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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Jurnal Kawistara : Jurnal Ilmiah Sosial dan Humaniora Nuansa Journal of Arts and Design Acintya International Journal of Visual and Performing Arts Jantra Melayu Arts and Performance Journal Jurnal Kajian Seni
Rr. Paramitha Dyah Fitriasari
Universitas Gadjah Mada
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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RITUAL SEBAGAI MEDIA TRANSMISI KREATIVITAS SENI DI LERENG GUNUNG MERBABU Fitriasari, Rr. Paramitha Dyah
Jurnal Kawistara Vol 2, No 1 (2012)
Publisher : Sekolah Pascasarjana UGM

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (148.027 KB)

Abstract

Tradition developed in a community should continue to be preserved from generations to generations.Efforts are being made one of which is the process of transmission or inheritance. Transmission can bedone in various ways, one of which is ritual. Rituals which are performed continuously and regularlycan be a good medium for the transmission process. The ritual process of artistic creativity that wasdeveloped by the community on the slopes of Mount Merbabu is an example. Art goes hand in handwith the ritual is one of the transmission mediums used to continue an existing tradition. This researchseeks to show how ritual can be a transmission medium of art, particularly on the slopes of Merbabu.
Festival Lima Gunung : Strategi Identitas Lokal Masyarakat Di Lereng Gunung Di Jawa Tengah Fitriasari, Paramitha Dyah
Nuansa Journal of Arts and Design Vol 1, No 1 (2017): September
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (502.019 KB) | DOI: 10.26858/njad.v1i1.4749

Abstract

Five Mountains Festival is the party of the people who regularly held one year, is a representation of local culture. Prepare all kinds of both performance and visual arts which were the work of the villagers around. The potential is there in five mountain communities are quite large and intertwined emotional bond between the artists and the public. Artists vying to display the distinctive traditions of each village by displaying characteristic and new creativity in the grand event.
RITUAL SEBAGAI MEDIA TRANSMISI KREATIVITAS SENI DI LERENG GUNUNG MERBABU Rr. Paramitha Dyah Fitriasari
Jurnal Kawistara Vol 2, No 1 (2012)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (148.027 KB) | DOI: 10.22146/kawistara.3933

Abstract

Tradition developed in a community should continue to be preserved from generations to generations.Efforts are being made one of which is the process of transmission or inheritance. Transmission can bedone in various ways, one of which is ritual. Rituals which are performed continuously and regularlycan be a good medium for the transmission process. The ritual process of artistic creativity that wasdeveloped by the community on the slopes of Mount Merbabu is an example. Art goes hand in handwith the ritual is one of the transmission mediums used to continue an existing tradition. This researchseeks to show how ritual can be a transmission medium of art, particularly on the slopes of Merbabu.
Jogja Dance Community Ruang Negosiasi dalam Jagad Tari di Yogyakarta Paramitha Dyah Fitriasari; Galih Prakasiwi
Jurnal Kawistara Vol 10, No 3 (2020)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.49816

Abstract

Kesenian Yogyakarta memiliki identitas yang kuat dengan upaya preservasi seni tradisi berbasis kuasa dominan Kraton Yogyakarta sebagai sentralnya. Aturan seni tradisi yang mengikat, memunculkan peluang pengembangan maupun inovasi baru berdasar kebebasan. Tulisan ini melihat perwujudan kebebasan dan strategi dalam memposisikan diri pada jagad tari di Yogyakarta. Pengambilan data dilakukan melalui studi pustaka dan wawancara. Data tersebut dikelindankan dengan pengamatan pada 2016 hingga 2018. Jogja Dance Community merupakan jaringan yang menaungi kelompokkelompok tari di Yogyakarta. Beberapa kelompok yang tergabung diiniasiasi oleh anak-anak muda dalam pengejawantahan kebebasan melalui kekontemporerannya. Pilihan tersebut memerlukan strategi untuk dapat bernegosiasi dengan jagad tari di tempatnya bernaung. 
Hidden Curriculum Design of Traditional Art Community Rampak Kendang Fery Setyaningrum; Heni Siswantari; Lono Lastoro Simatupang; Paramitha Dyah Fitriasari
International Journal of Visual and Performing Arts Vol 1, No 2 (2019)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v1i2.65

