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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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Transformasi Tradisi Dalam Teater Piktografik Putu Wijaya Benny Yohanes
PANGGUNG Vol 22 No 4 (2012): Dimensi Sejarah, Transformasi, dan Diseminasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i4.70

Abstract

ABSTRACTThis article considers the fundamental premise of realism methodology that theory has a ground in social basic structures. Factual reality, including the artistic form creation, can be seen as referential background for theory formation. Theory draws its coherence from its referent. By using the epistemic mode of realism methodology, which combines religion and myth theory, this article illustrates Putu Wijaya’s theatrical creations through a causal and deep interpretation. The aim of analysis is to know and to reveal what is underneath that exist behind Putu Wijaya’s theatre performance. The result of the research shows that Putu Wijaya’s aesthetic choice that manifested as mental terror theatre is understood as the process of replication. This replication process aims at inventing pictographic representation as a way to transform tradition.Key words : deep interpretation, transformation, pictographic theatre ABSTRAKArtikel ini membahas premis dasar metodologi realisme bahwa teori memiliki dasar dalam struktur dasar sosial. Realitas faktual, termasuk penciptaan bentuk artistik, dapat dilihat sebagai latar belakang referensial untuk pembentukan teori. Teori menarik koherensinya dari rujukan. Dengan menggunakan modus epistemis metodologi realisme, yang menggabungkan agama dengan teori mitos, artikel ini menggambarkan kreasi teater Putu Wijaya melalui interpretasi kausal dan mendalam. Tujuan dari analisis adalah untuk mengetahui dan mengungkapkan apa yang ada di balik pertunjukan teater Putu Wijaya. Hasil dari penelitian menunjukkan bahwa pilihan estetika Putu Wijaya yang dinyatakan sebagai teater teror mental dipahami sebagai proses replikasi. Proses replikasi bertujuan untuk menciptakan representasi piktografik sebagai sebuah cara untuk mengubah tradisi.Kata kunci: interpretasi mendalam, transformasi, teater piktografik
Menggali Makna Upacara Maulid Nabi di Padang Pariaman Sumatera Barat Suryanti Suryanti
PANGGUNG Vol 22 No 4 (2012): Dimensi Sejarah, Transformasi, dan Diseminasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i4.71

Abstract

ABSTRACTThe celebration of Maulid Nabi, known as “Dikie Maulid”, is a tradition of Padang Pariaman society to celebrate the birth of prophet Muhammad (peace be upon him). The celebration is a routine activity which is believed having ethics and aesthetics values, so that it becomes a religious ritual of the society. This research used qualitative method in order to reveal the meaning of the people’s behavior in various social situations. The result of the research shows that the celebration of Dikie Maulid is an Islamic religious expression with various activities such as malamang, mahanta kue, and bajamba, and it constitutes the identity of local culture of Padang Pariaman society. There are various art forms and elements in the ceremony of Maulid Nabi, among others are: literature, music, dance, and fine arts. The ceremony related to some events that are considered significant to the community.Keywords: dikie maulid, malamang, mahanta kue, bajambaABSTRAKPerayaan Maulid Nabi, yang dikenal dengan “Dikie Maulid”, adalah sebuah tradisi masyarakat Padang Pariaman untuk merayakan kelahiran nabi Muhammad (SAW). Perayaan ini merupakan kegiatan rutin yang dipercaya memiliki nilai-nilai etis dan estetis, sehingga menjadi sebuah ritual keagamaan masyarakat tersebut. Penelitian ini menggunakan metode kualitatif untuk mengungkap makna dari perilaku masyarakat dalam berbagai situasi sosial. Hasil dari penelitian menunjukkan bahwa perayaan Dikie Maulid merupakan sebuah ekspresi agama Islam dengan berbagai aktifitas, seperti: malamang, mahanta kue, and bajamba, serta menjadi identitas budaya lokal masyarakat Padang Pariaman. Terdapat berbagai bentuk dan unsur seni dalam upacara Maulid Nabi ini, di antaranya: sastra, musik, tari, dan seni rupa. Upacara ini berkaitan dengan berbagai peristiwa yang dipandang penting bagi komunitasnya.Kata Kunci: dikie maulid, malamang, mahanta kue, bajamba
Campursari Karya Manthous: Kreativitas Industri Musik Jawa dalam Ruang Budaya Massa Wadiyo Wadiyo; Timbul Haryono; R.M. Soedarsono R.M. Soedarsono; Victor Ganap
PANGGUNG Vol 22 No 4 (2012): Dimensi Sejarah, Transformasi, dan Diseminasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i4.72

