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All Journal Pantun: Jurnal Ilmiah Seni Budaya
Yudi Permana
Institut Seni Budaya Indonesia (ISBI) Bandung
Arts Humanities

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Karakter dalam Cerita Wayang Kumbakarna Gugur Yudi Permana
PANTUN Vol 2, No 1 (2017): Media Dalam Dinamika Seni
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (456.735 KB) | DOI: 10.26742/pantun.v2i1.754

Abstract

The values of life are inherent on arts, likewise on Wayang. Characters of Wayang seem to have human characteristics. One of them is the character of Kumbakarna in the play of Kumbakarna Gugur that will be analysed with narrative analysis method. Kumbakarna is considered as an evil character but he is willing to sacrifi ce himself to defend his kingdom not to rescue his brother, Rahwana. The character of Kumbakarna is ambivalent when on one side he fi ghts for his brother to get Shinta, but on the other side he realizes that what he does is an evil deed. He knows that Rahwana does not have his right to have Shinta. However, Rahwana’s happiness is in confl ict with Shinta’s suff ering.Keywords: Wayang, Kumbakarna Gugur, ambivalence, narrative analysis
Komodifikasi Musik Resepsi Pernikahan di Bandung Yudi Permana; Arthur S. Nalan; Indra Ridwan
PANTUN: Jurnal Ilmiah Seni Budaya Vol 5, No 2 (2020): Kolaborasi Seni Desain, Film, dan Media Digital
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v5i2.1427

Abstract

The term cover here means to re-sing or re-perform a song. The process of covering a song is essentially an adaptation, in which much of the value lies in the cover musician’s interpretation. Covers can easily be found at wedding receptions in the case of performing popular songs and romantic themes. This research studies about pop cover songs on wedding receptions, using commodification theory by Vincent Mosco. Data collection methods are literature studies, interview, and observation. From this research, the results show that the commodification of pop music covers are as follows: (1) commodification of content, cover songs are packaged into a romantic musical performance, as if giving a "message" or “meaning” that a wedding party without musical entertainment would be felt less lively (2) commodification of audiences, the bride as clients are used as a source of economic (3) commodification of labor, skill and service of musicians as workers, are treated as commodities and rewarded in return. Wedding reception as popular culture is closely related to a society prioritizing prestige and image rather than just utilities.Keywords: commodification, cover, wedding music
Co-Authors Arthur S. Nalan Indra Ridwan