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SAPUTRA, Dany Eka, Sarwono SUTIKNO e Suhono Harso SUPANGKAT. "Peer-to-peer Electronic Cash Using Identity Based Signcryption Dany Eka SAPUTRA, Sarwono SUTIKNO, and Suhono Harso SUPANGKAT". International Journal on Electrical Engineering and Informatics 10, n. 2 (30 giugno 2018): 384–94. http://dx.doi.org/10.15676/ijeei.2018.10.2.13.
Testo completo
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Ningsih, Norma, Teguh Sutanto e Harianto Harianto. "Pelatihan Internet of Things Untuk Guru SMA Tanwir Surabaya Dengan Menerapkan Aturan Social Distancing Pada SMA Tanwir". Jurnal Karya Abdi Masyarakat 4, n. 3 (5 gennaio 2021): 687–95. http://dx.doi.org/10.22437/jkam.v4i3.11659.
Testo completoAbstract (sommario):
SMA Tanwir berdiri sejak tahun 2003 dan berlokasi di JL. SEKOLAHAN NO.41, Asemrowo, Kec. Asemrowo, Kota Surabaya Provinsi Jawa Timur. Sekolah SMA tanwir merupakan salah satu sekolah swasta yang ada di kota Surabaya. Saat ini memiliki siswa laki-laki sebanyak 41 orang dan siswi perempuan sebanyak 40 orang dengan didampingi 7 orang guru sebagai pengampu mata kuliah. SMA Tanwir telah menerapkan teknologi informasi dan komunikasi (TIK) dalam proses pembelajaran. Terdapat kelas vokasi yang diadakan setiap hari jumat yang mengandung muatan pemrograman computer. Untuk kelas vokasi program computer saat ini hanya terbatas pada desain yang menggunakan corel dan photoshop. Di masa yang akan datang potensi market place dari Internet of Things sendiri akan semakin besar. dimana pemerintah telah mencanangkan program Making Indonesia 4.0 yang salah satu kompenennya ialah IoT. Pemerintah Indonesia menargetkan sebanyak 400.000 sensor yang terpasang di Indoesia untuk 440 kota yang harus rampung di 2022 (Supangkat, 2019). Dengan melihat latar belakang dan peluang yang telah disampaikan diatas maka pengusul menawarkan pelatihan pemrograman dan Internet of Things bagi para guru di SMA Tanwir agar guru siap untuk mengantarkan dan mendampingi para siswa menuju era revolusi 4.0. Program ini diharapkan dapat meningkatkan pengetahuan dan ketrampilan guru terkait dengan pemrograman dan penerapan Internet of Things dalam kehidupan sehari-hari sehingga dapat mentransformasikan pengetahuan yang dimilki kepada para siswa. hasil dari pengabdian masyarakat ini adalah modul elektronika dengan pemanfaatan LED dan sensor. serta Evaluasi Pelatihan Pemrograman dan IoT menggunakan kuisioner untuk para guru. dengan adanya pelatihan ini dapat meningkatkan kemampuan para guru terutama dalam bidang teknologi.
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Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO". Acintya Jurnal Penelitian Seni Budaya 12, n. 2 (7 dicembre 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.
Testo completoAbstract (sommario):
ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah
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Mariana, Mariana, Ismed Setya Budi, Yusriadi Marsuni, Muhammad Indar Pramudi, Salamiah Salamiah e Ismed Fachruzi. "Pelatihan Pembuatan Trichokompos untuk Mengendalikan Penyakit Tanaman di Desa Banua Supanggal". Jurnal Pengabdian ILUNG (Inovasi Lahan Basah Unggul) 1, n. 1 (9 luglio 2021): 160. http://dx.doi.org/10.20527/ilung.v1i1.3618.
Testo completoAbstract (sommario):
Upaya pengendalian penyakit tanaman sampai saat ini oleh petani di desa Banua Supanggal Kecamatan Pandawa masih bertumpu pada penggunaan pestisida sintetik. Akibatnya jumlah konsumsi penggunaan pestisida terus meningkat. Alternatif pengendalian yang aman dan ramah lingkungan adalah penggunaan agensia hayati spesifik lokasi. Sudah banyak hasil penelitian yang membuktikan bahwa penggunaan Trichokompos efektif untuk pengendalian penyakit tanaman pertanian, dan perlu disosialisasikan ke petani di desa. Pengendalian hayati menggunakan Trichokompos hasil dari campuran jamur antagonis Trichoderma sp spesifik lokasi dengan kotoran ternak sebagai media formulasi perbanyakan masih belum dikenal petani di desa Banua Supanggal. Kegiatan ini diawali pertemuan diskusi dengan ketua kelompok tani untuk melihat permasalahan di pertanaman petani dan dilanjutkan pengamatan penyakit utama yang ada. Tahap kedua penyuluhan kepada anggota kelompok tani dan dilanjutkan dengan praktek pembuatan Trichokompos. Hasil kegiatan ini menunjukkan petani sangat antusias mengikuti semua kegiatan mulai pembuatan sampai aplikasi di lahan. Pada kegiatan pendampingan lanjutan sudah menunjukkan petani mempraktekkan cara pembuatan di kelompok masing-masing. Hasil monitoring dan evaluasi sudah membuktikan bahwa Trichokompos sudah berhasil diproduksi oleh petani secara mandiri.
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Finarno, Hannova Aji, e S. Santosa. "GARAP MUSIKAL GENDING DALAM FILM SETAN JAWA". Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 19, n. 1 (12 settembre 2019): 15–24. http://dx.doi.org/10.33153/keteg.v19i1.2648.
