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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
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Search results for , issue "Vol 26, No 2 (2025): Agustus 2025" : 8 Documents clear
Cultural Evolution in Action: Royal Boat Song Transmission and Adaptation in Thai Buddhist Communities Boonrod, Vich; Srisakon, Prachakon; Ruangjirayos, Purita
Resital: Jurnal Seni Pertunjukan Vol 26, No 2 (2025): Agustus 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i2.16915

Abstract

This ethnographic study examines Royal Boat Song (He Ruea Luang) cultural transmission as empirical evidence for evolutionary approaches to imaginative culture. Through ethnographic fieldwork conducted in Phitsanulok Province, Thailand (2024-2025), we analyzed how this elite court tradition successfully adapted from royal water processions to community Buddhist merit-making ceremonies while maintaining core musical and ceremonial elements. Our findings demonstrate cultural transmission mechanisms predicted by evolutionary theory: selective retention of adaptive features including four-section musical structure, specialized vocal techniques, and ceremonial significance, combined with contextual modifications serving contemporary community needs through localized poetic content, Buddhist ceremonial integration, and riverbank performance venues. The research reveals how Royal Boat Songs function as adaptive cultural inheritance systems, facilitating group bonding, cultural memory preservation, and religious expression while evolving through community agency. Results show high-fidelity transmission of core musical structures with systematic adaptive variation in textual content, supporting cultural attraction theory predictions about cognitive constraints in cultural evolution. This case study provides empirical support for theories positioning imaginative culture as arising from human nature's evolved capacities for social cooperation, meaning-making, and collective identity formation, while demonstrating that cultural preservation occurs through adaptive evolution rather than static maintenance.
The Resonant Roots of Pappaseng: Seeking Musical Inspiration from the Film Kuru Sumange Aziz, Baso Indra Wijaya; Burhan, Mukhamad Agus; Irwandi, Irwandi; Skinner, Anthea
Resital: Jurnal Seni Pertunjukan Vol 26, No 2 (2025): Agustus 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i2.17137

Abstract

This article examines the creative process of creating film music inspired by the cultural heritage of the Bugis people, focusing specifically on the incorporation of pappaseng verses in the film Kuru Sumange. Pappaseng denotes the oral transmission of ancestral wisdom, moral guidance, and philosophical insights that have been repeatedly passed down through generations, embodying profound ethical and spiritual values that are intricately woven into Bugis culture. This study emphasizes how film music serves as a medium for revitalizing traditional values, enabling them to be reimagined and expressed through modern artistic e ces amidst the challenges posed by modernization and the diminishing presence of oral traditions. The study utilizes a Practice-Based Research (PBR) method, framing the process of musical creation as a method for gathering data and a way to interpret them analytically. This method intertwines the process of composition with the act of inquiry, transforming the music into a space for generating knowledge. In the case of Kuru Sumange, selected pappaseng quotations are converted into lyrics and further crafted into melodic, harmonic, and rhythmic structures that closely align with the film’s narrative flow and emotional atmosphere. This transformation allows the music to serve not solely as an aesthetic enhancement to the visual imagery,  but also as a means of conveying traditional values to contemporary audiences. The findings indicate two key contributions: firstly, film scenes serve as the main stimuli for musical creation, influencing decisions regarding instrumentation, dynamics, and thematic development; secondly, the philosophical dialogues found in pappaseng are skillfully transformed into lyrical content, thus connecting oral tradition with cinematic expression. This work showcases the considerable potential of music as a culturally contextual and emotionally impactful approach for preserving culture, facilitating intergenerational communication, and creatively revitalizing Bugis heritage through local cinema.
Exploring the Crisis of Cultural Identity as Reflected in Contemporary Manggarai Songs Yuliantari, Ans Prawati; Moon, Yuliana Jetia; Handoko, Cons Tri
Resital: Jurnal Seni Pertunjukan Vol 26, No 2 (2025): Agustus 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i2.17190

