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<![CDATA[Penerapan Teknik Dampening Pada Vibraphone Dalam Lagu ]]>
<![CDATA[David Friedman]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Musik ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.307
<![CDATA[Dampening performance technique contained in the “Mirror from Another”song by David Friedman has degree of difficulty that is not so complicated. Itrequired only a high knowledge in applying of the dampening technique beautifully inthis song. The author analyze application of dampening technique so that it canprovide new insights in playing the vibraphone. This song has the characteristic ofthe tones that are not have a lot of variety and a relaxed tempo. This study aims tofind the application of dampening performance technique.Key words : Dampening, Vibraphone, Mirror From Another]]>
<![CDATA[SIALANG ]]>
<![CDATA[Agung Gumelar]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Musik ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.316
<![CDATA[Sialang is an ethnical music performance inspired by honey bees collecting nectars. The idea evolved into a concept of life that comprises three elements of the interacting and interdependent creatures. Sialang is a tree that shelters the bees until they produce honey; from early life into adulthood, they are persistent to deal with natural selection and to survive amidst the challenges they are facing such as bad weather, attacks from other animals, and uncertain climate. From the life they had never live before until the life with full of threats to their survival. Therefore, human, plant and animal should establish a mutually beneficial life in order to realize a harmonious life. Such phenomenon is manifested because of the tangle of three elements that play a major role in fostering a mutually beneficial relationship. The one and the other elements are welded together to form a unified whole. This phenomenon can be expressed in the form of intertwining circles as the food chain that works on a cyclical basis in an ecosystem. Keywords: honey, concept of life, Sialang.]]>
<![CDATA[GONDANG SITOLUPULU TOLU DALAM UPACARA PESTA TUGU RAJA SILAHISABUNGAN ]]>
<![CDATA[Anggiat Purba]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Musik ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.317
<![CDATA[Gondang SitolupuluTolu is a type of traditional music ensemble comprised of three instruments namely; Sarunei, taganing, Gordang and Ogung instruments. The existence Gondang SitolupuluTolu today, still considered important in the social culture of the region Silahisabungan Medan North Sumatra province, because music is considered as a medium of expression that can describe the disclosure of customs value and as a manifestation of religious communities Silahisabungan. Gondang SitolupuluTolu traditional music is one that can survive in their communities, because music is still used as the primary means sacred or media that can not be separated King Memorial Ceremony celebration party Silahisabungan which hitherto still exist conducted in each year based on custom and tradition that still applies in the community or clan groups Silahisabungan in Medan North Sumatra province. Keywords: Gondang Sitolupupu Tolu, Pesta Tugu, Function]]>
<![CDATA[BENTUK PENYAJIAN TARI SATYA BRASTHA SEBAGAI PERTUNJUKAN PARIWISATA DI UBUD BALI ]]>
<![CDATA[Chairunnisa Rochmawati]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.344
<![CDATA[Penelitian dan pengkajian yang dilakukan berfokus pada bentuk penyajian tari Satya Brastha sebagai pertunjukan pariwisata di Ubud Bali. Tari Satya Brastha adalah tari kreasi baru karya I Nyoman Cerita yang semula diciptakan sebagai Tugas Akhir di STSI Denpasar, dan saat ini mengalami perkembangan menjadi pertunjukan pariwisata. Sebagai pertunjukan pariwisata tentunya tari Satya Brastha mengalami beberapa perubahan yang disesuaikan dengan konsep pertunjukan pariwisata di antaranya berdurasi singkat, tidak termasuk tari sakral, dan memiliki keunikan sebagai daya pikat wisatawan. Konsep struktur digunakan untuk memahami tatahubungan yang membentuk keutuhan bentuk penyajian tari Satya Brastha, selanjutnya untuk mengurai masing-masing elemen tersebut digunakan pemahaman konsep koreogafi meliputi isi, bentuk, dan teknik. Kata kunci: Satya Brastha, pertunjukan pariwisata, perubahan]]>
<![CDATA[TATAG DE PENYAWO ]]>
<![CDATA[Usman .]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.345
<![CDATA[Tatag De Penyawo dance work is work that pours stylist experience. Tatag de Penyawo comes from Tidung. Tatag means losing, which in this work is meant losing the Dayak identity, while De Penyawo mean that in the sense of the heart's deepest. Anxiety on the identity of questionable and even questioning his own identity, as is customary to be lost because of religion stylist is believed to be the theme of this work. Anxiety within the stylist to maintain and preserve the tradition is so strong Dayak, Dayak tradition itself while the conflict with Islamic values. This dance is danced in groups, with 9 dancers. Properties used are Hudoq We, Hudoq-Kublo, and loincloth. It rests on the dance dance Hudoq us. Presentation mode used symbolic representational. This dance work can be classified as a type of dramatic dance, which means that the idea is communicated full allure, dynamic, cause tension and possible conflict between the people involved in her or with others. This dance work processes involving several parties that help, both in the search and in the creation of works of reference as a medium for the stylist to socialize and interact with their surroundings. Through the work of this dance, stylists feel emotional or spiritual closeness to the tradition and culture of the Dayak ancestors. Form of gratitude and love for the cultural traditions of the ancestors are expected to be realized through the work of this final. Keywords: Tatag De Penyawo, Identity, Hudoq]]>
<![CDATA[PROSES KREATIF PENCIPTAAN TARI JATHILAN GAUL KARYA SATRIYO HANDRIYATNO ]]>