Testo completoAbstract (sommario):
Film Setan Jawa merupakan sebuah film bisu hitam putih yang dalam pemutaran filmnya diiringi oleh gamelan secara langung, Pertunjukan Film Setan Jawa mengangkat kisah mitologi Jawa yang diangkat dari kisah kisah nyata dari berbagai daerah. musik gamelan yang mengiringi film Setan Jawa komposer Rahayu Supanggah, dengan garap musik gamelanya yang menjiwai tiap adegan pada film Setan Jawa. Pendekatan yang digunakan adalah pendekatan musikologi.Penelitian ini tentang garap musikal gending, maka konsep yang dipakai adalah konsep-konsep musikologi karawitan Jawa. Konsep ini selain mengkaji tentang garap gending juga membahas konsep pathet, irama, bentuk dan struktur gending. Hasil penelitian ini ditemukan bahwa pada pementasan film Setan Jawa, gending-gending yang digunakan dalam mengiringi setiap adegan memiliki sajian garap yang berbeda dari penyajian adegan satu dengan yang lainnya. Setiap penyajian yang berbeda-beda tersebut mengalami perbedaan serta perubahan dalam sajian tafsir garapnya. Pemilihan gending dalam garap musikal film Setan Jawa, Supanggahmenggunakan gending-gending lama. Hal ini selain digunakan untuk menghidupkan suasana film, pemilihan gending juga disesuaikan dengan konteks dalam adegan cerita.Kata kunci: Setan Jawa, Karawitan, Garap.AbstractThe “Setan Jawa” movie is a silent black and white move that in its screenings is accompanied by a direct gamelan orchestra. “Setan Jawa” movie raised a Javanese mythological story based on true stories from various regions. The gamelan music that accompanies the movie composed by Rahayu Supanggah, with the gamelan music that animates each scene in the movie. The approach that is used is the musicology approach. This research is about working on the movie’s musical tunes (gending), the concepts used are Javanese musical concepts. Apart from studying the concept of gending, this concept also discusses the concept of pathet, rhythm, the shape and structure of gending. The results of this research found that in the staging of “Setan Jawa” movie, the music used to accompany each of the scene has a different presentation from the presentation of one scene to another. Each of these different presentations experiences differences as well as changes in the interpretation of the gending. Supanggah selected old gending for the musical work of the “Setan Jawa” movie. Apart from it, the selection of gending used to liven up the atmosphere of the film as well as adjusting it to the context in the story scene.Keywords: Setan Jawa, Karawitan, Garap.
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Setyani, Niken, e Rusdiyantoro Rusdiyantoro. "KEHADIRAN GENDING MUGI RAHAYU DALAM KONTEKS SOSIAL". Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 20, n. 1 (16 aprile 2021): 29–41. http://dx.doi.org/10.33153/keteg.v20i1.3557.
Testo completoAbstract (sommario):
Permasalahan yang ingin diurai dalam penelitian ini adalah terkait perkembangan fungsi Mugi Rahayu di masyarakat. Hal tersebut atas dasar popularitas gending, kehadiran, dan perkembangan garapnya yang beragam dalam memenuhi beberapa fungsi dan keperluan di dalam masyarakat Jawa Tengah khususnya daerah Surakarta dan sekitarnya. Penelitian ini merupakan penelitian kualitatif yang menggunakan metode deskriptif analisis, yaitu memberikan penjelasan tentang keragaman gending Mugi Rahayu dalam berbagai fungsi dengan menggunakan pendekatan pemikiran Supanggah mengenai teori garap. Hasil analisis yang telah dilakukan, dapat diketahui bahwa ragam garap yang terjadi pada gending Mugi Rahayu terlahir karena memenuhi fungsi yang ada dalam masyarakat Jawa dan menjadikan gending Mugi Rahayu tetap eksis dan sering dipilih sebagai pendukung sajian sosial maupun layanan seni.
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Amrullah, Fauriza Atim. "Kreativitas Musik Sudilam sebagai Pedagang Arbanat di Kabupaten Jember". Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, n. 2 (12 febbraio 2020): 82–92. http://dx.doi.org/10.33153/sorai.v12i2.2831.
Testo completoAbstract (sommario):
This qualitative research reveals the musical creativity of Sudilam, an arbanat or arumanis seller in Jember Regency, East Java, who peddles merchandise by means of rebab (stringed fiddle instruments). Sudilam creativity is the subject of a problem to be explored more deeply. The concept of creativity in working from Rahayu Supanggah is the basis for analyzing. It is stated that the musical characteristics created in a musician are manifested in the individual process and environment, which is supported by various creative endeavors through the use of facilities and media they have. The study concludes that Sudilam long journey as an arbanat seller by means of a rebab has given birth to musical creativity oriented toward the goal of interaction with buyers. This creativity did not come suddenly, but through several stages and important events that Sudilam had experienced in his life.
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Mustika, Ema Mega, e Djoko Purwanto. "GARAP GEMBYANG DAN KEMPYUNG DALAM GENDÈRAN GENDHING GAYA SURAKARTA". Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 20, n. 2 (31 maggio 2021): 106–19. http://dx.doi.org/10.33153/keteg.v20i2.3545.
Testo completoAbstract (sommario):
Penelitian ini mengungkap tentang garap gembyang kempyung dalam gendèran gendhing gaya Surakarta. Permasalahan yang dibahas terkait dengan pengertian gembyang kempyung, ricikan yang memiliki gembyang kempyung, hal-hal yang menjadi pertimbangan garap gembyang kempyung dalam gendèran, dan faktor-faktor yang mempengaruhi terjadinya perbedaan tafsir oleh penggendèr akademis maupun alam. Data diperoleh melalui pengamatan pertunjukan, wawancara, dan studi pustaka. Metode yang digunakan adalah metode kualitatif yang menekankan pada deskriptif analitik. Permasalahan garap gembyang kempyung dalam gendèran gending gaya Surakarta dikupas dengan menggunakan pendekatan pemikiran Supanggah mengenai unsur garap dan hal-hal yang berpengaruh dalam pembentukanan seorang pengrawit, dan teori lingkaran kempyung oleh Martopangrawit mengenai pathet. Hasil dari studi ini menunjukkan, bahwa dalam garap gembyang dan kempyung diperlukan beberapa pertimbangan antara lain; alur balungan gending, cengkok mati, pathet, dan arah nada. Pada praktiknya terdapat perbedaan hasil tafsir gembyang kempyung oleh para penggendèr alam maupun akademik. Terjadinya perbedaan tafsir tersebut dikarenakan beberapa hal yakni, modal penggendèr, pertimbangan garap, kontinuitas garap, kemantapan rasa masing-masing penggendèr, dan adanya kebebasan tafsir dalam karawitan.
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Agustina Kusuma Dewi, Yasraf Amir Piliang, Irfansyah e Acep Iwan Saidi. "Agustina Kusuma Dewi TRANSPOSISI KREATIF ‘GERAK’ DALAM FILM SEBAGAI IDENTITAS KULTURAL PADA ERA MULTILITERASI DIGITAL Studi Kasus Film ‘Setan Jawa’ Karya Garin Nugroho". PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 2 (24 gennaio 2020): 93–98. http://dx.doi.org/10.33153/semhas.v2i0.106.