Abstract

ABSTRACTManthous’s Campursari is a blend of Javanese gamelan pentatonic music with popular music in Indonesia which is based on Western diatonic music. The tones of gamelan and the frequencies of the tune are all transformed into diatonic tone frequency. However, the harmonization which is used is pentatonic harmony of Javanese gamelan. Manthous’s Campursari has succesfully become one of the major music industries since it is supported by three components, namely the organizers of the music productions, the current distribution of music productions, and the needs of the community. The role of mass media is also very helpful toward the existence of this work. News about Manthous’s and his Campursari spread out widely to the public through the mass media. In a relatively short time of its emergence, Manthous’s Campursari has become a mass cultural Javanese music.Keywords: Campursari, mass culture, music industryABSTRAKCampursari karya Manthous adalah sebuah campuran dari musik pentatonik gamelan Jawa dengan musik populer di Indonesia yang mengacu padaMusik diatonis Barat. Nada gamelan dan frekuensi lagu semuanya ditransformasikan menjadi nada frekuensi diatonis. Namun, harmonisasi yang digunakan adalah harmoni pentatonis gamelan Jawa. Campursari karya Manthous telah berhasil menjadi salah satu industri musik besar karena didukung oleh tiga komponen, yaitu penyelenggara produksi musik, distribusi produksi musik, dan kebutuhan masyarakat. Peran media massa juga sangat membantu terhadap keberadaan karya ini. Berita tentang Manthous dan Campursarinya menyebar secara luas di masyarakat melalui media massa. Dalam waktu kemunculannya yang relatif singkat, Campursari karya Manthous telah menjadi musik Jawa dalam ruang budaya massa.Kata kunci: Campursari, budaya massa, industri musik
Religious Transformation Of Seni Dodod At Mekar Wangi Village South Banten Yuliawan Kasmahidayat
PANGGUNG Vol 22 No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i3.73

Abstract

Selama proses transformasi budaya ditemukan adanya persinggungan antara seni tradisi dengan seni modern di luar wilayah seni Dodod. Dewasa ini terbentuk Gubahan Seni Dodod yang berfungsi sebagai sarana upacara perkawinan dan khitanan. Proses enkulturasi dilakukan secara formal di sekolah dengan menerapkan Gubahan Seni Dodod sebagai materi pembelajaran seni budaya. Pe­ nerapan Seni Dodod dalam bentuk asli serta gubahannya merupakan pewarisan non formal yang dilakukan di sanggar Seni Dodod, kalangan remaja, dan warga desa. Pemaknaan religiusitas Seni Dodod   terekspresikan dalam kehidupan masyarakat desa Mekar Wangi, didasarkan pada pemak­ naan yang dilakukan oleh para pimpinan pondok pesantren. Pemaknaan didasarkan pada penjelasan, yang menerangkan, menampakkan, menyibak, serta merinci tujuh ayat Al­Qur’an, yang melahirkan pemaknaan pada keutuhan ragam gerak, kostum yang digunakan, syair pantun Lutung Kasarung, dan mantra atau do’a yang digunakan dalam Seni Dodod, serta Seni Dodod sebagai kebudayaan dan kesenian Islam. Tampaknya kedudukan Seni Dodod dewasa ini mengalami pergeseran yang semula sebagai sarana ritual pertanian, kini menjadi bagian penting dalam upacara perkawinan dan khita­ nan, namun tidak sampai menjadi seni yang sekular. Kata Kunci: Transformasi religiusitas, seni dodod  
PANAKAWAN WAYANG KULIT PURWA: Asal-usul dan Konsep Perwujudannya Sunarto -
PANGGUNG Vol 22 No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i3.74

