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Panggung
Published by Institut Seni Budaya Indonesia Bandung
ISSN : -     EISSN : 25023640     DOI : 10.26742/panggung
Core Subject : Humanities, Education, Art,
Arts Humanities Education
Panggung is a peer-reviewed journal focuses art studies and their cultural contexts with various perspectives such as anthropology, sociology, education, religion, philosophy, technology, and others. Panggung invites scholars, researchers, and students to contribute the result of their studies in the areas related to arts and culture with interdisciplinary approaches.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 474 Documents
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Representasi Identitas Melalui Komunikasi Visual Dalam Komunitas Virtual Palanta Urang Awak Minangkabau Elda Franzia; Yasraf Amir Pialang; Acep Iwan Saidi
PANGGUNG Vol 25 No 4 (2015): Representasi, Transformasi, Identitas dan Tanda Dalam Karya Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i4.45

Abstract

ABSTRACTIn virtual community, identity represented through various form. A person as community member is appearing through profile picture and doing communication activity between members in virtual community. The communication held actively in verbal and visual communication form consists of message exchange and meaning through symbols that understand thoroughly based on culture and custom with certain characteristic differ to each ethnic groups. Palanta Urang Awak Minangkabau is one of the virtual communities in Facebook social network. As an active virtual community, the communication is ongoing intensely between members. Conversation and interac- tion are often beginning with image posting by member. This research is aim to explain the variety of visual communication form in this certain virtual community as part of virtual identity con- struction of Minangkabau ethnic group. The method is virtual observation and documentation, with semiotic method analysis in cultural studies approach. This research gave the understanding of image typology and cultural symbolism in Minangkabau culture, especially in the context of virtual community in Facebook.Keywords: identity, communication, visual, Minangkabau, Facebook ABSTRAKDalam komunitas virtual, identitas direpresentasikan melalui berbagai bentuk. Individu yang menjadi anggota komunitas dihadirkan melalui foto profil dan melakukan aktivitas komunikasi antar individu dalam ruang komunitas virtual tersebut. Komunikasi berlangsung secara aktif meliputi tukar menukar pesan dan pemaknaan secara verbal dan visual melalui simbol-simbol penandaan yang dipahami bersama, dengan berbasis budaya dan adat dengan karakteristik tertentu yang berbeda antara etnis satu dengan yang lain. Palanta Urang Awak Minangkabau merupakan salah satu komunitas virtual di jejaring sosial Facebook. Sebagai komunitas virtual yang aktif, komunikasi berlangsung secara intens antar anggotanya. Percakapan dan interaksi sering kali dimulai dengan gambar yang dipaparkan oleh anggota komunitas. Kajian ini bertujuan untuk memaparkan ragam bentuk dan cara penyampaian komunikasi visual di dalam komunitas virtual ini sebagai bagian dari konstruksi identitas virtual etnis Minangkabau. Metode yang digunakan adalah observasi dan dokumentasi virtual, melalui analisis semiotik dengan pendekatan cultural studies. Kajian ini memberi pemahaman terhadap tipologi gambar dan simbol-simbol budaya yang berlaku dalam adat Minangkabau, khususnya dalam konteks komunitas vir- tual di Facebook.Kata kunci: identitas, komunikasi, visual, Minangkabau, Facebook
Konsep Desain Venakular Dalam Bentuk pagawéan barudak di Baduy-Dalam Mohamad Zaini Alif; Agus Sachari; Setiawan Sabana
PANGGUNG Vol 25 No 4 (2015): Representasi, Transformasi, Identitas dan Tanda Dalam Karya Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i4.46

