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All Journal Panggung Gondang: Jurnal Seni dan Budaya Jurnal Seni Makalangan Pantun: Jurnal Ilmiah Seni Budaya
Heri Herdini
Institut Seni Budaya Indonesia (ISBI) Bandung
Arts Humanities Education

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ESTETIKA KARAWITAN TRADISI SUNDA Herdini, Heri
PANGGUNG Vol 22, No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i3.75

Abstract

The problem of "aesthetics" related not only to the "text" or the art form itself, but also to the mindset and worldview of the communities on "the world" and "the nature of human life." Behind the musical form itself, there lies the mindset of Sundanese people which formed the basis for the "text" of karawitan. The understanding on "karawitan context" is, therefore, important. It means that "text" and "context" constitute "two sides of the same coin" which are interrelated to each other. This is the subject matter to be discussed in this paper.            This paper is a philosophical study in order to find "the aesthetic of traditional karawitan" which has not been revealed so far. To reveal this problem the writer uses the theory of "Antagonistic Dualism" by Jakob Sumardjo. Based on the analysis to the "text" and "context" of Sundanese traditional karawitan, it is concluded that "the aesthetic of Sundanese traditional karawitan" comes from the concept of "masagi" that in substance may produce "pola tiga” (pattern of three) as a reflection of the culture of tritangtu, those are: tekad, ucap, and lampah. Keywords: Aesthetic,traditional karawitan, pola tiga. 
Subjek Pascakolonial dalam Pementasan Teater Shakespeare Carnivora Karya Benny Yohanes Anggara, Semi Ikra; Nalan, Arthur S.; Herdini, Heri
PANTUN Vol 5, No 1 (2020): Kolaborasi Seni
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Benny Yohanes (usually written as BenJon for his stage name) is known for his works that are oppositional towards the hegemony of realism in Bandung theater, especially the realism theater of Suyatna Anirun. BenJon’s works generally imply political themes, or at least as comments on political situations or ideological critics. However, he uses different approach, for example from the slogan of Rendra’s Theater Workshop. In some of Benjon’s performances, there is an impression that the stage is dominated by symbolic festivities. Excitement can be found in artistic furniture, props, hand props, costumes, musical furniture, and make up. This paper is aimed at examining one of BenJon’s works, namely Shakespeare Carnivora, which is considered by BenJon as a show that is carried out outside of the ethics of the process and its directing tradition. Not only tried to oppose the tendency of artistic excitement by using significant objects, Shakespeare Carnivora was also directed collaboratively with Irwan Jamal. They work with the actors who are members of the Oyag Forum. This research is specifically intended to discover and investigate the postcolonial conditions in the Shakespeare Carnivora performance. More specifically, through the concepts of appropriation and ambivalence, which intertextually combine William Shakespeare’s Hamlet text, the legend of Sangkuriang-Dayang Sumbi and the narrative of official Indonesian history.Keywords: Shakespeare Carnivora, BenJon, Critical Ideology, Appropriation, Mimicry, Postcolonial Condition
Korelasi Praktik Sosial Pierre Bourdieu Dalam Karier Kesenimanan Yus Wiradiredja Rizki Ferry Ramdani; Yanti Heriyawati; Heri Herdini
Gondang: Jurnal Seni dan Budaya Vol 6, No 1 (2022): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2022
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v6i1.34745