Abstract

Panakawan is a group of purwa shadow puppet having a specific embodiment. The embodiment of panakawan figures is shown in unproportional body and caricaturistics. The question is since when panakawan figures appear and how the concept of embodiment is. To answer that question, the research is done through historical approach to track the existence of panakawan figures, while the iconography is used to identify panakawan figures in terms of embodiment, and in tracing the concept of panakawan embodiment is done through structural approach.This study found that panakawan history can be traced through two sources, namely verbal and pictorial sources. Verbal is any source that is obtained from written works, whereas pictorial is any source of artifacts. The term of Panakawan was first found on serat Gattkacasraya by Empu Panuluh in the eleventh century and on Kitab Nawaruci  by Empu Siwamurti in the fifteenth century. Panakawan was also found on several sources of puppet plays, among others: Kidung Sudamala, Serat Purwakanda, Serat Pustakarajapurwa, and Serat Purwacarita. On artifact sources, it was found on temple reliefs and on some kinds of puppet. The concept of panakawan embodiment was inspired by the disabled people who have magic power. The people of this type in Yogyakarta palace are called Abdi Dalem Palawija, whereas in the ancient Java they were included in the character of i’jro. Keywords: Panakawan, history, concept
ESTETIKA KARAWITAN TRADISI SUNDA Heri Herdini
PANGGUNG Vol 22 No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i3.75

Abstract

The problem of "aesthetics" related not only to the "text" or the art form itself, but also to the mindset and worldview of the communities on "the world" and "the nature of human life." Behind the musical form itself, there lies the mindset of Sundanese people which formed the basis for the "text" of karawitan. The understanding on "karawitan context" is, therefore, important. It means that "text" and "context" constitute "two sides of the same coin" which are interrelated to each other. This is the subject matter to be discussed in this paper.            This paper is a philosophical study in order to find "the aesthetic of traditional karawitan" which has not been revealed so far. To reveal this problem the writer uses the theory of "Antagonistic Dualism" by Jakob Sumardjo. Based on the analysis to the "text" and "context" of Sundanese traditional karawitan, it is concluded that "the aesthetic of Sundanese traditional karawitan" comes from the concept of "masagi" that in substance may produce "pola tiga” (pattern of three) as a reflection of the culture of tritangtu, those are: tekad, ucap, and lampah. Keywords: Aesthetic,traditional karawitan, pola tiga. 
MAKNA SIMBOL BENTUK DAN SENI HIAS PADA RUMAH BUGIS SULAWESI SELATAN Pangeran Paita Yunus
PANGGUNG Vol 22 No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i3.76

Abstract

The cosmologic view of the Buginese tribe assumes that this macrocosmos (the universe) is arranged into three levels: Boting langi’ (the upper world), Ale kawa (the middle world), Uri’ Li’yu’ (the Under world). As the centre from the three parts of this universe is Boting Langi (the highest sky), the place of Dewata SeuwaE (God) to lie down. This view is represented in the King’s Palace/traditional house building seen as the microcosmos. So, the King’s palace of the Buginese is devided also into three levels (stacks), those are: Rekkeang (top floor) viewed as the head of the human being, Alle bola (the body of the house) viewed as the body, and Awa bola (space underneath of the house) viewed as the leg of the human being. The three parts are centered at Posi’ bola or the house navel. This research tries to answer the problems: 1) whether the meaning form of the King’s Palace of the Buginese based on cosmology, and 2) how the symbol meaning of decorative art at the King’s Palace of the Buginese is. To identify and comprehend the meaning of decorative art on the King’s Palace of the Buginese, it is done through hermeneutic theory by Gadamer and the symbol meaning theory by Victor Turner. This research gives description that the happening of structural change and the style of decorated art at the kings’ palace of the Buginese of South Sulawesi, beside having much influence from the art of Dong-son and Chou Tua style, the decorated art at the Buginese tribe also got influence from Hinduism and Islam. In addition, the change of the art style is decided also by the one who has power in the society, either in the politic side or in the religion or culture. In this case, the existence of art style variation is caused by the existence of the levelling and groupping of the society.Keyword: Decorated art, Buginese tribe.
PERANAN R. A. A. WIRANATAKUSUMAH V DALAM PENYEBARAN TEMBANG SUNDA CIANJURAN Mohamad Yusuf Wiradiredja
PANGGUNG Vol 22 No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i3.77

