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All Journal MUDRA Jurnal Seni Budaya Panggung Pantun: Jurnal Ilmiah Seni Budaya Buana Ilmu PARAGUNA : Jurnal Ilmiah Pengetahuan, Pemikiran dan Kajian Tentang Seni Karawitan
Suhendi Afryanto, S.Kar., M.M.
Institut Seni Budaya Indonesia (ISBI) Bandung
Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Engineering Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences Other

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Therapy Melalui Seni Gamelan Sunda Suhendi Afryanto, S.Kar., M.M.
Paraguna Vol 7, No 1 (2020): DINAMIKA KHAZANAH KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (266.855 KB) | DOI: 10.26742/jp.v7i1.1851

Abstract

ABSTRAK Seni apapun bentuknya memiliki fungsi tersendiri, di samping sebagai sarana hiburan, sering jugadimanfaatkan sebagai sarana terapi. Sepeerti halnya dengan seni gamelan Sunda, berdasarkan hasil penelitian yang dilakukan melalui metode narative personal, dengan teknik wawancara terhadap 50 orang mahasiswa yang pernah belajar mempraktikkan gamelan (Sunda) dan 10 orang ahli gamelan (Sunda), diperolah suatu kesimpulan bahwa seni gamelan dapat dijadikan salah satunya sebagai sarana terapi.Melihat fenomena seperti itu, bukan suatu keniscayaan dalam banyak hal seni juga dapat dijadikan sebagai value education dalam membentuk karakteristik bagi para pelakunya. Dari penelitian yang dilakukan, sekurang-kurangnya dapat diketahui bahwa mengapa seni musik diciptakan, karena memang terkait dengan kebutuhan manusia. Sepanjang kehidupan ada, maka seni akan memberi warna tersendiri sebagai dinamika yang setiap saat terus berjalan.   ABSTRACAny form of art has its own function, apart from being a means of entertainment, it is also often used as a means of therapy. Likewise with Sundanese Gamelan Art, based on the results of research conducted through personal narrative methods, by interviewing 50 students who have learned to practice gamelan (Sundanese) and 10 gamelan experts (Sundanese), a conclusion is obtained that gamelan art can be used as one of them. as a means of therapy.Seeing such a phenomenon, it is not a necessity in many ways art can also be used as an educational value in shaping the characteristics of the actors. From the research conducted, at least it can be seen that why the art of music was created, because it is related to human needs. As long as life exists, art will give its own color as a dynamic that is constantly running. 
Internalisasi Nilai Kebersamaan melalui Pembelajaran Seni Gamelan (Pendidikan Karakter bagi Mahasiswa) Suhendi Afryanto
PANGGUNG Vol 23, No 1 (2013): Strategi dan Transformasi Tradisi Kreatif: Pembacaan, Pemaknaan, dan Pembelajar
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (269.5 KB) | DOI: 10.26742/panggung.v23i1.85

Abstract

ABSTRACT The research is motivated by imbalance behaviors among the younger generation as the responsible generation for continuing the national aspiration which has been in very alarming point. These im­ balance behaviors are (1) integrity crisis and promiscuity among students, (2) gang fight between students who are intellectually should set a good example to the society (3) distortion of togetherness value, and (4) widespread loss of national character or identity that caused multi dimension crisis which leads to disintegration process. Consequently, it is necessary to provide an alternative solution to restore peaceful life and uphold togetherness value as a part of distinctive Indonesian national character through formal educational dimension. Keywords: Togetherness Value­Gamelan­Character Education  ABSTRAK Penelitian ini termotivasi oleh ketidakseimbangan perilaku di kalangan generasi muda se- bagai generasi yang bertanggung jawab untuk melanjutkan aspirasi nasional yang telah berada pada titik yang sangat mengkhawatirkan. Ketidakseimbangan perilaku itu ialah (1) krisis integritas dan pergaulan bebas di kalangan mahasiswa, (2) tawuran antara ma- hasiswa yang secara intelektual seharusnya memberikan contoh yang baik kepada ma- syarakat (3) distorsi nilai kebersamaan, dan (4) hilangnya karakter atau identitas nasional secara luas yang menyebabkan krisis multi dimensi yang mengarah pada proses disinte- grasi. Oleh karena itu, perlu memberikan solusi alternatif untuk memulihkan kehidupan yang damai dan menjunjung tinggi nilai kebersamaan sebagai bagian dari karakter nasio- nal khas Indonesia melalui dimensi pendidikan formal. Kata kunci: nilai kebersamaan, Pembelajaran Seni Gamelan, pendidikan karakter  
Nilai Pedagosis dalam Ritual Domyak Anggy Giri Prawiyogi; Retno Dwimarwati; Suhendi Afryanto
PANTUN Vol 7, No 1 (2022): Ritual, Seni, dan Rekayasa Budaya
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v7i1.2089

