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Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts)
Published by Institut Seni Indonesia Yogyakarta
ISSN : -     EISSN : 23386770     DOI : https://doi.org/10.24821/resital
Core Subject : Humanities, Art,
Arts Humanities
Resital : Jurnal Seni Pertunjukan merupakan jurnal ilmiah berkala yang ditujukan untuk mempublikasikan karya ilmiah hasil penelitian, pengembangan, dan studi pustaka di bidang seni pertunjukan. Jurnal Resital pertama kali terbit bulan Juni 2005 sebagai perubahan nama dari Jurnal IDEA yang terbit pertama kali tahun 1999.
Arjuna Subject : -
Articles 8 Documents
 1 
Search results for , issue "Vol 11, No 2 (2010): Desember 2010" : 8 Documents clear
Gaya Bernyanyi dengan Teknik Bel Canto: (Re)Konstruksi Subjektivitas Penyanyi Perempuan dalam Pertunjukan Musik Susi Gustina; Timbul Haryono; G.R. Lono L. Simatupang; Triyono Bramantyo
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 2 (2010): Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i2.503

Abstract

Bel Canto Singing Technique. This article attempting to understand the subjectivity of a woman singer in musicperformance. The poststructuralist feminist perspective is used to focus on the historical and cultural backgroundof the woman’s experiences. Based on the perspective, the research questions refer to: 1) the application of womansinger’s knowledge and cultural perception in songs reproduction so that she can (re)construct her subjectivity; and2) the intention of woman singer to use Western classical music or seriosa in music performance. The life historymethod is used to understand all the subjective experiences of woman singer based on her perspective. The fi ndingsof this research are: 1) subjectivity (re)construction of a woman singer is depend on her knowledge and culturalperception so that her subjectivity is differ from others; and 2) the difference that a woman singer do in musicperformance is related to her intention, i.e. to struggle a music genre that she loves since in the early of her life.
Selawatan Sebagai Seni Pertunjukan Musikal Andre Indrawan
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 2 (2010): Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i2.504

Abstract

The Selawatan as Musical Performance. The selawatan, an Indonesian Islamic performing arts genre, has beenlooked at from different study perspectives. Although mostly understood as a group type of folk dances as well astheatres, this study has found that the selawatan in the DIY is closely related to an Islamic musical genre which wasbased on vocal art. The most important characteristic that relates amongst any types of selawatan is its repertoirematerials which is centered to a classical Arabic text known as mawlid, especially the one that was written by Al-Barzanji.
Adaptasi Pola Ritme Dangdut pada Ansambel Perkusi Agus Salim
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 2 (2010): Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i2.505

Abstract

Dangdut Rhythmic Pattern Adaptation on Percussion Ensamble. This article discuss the adaptation processof “Dangdut” rhythmic pattern and its tone qualities that were implemented in to the percussion ensemble. Earlierstudies showed that bath elements can pessibly be tone. It means that the differences between characteristic musicbasically can be used as a new musical idea to produce a new genre of music. This procedure began with theimplementation of new special symbol to be fi tted in to the western notation; it follows by the selection of “Dangdut”rhythmic pattern and to be implemented in to the percussion ensemble instruments such as timpani, bongo, hi-hat,roto-toms and tambourine. The result was a new color of musical genre that gives a new propective and possibilityin the world of music composition.
Tri Ubaya: Alih Wahana dari Pertunjukan Wayang Menjadi Karawitan Sunyata -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 2 (2010): Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i2.507

Abstract

Tri Ubaya: Intermediality From Wayang to Karawitan Performance. Karya ini merupakan alih wahanadari pertunjukan wayang kulit menjadi pertunjukan karawitan. Cerita wayang lakon Alap-alapan Kunthi sayaalih wahanakan menjadi pertunjukan karawitan. Cerita ini dipilih karena di dalamnya terdapat peristiwa yangdahsyat, ucapan Dewi Gendari yang berisi tiga janji (tri ubaya) menjadi cikal bakal perang Barata Yudha. Komposisikarawitan ini mengalihwahanakan suatu tokoh, suasana, karakter, dan peristiwa dalam pertunjukan wayang menjadikomposisi karawitan.
Ragam dan Makna Bahasa dalam Lakon Kintir Nanang Arisona
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 2 (2010): Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i2.508