Testo completoAbstract (sommario):
Technology change the way of thinking, how people access information also influence process to spread andshare information in various media, including film, an art that plays images and screen technology. In the film,‘movement’ is a changing position of an object. Accelerating technology constructed’movement’ becomes animportant keyword that needs to be presented in every communication channel. ‘Setan Jawa’ Film by GarinNugroho with Gamelan Orchestra composed by Rahayu Supanggah, was released in Indonesia in 2016 inJakarta and still scheduled to tour the world until 2020. Combines a variety of collaborative art, design andtechnology—‘Setan Jawa’ creating a multiliterated communication channel that has possibilities to become amedium society cultural education. In this film, ‘movement’ becomes a sign constructed by creative transpositionof narratives in various arts, including puppets. Using a case study approach and documentation analysis,referring to the results of Roger Long’s research (1979), this research aims to identify creative forms ofpuppet’s ‘movement’ transposition in the film ‘Setan Jawa’ as cultural identity, a finding that in the Industrial Era4.0; through multiliteration digital, process of cultural discourseto society could be done through a varietyvehicle of signs.
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Setiawan, Sigit. "KARAWITAN : ANALISIS PATHET DAN JALAN SAJIAN GARAP GENDING PAKELIRAN". Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 21, n. 1 (21 settembre 2021): 23–50. http://dx.doi.org/10.33153/keteg.v21i1.3740.
Testo completoAbstract (sommario):
Hal yang ingin diungkap pada penelitian ini adalah, bentuk gending, jalan sajian, dan studi pathet dalam gending Krawitan. Krawitan merupakan gending yang lebih dikenal oleh masyarakat karawitan sebagai gending pakeliran. Maka, naskah ini fokus pada jalan sajian guna keperluan pakeliran. Adapun konsep yang digunakan dalam penelitian ini adalah, teori garap Rahayu Supanggah, pendekatan kontekstual dan tekstual dalam antropologi pandangan Ahimsa Putra, yang mana pada kajian tekstual mendapat perhatian yang lebih besar. Kajian tekstual yang dihadirkan adalah kajian bentuk gending, jalan sajian, dan studi pathet. Jalan sajian dianalisis dengan menggunakan tiga contoh kasus yakni, versi Media Ajar, versi RRI dan versi Nartosabda. Sedangkan studi pathet menggunakan pendekatann pathet melalui biang pathet karya Sri Hastanto. Dari hasil analisis yang dilakukan, investigasi bentuk gending berhasil memetakan posisi ketawang gending kethuk 4 kerep yang merupakan pemekaran dari ketawang gending kethuk 2 kerep dan diawali dari bentuk ketawang. Jalan sajian, termasuk di dalam dinamika irama pada garap pakeliran ada dua versi yakni versi dari ayak-ayak dan versi buka rebab. Hal tersebut berdampak pada perjalanan Gending Krawitan. Terakhir, investigasi terkait pathet, membuktikan bahwa meski Gending Krawitan ini merupakan gending dengan pathet induk nem, tetapi pada faktanya gending ini terdiri dari frasa-frasa melodi yang tidak hanya pathet nem.
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Jeniati, Tri, e S. Suyoto. "KAJIAN MUSIKAL KESENIAN WAROK DI DESA TALUNOMBO, KECAMATAN SAPURAN KABUPATEN WONOSOBO". Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 19, n. 1 (12 settembre 2019): 1–14. http://dx.doi.org/10.33153/keteg.v19i1.2647.
Testo completoAbstract (sommario):
“Kajian Musikal Kesenian Warok di Desa Talunombo, Kecamatan Sapuran, Kabupaten Wonosobo” dilatarbelakangi bahwa kesenian warok memiliki beberapa ragam bentuk gending dan irama. Permasalahan musikal di dalamnya cukup kompleks, mulai dari instrumentasi, pola-pola garap permainan instrumen. Berbagai permasalahan musikal kesenian warok cukup menarik untuk diungkap, karena memiliki berbagai permasalahan musikal yang cukup kompleks. Persoalannya adalah 1) Bagaimana peran musik di dalam Kesenian Warok di Desa TalunomboKecamatan Sapuran Kabupaten Wonosobo? 2) Bagaimana garap instrumen Kesenian Warok di Desa Talunombo Kecamatan Sapuran Kabupaten Wonosobo? Persoalan dimaksud diungkap dengan menggunakan konsep garap Rahayu Supanggah, dan teori fungsi oleh RM. Soedarsono. Hasil penelitian ditemukan, secara turun-temurun digantikan oleh generasi berikutnya, sehingga masih tetap eksis sampai sekarang. Peran musik dalam kesenian Warok sangat dominan. Kesandapat terbentuk tidak hanya dari kostum, tata rias, atau gerak saja, namun bunyi instrumen pun dapat menciptakan kesan dari sebuah pertunjukan. Bunyi dari pola tabuhan mempunyai kesan yang dapat memperkuat karakter warok. Proses ndadi dipercaya berkaitan dengan polapola tabuhan yang mendukungnya. Musik menjadi media seseorang meningkatkan emosi, kemudian direspon oleh tubuh. Pola tabuhan yang ritmik, menimbulkan rasa untuk bergerak. Ketika musik dalam tempo cepat, dengan kondisi fisik penari yang lelah sangat mudah untuk dirasuki oleh makhluk gaib. Garap gending kesenian Warok dibagi dalam tiga bagian, yaitu bagian pertama garap gending untuk penari putri, bagian ke dua garap gending untuk penariputra, bagian ke tiga garap gending untuk penari putra dan putri.Kata kunci: Gending, Garap, Warok.AbstractThe research background of “Musical Study On Warok Arts In Talunombo Village, Sapuran District Wonosobo Regency” is that Warok art has various forms of musical tunes and rhythms. The problem on its musical aspect is quite complex, ranging from its instrumentation and its playing patterns (garap) on its instruments. Various musical problems in Warok arts is interesting to be reveal because it has complex musical problems. Issues of this research are: 1) what is the role of music in Warok Art in Talunombo Village, Sapuran District, Wonosobo Regency. 2) How is work of instrument (garap) in Warok Arts? The problem of this research revealed using the concept of works of Rahayu Supanggah, and function theory by RM. Soedarsono. The results of the study found that the Warok arts is as existing legacy from generations. The role of music in Warok is very dominant. Impressions fromWarok obtained not only by it costumes, make-up, or movement, but rather to the sound of the musical instruments that could create the impression of a performance. The sound of the wasp pattern has an impression that can strengthen the Warok character. The trance process believed having relation to the wasp patterns that support it. Music becomes a media for a person to increase their emotions and to their body responds. Rhythmic wasp pattern causes a sense to a body movement. When the music played in fast tempo, the tired physical dancers could easily possessed by supernatural beings. Warok art works genre divided into three parts namely: 1.) works (garap) on music for female dancers, 2.) works (garap) on music for male dancers, and 3.) works (garap) on music for both male and female dancers.Keywords: Gending, Garap, Warok.