Abstract

The hidden curriculum is defined as the hidden curriculum imposed on system-specific education (both formal and non-formal. Discussion of the curriculum in Indonesia is interesting is related to the hidden curriculum in non-formal education is the Rampak Kendang community. The characteristics of the population and the different teaching processes from other cities can form different and exciting outputs to be studied. The purpose of this study is to find and describe curriculum designs in the traditional art community of Rampak Kendang in Patimuan Cilacap, Indonesia. This study used a qualitative descriptive method. Data collection techniques using observation, interviews, and documentation. Participation observation with the subject of scrutiny and discussions with the Rampak Kendang community, Patimuan community, the Department of Education in Patimuan. Analysis of the data used data reduction, data presentation, and data verification. The results of this study are the discovery of curriculum design in the form of a hidden curriculum prototype of the Patimuan Rampak Kendang. In the prototype, there is an art learning process through agents as trainers (community leaders) equipped with Patimuan (Sundanese Javanese) art and arts (engineering creativity). This is then taught through training (learning processes) to other members of the Rampak Kendang community, in the long learning process influenced by the consensus (mutual agreement), and the support system form society. So that six more slices are found in the form of P, T, I (Process, Textual, Internal), K, P, I (contextual, Internal Process), T, P, E (Textual, Process, External), K, H, E (contextual, result, external), T, H, E (Textual, Result, External), K, I, H (Contextual, Internal, Result). These processes resulted in the discovery of the development of multiple intelligence members, namely kinesthetic, musical, visual-spatial, verbal, interpersonal, and intrapersonal.
PERKEMBANGAN KESENIAN WARAK DUGDER DI KOTA SEMARANG MELALUI APROPRIASI BUDAYA paramitha dyah fitriasari
Melayu Arts and Performance Journal Vol 2, No 1 (2019): Melayu Art and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v2i1.597

Abstract

Penelitian ini mengkaji bentuk kesenian Warak Dugder yang bersumber dari tradisi Dugderan di Kota Semarang. Tujuan penelitian yakni untuk menunjukkan bentuk apropriasi budaya sebagai upaya perkembangan kesenian Warak Dugder. Kesenian Warak Dugder merupakan hasil apropriasi, meskipun secara teks Tari Warak Dugder merupakan hasil dari kreativitas maskot hewan rekaan Warak Ngendhog yang ada pada prosesi Dugderan. Adapun bentuk apropriasi yakni berupa pemunculan gerak-gerak Warak yang dibuat lebih variatif dan mementingkan unsur-unsur keindahan tari, properti yang digunakan dalam kesenian warak dugder juga bervariatif. Apropriasi yang dilakukan oleh pencipta maskot binatang rekaan Warak Ngendhog merupakan bentuk akulturasi dan kesetaraan budaya yang diadopsi dan diadaptasi secara kreatif, selektif, dan atraktif, tetapi masih bisa dikenali. Dengan demikian Tari Warak Dugder dapat dikatakan sebagai hasil dari proses apropriasi, berupa produk baru yang bersumber dari tradisi Dugderan di Kota Semarang.
MAKNA DAN FUNGSI JEMPARINGAN MATARAMAN BAGI ABDI DALEM KARATON NGAYOGYAKARTA HADININGRAT Widyantari Dyah Paramita
Acintya Vol 12, No 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i1.2816

Abstract

Abdi dalem are state servants and cultural servants, who can come from relatives of the palace or from retirees or ordinary people. Ngayogyakarta Palace has a community in preserving culture, one of the community is Gandhewa Mataram community. The Gandhewa Mataram community is focus on preservation of the Jemparingan Mataraman. Pamenthanging gandhewa, pamanthenging cipta is the basis of the philosophy of Jemparingan. It has existed since Hamengkubuwono I. The iconological approach which is part of iconographic theory becomes the method used in analyzing the meaning and function of Jemparingan Mataraman. The data source came from the abdi dalem who participated in the Jemparingan activities. The result of this study stated that the meaning and function of Jemparingan Mataraman were related to the community’s foundation and the life learning process aimed at realizing hamemayu hayuning bawana.Keyword: abdi dalem, jemparingan Mataraman, meaning and  function
PERAN KEPALA DESA DALAM MEMAJUKAN KESENIAN TRADISIONAL STUDI KASUS DESA BANYUSIDI, PAKIS KABUPATEN MAGELANG Rr. Paramitha Dyah Fitriasari
Acintya Vol 2, No 1 (2010)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3395.55 KB) | DOI: 10.33153/acy.v2i1.111