Abstract

ABSTRACTThe term, Toys and Games in Inner Baduy society, are not familiar. They recognize them as Pagawéan Barudak. It is action using tools as media. The study was conducted in Inner Baduy, which focused on three villages, named Cibeo, Cikeusik and Cikartawana. The toys and games de- sign in Baduy is a process of transmitting moral, and socialization skills. Its form is presented through the study of vernacular design, which explains how the value of the transmission processes. In the pagawean barudak, determination and obedience are delivered through skills (skills training) in making, using it, obedience is delivered through the use of materials, forms, processes and the results of it. In the making process of the creation in pagawéan barudak portrays relationship of human being with the needs of surrounding nature. Then, those needs will be filled with rules, which are interconnected between them and the environment, emerging pikukuh and pitutur that must be followed in conducting all activity.Keyword: Design, Vernacular, Toys, Inner Baduy. ABSTRAKIstilah Mainan dan Pe rmainan di masyarakat Baduy, tidak dike nal. Me re ka menyebutnya Pagawéan Barudak, ini merupakan hasil kegiatan dengan menggunakan alat sebagai medianya. Penelitian dilakukan di Baduy, difokuskan ke tiga kampung, yaitu Cibeo, Cikeusik dan Cikartawana. Desain Mainan dan permainan di Baduy, adalah proses transmisi keterampilan, moral, dan sosialisasi. Bentuknya yang disajikan melalui studi desain vernakular yang akan menjelaskan bagaimana nilai dari proses transmisi itu berlangsung. Pada barudak melakukanpagawean, keteguhan dan kepatuhan disampaikan melalui keterampilan (skill training) dalam membuat, menggunakan pagawean barudak, kepatuhan disampaikan melalui penggunaan bahan, bentuk, proses dan hasil pagawean barudak. Dalam proses pembuatan produk dalam bentuk pagawéan barudak adalah, hubungan manusia dengan kebutuhan alam sekitarnya. Kemudian, kebutuhan tersebut akan dipenuhi oleh aturan yang saling berhubungan antara mereka dan lingkunganya, sehingga lahir pikukuh dan pitutur yang harus diikuti dalam melakukan seluruh kegiatanya.Kata kunci : Desain, Vernacular, Mainan, Baduy-Dalam
Dari Tari ke Musik: Pembentukan Musik Suita Pada Era Musik Barok Pola Martiana
PANGGUNG Vol 25 No 4 (2015): Representasi, Transformasi, Identitas dan Tanda Dalam Karya Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i4.47

Abstract

ABSTRACTSuite as a musical form was composed by many Baroque composers. It was built and based on dances which is popular in the Renaissance or Baroque eras. This paper tries to understand the way composers adapt one form of art to another form, that is from dance to music, which is widely known as ecranisation. To grasp it in depth, this paper firstly describes what dance musics consist in suite. Secondly, it describes the dances which form the dance music. To make it clear, it also describes the essence of dance that makes it possible the transformation from dance to music. The result shows that the transformation does happen because of the abstract essence in dance was transformed into notes in music. This process is revealed by using the method of phenomenology of Maurice Merleau- Ponty.Keywords: music, dance, suite, ecranisation, inspiration, transformation, movement, noteABSTRAKMusik suita yang banyak digubah pada era musik Barok dibangun dari sejumlah gerakan musik yang berasal-usul dari tari-tari yang populer di era Renaisans/ Barok. Tulisan ini berusaha memahami bagaimana komponis mengalihwahanakan seni yang ada: dari tari ke musik. Untuk memahami kejadian itu, penulis memaparkan gerakan musik apa saja yang terdapat di dalam suita, setelah itu dipaparkan tari-tari yang menjadi sumber inspirasi komponis. Setelah didapatkan gambaran lengkap mengenai musik dan tari yang relevan, perlulah dipahami apa yang terdapat di dalam tari sehingga bisa diserap oleh komponis untuk kemudian dikeluarkan kembali dalam bentuk musik. Dari paparan itu terlihatlah bahwa transformasi dari tari ke musik hanya mungkin karena adanya transformasi gagasan abstrak yang terdapat di dalam tari untuk kemudian diekspresikan dalam bentuk nada-nada, dan hal itu semua hanya bisa dipahami dengan menggunakan metode fenomenologi dari Maurice Merleau-Ponty.Kata kunci: musik, tari, suita, alih wahana, inspirasi, transformasi, gerakan, nada
Tinjauan Perkembangan Keris Tangguh Ngentha-Entha Yogyakarta 1975-2015 Supriaswoto Supriaswoto Supriaswoto; SP. Gustami SP. Gustami SP. Gustami; Timbul Haryono; R.M. Soedarsono R.M. Soedarsono R.M. Soedarsono
PANGGUNG Vol 25 No 4 (2015): Representasi, Transformasi, Identitas dan Tanda Dalam Karya Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i4.48