<![CDATA[Diah Rini Susilowati]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.355
<![CDATA[This research is aimed for knowing and expressing Satriyo’s creative process when he made a jathilan Gaul choreography, This dance is based on folkartistry that we called Jathilan. The collecting data method for these research are observation, interview, literate studies, and documentation.The observation has been done with direct monitoring in the research subject, the interview has been done with structural interview, method, so the data could be right and acurat information. Literatur studies has been done to get the data from some writeen sources and books that have direct related to this research, and the last but not least documentation has been done with collected method in video and photography. The outcome of this research showed that there are a lot of creative ideas in a Jathilan Gaul choreography that creativity are emerged to gives a new soul and divercity so this dance is more interest and unique. The dance movement had an acrobatic movement and breakdance combination the performance concept that can be perform anywhere, then they wear a uniquely costum / uniform which inspirated by punk community, they also use some property that have important things to get interested audience, till some fire dance with an amazing fire attraction in the other hand, there is specific method when Satriyo’s made a choreography he made the music composition first then he made movement to respond the music so he made a choreography by music interpretation. Keyword: Creativity making process, Satriyo’s, Jathilan Gaul.]]>
<![CDATA[BENTUK PENYAJIAN TOPENG IRENG TUNAS KAWEDAR DALAM ACARA PERESMIAN MASJID DI DUSUN KRAGEMAN DESA KRADENAN KECAMATAN SRUMBUNG KABUPATEN MAGELANG ]]>
<![CDATA[Dita Eka Pertiwi]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.356
<![CDATA[This study focuseson the study of art froms Topeng Ireng Tunas Kawedar the inaugurationof a mosquein the hamlet village Krageman Kradenan Srumbung district Magelang regency.Art Topeng Ireng Tunas Kawedar this is dance populartraditions tug by male dancers is the group.This study aims to identify and describe the presentation of the Topeng Ireng Tunas Kawedar the inauguration of the mosque. This research presentation style approach. Presentation style approarch is an approarch by reviewing the research objects covering various aspects, amog other, aspects of dance, gesture, space and time, property used, the music, make up and costum. So that the performing arts are integrated into unity. Key words : Topeng Ireng, presentation style. koreografi]]>
<![CDATA[ATIS ]]>
<![CDATA[Firsi Juniantha]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.357
<![CDATA[ATIS is a dance that reflects the experience that has over been felt by all the creature, every single person on the surface of the earth about cildness, whether it’s a kind of coldness as expression or as effects that subjectively appeared by the coldness it self are, so that it is interesting to be input into parts of the dance. This kind of choreography in group that is performed by seven dancers, including four female dancers and three male dancers. This dancer consists of four main parts with suite concept. Performance art with suite concept which is applied in a choreography, will create a short work of dance art with more than one stories in one dance, which each part of the dance doesn’t relate to the others, but over all it is in one theme. In this ATIS dance the story or the impression that is wanted to be delivered to the audience, is different from one part to the other, but it is talking about the same main theme, that is coldness. Key word: ATIS, Coldness, Suite]]>
<![CDATA[SELEMBAYUNG ]]>
<![CDATA[Indah Ratna Sari]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.358
<![CDATA[Selembayung in other word is sulobayung and tandukbuang which has meaning adornment that cross locating at both of roof ofmelayuRiau house. Selembayung contains a symbol which has a meaningful, that is why the relief is as power of the house that can shine up the building till the sharp-end of the roof. Selembayung relief gives an inspiration to the maker to invent great work of art by themes are meaningful and philosophy point that in selembayung which is aplicating from the corak balam dua setengger application. The selection of melayu Riau culture andSiak especially as an orientation in dance project, because the background of the artists are from Siak. The work of art is expected can give some advantages to Siak society. Key Words: Koreografi, Selembayung, Garis]]>
<![CDATA[SURUP SURYANING TAYUB ]]>
<![CDATA[Ria Ayu Wahyuni]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.359
<![CDATA[Surup Suryaning tayub is the title of the final dance work is motivated by tayub performances. Words have meaning Surup Suryaning is twilight, twilight symbolized in this work as a parent. This dance works depict dancers tayub about parents who still have the spirit and soul of high art. Cultivation of this dance work inspired by Physical tayub old dancer who worked as a farmer, so his physical hunchback. But the hunchback physical and twilight age is not a reason for them to be weak, and sickly. Identical to the old one's sickly, weak and no longer fit to dance again. Thus the stylist wants to show that it is not like the old dancers who think and imagine all the people. Coreografer trying to build image through dance work titled Surup Suryaning Tayub to build character tayub tough old dancer who will be shown by combining the style and nuances of the type of rock music. This dance piece danced by six women dancers and two sons dancers. three dancers tayub daughter as a young dancer. While three other young dancers and two dancers would imitate men wearing make-up and dressed in old characters and extra costumes property stooped to strengthen competition between old dancers. This dance tell the story abaout beattle character tayub old and young dancers. Keywords: Tayub, Old, Rocker]]>