Abstract

The Various Language and Meaning on Kintir Drama Play. Ragam dan Makna Bahasa dalam LakonKintir merupakan suatu kajian tentang keragaman bahasa dan maknanya dalam lakon drama. Tujuannya untukmengungkapkan peranan dan makna bahasa Jawa dan bahasa Indonesia yang digunakan dalam lakon Kintir.Kajian ini menggunakan analisis semiotika untuk mengungkap aspek keragaman dan makna bahasa dalam lakonKintir. Lakon Kintir yang dimainkan oleh Kelompok Seni Teku Yogyakarta menggunakan bahasa Jawa dan bahasaIndonesia sebagai strategi untuk mengungkap makna yang lebih kompleks. Analisis menunjukkan, bahwa setiapbahasa memiliki keterbatasan dalam menyampaikan makna ketika menjalankan fungsinya sebagai media ekspresidramatik. Bahasa memiliki karakteristik tersendiri sesuai latar sosial dan budaya yang melahirkannya.
Dalang Anak dalam Pakeliran Wayang Kulit Purwa Gaya Surakarta Junaidi -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 2 (2010): Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i2.509

Abstract

Young Puppeteers on Solonese Wayang Performance. The aim of these research are to identify the structureof story, shadow puppet forms, and young puppeteer’s motivations in pakeliran of Surakartanese purwa shadowpuppets. This research applies multidiscipline approach, encompassing puppetry dramaturgy, iconography,physiognomy, and ethnochoreology, in order to study the stories, shadow puppets, and motivations. The pakeliranof purwa shadow puppets by young puppeteers performed in short time, short structure, skillful technique, andchildish characteristic are a puppetry learning medium for children, appreciation of puppetry since early ages, andan effort of future art life continuity. In addition, the motivation of young puppeteer tends to be intrinsic which isbased on the pleasant feeling in conducting non-commercial and profane activity.
Paruman Tapakan Barong dalam Ritual Tapak Pertiwi I Wayan Dana
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 2 (2010): Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i2.510

Abstract

Paruman Tapakan Barong on Tapak Pertiwi Ritual. Ritual tapak pertiwi siklus pelaksanaan ritual tahunandalam perhitungan kalender Bali, diselenggarakan terpusat dalam Paruman Tapakan Barong di Pura Natar SariApuan. Pelaksanaan ritual ini dihadiri oleh berbagai bentuk tapakan barong yang datang dari berbagai daerah sewilayah Bali Tengah yang memperoleh kekuatan pasupati di Pura Natar Sari Apuan. Aktivitas ritual ini bermaknamenyatunya kekuatan dewa sebagai simbol (purusa) dengan dewi pertiwi simbol (pradana). Pertemuan keduaunsur kekuatan suci itu melahirkan gerak kehidupan, menyucikan alam semesta dari segala pengaruh negatif yangmengancam hidup dan kehidupan umat manusia di alam semesta ini. Oleh karena itu, masyarakat Hindu di Balimenghadirkan berbagai bentuk ritual keagamaan untuk menghormati menyatunya energi alam positif dan negatifdalam beragam wujud, termasuk ritual tapak pertiwi.
“Gringsing“ Jalinan Estetika-Mitos Ritus Perang Pandan Citra Aryandari
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 2 (2010): Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i2.511

Abstract

Estetic and Mytos of Pandanus War. Gringsing The name of Gringsing is explained in popular etymology asmeaning free from sickness, which is in itself enough to indicate that the cloths are honoured by the people becauseof their magic infl uence. The origin of the gringsing cloths is traced back to Dewa Indra, who created shadowsin the sky so that they could be copied as pattern in the cloths. As was pointed out, the weaving of the gringsing,a sacred activity for the women. The weaving women have to take a number of adat regulations into account.Throughout Bali weavers are srict in following the adat. In he village of Tenganan Pegringsingan itself the use ofcertain gringsings is prescribed for specifi ed ceremonies. Tenganan Pegringsingan community perform religiousrites everyday to maintain the balance of the village. Tenganan Pegringsingan has unique culture, and all refer tothe concept of balance. The most famous ritual activities in Tenganan Pegringsingan is Pandanus War. In PandanusWar, gringsing always used by Truna and Daha. They believe in using gringsing, they will be spared from disease.Gringsing present in Tenganan Pegringsingan bringing myths and aesthetics. Gringsing is a picture of a communitycultural order Tenganan Pegringsingan. All have been recorded in awig-awig Tenganan Pegringsingan.

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