Abstract

ABSTRACTEvery keris possesses its own chracteristic called tangguh. There is a keris with a characteristic called tangguhngéntha-éntha which was created within the Ngéntha-ÉnthaVillage community, lo- cated to the west of Godean District, in the Sleman Regency, Yogyakarta. The prominent figure behind the establishment of that forge (besalèn) was Empu (Ironsmith) Wayang, that one day moved from Mataram Kingdom at Kartasuro to that village. In 1963, Empu Supowinangun, the heir of Empu Wayang, passed away. As a result, since that time the process of making the keris with ngéntha-énthacharacteristic was no longer conducted. In 1975 there was an effort to revitalize it and succeded. This research was conducted to investigate this revitalization by using historical method. The result of this research demonstrates that this revitalization has been conducted succesfully by two master keris-makers (empu) named Yosopangarso and Jeno Harumbrojo, after received mental endorsement and financial support from two foreigners named Garrett Solyom and Dietrick Dreschler. The two master keris-makers already passed away and today the process of making the keris with tangguh ngéntha-éntha characteristic is taken over by Empu Sungkowo, Jeno Harumbrojo’s former adopted child. It is not clear who is supposed to be Sungkowo’s heir. It generates a lot of worry among people of the possibility that this style of keris will decline like what happened in 1963.Key words : keris with tangguhngéntha-énthacharacteristic, revitalization, Master Keris-makersYosopangarso, Jeno Harumbrojo, Sungkowo. ABSTRAKSetiap keris memiliki ciri tersendiri yang disebut tangguh, seperti tangguhngéntha- énthayang diciptakan di lingkungan masyarakat Desa Ngéntha-Éntha. Tokoh penting yang membuat keris dengan tangguh ini adalah Empu Wayang. Pada tahun 1963, Empu Supowinangun, pewaris Empu Wayang, meninggal dunia. Akibatnya, sejak saat itu pembuatan keris dengan gaya ngéntha-éntha tidak lagi dilakukan. Pada tahun 1975 ada upaya untuk merevitalisasinya dan berhasil. Penelitian ini bermaksud meneliti revitalisasi keberadaan keris Tangguh Ngenta-entha tersebut dengan menggunakan metode historis. Hasil penelitian ini menunjukkan bahwa revitalisasi ini telah diakukan oleh dua empu keris bernama Yosopangarso dan Jeno Harumbrojo. Dewasa ini, dua orang empu keris t e r s e b ut t e l a h m e n i n g g a l d un i a d a n pr o s e s pe m b ua t a n k e r i s d e n g a n c i r i - c i r i tangguhngéntha-énthadiambil alih oleh Empu Sungkowo, anak angkat Empu JenoHarumbrojo dengan metode rekonstruksi pola-pola pewarisan yang tetap dan tidak meninggalkan pakem-pakem tradisi yang ada.Kata kunci: revitalisasi, keris, gaya ngéntha-éntha
Makna Tanda Komunikasi Intrapersonal Dalam Sketsa (Studi Kasus Pada Karya Studi Dua Maestro) Supriatna Supriatna Supriatna
PANGGUNG Vol 25 No 4 (2015): Representasi, Transformasi, Identitas dan Tanda Dalam Karya Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i4.49

Abstract

ABSTRACTSketch in the context of artis as a design drawing, tobe realized in the real work goals.When the creative process of making a sketch, there is some intra personal communication that personal communication with it self, to solve visua lproblems.The Feedback will be visible in the form of visual signs, which appear to be realin the form of a twin image and visual correction as a result of contemplation solution. For that, the sketch is a self laboratory, in which there isa personal creator codes. As well as the sign code is something interesting to be interpreted, using semiotic theory approach.Keywords: Sketch, intra personal communication, semiotic.ABSTRAKSketsa dalam konteks seni rupa adalah sebagai sebuah gambar rancangan, guna diwujudkan pada tujuan karya sesungguhnya.Pada proses kreasi sketsa terjadi komunkasi intrapersonal yakni komunikasi dengan dirinya sendiri, dalam memecahkan persoalan visual. Respon balik akan tercermin dalam penanda-penanda visual, yang terlihat secara telanjang berupa gambar kembar maupun koreksi visual sebagai solusi perenungan. Berkait dengan hal tersebut, sketsa merupakan laboratorium diri, yang di dalamnya terdapat kode-kode pribadi kreatornya. Kode maupun tanda tersebut menjadi hal yangmenarik untuk dimaknai, dengan menggunakan pendekatan teori semiotik.Kata kunci: Sketsa, komunikasi intrapersonal, semiotik
Menimbang Kembali Formulasi dan Pewilahan Tari serta Konsep Ketubuhan dalam Masyarakat Urban F.X. - Widaryanto
PANGGUNG Vol 22 No 2 (2012): Signifikasi Makna Seni Dalam Berbagai Dimensi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i2.55

