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All Journal Gondang: Jurnal Seni dan Budaya Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora (KAGANGA) Tamumatra : Jurnal Seni Pertunjukan Interdiciplinary Journal of Education
Yuspianal Imtihan
Universitas Hamzanwadi
Arts Humanities Education Languange, Linguistic, Communication & Media Mathematics Social Sciences Other

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KOMPOSISI GERAK PADA PERTUNJUKAN KESENIAN TARI PETUK DI DESA SADE KABUPATEN LOMBOK TENGAH Fajrianti, Nur Aini; Imtihan, Yuspianal
TAMUMATRA Vol 1, No 1 (2018)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (840.982 KB)

Abstract

Gerak-Gerak yang menujukkan kejenakaan dalam tari Petuk sebagai satu komposisi utuh menjadi daya tarik tersendiri
ORGANOLOGI SELOBER PADA SANGGAR SELOBER PEJENENGAN DESA PENGADANGAN PRINGGASELA LOMBOK TIMUR Baha, M Abdi; Murcahyanto, Hary; Imtihan, Yuspianal
TAMUMATRA Vol 2, No 2 (2020)
Publisher : Universitas Hamzanwadi

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Abstract

Tulisan ini berdasar hasil penelitian bertujuan untuk mendeskripsikan dan menguraikan bagaimana organologi alat musik tradisional selober yang diliohat dari klasifikasi fisiknya pada Sanggar Selober Pejenengan Desa Pengadangan Kecamatan Pringgasela Lombok Timur dengan menggunakan teori-teori organologi. Pendekatan yang digunakan dalam penelitian ini adalah kualitatif deskriptif. Dari hasil penelitian ditemukan tentang : 1) organologi dan proses pembuatan alat musik tradisonal selober, terdiri dari : tingkat kekeringan, proses pemilihan bahan, proses pengerutan, proses pembuatan garis lidah, proses pembuatan bagian kepala dan kaki alat musik, dan proses penghalusan. 2) produksi nada pada alat musik tradisional selober yang terdiri dari nada yang dihasilkan oleh selober mame dan selober nine.
ESTETIKA PERTUNJUKAN DRAMA TRADISIONAL CUPAK GURANTANGDI SANGGAR DEWI ANJANI DUSUN KELOTOK DESA WAKAN KECAMATAN JEROWARU KABUPATEN LOMBOK TIMUR- Rahmani, Uhya Ruri Yuapi; Yuliatin, Riyana Rizki; Imtihan, Yuspianal
TAMUMATRA Vol 3, No 2 (2021)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v3i2.3735

Abstract

This study aims to describe the aesthetics of the traditional drama performance of Cupak Gurantang in Kelotok Village, Wakan Sanggar Seni Dewi Anjani Village. The approach used in this study is a qualitative method. The aesthetic value in the traditional drama performance of Cupak Gurantang can be seen in terms of form, content and appearance. The form of the traditional drama drama Cupak Gurantang appears in aspects that support the performance which consists of forming elements such as, theme, setting / setting, plot, language, character and characterization, mandate, and supporting elements such as, stage layout, make up and fashion, lighting or lighting, and sound system. The component  form  of  the  performance  gives a  dynamic  impression  so  that  the message to be conveyed is received by the audience. The contents of the show can be  seen  from  the ideas or  ideas that  come  from the theme  of the  story,  the atmosphere that is displayed, and the message that contains human values that can be an example for social life. Appearances are seen from the talents and skills of the traditional drama drama Cupak Gurantang.
Retracted Notice : KOMPOSISI GERAK PADA PERTUNJUKAN KESENIAN TARI PETUK DI DESA SADE KABUPATEN LOMBOK TENGAH Fajrianti, Nur Aini; Imtihan, Yuspianal
TAMUMATRA Vol 1, No 1 (2018)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v1i1.1558

Abstract

Artikel dengan judul "KOMPOSISI GERAK PADA PERTUNJUKAN KESENIAN TARI PETUK DI DESA SADE KABUPATEN LOMBOK TENGAH" telah dilakukan pencabutan pada Volume 01 No 1 2018 pada tautan http://e-journal.hamzanwadi.ac.id/index.php/tmmt/article/view/1558. karena sudah ditemukan terbit pada  Jurnal Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial-Humaniora dengan nomor volume 02 No 2 2019 dengan link https://journal.ipm2kpe.or.id/index.php/KAGANGA/article/view/831 Isi artikel yang dibuat ini dipublish di 2 jurnal berbeda dengan waktu yang berbeda meski telah dipublish pertama kali oleh jurnal Tamumatra, akan tetapi karena ada oknum yang tidak bertanggung jawab mempublish juga di jurnal Kaganga: Jurnal Pendidikan Sejarah dan Riset Sosial. sehingga pihak dari tamumatra melakukan Penarikan (Retracted) dari artikel ini
Organologi Selober pada Sanggar Selober Pejenengan Desa Pengadangan Pringgasela Lombok Timur Baha, M Abdi; Murcahyanto, Hary; Imtihan, Yuspianal
TAMUMATRA Vol 2, No 2 (2020)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v2i2.2308