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Putro, Dhimaz Anggoro, e Muhammad Nur Salim. "PERKEMBANGAN GARAP KARAWITAN JARANAN KELOMPOK SENI GUYUBING BUDAYA DI KOTA BLITAR (1980-2017)". Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 18, n. 1 (26 marzo 2019): 52–66. http://dx.doi.org/10.33153/keteg.v18i1.2396.
Testo completoAbstract (sommario):
AbstrakPenelitian ini dilatarbelakangi oleh ketertarikan terhadap perkembangan garap karawitan Jaranan yang terjadi pada kelompok seni Guyubing Budaya di Kota Blitar. Kelompok tersebut berusaha mengembangkan garap karawitan Jaranan dengan tujuan mendapatkan kepopuleran dan mengoptimalkan sajian pertunjukan kesenian Jaranan sebagai upaya menjaga kualitas di kalangan masyarakat dengan tetap mempertimbangkan kearifan lokal warisan leluhur kesenian Jaranan yang telah diwariskan secara turun-temurun. Permalahan yang ingin dijawab pada penelitian ini adalah, (1) bagaimana kronologi perkembangan garap karawitan Jaranan kelompok seni Guyubing Budaya dari tahun 1920 sampai 2017, (2) mengapa garap karawitan Jaranan kelompok seni Guyubing Budaya saat ini mengalami perkembangan.Konsep garap Rahayu Supanggah digunakan untuk mengupas permasalahan terkait garap. Dengan dasar konsep tersebut, garap karawitan Jaranan dapat dibagi berdasarkan unsur-unsur garap di dalamnya yang meliputi (1) materi garap, (2) penggarap, (3) sarana garap, (4) perabot atau piranti garap, (5) penentu garap, dan (6) pertimbangan garap. Sedyawati menjelaskan istilah mengembangkan lebih mempunyai konotasi kuantitatif dan kualitatif yang berarti memperbanyak tersedianya kemungkinan untuk mengolah dan memperbarui. Teori tersebut adalah landasan untuk mengupas permasalahan terkait perkembangan. Penelitian ini juga menggunakan dasar analisis evolusi multilinear Julian Steward. Menurut Steward Terdapat tiga tahapan analitik penting untuk membaca kasus perkembangan kebudayaan dengan teori ini. Tiga tahapan tersebut adalah melakukan perbandingan, menelusuri hubungan causal, dan melihat secara mendalam elemen manusia dalam lingkungan berdasarkan kronologinya.Perkembangan garap karawitan Jaranan kelompok seni Guyubing Budaya terjadi secara kronologis, melalui beberapa tahapan masa atau waktu. Perkembangan ini terjadi karena adanya faktor-faktor pendukung dari dalam (internal) dan dari luar (eksternal) kelompok seni Guyubing Budaya. Hasil penelitian ini menunjukkan bahwa perkembangan garap karawitan Jaranan kelompok seni Guyubing Budaya terdapat benang merah dengan garap karawitan Jaranan terdahulu. Perkembangan garap tersebut juga ditunjukkan dengan penambahan materi garap, penggarap, prabot atau piranti, penentu dan sarana garapnya.Kata kunci: Garap, Perkembangan, Kronologi, Faktor Pendukung, Karawitan JarananAbstract This research is motivated by an interest in the stylistic developments of the music that accompanies Jaranan, as played by the group Guyubing Budaya in Blitar. This group has been actively developing the style of Jaranan musical accompaniment in order to maintain the quality of performances in the community while also considering the local wisdom [kearifan lokal] passed down through the generations that informs this art form.The issues explored in this research involve 1) a chronological study of Guyubing Budaya from its founding in 1920 until 2018, and 2) the changes that Guyubing Budaya is currently experiencing. This article invokes Supanggah’s theory of garap, which discusses the musical materials and tools at the disposal of the musicians is used to explore issues of musical garap It also utilizes Sedyawati’s exegesis of the term “development†which has quantitative and qualitative connotations that increase the chances for development and renewal. The research also uses Julian Stewards idea of multilinear evolution as the basis of analysis. According to Steward, there are three important analytical stages in understanding the development of culture. These stages involve making comparisons, tracing casual relationships, and taking a chronological view in order to make deep explorations of human elements within their environment.This article gives a chronological account of Guyubing Budaya through its various stages and eras, noting the internal and external factors that motivated the changes. The study shows the continuity between the musical style developed by Guyubing Budaya and the styles of Jaranan accompaniment in the past, indicated by the factors which Supanggah has outlined in his theory of garap.Keywords: Garap, Development, Chronological factors supporting development, Jaranan
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Ambarwati, Uni, e Suyoto Suyoto. "NGELIK SILIHAN DALAM KARAWITAN GAYA SURAKARTA". Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 19, n. 2 (11 maggio 2020): 67–84. http://dx.doi.org/10.33153/keteg.v19i2.3075.
Testo completoAbstract (sommario):
This study examines ngelik silihan in Surakarta style music. The problems revealed in this study are (1) How can ngelik in Surakarta style music, (2) Why does the Eling-eling ladrang dish generally use ngelik?, (3) Any factors that support a loan of ngelik silihan. This research is a qualitative research, data obtained from literature studies, observations, and interviews. The theory used as the basis for analyzing in accordance with the formulation of the problem is the creativity theory by Wallas about the process of creativity, and the theory of musical interaction by Benjamin Briner about musical interactions that occur in gending, and the theory of melodic contour by Judith Bekker about the melody flow obtained in theory worked on by Rahayu Supanggah, in the theory of the melodic contour it can emphasize the problem of the melody flow in the interconnected selection. The results of this study found that the use of ngelik silihan there are three factors, namely: 1. Shifting the function of the presentation, 2. Creativity of the artists. The use of ngelik silihan with consideration of the same melodic and song gong grooves, so that it is aligned with the borrowed portion of the loan, 3. Pathet factors for the lending and borrowed selection. In addition there is a historical statement that the Pangkur ladrang borrowed the Eling-eling ladrang. Information on the artist community that the Eling-eling ladrang borrowed the Pangkur ladrang, the reasons are: 1. Recognition of the perpetual artists acquired, 2. Manuscripts in the Mloyowidodo notation book, 3. Commercial cassette tapes which first popularized the Eling-ladrang ladrang from at Pangkur ladrang.Keywords: Ngelik, Silihan, Song, Sèlèh, Gending.