Abstract

ABSTRACTDomyak is a ritual means of asking for rain at the foot of Mount Burangrang, Pasir AnginVillage, Darang District and Purwakarta Regency. In 1920, domyak was called chickpeas but in1990 it became domyak (ngadogdog and rampayak) meaning playing dogdog music with dances.This paper aims to examine the pedagogical values contained in the domyak ritual and the domyakritual process. The presentation is carried out in several stages which are also accompanied by severalforms of performing arts. The domyak ritual is performed in the form of helaran or procession orusing a stage. Bloom’s taxonomic theory is applied to explore pedagogical values in domyak rituals.Qualitative data were collected through observation, interviews, and documentation. The results ofthe study include the pedagogical values contained in the goals of education, educational content,and educational tools used. The purpose of education is that each of the member of the communitiesshould master traditional customs, especially in the domyak ritual to ask for rain; The contents ofeducation are ritual traditions which have been passed down from generation to generation fromthe 1920s to the present; Educational tools used in the form of habituation, supervision, orders,prohibitions and rewards in these ritual activities, such as: in starting the ritual by praying and thecommand to bathe the cat in the ritual activity.Keywords: Pedagogical value, domyak ritualABSTRAKDomyak merupakan sarana ritual meminta hujan yang berasal dari kaki GunungBurangrang Desa Pasir Angin Kecamatan Darangdan Kabupaten Purwakarta. Pada tahun1920 Domyak tersebut dinamakan buncis dan pada tahun 1990 berubah menjadi Domyakyang berarti (ngadogdog dan rampayak) bermain musik dogdog dengan tarian. Tulisan inibertujuan untuk mengkaji nilai-nilai pedagogis yang terdapat pada ritual Domyak sertaposes ritual domyak. Penyajiannya dilakukan dalam beberapa tahapan-tahapan yang jugadiiringi oleh beberapa bentuk seni pertunjukan. Ritual Domyak dipertunjukkan dalambentuk helaran atau arak-arakan maupun menggunakan panggung. Teori taksonomiBloom digunakan untuk menggali nilai-nilai pedagogis dalam ritual domyak. Datakualitatif dikumpulkan melalu observasi, wawancara, dan dokumentasi. Hasil Penelitianmencakup nilai-nilai pedagogis yang terdapat dalam tujuan pendidikan, pendidikan, isipendidikan serta alat pendidikan yang digunakan. Tujuan pendidikan yakni setiap wargamasyarakat harus menguasai adat tradisi terutama dalam ritual Domyak untuk memintahujan; Isi pendidikan yakni tradisi ritual yang diturunkan secara turun temurun dari tahun1920 sampai saat ini; Alat pendidikan yang digunakan berupa pembiasaan, pengawasan,perintah, larangan dan ganjaran dalam kegiatan ritual tersebut, seperti: dalam memulairitual dengan berdoa dan perintah untuk memandikan kucing dalam kegiatan ritualtersebut.Kata Kunci: Nilai pedagogis, ritual domyak
Proses Kreatif Abah Olot dalam Melestarikan Karinding R. Muhammad Luthfi Ferrari; Heri Herdini; Suhendi Afryanto
PANTUN Vol 6, No 2 (2021): Karakter Seni Lokal Untuk Penguatan Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i2.1812

Abstract

Karinding is an entertaining instrument made of palm midrib or bamboo which has long flat form similar to fork. In recent years, karinding has been considered to be a musical instrument which can be played together with common musical instruments. Karinding was once temporarily extinct in Sundanese cultural society until resurrected in 2003. This emergence was mainly by creativity of Abah Olot who has been trying to revive and reinvent several Sundanese traditional musical instruments like celempung that has been developed into celempung rèntèng and melodic celempung. Besides, Abah Olot also modified kohkol into kohkol latung. This is all for his mission to resurrect and to make karinding more appealing to modern cultural society. In line with this, Abah Olot created a musical group called Giri Kerencèng which combined karinding with his reinvented Sundanese traditional musical instruments. This writing reveals Abah Olot’s creativity. The existentialism theory is used in the discussion. Existentialism Hasbunallah wani’malwakiil are two basic concepts. First, the being-in-the-world concept and secondly is the nonbeing concept. This writing is written to describe how Abah Olot’s existence in preserving and developing karinding as Sundanese traditional musical instrument and it’s impact both to the musical instrument itself and the societies.Keyword: Karinding, AbahOlot, Creativity, Existence
Creative Thinking dalam Manajemen Seni Dangdut Kontemporer Grup “Pasukan Perang” Rini Nur Mega; Endang Caturwati; Suhendi Afryanto
PANTUN Vol 6, No 1 (2021): Glokalisasi Seni Budaya dalam Tranformasi Mitos dan Spiritualitas
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i1.1694