Abstract

This paper aims to describe and describe the organology of a traditional musical instrument as seen from its physical classification at the Selober Pejenengan Studio in the Village of Inflation in the Pringgasela District, East Lombok using organology theories. The approach used in this research is descriptive qualitative. From the results of the study found about: 1) organology and the process of making a traditional musical instrument as follows, consisting of: the level of dryness, the process of selecting materials, the process of contracting, the process of making tongue lines, the process of making the head and feet of musical instruments, and the refinement process. 2) the production of tones on a traditional musical instrument that consists of tones produced by Selober Mame and Selober  nine.
Koreografi Tari Kreasi Bala Anjani Nahdlatuzzainiyah, Nahdlatuzzainiyah; Yuliatin, Riyana Rizki; Imtihan, Yuspianal; Murcahyanto, Hary
TAMUMATRA Vol 4, No 1 (2021)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v4i1.4337

Abstract

This study aims to describe choreography analysis, namely the form of motion, motion techniques and dance style created by Bala Anjani Sanggar Tunggal Galih Denggen Village, Selong District, Lombok Timur Regency. This type of research is descriptive qualitative using analysis of motion forms, motion techniques and motion styles. Data collection techniques in this study use observation techniques, interviews, and documentation. Data validity techniques use triangulation techniques. The results of the analysis of dance choreography created by Bala Anjani obtained that; The form of motion in The Creation of Bala Anjani dance has the Unity Principle of 6 forms of motion which each has elements of space, energy elements and elements of time vary, The principle of variation consisting of variations of movement, tempo of music and floor patterns, Principle of Repetition in each motion is characterized by a different duration of time, the Principle of Displacement is carried out by a pause of movement of one to two seconds to the next movement, the Climax Principle is performed at a fast tempo on the last movement. In Motion Engineering does not have a medium technique but has a complete and different instrument technique on each movement. While in the Style of Motion consists of bejonjong motion that is raised at a high level, Ngampeh motion is flicking with downward and upward movements followed by varied footsteps and ngampet motion that is peeling with fast movements. The conclusion of this study is 1) the form of motion analyzed from the principle of unity between the space forces of time, the principle of variation, the principle of repetition, the principle of displacement and climax; 2) motion techniques are analyzed from; Medium technique and instrument technique 3) motion style consists of Bejonjong motion, Ngampeh motion and Ngampet motion
Komposisi Gerak pada Pertunjukan Kesenian Tari Petuk di Desa Sade Kabupaten Lombok Tengah Nur Aini Fajrianti; Yuspianal Imtihan
Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora Vol 2 No 2 (2019): Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora
Publisher : Institut Penelitian Matematika, Komputer, Keperawatan, Pendidikan dan Ekonomi (IPM2KPE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (465.926 KB) | DOI: 10.31539/kaganga.v2i2.831

Abstract

This research aims to describe motion composition and presentation formation of Petuk dance at Sade Village Central Lombok.An approach used on this research is descriptif qualitative. The object is Petuk dance whichis cover motion composition and presentation formation. The technique for collecting all data by using 1) observation, 2) interview, and 3) documentation. The data is analyzed by 1) data reduction, 2) data presentation, and 3) Conclusion. While for checking data validity, this research used triangulation technique. This research shows some results, they are 1) motion composition include a) motion elements, b) kinds of motion, c) motion caracter. 2) presentation of petuk dance consist of a) petuk dance attribute, b) clothing, c) accompaniment, d) and property, e) decoration, f) lighting, g) place for presentation. From the results of the study it can be concluded that Petuk Dance is a dance art that requires many elements and types of movements. In Petuk Dance performances also require things like music, clothing, make-up. Keywords: Motion Composition, Presentation Formation, Petuk Dance.
Bentuk Dan Elemen Gerak Tari Dayang-Dayang Hary Murcahyanto; Yuspianal Imtihan; Riyana Rizki Yuliatin; Hidriana Sulastri Mahyumi
Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora Vol 3 No 2 (2020): Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora
Publisher : Institut Penelitian Matematika, Komputer, Keperawatan, Pendidikan dan Ekonomi (IPM2KPE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (454.26 KB) | DOI: 10.31539/kaganga.v3i2.1374