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Putri, Widyawati Kedasih, e Silvester Pamardi. "TARI JARAN KEPANG BOYOLALI PADA PAGUYUBAN KETHOLENG DI KABUPATEN BOYOLALI (TINJAUAN BENTUK SAJIAN DAN GARAP TARI)". Greget: Jurnal Pengetahuan dan Penciptaan Tari 19, n. 1 (23 luglio 2020): 77–86. http://dx.doi.org/10.33153/grt.v19i1.3190.
Testo completoAbstract (sommario):
This study discusses the Boyolali Jaran Kepang dance at the Paguyuban Ketholeng in Boyolali Regency. The Boyolali Jaran Kepang dance was composed by Eko Wahyu Prihantoro. The problem taken in this research is, how the form of presentation and how to work on the Boyolali Jaran Kepang dance at the Paguyuban Ketholeng in Boyolali Regency. This research was conducted with a qualitative method using descriptive analysis and data collection techniques of observation, interviews, and literature study. Discusses these two problems, using concepts or thoughts from Slamet MD regarding the elements of dance formation which contain motion, rhythm, expression or taste, costumes, venues and dancers. Discussing the problem of working on using the concept of Rahayu Supanggah which contains material about the work on the event or the work on, working on, working on facilities, furniture or work on the device, determinants of work on and consideration of work on. The results of this study are describing the form of presentation and work on the Boyolali Jaran Kepang dance at the Paguyuban Ketholeng in Boyolali Regency. The Boyolali Jaran Kepang dance in its form of sajin is divided into 3 parts according to the dynamics of its movements. The makeup and clothing in this dance have a simple form and are easy to wear by dancers. The Boyolali Jaran Kepang dance accompaniment used a slendrobarreled accompaniment. In the preparation of the Boyolali Jaran Kepang dance, it is motivated by phenomena found in the Boyolali area. Boyolali Jaran Kepang dance has several elements in the dance work, namely choreographers, composers, dancers, musicians, costumes, movements, and the role of Boyolali Regency government.Keywords: Boyolali Jaran Kepang Dance, Ketholeng, form of presentation, working on dance.
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Aini, Nur, e Soemaryatmi Soemaryatmi. "GARAP DAN STRUKTUR TARI ANOMAN CAKIL SUSUNAN DIDIK BAMBANG WAHYUDI". Greget: Jurnal Pengetahuan dan Penciptaan Tari 19, n. 2 (28 dicembre 2020): 142–51. http://dx.doi.org/10.33153/grt.v19i2.3453.
Testo completoAbstract (sommario):
Anoman Cakil dance was created in 1986 at the request of the ASKI Dance Department. External factors are a major factor in the creation of Anoman Cakil dance which is supported by internal factors. This thesis, titled Anoman Cakil dance, composed by Didik Bambang Wahyudi, focuses on the study of dance work and the structural analysis of Anoman Cakil dance. Issues to be explained in this study are (1) How to work on Anoman Cakil dance by Didik Bambang Wahyudi (2) How to present the structure of Anoman Cakil dance.This research uses qualitative research methods, data obtained through literature study, interviews and observations. The results of data processing are then presented descriptively. To answer this problem, this study uses the concept of cultivation as a knife for analysis, namely the concept of cultivation by Rahayu Supanggah. The structural analysis of Sumandiyo Hadi was used as a theory to examine the structural problem of Anoman Cakil's dance presentation. The elements of cultivation work in the form of material work on, work on, working on facilities, working on furniture and determinant work on. Application of cultivation in dance in the form of the background of the creation of dance, Didik Bambang wahyudi as cultivators and Anoman cakil dance as material and means of working on.Anoman Cakil dance including wireng pethilan dance with stories originating from the Ramayana Epic, presented by two dancers in pairs, with figures Anoman and Cakil. And, victory on the Cakil figure. Anoman Cakil dance consists of three parts in the form of Forward Beksan Structure, the Beksan section which consists of the then spread hand arm and keris shell. Beksan retreat is the last part of the Anoman Cakil dance presentation structure. Dramatic flow of Anoman Cakil dance is classified as multiple conical dramatic grooves with a small climax before heading to the main climax. Keywords: Wireng, pethilan, Anoman, Work on, Structural.
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Jati, Wahyu Paramita, e Suyoto Suyoto. "REAKTUALISASI GARAP MUSIK KESENIAN PENTHUL MELIKAN DI DUSUN MELIKAN DESA TEMPURAN KABUPATEN NGAWI". Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 18, n. 1 (26 marzo 2019): 39–51. http://dx.doi.org/10.33153/keteg.v18i1.2395.