Abstract

The main problems studied in this article is how the creation process of the art of cianjuran music and how far the role of R. A. A. Wiranatakusumah V in spreading the art of cianjuran music in Priangan in the 20th century. To get the answers to those problems, the historical research has been done with the method of research which consists of four phases: heuristik, criticism, interpretation, and historiography. The application of historical method is then ellaborated with social science theories, among of those is the theory of change and continuity of K. J. Veeger.The result of the research indicates that the art of cianjuran music was born as a creativity result of Cianjur aristocratics adopting from some vocal arts among Sundanese society such as: poetry, degung, and kawih. In its growth, the art of cianjuran adapts with the change of epoch so that its existence can be kept well. In this case, R. A. A. Wiranatakusumah V had an important role in spreading the art of cianjuran music in Priangan. Keywords: Cianjuran Music, R. A. A. Wiranatakusumah V 
KOMUNIKASI DALANG DALAM KONSEP MANDALA WIWAHA ASEP SUNANDAR SUNARYA Arthur Supardan Nalan
PANGGUNG Vol 22 No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i3.78

Abstract

AbstractThis study suggests the findings of field research on communication made by a puppeteer of Wayang Golek Purwa, Asep Sunandar Sunarya. This study is categorized into qualitative research with a phenomenological approach. The result of the study shows that Asep Sunandar Sunarya has performed his communication competencies as a communicative puppeteer. Communication competencies owned by Asep Sunandar Sunarya to the audience is based on his experience which is called the concept of Mandala Wiwaha. The concept of Mandala Wiwaha is a concept of technique, insight, message and audience mastery. The concept of Mandala Wiwaha has made Asep Sunandar Sunarya a famous puppeteer who posses his own “popularity" compared to the other puppeteers. Through this concept Asep Sunandar Sunarya puts the audience as an important part every time he conducts his performance. Keywords: puppeteer, communication, Mandala Wiwaha.
WUJUD VISUAL GAMBAR - ILUSTRASI PADA NASKAH NASKAH TUA NUSANTARA SEBAGAI REFLEKSI INTELEKTUALITAS LELUHUR BANGSA INDONESIA Nuning Y. Damayanti Adisasmito
PANGGUNG Vol 22 No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i3.79

Abstract

Manuscript is a cultural product belongs to every civilized community that understands letters and words. Visual communication, before script and writing were established, such as ancient drawings, has been used by people since thousands years ago.  The discovery of picture in prehistoric caves is considered as the beginning of drawing tradition towards the modern illustration. The discovery of scripts and writing shifted the tradition of drawing, although the simplest and the most effective communication is still the visual language.   It explains why an illustrative drawing in the old manuscript was used as a communication device which reflects the cultural development and the way of thinking from the society who created it. The tradition of writing and drawing in illustration was found in the Javanese and Balinese old manuscripts. The visual illustration, theme, and media of manuscripts shown similar in diversity, depend on their role in social life. Some parts of those old manuscripts show unique illustrations as well as the local identity of the society. The illustration on manuscript reflects the society culture of thinking and aesthetic achievement of visual art.     Key Words: Illustration, old Indonesian manuscript, visual language. 

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