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gempur sentosa
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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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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 150 Documents
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ANALISIS FIGUR AMBU DALAM PROSESI MAPAG PANGANTN SUNDA Nurzaini, Mayang Amalia
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2945

Abstract

Mapag Pangantn is a bride and groom welcoming procession what be held at a Sundandese wedding party. The bride and the groom would welcomed with traditional music and dance performance. This procession appeared in the 1920s and continues to grow until now. The development includes various aspects, one of which is appeared of Ambus figure on Mapag Pangantn procession. Ambu is a Lngsrs wife who have humorous character. But in reality, representation of Ambus figure often contradict with the concept of Sundanese culture and norms in society. This research was conducted using a qualitative descriptive method with observation techniques and literature study.
SENI KOLOPETONG TASIKMALAYA: RELASI ARAK-ARAKAN, PENCAK SILAT DAN SISINGAAN Dannurie, Wily
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.v10i1.2937

Abstract

Kolopetong art is an art originating from the Cisayong Tasikmalaya area. This art basically combines the arts of Penca and Sisingaan. Kolopetong as an art that not many researchers have written and described sparked the author to make it the purpose of phenomenological studies. The choice is based on the fact that phenomenology is generally known as an approach that sees an event speaking as it is. Kolopetong, as a newly recognized art form in Tasikmalaya, is closely related to the tradition of processions. In the current context, processions are generally synonymous with the independence ceremony of the Republic of Indonesia, or other events that are massive, large, related to the anniversary of the city. Kolopetong art as a new entity in Tasikmalaya shows that cultural creativity derived from existing traditional arts gives rise to new entertainment for the community.
Penyajian Karya Surupan 62 Sebagai Alternatif Surupan Dalam Memperkaya Model Pertunjukan Tembang Sunda Cianjuran Nurzaini, Mayang Amalia; Wahyudin, Pepep Didin
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.v10i1.2900

Abstract

The presentation of this karawitan project is based on a practiced led research approach which is carried out through practical studies of the Final Project with Vocal of Tembang Sunda Cianjurans majors. This performance focuses on the use of surupan 62 in Haleuang Rasaning Tembang project. This work is based on anxiety about the phenomenon of standardization of surupan 60 which has become a habit in society, thereby reducing the existence of others surupan. Therefore, the author brings back surupan 62 as an alternative of surupan in enriching the Tembang Sunda Cianjuran performance model, especially at ISBI Bandung. To achieve this goal, the practical method of presenting this work is carried out in three stages, are: exploration, evaluation and composition. The result of this creation process is the Tembang Sunda Cianjuran performance which was presented at the Final Project Recital of the Karawitan Study Program, Faculty of Performing Arts, ISBI Bandung, in a virtual performance.
STRUKTUR PERTUNJUKAN DAN FUNGSI KESENIAN KACAPI PANTUN DI DESA SIRNARESMI KECAMATAN CISOLOK KABUPATEN SUKABUMI PROVINSI JAWA BARAT Ariwana, Tantan Tandira
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2946

Abstract

Kacapi Pantun in Sirnaresmi village is a traditional Sundanese art in Kasepuhan Adat Banten. Kacapi Pantun is traditional art that has been passed down from generation to generation. Kacapi Pantun is a performance of the Kacapi art accompanied by songs or chants. The existence of Kacapi Pantun has begun to be forgotten, only a few people know about the Kacapi Pantun because of the changing times. This is a big problem for all of us as people who care about tradtional art.
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.
Musik Krakatau: Identitas Musik Tradisi Dalam Konsepsi Musik Kolaborasi Diputra, Agus Sukarna
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.v10i1.2901

Abstract

TIGA PILAR BUDAYA CIANJUR: ETIK, ESTETIK, KINESTETIK Wiradiredja, Moch. Yusuf; Resmana, Oman
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2947