Abstract

This study aims to identify and analyze forms of cultural identity crisis in contemporary Manggarai songs circulating through social media. The study employs a qualitative approach, utilizing Fairclough's Critical Discourse Analysis method and Bhabha's Cultural Hybridity theory, to examine the relationship between song lyrics, social practices, and the use of cultural symbols. The results of this study indicate that the cultural identity crisis is reflected in ambivalent discourse and the use of traditional symbols in new forms that are inconsistent with their original meanings. Cultural symbols that were once sacred now appear in the context of emotional expression, social humor, and digital entertainment. This phenomenon shows a shift in meaning and function, where society is no longer in a position of established identity, but instead in a space of negotiation between tradition and modernity. Local music in the digital era has become an important arena for responding to social and economic pressures and the influence of media algorithms. This study concludes that cultural expression through songs reflects the dynamics of constantly changing identities. Recommendations for further research include expanding the study to other musical genres or different cultural contexts to understand the transformation of cultural identity in the broader digital landscape.
Musical Characteristics of the Pingxian Folk Song as Cultural Narrative Jing, Yang; Theerapan, Suthasinee; Chuangprakhon, Sayam; Chaiyason, Noppon; Jungate, Kittikun; Wenying, Chen
Resital: Jurnal Seni Pertunjukan Vol 26, No 2 (2025): Agustus 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i2.17192

Abstract

This study aims to analyze the musical characteristics of the Pingxian Folk Song in Ping’an District, Qinghai Province, with a particular focus on its function as a cultural narrative. Employing a qualitative methodology, the research integrates ethnomusicological analysis, field observations, and interpretive frameworks to examine four key dimensions: lyrical structure and language use, rhythmic patterns and vocal ornamentation, melodic and modal systems, and cultural symbolism embedded in performance contexts. Findings indicate that Pingxian folk songs exhibit a distinct lyrical form known as the “3.5-line structure,” incorporating hybrid use of Mandarin and local dialects that reflect regional linguistic identity. The flexible rhythmic style, often governed by breath and emotion, is supported by the traditional use of Paiban as a percussive timing device. Melodic lines follow a modal system capable of symbolic modulation, such as transitions between Bb Gong and C Shang Qingyue, to express shifts in emotional and ritual states. Culturally, the songs encode ethnic memory and social values through symbolic narratives referencing local myths, ancestral figures, and natural imagery. Performances are deeply embedded in ritual, seasonal festivals, and informal educational settings, thereby serving as dynamic vehicles for the transmission of intangible cultural heritage. These musical features collectively affirm the role of Pingxian Folk Song as a medium for maintaining ethnic identity and cultural continuity. The study highlights the necessity of understanding folk music as both sonic art and cultural practice. It is recommended that future research explore comparative modal systems across folk traditions in the Hehuang cultural region and investigate the integration of Pingxian folk elements into contemporary educational and digital platforms to support sustainable heritage preservation.
Performing Cosmology: Sound, Movement, and World-Making in the Turuk Lagai Ritual of Mentawai Loravianti, Susas Rita; Alfalah, Alfalah; Iswandi, Iswandi; Emri, Emri; Chaterji, Katia; Y, Eva
Resital: Jurnal Seni Pertunjukan Vol 26, No 2 (2025): Agustus 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i2.17136

Abstract

This research investigates Turuk Lagai, a central ritual of the Mentawai people in West Sumatra, Indonesia, as a performative act that enacts and sustains their cosmological worldview. The study's objective is to understand how this ritual reflects belief and constitutes reality through embodied and relational practices. Using a qualitative ethnographic approach, the study draws on long-term fieldwork, in-depth interviews, and thematic analysis assisted by QualCoder. Data were coded and interpreted through a theoretical framework combining Victor Turner's ritual process, Catherine Bell's ritualization theory, and Tim Ingold's concept of relational ontology. The analysis identified three overarching themes—Embodiment, Spiritual Correspondence, and Relational Ontology—that demonstrate how bodily movement, chants, offerings, and environmental elements co-produce a cosmological order. Rather than symbolizing cosmology, Turuk Lagai brings it into being, renewing social and spiritual relationships between humans, nature, and ancestral forces. The study concludes that Turuk Lagai is a dynamic system of knowledge production and cosmological maintenance. It recommends greater recognition of indigenous ritual not as static tradition but as an active and vital mode of world-making with implications for cultural preservation and ecological ethics.
Exploring the Tripartite Performance in the Musical Enculturation: An Ethnographic Study of Banyumasan Sinden Suharto, Suharto; Sugiyanto, Sugiyanto; Chan, Clare Suet Ching
Resital: Jurnal Seni Pertunjukan Vol 26, No 2 (2025): Agustus 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i2.15664

