradiredja, Yusuf
Paraguna Vol 9 No 1 (2022): TAFSIR-TAFSIR KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v9i1.2138

Abstract

Adjip Rosidi dalam bukunya yang berjudul “Tembang Jeung Kawih” (2013), memaparkan 61 buah judul yang dikategorikan sebagai “tembang”, dari 61 judul tersebut 35 di antaranya dicatat sebagai NN (anonim). Apa yang melatarbelakangi banyaknya “NN” dalam tradisi musik di Sunda? Padahal, sebagaimana dalam hasil penelitian yang dilakukan oleh Herdini (2014), bahwa setiap karya yang merepresentasikan zaman, kreator merupakan unsur yang tidak bisa dipisahkan dalam merepresentasikan pembabakan kreatifitas musikal.[1] Dari pembabakan zaman tersebut, maka muncullah nama-nama seperti; Mang Koko di era pertengahan abad ke 20, hingga Ismet Ruchimat bersama Samba Sunda di era mutakhir.Fakta yang ditunjukkan Rosidi (2014) terkait banyaknya karya musik Sunda yang “tanpa pencipta”, bisa ditemukan tidak hanya untuk lagu-lagu yang dikenal dikalangan tertentu secara terbatas saja, melainkan juga untuk lagu-lagu yang sudah populer di pentas nasional hingga internasional. Sebut saja lagu “es lilin”, di mana lagu tersebut selain sudah dikenal luas di lingkungan masyarakat Sunda dan Jawa Barat, secara nasional juga telah dikenal sebagai identitias musik Sunda, dan tak jarang sudah banyak dipentaskan dalam mewakili Indonesia di pentas dunia.Namun demikian, kenyataan popularitas lagu-nya berbanding terbalik dengan sosok penciptanya yang hingga kini tidak diketahui secara umum.Mengetahui siapa pencipta lagu di antara fenomena “NN”, tidak hanya penting dalam menemukan empu-nya lagu, tetapi dalam konteks masa kini juga penting untuk mengisi semangat riset akademik yang masih dianggap “belum tersentuh”. Dalam batas peristiwa “NN” dan sosok pencipta lagu “es lilin” itulah tulisan ini memfokuskan diri. 
Proses Pembuatan Gamelan Awi Karya Mang Dedi Kab. Sumedang Koncara, Braja Musti
Paraguna Vol 9 No 1 (2022): TAFSIR-TAFSIR KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v9i1.2153

Abstract

Gamelan Awi is a traditional musical instrument from Sundanese which is the result of an adaptation of a metal-based gamelan. Mang Dedi is one of the bamboo gamelan craftsmen with a form that adapts other Sundanese bamboo musical instruments. In this innovation, Mang Dedi managed to make a gamelan at a low price, this has the potential to preserve bronze gamelan which is rarely found and even very few people have it.
DAMPAK MEDIA SOSIAL DALAM FENOMENA “NYAMBAT” OLEH WIRASWARA (ALOK) SUNDA PADA KILININGAN WAYANG GOLEK Meilani, Dewi Wulan
Paraguna Vol 9 No 1 (2022): TAFSIR-TAFSIR KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v9i1.2175

Abstract

The presence of social media as a communication tool for people in urban and rural areas has an impact on traditional culture in Indonesia. There is an interesting phenomenon about traditional music in the commercial sphere in the West Java community in particular. This phenomenon is commonly referred to as nyambat. The emergence of this phenomenon usually occurs in arts that invite large audiences, such as wayang golek and kiliningan. Interestingly, this phenomenon can be a selling point for an entrepreneur or alok. This study uses a qualitative method with a number of data obtained through observation, interviews and documentation techniques with an ethnographic approach. Through this article, researchers will discuss the phenomenon of nyambat wiraswara in wayang golek performances, kiliningan and the impact of social media on this phenomenon. 
Daya Tahan Terbang Buhun di Tengah Masyarakat Industri Majalaya Anwar, Ilham Rahman
Paraguna Vol 10 No 1 (2023): LOCUS TEMPUS: SENI TRADISI DALAM KONTEKS RUANG DAN WAKTU
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i1.2938

Abstract

Terbang Buhun Majalaya is one of the arts that is synonymous with sacredness. The existence of this art cannot be separated from the type of life of the past Sundanese society which is identical to an agrarian society. Along with the times, changes in society in Majalaya city also occurred, especially from an agrarian society to an industrial society. This change resulted in a consequence on the function of the art of terbang buhun from sacred art to entertainment. However, this situation also presents a challenge for the art of terbang buhun to survive. How can the data hold the art of terbang buhun so that it can still live and exist in the community amid the crush of industrialization that occurs. This research tries to reveal the relationship between urban change and the existence of terbang buhun.
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

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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

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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

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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

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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.

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