Abstract

Character Education is an educational movement under the responsibility of the education unit to strengthen the character of students through the harmonization of heart, taste, mind, and sports. The end of strengthening character education is none other than to build the nation's identity and competitiveness. The three pillars of Cianjur culture in the form of ngaos, mamaos, maenpo, as one of the cultural and artistic expressions as the nation's identity have values that build the spirit of character education, that represent ethic, aesthetic, and kinestethic. This can be seen from the elements contained in it, where in addition to national identity, there are also noble cultural ethical values, including the value of art that accommodates the heart, taste, mind and body. Thus, the involvement of local values in the character education movement is an appropriate effort. This research focuses on this effort, especially in mapping the relationship between the three pillars of Cianjur culture and the conception of character education
KONSEP INCEP DALAM PENYAJIAN KOTEKAN GAMELAN GONG KEBYAR Adi, Komang Kusuma; Christiana, Whayan
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2942

Abstract

Balinese gamelan music has its own aesthetic dimensions for the group of performers and listeners. However, it can be realized that achieving a beautiful aesthetic dish is not an easy matter. Especially for those who are new to, studying, or who do not own cultural products. This research tries to investigate further the concept of incep which is one of the references for the aesthetic value of Balinese gamelan offerings, especially Gong Kebyar. The aim is to find components that form concepts that can be used as guidelines in the art inheritance system and its performances. The author uses a qualitative research model, with a textual ethnomusicological approach and the working theory popularized by Rahayu Supanggah. Based on the research carried out, it can be seen that the concept of incep is related to the value of a dish which includes instrument blows that sound clear, precise and compact. The components that form the concept consist of ngatih, celang, and maketekan. These three components have sub-requisites to achieve the desired value. Because if it cannot be fulfilled then it is certain that there will be sounds that are less clean or uncomfortable to hear in the ear. On the other hand, if everything can be fulfilled, then surely the percussion performance can achieve the aesthetic value of the incep performance
AJENG DALAM KONTEKS TRADISI PERKAWIN-AN KHAS KARAWANG Ocid, Dandi
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.v10i1.2786

Abstract

Etymologically, Ajeng comes from the word "pangajeng-ngajeng" which means honor. Ajeng art is a folk art that has been developed from generation to generation from previous heirs which functions as a medium for welcoming ceremonies both sacred and entertainment. In the context of Ajeng's continued existence, the development process cannot be separated from the participation of various parties. Related institutions through activities such as; seminars, training, documenting and making teaching material books for local content in schools are significant efforts in the preservation of traditional arts, especially Ajeng in the context of Karawang.
TEPAK CIWARINGINAN PADA SENI PENCAK SILAT DI KOTA BANDUNG Oktriyadi, Riky; Sentosa, Gempur
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2948

Abstract

Pencak silat is a martial art of Indonesia's cultural identity that has been designated by UNESCO as an Intangible Cultural Heritage. Pencak silat in West Java is not only categorized as a martial sport, but also as one of the arts. Pencak silat in the context of performing arts is often called Kendang Penca (from the perspective of musical aesthetics) and Ibing Penca (from the perspective of dance aesthetics). The focus of this article is to describe the variety of tepak ciwaringinan patterns in the pencak silat family in Bandung. The consideration is that these songs and tepak no longer appear in every kendang penca performance, it can be said that their existence is starting to become extinct. In this article, the author uses a qualitative approach from Jhon W. Creswell by collecting data through observation, documentation, and interviews. After the data is obtained, the author then analyzes the data to test the truth of the data. This article discusses an overview of pencak silat as a performing art, the musical accompaniment of pencak silat in Bandung, and a description of the Ciwaringinan tepak pattern in pencak silat. The article concludes that pencak silat is one of the most important aspects of the performing arts in Indonesia, especially in West Java. Aesthetically, pencak silat generally consists of the aesthetics of the Pencak Silat dance form (ibing penca), music aesthetics (karawitan), and traditional fashion aesthetics. In addition, the findings in this study are that there are a variety of Ciwaringinan tepak patterns that have not been recognized by the public.

Page 8 of 15 | Total Record : 150

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