Abstract

Moh. Yusuf Wiradiredja atau lebih populer dengan sebutan nama Yus Wiradiredja, dikenal sebagai salah satu penembang tembang sunda cianjuran populer pada masanya. Kajian ini menganalisis keterkaitan habitus, modal dan arena yang mendukung pada karier kesenimanan Yus Wiradiredja. Yus dipandang sebagai agen hasil internalisasi atas proses interaksi dengan lingkungannya. Kajian ini menggunakan teori praktik sosial Pierre Bourdieu yang meliputi tiga konsep, yaitu: habitus, modal dan arena. Metode sejarah yang terdiri dari tahapan heuristik, kritik, interpretasi dan historiografi, dipilih sebagai metode dalam penelitian ini. Hasil penelitian ini menjelaskan bahwa adanya korelasi habitus, modal dan arena sangat mendukung pada pencapaian kuasa simbolik seorang agen, hal tersebut terlihat pada perjalanan karier kesenimanan Yus Wiradiredja dalam karawitan Sunda. Pengajaran terhadap seni tradisi sejak usia dini melalui kegiatan panglawungan, dipandang sebagai salah satu bentuk habitus. Modal budaya yang dimiliki atas hasil turunan dari keluarga salah satunya adalah memiliki kepekaan terhadap musikal. Gabungan antara habitus dan modal tersebut memberi arti bagi Yus Wiradiredja dalam melakukan kontestasi dalam suatu arena. Arena yang dimaksud seperti pasanggiri dan proses kreatif, baik dengan beberapa maestro karawitan juga dengan kelompok musik  yang dibentuknya. Kata Kunci: Yus Wiradiredja, Tembang Sunda Cianjuran, Praktik Sosial.
KEPUNAHAN TARI BADAYA DI KABUPATEN PRIANGAN: KABUPATEN BANDUNG, SUMEDANG, dan CIAMIS (1860-1950) Kustiana Kustiana; Een Herdiani; Heri Herdini
Jurnal Seni Makalangan Vol 9, No 1 (2022): "Menggali Inspirasi Dari Tradisi"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v9i1.2069

Abstract

ABSTRAKTari Badaya merupakan tarian klasik yang hidup di Kabupaten-kabupaten Priangan, akan tetapi dalam perkembangannya tarian tersebut mengalami kepunahan setelah masa kemerdekaan. Sejalan dengan hal tersebut maka, penelitian ini menggunakan teori gerak sejarah dari Oswalt Spengler yang menyebutkan bahwa setiap kebudayaan layaknya siklus mahluk hidup yakni, lahir, berkembang, masa puncak, kemudian mati. Metode yang digunakan ialah metode sejarah yakni heuristik, kritik, interpretasi, serta historiografi. Badaya ditemukan di Kabupaten Bandung, Sumedang (1866), serta Ciamis (1930), dalam pekembangannya tari badaya pernah hidup di tiap kabupaten, yang berfungsi sebagai tarian penyambutan tamu, serta perangkat status sosial menak Sunda pada masa itu. Tari Badaya mulai punah seiring dengan pemindahan tampuk kekuasaan dari bupati ke bupati selanjutnya, kemudian pemindahan kekuasaan Belanda kepada Jepang, higga masa kemerdekaan membuat fungsi kabupaten tidak lagi menjadi pusat kebudayaan. Selain itu muncul tarian baru yang menggeser keberadaan Tari Badaya yang akhirnya punah sekitar tahun 1950-an.Kata Kunci: Tari Badaya, Sejarah, Kepunahan.ABSTRACT THE EXTINCTION OF THE BADAYA DANCE IN PRIANGAN REGENCY: BANDUNG, SUMEDANG, and CIAMIS DISTRICT (1860-1950), June 2022. Badaya dance is a classical dance that lives in Priangan regencies, but in its development the dance experienced extinction after the independence period. In line with this, this study uses the theory of historical motion from Oswalt Spengler which states that every culture is like a cycle of living things, namely, birth, development, peak period, then death. The method used is the historical method, namely heuristics, criticism, interpretation, and historiography. Badaya was found in the districts of Bandung, Sumedang (1866), and Ciamis (1930), in its development the Badaya dance had lived in each district, which functioned as a dance to welcome guests, as well as a tool for Sundanese social status at that time. Badaya dance began to become extinct along with the transfer of power from the regent to the next regent, then the transfer of Dutch power to Japan, Until the independence period, the function of the district was no longer a cultural center. In addition, a new dance emerged that replaced the existence of the Badaya Dance which eventually became extinct around the 1950. Keywords: Badaya Dance, History, Extinction.  
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
Subjek Pascakolonial dalam Pementasan Teater Shakespeare Carnivora Karya Benny Yohanes Semi Semi; Arthur S. Nalan; Heri Herdini
PANTUN Vol 5, No 1 (2020): Kolaborasi Seni
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v5i1.1340