Abstract

ABSTRACT There are two sides of the paradox associated with the problem of dance formulation and catego- rization that can not be regarded easily. On the one hand, dance is a phenomenon of complexity, in which the intertextuality will embody a complicated contextual phenomenon. On the other hand, the step of categorization has a nature which facilitates someone to observe the existing various phenom- ena in a similarity of properties that tend to lead to a simplification.The development of very fast-moving art is not often followed by adequate category and categori- zation for the purpose of the study. This paper attempts to restore awareness of the concept of corpo- reality with the reality of the complexity, and reconsider and formulate the dance categorization in a creative tradition occured in Urban communities in Bandung in the period of 2000 to 2011. Keywords: corporeality, complexity, categorization, and dance.
Pajajaran dan Siliwangi dalam Lirik Tembang Sunda Mumuh - Muhsin
PANGGUNG Vol 22 No 2 (2012): Signifikasi Makna Seni Dalam Berbagai Dimensi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i2.56

Abstract

ABSTRACT History and literature are two of the many ways to describe the reality. These two ways have a difference extremely. History must be tightly based on fact, while literature is fictional and imagina- tive. However, between these two extreme points there is a slice. Its means that in history there is in certain limits an element of imagination and in literature there is an element of fact although just a name. Therefore, the reality of history can be used as a raw material of literature. In turn, therefore literature can critically be used as a source of history. In Tatar Sunda there are a number of literary works, especially in the form of lyrics Tembang Sunda, which the material is taken from historical facts. The name most widely used materials of lyrics are Pajajaran and Siliwangi. These two names refer to the golden age of the Sundanese throughout its history. Keywords: Pajajaran, Siliwangi, rumpaka, Tembang Sunda, history.  
Aplikasi Model Pembelajaran Sinektik (Synectic Model) Uus - Karwati
PANGGUNG Vol 22 No 2 (2012): Signifikasi Makna Seni Dalam Berbagai Dimensi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i2.57

Abstract

ABSTRACT The title of this article is Application of Synectic Learning Model in Kampung Seni & Wisata Manglayang, Bandung regency. This paper is motivated by the idea of conceptualization necessities of learning in art studios which provide learning services to the visitors, especially of the early ages. The research used a qualitative paradigm with pseudo experiment approach of one short case study applying Synectic Learning Model that is an approach to develop creativity, to enhance problem- solving skills, creative expression, and to develop empathy in social relationships. Through its ap- plication the art learning activities in the studio visitation program is more meaningful and able to develop ideas and enhance creative activities of the students. Keywords: Synectic Learning Model.
Komunikasi Estetik dalam Seni Pertunjukan Teater Rakyat Sandiwara Cirebon Jaeni - -
PANGGUNG Vol 22 No 2 (2012): Signifikasi Makna Seni Dalam Berbagai Dimensi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i2.58

Abstract

ABSTRACT This research is aimed at studying aesthetic communication and its values in folk theatre per- formance, sandiwara Cirebon. This qualitative research with communication ethnography approach tries to scrutinize the event of sandiwara performance as communication event between the society in Cangkring village, Plered, Cirebon. The result shows that the aesthetic of sandiwara Cirebon has values, they are, feeling-experience values and socio-cultural values. Aesthetic values which are in- herent in the event of sandiwara Cirebon performance is an expression and reflection based on world views, beliefs, and values adopted by local people in the socio cultural life. To interpret those values, communication participant, artists, and public construct meaning of aesthetic communication based on communication context included in sandiwara Cirebon performance, namely contexts of intra- personal, public, culture, and transcendental. Keywords: Communication, Aesthetic, Ethnography, Performance, Theatre.   
‘Bahasa Rupa’ dalam Komik Perempuan Indonesia Tahun 2000 – 2010 Alvanov - Zpalanzani
PANGGUNG Vol 22 No 2 (2012): Signifikasi Makna Seni Dalam Berbagai Dimensi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i2.59

Abstract

ABSTRACT Indonesia’s girls’ comics introduced in early 2000, mainly developed by girl comic artists, in- tended for girls readers and heavily emphasized girls’ romance as story theme. Girls’ comic is one of pop culture media that creates a unique visual language system through construction of its visual storytelling structure. This is an explanatory research that applies visual storytelling structure anal- ysis in order to depict its visual narrative elements and structure in girls’ comics. This research will extract the uniqueness of girls’ comics’ visual storytelling structure and visual language system. As the result, girls’ comics are amplification of characters, emotional visual backgrounds, and emotional transition which marked by establishing shots as sequence margin in its visual storytelling structure and visual language system. Keywords: girls’ comics, structure analysis, visual storytelling, visual language.

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