Abstract

This paper is based on the results of a study aimed at describing the forms of motions and elements of Dayang-dayang dance movements in Lombok Timur Regency. The form of motion in question is a form that is produced from the dancer's body language and the element of motion consists of space, time and energy used. Using a qualitative approach with a focus on the form of motion and the elements of Dayang-dayang dance moves. Data collection uses observation, interviews and study documents analyzed by reducing data, grouping, presenting and summarizing data. The result of this study concluded that the form of Dayang-dayang dance moves consisted of five forms of sedentary motion and three forms of movement while Dayang-dayang dance elements were dominated by upper, middle, and lower levels with slow rhythm toward diagonal, side and front. Keywords: Forms Of Motion, Elements Of Motion, Dayang-Dayang Dance.
Aransemen Kroncong Lagu Sasak Gugur Mayang Yuspianal Imtihan; Hary Murcahyanto; Abdullah Muzakkar; Lalu Ahmad Alfian Bakti
Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora Vol 3 No 2 (2020): Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora
Publisher : Institut Penelitian Matematika, Komputer, Keperawatan, Pendidikan dan Ekonomi (IPM2KPE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (769.268 KB) | DOI: 10.31539/kaganga.v3i2.1709

Abstract

ABSTRACT This paper is based on the results of research which aims to describe the form of the keroncong version of the keroncong version of the traditional song Gugur Mayang arrangements. Descriptive qualitative method with a phenomenological approach is used in data collection through observation, interviews and documentation with a focus on the form of keroncong arrangements in the song Gugur Mayang. The uniqueness of this paper is the scarcity of research on traditional Sasak songs arranged in the kroncong version that has been researched by other researchers. The results of this study indicate that the form of the arrangement of the keroncong version of the song Gugur Mayangis a song that begins with the AA section, with the introduction at the beginning of the song, then the bridge, followed by the AA” section on the song Gugur Mayang. In the episode or interlude, it is filled with violins and accompanied by several other instruments then it is entered in the coda section which is played by all instruments other than the flute. The scale used in this arrangement is the D minor scale which means 1 mol or F major. Keywords: Arrangement, Gugur Mayang, Keroncong, Sasak Song.
Teknik Vokal pada Kesenian Burdah Hary Murcahyanto; Yuspianal Imtihan; Mohzana Mohzana; Nurul Hikmah
Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora Vol 4 No 1 (2021): Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora
Publisher : Institut Penelitian Matematika, Komputer, Keperawatan, Pendidikan dan Ekonomi (IPM2KPE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (755.748 KB) | DOI: 10.31539/kaganga.v4i1.2006

Abstract

The purpose of this study was to describe the vocal techniques used in singing Burdah's verse. This research uses descriptive qualitative method. The object of research is focused on vocal technique problems while the research subject is Jama'ah Burdah Al-Istiqlal, East Lombok. The results showed that the Burdah vocal technique had to use special lyrics or Barzanji. Not all of the vowel articulations are pronounced clearly according to the Arabic language. Burdah is sung at a slow tempo with a speed value of 60-63 (Larghetto). The dynamics at the beginning of the rhyme will sound louder and louder after which the same until the end except at the beginning again because the same rhythm is repeated. Frashering said to Burdah that he always welcomed each other so that the chanting would not break. Uses abdominal and upper resonance breathing as it is very influential on high notes. The conclusions of the study were found regarding the use of special rhymes, not all of the articulations were pronounced clearly, slow tempo, moderate dynamics, getting louder and repetitive, unbroken word decapitation, using abdominal breathing and upper resonance. Keyword: Burdah, Religious Art, Vocal Technique
Co-Authors ., Mohzana Abdullah Muzakar Alfandi Al Ansori Baha, M Abdi Baha, M Abdi Baiq Rismarini Nursaly, Baiq Rismarini Fajrianti, Nur Aini Hafiz, Alwan Hary Murcahyanto Hidriana Sulastri Mahyumi Lalu Ahmad Alfian Bakti Muh. Ridwan Markarma Muhammad Kadafi Nahdlatuzzainiyah, Nahdlatuzzainiyah Nur Aini Fajrianti Nurul Hikmah Rahmani, Uhya Ruri Yuapi Riyana Rizki Yuliatin Silvia Yolanda As Wawan Syafriawansyah