Abstract

This paper examines the management of a music group ‘Pasukan Perang’, the Dangdut Orchestra band, in Bandung city. The goal is to reveal the management process in breaking down the music industry in Indonesia and the world in general. Alfred Schutz's phenomenological theory is applied to provide the overview of art management based on creative thinking and work structure innovation to measure the achievement of success. The data were collected through conducting in-depth interviews; reflecting thoughts to seek meaning and a frame of reference for symptoms; constructing the meaning and essence. The results of the analysis show that the Dangdut Music group “Pasukan Perang” is a prism to view Indonesian society. Its existence reflects the state of national culture in economic, political, and ideological practices. It contributes to shape ideas of class, gender, and ethnicity in the modern era. “Pasukan Perang” touches various musical genres so that it becomes a Contemporary Dangdut Icon nicknamed the Loving Band Group.Keywords: creative thinking, contemporary dangdut, war troops, art management
Lakon Carangan Nurkala Kalidasa Karya R.H Tjetjep Supriadi Asep Wadi; Arthur S Nalan; Suhendi Afryanto
BUANA ILMU Vol 7 No 1 (2022): Buana Ilmu
Publisher : Universitas Buana Perjuangan Karawang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36805/bi.v7i1.3017

Abstract

Lakon adalah bagian terpenting dalam pertunjukan wayang golek ataupun pertunjukan lainnya. Hal tersebut di peruntukan untuk mempertegas cerita dalam sebuah pertunjukan. Dalam wayang golek seorang dalang harus menguasai lakon dan juga mempunyai sebuah andalan lakon yang sangat di kuasai dalang tersebut, mulai dari segi dialog, monolog, dramatisasi, ataupun penguasaan karakter dalam lakon tersebut. Karena seorang dalang terkenalharus mempunyai sebuah ikon agar lebih di ketahui secara identik oleh para penggemarnya. Lakon dalam cerita wayang golek bisa disebut sebuah lakon andalan seorang dalang ketika melewati sebuah proses apresiasi secara terus menerus tanpa adanya rasa bosan dalam menonton nya ataupun mendengarkannya. Penelitian ini membahas tentang lakon carangan karya R.H Tjetjep Supriadi yang berjudul Nurkala Kalidasa karena dirasa sangat fenomenal dan monumental karena selain mempunyai nilai-nilai yang begitu mendalam dalam sajiannya lakon ini pun sangat digemari oleh para fans group wayang golek Panca Komara dari Karawang. Dengan adanya argumen diatas penelitian ini pun menggunakan teori Narratologi dari Mieke Ball, karena teori ini dirasa cocok untuk mengupas sebuah argumen-argumen dan nilai-nilai yang terkandung dalam lakon tersebut. Dengan begitu teori ini pun mampu menghasilkan sebuah temuan-temuan argumen yang mempunyai nilai-nilai religi, budaya, pendidikan, sosial maupun sastra lisan yang di adopsi dari bahasa kawi, Jawa, maupun Sansakerta. Kata Kunci : Lakon Carangan, Nurkala Kalidasa, Narratology.The play is the most important part in a puppet show or other performances. It is intended to emphasize the story in a show. In wayang golek, a puppeteer must master the play and also have a mainstay play that is highly controlled by the puppeteer, starting in terms of dialogue, monologue, dramatization, or mastery of the characters in the play. Because a famous puppeteer must have an icon to be known identically by his fans. The play in the wayang golek story can be called a masterful play of a dalang when it goes through a continuous appreciation process without feeling bored in watching or listening to it. This study discusses the carangan play by R.H Tjetjep Supriadi entitled Nurkala Kalidasa because it is considered phenomenal and monumental because apart from having deep values in its presentation, this play is also very popular with fans of the Panca Komara wayang golek group from Karawang. With the arguments above, this study also uses the theory of Narratology from Mieke Ball, because this theory is considered suitable to explore an argument and the values contained in the play. In this way, this theory is able to produce argument findings that have religious, cultural, educational, social and oral literary values adopted from the Kawi, Javanese, and Sanskrit languages. Keywords: Carangan play, Nurkala Kalidasa, Narratology
R.H Tjetjep Supriadi Dalang Kondang dari Karawang Asep Wadi; Arthur Supardan Nalan; Suhendi Afryanto
Paraguna Vol 9, No 1 (2022): TAFSIR-TAFSIR KARAWITAN
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v9i1.2099