Testo completoAbstract (sommario):
Abstrak “ Reaktualisasi Garap Musik Kesenian Penthul Melikan Di Dusun Melikan Desa Tempuran Kabupaten Ngawi†pada dasarnya membahas garap musik kesenian Penthul Melikan Kabupaten Ngawi setelah mengalami perubahan yang kemudian disebut Reaktualisasi.Inti permasalahan yang diungkap dalam penelitian ini adalah (1) Bagaimana bentuk garap musik pada kesenian Penthul Melikan di Dusun Melikan, Desa Tempuran, Kecamatan Paron Kabupaten Ngawi (2) Faktor penyebab perubahan musik pada kesenian Penthul Melikan di Dusun Melikan, Desa Tempuran, Kecamatan Paron Kabupaten Ngawi. Penelitian ini adalah penelitian kualitatif, metode yang digunakan adalah metode penelitian kualitatif, meliputi observasi, pengumpulan data, dan analisis data.Penelitian ini menggunakan teori, konsep-konsep, dan pemikiran dari beberapa tokoh. Landasan konseptual Reaktualisasi menurut Geriya bahwa adanya proses transformasi dalam perubahan bentuk dan fungsi namun tetap dalam esensi spesiesnya. Teori kreativitas diungkapkan Munandar, bahwa manusia yang memiliki kreativitas sehingga mampu untuk menciptakan sesuatu dari tidak ada menjadi ada, dari yang sudah ada menjadi lebih baru lagi. Penelitian ini juga menggunakan teori perubahan yang ditawarkan Boskoff ketika mengupas tentang perubahan atau pembaharuan, yang pada dasarnya disebabkan oleh dua faktor, yaitu faktor internal dan faktor eksternal. Teori garap Supanggah, bahwasanya Reaktualisasi musik pada kesenian Penthul Melikan terdapat beberapa unsur garap meliputi; (1) materi garap, (2) penggarap, (3) sarana garap, (4) perabot garap, (5) penentu garap, dan (6) pertimbangan garap.Dari hasil penelitian disimpulkan bahwa ada pengaruh positif terhadap kesenian Penthul Melikan setelah mengalami reaktualisasi, adanya perubahan garap dan bentuk baru pada kesenian Penthul Melikan yang kemudian dinamakan Ganongan Melikan, membuat kesenian Penthul Melikan dengan bentuk dan garap yang lama kembali dikenal masyarakat dan semakin berkembang.Kata kunci: Reaktualisasi, Garap, Kesenian Penthul Melikan.Abstract“A reactualisation of the musical style of Penthul Melikan in Dusun Melikan, Desa Tempuran, Ngawi Regency†is a discussion of the musical style found in the Penthul Melikan performance which has changed through a process Geriya terms “reactualisationâ€. This research explores the following issues: 1) What is the musical style of Penthul Melikan in Dusun Melikan, Desa Tempuran, located within the Paron sub-district of the Ngawi Regency, as well as 2) the factors that changed the music of this art form. This qualitative research uses qualitiative methods including observation, data collection and data analysis. This research employs the theories, concepts and ideas of several figures. Geriya’s Reactualisation involves, as its foundation, a transformation within the art form in formal and functional qualities while nonetheless retaining the essence of its species. Munandar’s theory of creativity explores the human ability to create something from nothing, and the new from the currently existing. Change and renewal are discussed through Boskoff’s theory of change which focuses on internal and external factors. Supanggah’s theory of garap, which discusses the musical materials and tools at the disposal of the musicians is also relevant to studying the reactualisation of Penthul Melikan.The findings suggest that reactualisation has had a positive effect on Penthul Melikan, which later became known as Ganongan Melikan. This has allowed the former style of Penthul Melikan to re-enter its community and develop further.Keywords: Reactualisation, Garap, Penthul Melikan
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Hapsari, Kusnila, e Suyoto Suyoto. "SINDHENAN GENDHING JOMPLANGAN GAYA SUJIYATI MENTIR DI SRAGEN". Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 18, n. 2 (26 marzo 2019): 108–19. http://dx.doi.org/10.33153/keteg.v18i2.2400.
Testo completoAbstract (sommario):
Abstrakâ€Sindhènan Gendhing Jomplangan Gaya Sujiyati Mentir di Sragen†dilatarbelakangi oleh fenomena karawitan sragenan yang memiliki keunikan di wilayah Solo Raya. Keunikan tersebut berada pada sosok seseorang yang cukup fenomenal, yaitu Sujiyati. Sujiyati (Mentir) menjadi ikon karawitan sragenan dan identik dengan gendhing Jomplangan. Sujiyati adalah sosok pesindhèn yang karismatik dan memiliki ciri khas dengan gendhing Jomplangannya. Persoalannya adalah 1) mengapa sindhènan Jomplangan gaya Sujiyati Mentir menjadi populer?2) Bagaimana profil Sujiyati Mentir sebagai pesindhèn ?3) bagaimana garap gendhing Jomplangan gaya Sujiyati Mentir?Persoalan dimaksud diungkap dengan menggunakan tiga konsep, yaitu; konsep garap Rahayu Supanggah, konsep artistik karawitan Bambang Sunarto, dan konsep kreativitas I Made Bandem. Penelitian ini merupakan penelitian kualitatif, dengan menggunakan diskriptik analitik.Hasil penelitian ditemukan, bahwa sindhènan gendhing jomplangan gaya sujiyati populer masyarakat Sragen, pertama: dilatarbelakangi oleh fanatisme masyarakat meyakini hanya Sujiyati sosok yang dapat mewakili gendhing jomplangan, dengan kekhasannya dalam membawakan gending tersebut. Kedua, garap sindhènan Sujiyati sangat khas dan spesifik, terutama parikannya yang familier dan lucu. Tema parikan yang dibuatnya lebih menekankan pada wilayah kehidupan sehari-hari. Kepopuleran Sujiyati terletak pada warna suara dan gaya nyindhènnya yang khas.Ketiga, kisah kehidupan sehari-hari menjadi bahan atau diksi dalam membuat parikan. Ciri khas sindhen Sujiyati menjadi kompleks didukung oleh kendangan yang memiliki karakter sigrak dan eksotis. Nyaris seluruh hidup Sujiyati didedikasikan untuk dunia kesenian khususnyakarawitan. Sujiyati adalah seorang janda yang menggantungkan ekonominya lewat berkesenian, dengan kisah rumah tangganya yang cukup berliku-liku dalam memperjuangkan hidupnya.Kata Kunci: Sujiyati, Garap, Sindhènan, Gendhing Jomplangan.AbstractThis article explores Sujiyati Mentir’s style of Sindhenan of Gendhing Jomplangan, a unique phenomenon within Karawitan Sragen found in the Solo Raya area. It’s unique essence can be found in the phenomenal figure of Sujiyati (Mentir), who is an icon for the style and is closely associated with gendhing Jomplangan. Sujiyati is a charismatic pesindhen with a distinctive style when performing gendhing Jomplangan.This article explores the following issues:1. Why are Sujiyati Mentir’s sindhenan Jomplangan so popular?2. What is Sujiyati’s profile as a pesindhen?3. How does one garap gendhing Jomplangan in her style?These are examined through three concepts: Rahayu Supanggah’s concept of garap, Bambang Sunarto’s concept of karawitan aesthetics, and I Made Bandem’s concept of creativity. This is a qualitative studythat uses analytical descriptions. The findings suggest, firstly, that the popularity of Sujiyati’s garap are motivated by the near fanatical belief of audiences in Sragen that only she truly represents gending JomVolume18 Nomor 2 Bulan November 2018 109 plangan with her individual style. Secondly, her style is distinctive and specific to her, using parikan thatare familiar and humorous, with subjects that revolve around daily life. It is her vocal quality and style that contributes to her popularity. Thirdly, it is the events of daily life that form the content and diction of theparikan. Her sindhenan is complex, with a lively and exotic character. Almost all her life has been dedicated towards the arts, particularly karawitan. She is a widow with a tragic life story, whose livelihood depends on the arts.Keywords: Sujiyati, Garap, Sindhènan, Gendhing Jomplangan.
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Wahyuni, Sri Dwi. "Giyah Supanggah: Trace of Artist of Wayang Topeng Dalang Klaten". Dance & Theatre Review 1, n. 2 (12 agosto 2019). http://dx.doi.org/10.24821/dtr.v1i2.3164.
