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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 300 Documents
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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.
Lakon “ Dhanaraja” Andi Wicaksono
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 13, No 1 (2012): Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v13i1.506

Abstract

Karya ini mengajak masyarakat untuk menyikapi kerasnya kehidupan dengan konsep hidup orang jawa, yakni “Urip sadêrma nglakoni“, yang didasari semangat “Wong têmên bakalé kêtêmu”, dan diiringi dengan kesadaran bahwa “Urip manungsa pinasthi ing Pangéran”. Konsep hidup tersebut, selanjutnya ditransformasikan ke dalam lakon wayang dan pertunjukannya. Karya ini mentrasformasikan secara tepat konsep tersebut ke dalam lakon. Lakon yang dipilih adalah lakon “Alap-alapan Sukèsi” dan “Bêdhahing Lokapala” yang diramu menjadi satu lakon utuh dengan memfokuskan tokoh Prabu Dhanaraja. Penggubahan lakon “ Dhanaraja” diaktualisasikan ke dalam pertunjukan yang berdurasi waktu kurang lebih tiga jam. Karya ini memaparkan bagaimana cara meramu dua lakon menjadi satu dalam struktur yang utuh tanpa terlihat sekedar menempel, serta dengan mentranformasikan konsep “Urip sadêrma nglakoni“, yang didasari semangat “Wong têmên bakalé kêtêmu”, dan diiringi dengan kesadaran bahwa “Urip manungsa pinasthi ing Pangéran” ke dalamnya. Hal tersebut dilakukan dengan cara membangun konfl ik dan dramatika dalam rangkaian cerita yang disajikan.Kata kunci: lakon, Dhanaraja, struktur dramatik, dramaturgi wayangABSTRACTThe story of Dhanaraja. This work is aimed to invite people responding the severe life with Javanese’s life concept,that is “Urip sadêrma nglakoni’ (let the life fl ow), and that is based on the spirit of “Wong têmên bakalé kêtêmu” (successcan be achieved by hardworking and being honest), and that is also accompanied by an awareness that “Urip manungsapinasthi ing Pangéran” (people’s life is based on the destiny which has already arranged by God). This Javanese’s lifeconcept, then, is transformed into the wayang story and its performance. This work has truly transformed the conceptinto a performance. The chosen performances are “Alap-Alap Sukesi” and “Bedhading Lokapala” which are managedinto a whole performance focusing on King Dhanuraja character. The composing story of Dhanaraja is actualized into athree-hour-performance. This work describes how to manage two stories into one complete structure without merely seenby attaching the stories, and also by transforming the concept of “Urip sadêrma nglakoni” (let the life fl ow), that is basedon the spirit of “Wong têmên bakalé kêtêmu” (success in life can be achieved by hardworking and being honest ), andaccompanied by an awareness that “Urip manungsa pinasthi ing Pangéran” (people’s life is based on the destiny which hasalready arranged by God) into the performance. These previous things are carried out by developing the confl ict and thedramatic sequence order of play performance.Keywords: story, Dhanaraja, a dramatic structure, a wayang dramaturgy
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.
“Gringsing“ Jalinan Estetika-Mitos Ritus Perang Pandan Aryandari, Citra
RESITAL : JURNAL SENI PERTUNJUKAN Vol 11, No 2 (2010): Desember
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

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.
Bedhaya Sumreg Keraton Yogyakarta Budi Astuti; Anna Retno Wuryastuti
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 13, No 1 (2012): Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v13i1.513

Abstract

Penemuan jejak masa lalu atas keberadaan suatu bentuk budaya, merupakan suatu fenomena yang sangat bernilai. Hal ini dapat melengkapi upaya menelusuri jejak masa lalu dengan ditemukannya susunan materi gerak untuk visualisasi teks tarinya. Namun demikian tafsir kebudayaan atas penemuan jejak masa lalu tersebut tidak bisa meninggalkan faktor kesejarahannya. Dalam kajian teks bedhaya Sumreg ini diketahui susunan materi gerak Bedhaya Sumreg dan keterkaitan makna sumreg dengan pola lantai dan pola gendhing pengiringnya. Pola-pola gendhing yang ditampilkan secara struktural tetap menggunakan tata aturan baku yang sampai sekarang lazim disebut dengan lampah bedhayan. Bedaya yang dianggap pusaka ini diungkapkan tidak hanya materi tekstualnya saja tetapi juga mencakup materi kontekstualnya.Kata kunci: bedhaya Sumreg, tari Yogyakarta, tari pusaka.ABSTRACTBedhaya Sumreg of Yogyakarta Palace. The discovery of the past existence traces of a culture is trully a valuable phenomenon. This may complete the efforts to trace the past with the discovery of the structure of motion for the textvisualization of a dance. However, the interpretation of culture on the discovery of traces of the past cannot abandon the historical factor. The textual study of Bedhaya (traditional dance) Sumreg has identifi ed the motional structure of Bedhaya Sumreg and the linkage of Sumreg meaning with the fl oor pattern and gendhing (the accompanied music). Thepatterns of gendhing structurally shown remain applying predefi ned set of rules, commonly known as lampah bedhayan (rules in dancing). Bedhaya (traditional dance) is considered a heritage and is revealed not only its textual material but also the contextual one.Keywords: bedhaya Sumreg, Yogyakarta dance, dance heritage.
Komposisi Kala M. Yoga Supeno
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 13, No 1 (2012): Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v13i1.514

Abstract

Komposisi ini merupakan representasi dari sebuah perubahan pola pikir manusia yang dari zaman ke zaman selalu bergerak maju. Kala yang berarti waktu merupakan refl eksi garis panjang sejarah dari terbentuk dan berkembangnya peradaban pada masa lampau. Perkembangan waktu tersebut kemudian dijadikan tiga bagian waktu (prasejarah, sejarah, modern) untuk menggambarkan perubahan-perubahan yang terjadi pada setiap waktu khususnya di provinsi Lampung. Secara garis besar penyajian Kala adalah memadukan instrumen musik Barat dan etnis yang sebagian besar instrumen terdiri dari instrumen perkusi seperti marimba, vibraphone, xylophone, chime, drumset, bonang Sunda, cetik, rebana serta ditambah dengan instrumen melodis seperti akodion, biola, gambus, dan electric bass. Motif dan teknik permainan merupakan salah satu penggambaran dari ketiga zaman tersebut yang menghasilkan suasana liar, agamis, dan modernisasi dan bernuansa etnis Lampung dan Melayu.Kata kunci: Kala/waktu, sejarah Lampung.ABSTRACTThe Kala Music Composition. This composition is a representation of a human mindset change which is alwaysmoving forward from time to time. Kala which means time is a refl ection of a history starting from when the history andthe civilization were formed and developed in the past. Then, the time development is divided into a three-part time(prehistory, history, modern) to describe the changes that may occur at any time, especially in the province of Lampung.Basically, the presentation of Kala is combining the western and ethnic musical instruments that most of the them consistof percussion instruments such as marimba, vibraphone, xylophone, chime, drum set, bonang Sunda, cetik, tambourines, and melodic instruments such as accordion, violin, harp, and electric bass. The motive and technique of the performance is one of the three depictions of the era that produces the wild and religious atmosphere, modernization, and that is nuanced by Lampung and Malay ethnics.Keywords: Kala /time, history of Lampung

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