Abstract

Identitas R.H Tjetjep Supriadi dalam dunia padalangan sangatlah jelas adanya pada tahun 1975 sampai 1990an, dengan membawa nama group Nya yakni Panca Komara, dan diperkuat juga oleh istrinya yaitu H Idjah Hadidjah yakni juara Sinden Jawa Barat tahun 1980. R.H Tjetjep Supriadi adalah sosok yang benar-benar tekun dalam membuat naskah kakawen atau nyandra dan cerita-cerita wayang, hal tersebut ditunjang dari background kebiasaannya yakni seorang guru dan melek akan ilmu pengetahuan yang terus update. Puncaknya karir R.H Tjetjep Supriadi yakni pada rilis nya lakon Nurkala Kalidasa yang mengusung tema kemanusiaan, lakon tersebut sangat di gandrungi para penggemar Wayang Golek pada saat itu, karena rata-rata orang mengenal R.H Tjetjep Supriadi karena Haleuang-nya. Teori yang digunakan oleh penulis yakni Teori Identitas dari James P Burke dengan menggunakan Metode Sejarah, adapun Teori Penguat yakni Teori Agen Perubahan/Agent Of Change. Karena peran R.H Tjetjep Supriadi dalam dunia padalangan sangatlah besar, dari mulai karya-karyanya yang mampu membuat ideologis dalam pakeliran pada tahun 1975 sampai 1990. Pada tahun 2010 R.H Tjetjep Supriadi telah merancang program untuk dunia Padalangan sampai pada tahun 2030, hal tersebut bisa dibuktikan pada tulisan proposal nya yang berjudul pengembangan ilmu padalangan nasional dari tahun 2010 sampai 2030.Kata Kunci : R.H Tjetjep Supriadi, Panca Komara, Identitas.
Gong Rénténg Transformation From Sacral to Profan Suhendi Afryanto; Arthur Supardan Nalan; Gustiyan Rachmadi
Mudra Jurnal Seni Budaya Vol 39 No 1
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i1.2520

Abstract

One type of gamelan art that is developing in West Java is Gong Rénténg which used to be often used in sacred ceremonial activities. The sacredness built into the art is inseparable from the belief system adopted by the community as its supporting community. Gong Rénténg's whereabouts then and now are experiencing dynamics of change which are quite important to study, especially his journey which was stopped for various reasons. Stagnant regeneration factors, changes in people's perspectives due to changes in belief systems, as well as the influx of imported arts that continue to intrude on traditional art life, are some of the main reasons this art has experienced ups and downs in its life. The research carried out has the style of cultural research involving key informants as triggers to explore the depth of the material. There are three models of cultural research as approaches taken by researchers, including; Life Story models, Grounded Theory, and Personal Narrative. While the research method used still uses qualitative research by taking locations in two different areas, namely: (1) Ciwaru Village, Cimalaka District, Sumedang Regency, and (2) Kedungsana Village, Plumbon District, Cirebon Regency. In Ciwaru village, the object of research is the art of Gong Rénténg Pusaka Langgeng, while in the village of Kedungsana it is the art of Gong Rénténg Ki Muntili. The results of the research conducted obtained the following information: (1) The Gong Rénténg Pusaka Langgeng art still adheres to adat in a standard way even though the next generation continues to decrease, and (2) The Gong Rénténg Ki Muntili art does two ways to keep it alive, namely ritual ceremonies as part of ancestral traditions are carried out as well as the process of inheritance with new interpretations.
Co-Authors Anggy Giri Prawiyogi, Anggy Giri Arthur S Nalan Arthur Supardan Nalan Asep Wadi Asep Wadi Endang Caturwati Gustiyan Rachmadi Heri Herdini R. Muhammad Luthfi Ferrari Retno Dwimarwati Rini Nur Mega