Testo completoAbstract (sommario):
The significance of this research is the transmission of cultural tradition artfrom the descendants of Makaton (Somokaton) puppeteers, namely Jaka PurwaPandaya (father) and Widhi Harsono (grandfather). As an active heir, GiyahSupanggah is a woman who becomes a puppeteer as well as dancer of wayangtopeng dalang, cut and make puppets, and deepen the knowledge and skills ofplaying gamelan. Giyah is a figure of artist who has various artistic talents andemancipation figure of Javanese women of her times. As a mask puppet dancer,she is committed to preserving and developing the genre of performing artsin order to survive and thrive. Giyah’s integrity is shown in the art activitiesby establishing Sanggar Sekar Kedhaton in her home. It is expected that thetransmission of culture among the younger generation as the successor oftraditional art can take place. The present study belongs to a qualitative researchemploying descriptive-analysis based on anthropological approach. It focuseson the analysis of internalization process, socialization, and enculturation thatform Giyah as an active heir of puppeteer and dancer of wayang topeng dalangfrom Klaten. The qualification of Giyah as a puppeteer and dancer contributesto the preservation of traditional art marked by her reputation as a public figureof a traditional artist. The purpose of this study is to know and describe the roleof Giyah as a bearer of traditional art as a legacy of local wisdom. The benefitis to reveal the existence of a forum of creativity for the younger generation inan effort to preserve and develop the art of tradition in order not to be extinctfaded by the times.Keywords: Giyah Supanggah; female puppeteer; wayang topeng dalang
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Saputri, Indah Ayu, e Wahyu Santoso Prabowo. "KOREOGRAFI ASMARASIH KARYA UMIYATI SRI WARSINI". Greget: Jurnal Pengetahuan dan Penciptaan Tari 17, n. 1 (17 giugno 2018). http://dx.doi.org/10.33153/grt.v17i1.2293.
Testo completoAbstract (sommario):
Tari Asmarasih merupakan tari berpasangan yang ditarikan oleh dua penari (laki-laki dan perempuan) dan bertemakan percintaan. Tari ini disusun oleh Umiyati Sri Warsini tahun 1989 di Pura Mangkunegaran. Disusun untuk mengisi keperluan resepsi pernikahan, selain itu tari ini juga dapat di pentaskan dalam acara lain yang tujuannya sebagai hiburan. Penelitian ini menggunakan teori bentuk yang dikemukakan oleh Suzane K. Langer, dan sebagai model analisis untuk mendeskripsikan koreografi Asmarasih, menggunakan teori dari Janet Adshead tentang komponen koreografi. Selanjutnya menggunakan landasan teori garap yang dikemukakan oleh Rahayu Supanggah, untuk menganalisis mengenai garap tari Asmarasih. Metode yang digunakan dalam penelitian ini adalah metode kualitatif, dengan pendekatan etnografi tari. Hasil penelitian ini dapat diperoleh tentang koreografi Asmarasih yang tidak terlepas dari elemen-elemen pembentuknya, saling berkaitan seperti penari, gerak, tata visual dan elemen suara. Tari Asmarasih juga diketahui merupakan satu-satunya tari pasihan atau percintaan, yang terdapat di Pura Mangkunegaran. Garap gerak maupun garap gendhing secara kreatif menggunakan aturan-aturan yang berada di lingkungan Pura Mangkunegaran. Dengan demikian walaupun terdapat gerak dan gendhing gaya Yogyakarta dan Surakarta, maka bisa dikatakan sebagai gaya Mangkunegaran. Penelitian ini juga mengungkapkan kesenimanan Umiyati Sri Warsini yang merupakan satu-satunya generasi seniman wanita abdi dalem yang ada di Pura Mangkunegaran, setelah era Nyi Bei Mardusari (alm.), yang memiliki kemampuan multitalenta (penari, pesindhen, pengeprak, dan guru tari). Kata kunci : Tari Asmarasih, Umiyati Sri Warsini, koreografi, garap.
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Sari, Etika, e Nanuk Rahayu. "BENTUK PERTUNJUKAN OPERA TIMUN EMAS KARYA JONET SRI KUNCORO". Greget: Jurnal Pengetahuan dan Penciptaan Tari 18, n. 1 (10 settembre 2019). http://dx.doi.org/10.33153/grt.v18i1.2642.
Testo completoAbstract (sommario):
The Opera Timun Emas is an Opera-shaped dance work in Directed by Jonet Sri Kuncoro on birthday Soeryo Soemirat Dance Workshop to 34 in 2016. Problem in this research is how the process of scrattering and how Opera Timun Emas performances. Based on the object examined this research uses qualitative methods with a process approach to and shape. To know about the process of using the the thought of Rahayu Supanggah about the garrison covering the material, facilities, and furniture, and a garage, and a Working on. Discussing form issues using form concepts Suzane K. Langer which is explained by the opinion of R. M Soedarsono Discussing elements that include dance movements, formations, makeup, fashion, Dance music, dramatic design, theme, choreography group of places Staging, lighting, and arrangement of events. The results showed that the Opera Timun Emas includes in the genre of opera dance dramas, which are directed by In consideration of the garap, penggarap, facilities, furniture, and a line of Opera Timun Emas takes the basic idea of concern for a child’s world Folklore. Portrayed by the students of the Soeryo Soemirat. The Opera Timun Emas form can be seen from the existing elements Dance, formations, makeup, fashion, dance music, dramatic design, themes, the choreography of a group of staging, lighting, and The event was directed into a intact unity.Keywords: Opera, Garap, shape.
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Setya Agustin, Windi Dwi, e Sri Hadi. "MAKNA SIMBOLIS TARI MAYANG RONTEK DI KABUPATEN MOJOKERTO". Greget: Jurnal Pengetahuan dan Penciptaan Tari 18, n. 1 (10 settembre 2019). http://dx.doi.org/10.33153/grt.v18i1.2646.