Abstract

Benny Yohanes (usually written as BenJon for his stage name) is known for his works that are oppositional towards the hegemony of realism in Bandung theater, especially the realism theater of Suyatna Anirun. BenJon’s works generally imply political themes, or at least as comments on political situations or ideological critics. However, he uses different approach, for example from the slogan of Rendra’s Theater Workshop. In some of Benjon’s performances, there is an impression that the stage is dominated by symbolic festivities. Excitement can be found in artistic furniture, props, hand props, costumes, musical furniture, and make up. This paper is aimed at examining one of BenJon’s works, namely Shakespeare Carnivora, which is considered by BenJon as a show that is carried out outside of the ethics of the process and its directing tradition. Not only tried to oppose the tendency of artistic excitement by using significant objects, Shakespeare Carnivora was also directed collaboratively with Irwan Jamal. They work with the actors who are members of the Oyag Forum. This research is specifically intended to discover and investigate the postcolonial conditions in the Shakespeare Carnivora performance. More specifically, through the concepts of appropriation and ambivalence, which intertextually combine William Shakespeare’s Hamlet text, the legend of Sangkuriang-Dayang Sumbi and the narrative of official Indonesian history.Keywords: Shakespeare Carnivora, BenJon, Critical Ideology, Appropriation, Mimicry, Postcolonial Condition
Struktur Tritangtu pada Siger Aksesoris Pengantin Sunda Priangan Fadly Fathul Ulum; Endang Caturwati; Heri Herdini
PANTUN: Jurnal Ilmiah Seni Budaya Vol 7, No 2 (2022): Keragaman Seni Tradisional & Media Baru
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v7i2.2043

Abstract

The bride is a symbol of changes in the cycle of human life which is interpreted sacredly. One of the symbols of its sacredness is the use of siger as one of the accessories for Sundanese wedding costume. This paper aims to identify the concept of Sundanese Tritangtu philosophy in Siger Sunda Priangan accessories which cover Sumedang, Sukapura, and Galuh regions. The analysis applies Levi-Strauss structuralism theory, through the stages of elements, binary opposition, transformation and paradigmatic. The three models of Siger Sunda Priangan style, Sumedang style, Sukapura style, and Galuh style were used as the objects of study. The fndings show the same physical structure forms a similar patern, so that the basic structure of Siger crown forms a triple patern in the philosophy of Sundanese people. The same structure of the three Siger forms shows the concepts of surface structure and deep structure in the way of thinking of the Sundanese people. In this context, it means that the form of Siger and the use of Siger in Sundanese brides have standard rules, because they have a sacred meaning.Keywords: Siger Sunda, Tritangtu, Sundanese Bride, Siger  ABSTRAKPengantin sebagai simbol perubahan siklus kehidupan manusia yang dimaknai secara sakral. Salah satu simbol kesakralannya berada pada penggunaan siger sebagai salah satu aksesoris kostum pengantin sunda. Tulisan ini bertujuan mengidentifikasi konsep Silih Asah, Silih Asih dan Silih Asuh sebagai komponen dari filsafat Sunda Tritangtu pada aksesoris Siger Sunda Priangan yang meliputi wilayah Sumedang, Sukapura, dan Galuh. Analisis menggunakan teori strukturalisme Levi-Strauss, melalui tahapan elemen-elemen, oposisi binner, transformasi dan paradigmatik. Tiga model Siger Sunda Priangan gaya Sumedang, gaya Sukapura, dan gaya Galuh yang dijadikan objek kajian ditemukan struktur fisik yang sama berbentuk segitiga, sehingga struktur dasar mahkota Siger membentuk pola tiga. Struktur yang sama dari ketiga ragam bentuk siger tersebut menunjukkan konsep surface struktur dan deep struktur filsafat Tri Tangtu. Hal ini dimaknai, bahwa bentuk siger dan penggunaan siger pada pengantin sunda memiliki tata aturan yang baku, karena memiliki makna yang sakral.
Co-Authors Anggara, Semi Ikra Arthur S. Nalan Een Herdiani Endang Caturwati Fadly Fathul Ulum Kustiana Kustiana Nalan, Arthur S. R. Muhammad Luthfi Ferrari Rizki Ferry Ramdani Semi Semi Suhendi Afryanto, S.Kar., M.M. Yanti Heriyawati