Abstract

This study examines the musical enculturation of Banyumasan sinden across three performance genres: wayang kulit, lengger calung, and ebeg. Using Merriam’s tripartite model – musical concept, behavior, and sound – as the analytical framework, this research explores how different learning trajectories and social contexts shape the formation of musical identity. Employing an ethnographic approach, this study analyzes field data gathered through interviews, observations, and documentation of sinden practices in rural and semi-urban area of Banyumas. Findings reveal that wayang sindens develop their skills through vertical cultural transmission within artist families, reinforcing ethical and aesthetic ideals. In contrast, lengger sindens engage in horizontal, community-based learning characterized by participatory interaction and vocal expressiveness. Meanwhile, ebeg sindens follow a situational, adaptive learning model shaped by informal performance settings and pragmatic vocal function. The study concludes that each sinden tradition reflects a distinct pattern of enculturation rooted in its socio-performative context, and offers insight into the preservation of local musical knowledge through lived community practice. The findings provide implications for integrating community-based pedagogy into traditional music education curricula in Indonesia
Expressive Timing and Tempo Variance in Six Landmark Recordings of Villa-Lobos' Etude No. 1: A Sonic Visualizer-Based Computational Analysis Djahwasi, Herry Rizal; Sampurno, Muchammad Bayu Tejo; Nazeri, Nazimin
Resital: Jurnal Seni Pertunjukan Vol 26, No 2 (2025): Agustus 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i2.17461

Abstract

In contrast to the extensive research conducted on piano and violin, there have only been two studies focused on classical guitar that utilize computer-based recordings of performers. This study presents a performance recording of Villa-Lobos' Etude No. 1, focusing on the extraction of expressive elements in musical performances through visual audio analysis. which comparing from six important figures on classical guitar performer. The first phase of investigation involves a thorough examination and quantification of the interpretative variances in tempo and intensity attributes among six distinguished classical guitarists' recordings of Villa Lobos' Etude No. 1, employing computer-based sonic visualizer performance analysis tools. The second phase of investigation involves identifying and documenting the unique stylistic patterns inherent in each guitarist's interpretation of Villa Lobos' Etude No. 1. The data performance recording utilized a sonic visualizer to generate a specific tempo curve. The model and parameters of musical expression developed by structured and un-structured musical expressive timing. The variance in tempo and intensity attributes among six virtuoso classical guitarists' recordings of Villa Lobos' Etude No. 1 reveals notable differences in their musical expressive timing. The finding of this study demonstrates the importance of the literature of music performance is equally true in the form of the literature of musical structure and the literature of music history.
Representation of Identity and Politics in the Song "Ojo Dibandingke" at the 77th Indonesian Independence Day State Ceremony at the State Palace Yulaeliah, Ela; Saepudin, Asep; Sukotjo, Sukotjo; Cuenza, Yves P; Ulhage, Ahza Al Amal
Resital: Jurnal Seni Pertunjukan Vol 26, No 2 (2025): Agustus 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i2.17563

Abstract

The purpose of this research is to analyze the representation of identity and political image in the song "Ojo Dibandingke" during the 77th Indonesian Independence Day commemoration in 2022 at the State Palace. The song "Ojo Dibandingke" is a popular dangdut koplo song from 2022. The song was created by Abah Lala, an artist from Banyuwangi. Hall's (1977) representation theory, particularly the constructionist approach and the encoding–decoding model, is used to read how the meaning of the lyrics is produced by the creator (encoding) and interpreted by the users (decoding). A qualitative method with a case study approach was conducted to gather data through webography, documentation, literature review, interviews, and observation. Several interesting points regarding the presentation of the song "Ojo Dibandingke" include: the song "Ojo Dibandingke" is sung by a child who is still underage, dangdut koplo music is not typically performed at state events, and there are altered lyrics that praise the president's name. This research indicates that the use of the song "Ojo Dibandingke" in the 77th Independence Day celebration at the State Palace was not merely an aesthetic choice, but a cultural representation practice laden with political and symbolic meaning. The presence of this song was not just an aesthetic presentation, but an arena for negotiating cultural and political identity in public space.

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