Abstract

A leader in this regard is the head of the village is very instrumental in developing the potential existed in his village. This research studies about the role of village head in promoting traditional arts, especially in the village of Banyusidi, Pokis, Magelang. Central Java. The research method is qualitative with multidiscipline approach. The result of this study is that the village head has u role in advancing the potency of traditional arts in the village. Thefirst is the role of village head as a motivator, that is by giving his people motivation to be able to develop the arts‘ The second is village head as a facilitator providing the opportunity for people to run the arts. The third is to become a patron and decision maker for his people. With those three things, then, head of the village is believed to promote traditional arts in his village.Key words: role, leader, traditional art.
Male Gaze dalam Tari Sekapur Sirih Jambi Rahmatika Luthfiana Sholikhah; Wening Udasmoro; Rr. Paramitha Dyah Fitriasari
Jantra. Vol 15 No 2 (2020): Desember
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52829/jantra.v15i2.140

Abstract

Sekapur Sirih Dance is a welcoming dance for important guests in Jambi. This dance must be performed to welcome very important guests at the airport/port. This kind of dance is usually performed by 9 women and 3 men as bodyguards. This is very feminine showing the action of making up performed by the ladies. The article talks about the men’s gaze in the Sekapur Sirih Jambi dance. The male gaze is a theory for dissecting films. The author uses this theory to dissect the performing arts of dance. To see the operation, the male dancers’ gaze can be seen from the stage and also from their movement. This research is qualitative research by conducting literature study, observation, and interview. The results of this study indicate that the operation of the male gaze in a dance performance can be seen from the form of the stage, lighting, and dancer movements.
‘Being Contemporary’: Proses Ari Ersandi Dalam Karya Lalube Galih Prakasiwi; Rr. Paramitha Dyah Fitriasari; Sal Murgiyanto
Jurnal Kajian Seni Vol 6, No 2 (2020): Jurnal Kajian Seni Vol 6 No 2 April 2020
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (987.951 KB) | DOI: 10.22146/jksks.53834

Abstract

Artikel ini melihat bagaimana perspektif kekontemporeran seorang koreografer muda, yakni Ari Ersandi, melalui pengalaman serta prosesnya berkarya Lalube. Pelabelan tari kontemporer secara ekplisit maupun implisit pada festival maupun pergelaran karya tari. Produksi karya terus dihasilkan namun tidak seturut dengan produksi wacananya. Penelitian ini menggunakan metode kualitatif dengan memperhatikan fenomena yang terjadi melalui proses latihan dan pengalaman koreografer. Pewacanaan rasionalitas, kebebasan, kreativitas, dan kemanusiaan oleh Sal Murgiyanto dipadukan dengan konsep kekontemporeran Giorgio Agamben. Ari Ersandi, koreografer urban yang datang dari Lampung ke Yogyakarta mulai belajar tari di perguruan tinggi. Keterbatasannya menari tarian tradisi dan pengalaman hidupnya membuat Ari terpacu untuk mencari teknik gerak sendiri. Lalube menjadi ungkapan resistensi dan eksistensi Ari Ersandi. Kata Kunci : Kekontemporeran, Koreografer, Muda
Co-Authors Agus Danugroho Fery Setyaningrum Fitriana, Rifa Galih Prakasiwi Heni Siswantari Lono Lastoro Simatupang M. Ismail Hamsyah Prakasiwi, Galih Rahmatika Luthfiana Sholikhah Rifa Fitriana Sal Murgiyanto Sal Murgiyanto, Sal Wening Udasmoro Wiwik Sushartami Wiwik Sushartami