Testo completoAbstract (sommario):
This research focuses on the symbolic meaning contained in the Mayang Rontek dance. Mayang Rontek Dance is an entertainment dance that was rushed by the young women. The problem in this research is how the idea of Mayang Rontek dance in Mojokerto Regency?. How to form Mayang Rontek dance performances in Mojokerto?. And how the symbolic meaning of Mayang Rontek dance in Mojokerto Regency?. The research was conducted with qualitative research with using a descriptive analysis method used to and analyzing the dance and technique of Mayang Rontek Library, observation and interview data collection. Analyzing the line using the concept of Rahayu Supanggah stating that the garrison involved several elements of mutual such as: Garap, penggarap, facility, furniture or dear and a crisp consideration. To analyse the shape with the concept of a form of Suzanne K With the theories of elements in the dance expressed by the Sumandiyo Hadi. To explain the symbolic meaning of dance Mayang Rontek. The theory of Roland Barthes states that symbols on Objects not only carry information, but also conjugation Structured system of the mark. The results of the research are known to working on idea originated from Manten Mojoputri composed by Setu den other Mojokerto artists. Mayang Rontek Dance contains symbolic significance about the values life. It is included in elements such as: motion, Accompaniment/poetry, dancer, fashion and title. Moreover motion in dance Mayang Rontek is a new style taken from a variety of movements Remo Jombang, Remo Surabaya and Beskalan.Keywords: Mayang Rontek, Garap, form, Setu, symbolic meaning.
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Andayani, Sri Maryati, e RM Pramutomo. "TINJAUAN GARAP GERAK TARI PENTHUL DI MELIKAN,TEMPURAN PARON KABUPATEN NGAWI". Greget: Jurnal Pengetahuan dan Penciptaan Tari 17, n. 1 (17 gennaio 2019). http://dx.doi.org/10.33153/grt.v17i1.2298.
Testo completoAbstract (sommario):
Tari Penthul Melikan merupakan kesenian tradisional kerakyatan di Dusun Melikan Desa Tempuran Kecamatan Paron Kabupaten Ngawi. Tari Penthul Melikan diciptakan oleh Bapak Munajah pada tahun 1952 di Dusun Melikan Desa Tempuran Kecamatan Paron Kabupaten Ngawi. Tarian ini diciptakan untuk menghibur masyarakat setelah selesai membangun sekolah di Dusun Melikan pada saat itu. Penelitian ini menggunakan landasan teori bentuk oleh Susanne K. Langer. Sedangkan teori garap oleh Rahayu Supanggah meliputi materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap dan pertimbangan garap. Tujuan penelitian ini adalah untuk menganalisis bentuk dan garap tari Penthul Melikan. Dalam penelitian ini penulis menggunakan metode penelitian kualitatif. Hsil penelitian ini dapat diperoleh gambaran yang berkaitan dengan bentuk dan garap tari Penthul Melikan. Bentuk tari Penthul Melikan tidak terlepas dari elemen-elemen pembentuknya yang saling berkaitan seperti gerak tari, penari, tata busana, properti. Sementara itu garap tari meliputi materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap dan pertimbangan garap.Kata kunci : tari Penthul Melikan, bentuk, garap gerak.AbstractThe Penthul Melikan dance is a traditional folk dance found in the Hamlet of Melikan in Tempuran Village, Paron District, in the Regency of Ngawi. The Penthul Melikan dance was created by Bapak Munajah in 1952 in the Hamlet of Melikan in Tempuran Village, Paron District, in the Regency of Ngawi. The dance was created to entertain the community after the construction of a new school was completed in the Hamlet of Melikan at that time. This research is based on Susanne K. Langer’s theory of form and Rahayu Supanggah’s theory of treatment (garap) which includes the material for garap, the person implementing the garap, the medium of garap, the tools or equipment of garap, the determinants of garap, and the considerations of garap. The goal of the research is to analyze the form and treatment of the Penthul Melikan dance. In this research, the writer uses a qualitative research method. The results of the research present a description of the form and treatment of the Penthul Melikan dance. The form of the Penthul Melikan dance is connected with the interrelated elements of its formation, including the dancers’ movements, dancers, costumes, and properties. The treatment of the dance includes the material for garap, person implementing the garap, medium of garap, tools or equipment of garap, determinants of garap, and considerations of garap.Keywords: Penthul Melikan dance, form, treatment of movement.
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Dayatami, Teteh. "Nglebur Laras". SELONDING 13, n. 13 (28 luglio 2019). http://dx.doi.org/10.24821/selonding.v13i13.2917.
Testo completoAbstract (sommario):
The concept of nglebur laras this time is interpreted as the concept of melting the barrel in all situations and conditions in the Karawitan art activity area. The concept can be interpreted as a draw concept, it will not draw if you forget the barrel between them (between the barrel of the pelog and between the barrel of the slendro). Everything always passes between them. Between the barrel of the pelog and the barrel of slendro, half pelog and half slendro it is the behavior of the barrel event which cannot be guessed its existence in the strains of Karawitan's gendhing. Whatever form of sound character is displayed by the barrel of pelog, slendro, and between the two, the fact is that the phenomenon of mixed barrel beating is still called the class of the barrel (of course), and on the concept of karawitan (in particular). The spread of this mixed barrel work is indeed very rapid, especially in the Java area. Pengrawit social society that often makes works by processing mixed tunings is now very spoiled, the habit of looking for the attention of the general public, making the general public become excited by the existence of mixed barrel work, considered uniqueness that is not boring. On the contrary, if the general public understands the condition and essence of the barrel work in general, it will be a suspicion that might be considered damaging the standard and so on.The actualization sought was to create an archipelago music art work with a gender instrument by mixing the duality of the barrel, namely pelog and slendro in one instrument. This Nglebur Laras has multiple interpretations. Nglebur is a term used by gamelan makers / craftsmen, which means the activity of mixing raw materials (iron, tin, copper) into liquid. Nglebur can be interpreted as melting mix or which can also be called mbesot. Nglebur is the main ingredient in making gamelan because iron, tin and copper which are still hard must be cooked first to the point of melting. Then the barrel is the essence that plays an important role in the world of Karawitan. Laras has two special concepts called pelog and slendro. These two different concepts certainly have different characters. Laras is one of the important pieces of furniture. Laras consists of two groups, namely, pelog barrel and slendro barrel. Both types of barrel are one of the two main elements that characterize music. Laras in the world of karawitan has three plural meanings, namely, first; something that is (comfortable) or delicious to be heard or lived, second; namely the sound that has been determined the number of frequencies (penunggul, gulu, dhadha, pelog, lima, nem and item). The third meaning is the scale or scale, which is the arrangement of the notes in the number of sequences and the interval patterns of the tones have been determined. The taste is related to tastes like the expression Rahayu Supanggah in his book Bothekan Karawitan I that 'the barrel is very close to taste, taste can be formed by culture, including local traditions and habits'. The two words that are deliberately combined through all the 'combinations' that the author means are infallibility or an interesting possibility of all possibilities that might occur. It can also be understood that the title of the Nglebur Laras is a synergy or a fusion of all the anxieties in human social culture and social culture of Javanese music (especially the Javanese Gamelan).Keywords: Nglebur, barrel, and unity.