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All Journal Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya Journal of Language, Literature, and Arts (JoLLA) International Journal of Performing Arts (IJPA)
Tri Wahyuningtyas
Universitas Negeri Malang
Arts Humanities Education Languange, Linguistic, Communication & Media Library & Information Science Other

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TRANSKRIPSI STRUKTUR PENYAJIAN LAKON RABINE PANJI PADA KELOMPOK WAYANG TOPENG TRADISI KEDUNGMONGGO MALANG Endang Wara Suprihatin Suprihatin; Dyah Pratamawati; Tri Wahyuningtyas; Hartono Hartono
Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya Vol 44, No 1 (2016)
Publisher : Fakultas Sastra Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (342.787 KB)

Abstract

Malang is popular with one of its traditional dance that is Malang Puppet Mask (Wayang Topeng Malang, shortened into WTM). WTM has several characteristics, they are: (1) retelling Panji stories; (2) all dancers wear puppet mask with its own characters; (3) puppet master is usually performed by male and is responsible to tell stories and narrate the dialogs; (4) the stage has its definite patterns and cannot be changed according to the puppet master’s will. Panji’s stories and narration are based on folk lore so that the form and the structure are based on the puppet master’s memories, perception and variation, WTM artists, and the society. Sanggar Asmoro Bangun as one of WTM groups, located in Kedungmonggo village, Malang District, presents the dance into two versions, they are: (1) full duration to perform Rabine Panji (Panji’s Marroage); and (2) short version in performing Rabine Panji. Both versions influence several aspects in performing the dances, such as, the structure, the time, the scenes and the music.
Keberadaan Sanggar Seni Acharya Budaya dalam Pengembangan Seni Tari di Kabupaten Blitar Kharisma Melati Sukma; Tri Wahyuningtyas; Ika Wahyu Widyawati
JoLLA: Journal of Language, Literature, and Arts Vol. 3 No. 5 (2023)
Publisher : Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um064v3i52023p739-754

Abstract

Sanggar adalah sebuah lembaga pendidikan yang mempunyai tujuan agar peserta didiknya memiliki keterampilan, keahlian, dan pengetahuan yang nantinya hal tersebut berguna sebagai bekal masa depan peserta didik. Keberadaan sanggar sangat penting sebagai wadah pelestarian kesenian. Sanggar Seni Acharya Budaya adalah sanggar mandiri yang memiliki karya dan mengedepankan sebuah pelestarian dan pengembangan di Kabupaten Blitar. Tujuan penelitian adalah meng­iden­tifikasi, menganalisis, dan mengimplementasikan keberadaan sanggar dalam pengembangan seni tari. Metode penelitian yang digunakan adalah metode kualitatif dengan objek penelitian Sanggar Seni Acharya Budaya. Pengumpulan data penelitian ini menggunakan sistem observasi, wawancara, dan dokumentasi berupa foto dan video kegiatan sanggar. Uji keabsahan yang digunakan peneliti dalam memvalidasi data menggunakan dua triangulasi yaitu triangulasi sumber dan triangulasi teknik. Hasil dari penelitian adalah Sanggar Seni Acharya Budaya merupakan salah satu sanggar mandiri di Kabupaten Blitar yang masih aktif sampai sekarang. Keberadaan seni tari di sanggar ini dimaksudkan sebagai wadah pelestarian seni tari. Manajemen yang terorganisasi dan masih aktif dalam kegiatan berkesenian tari membuat sanggar ini tetap terjaga keberadaanya. Kata kunci: keberadaan; sanggar seni; penyebab seni tari; Acharya Budaya The Existence of Acharya Budaya Art Studio in the Development of Dance Art in Blitar District Sanggar is an educational institution that has the goal that its students have the skills, expertise, and knowledge which later will be useful as a provision for the future of students. The existence of a studio is very important as a place for art preservation. The Acharya Budaya Art Studio is an indepen­dent studio that has works and promotes preservation and development in Blitar Regency. The aim of the research is to identify, analyze and implement the existence of studios in the develop­ment of dance arts. The research method used is a qualitative method with the research object of the Acharya Budaya Art Studio. The data collection for this study used an observation system, interviews and documentation in the form of photos and videos of studio activities. The methods used by researchers in validating data used two triangulations, namely source triangulation and technical triangulation. The results of the research are that the Acharya Budaya Art Studio is one of the independent studios in Blitar Regency which is still active today. The existence of dance art in this studio is intended as a place for the preservation of dance art. Management that is organized and still active in dance activities keeps this studio in existence. Keywords: existence; art Gallery; cause of dance; Acharya Budaya
THE PUPPETEER’S BODY DISCIPLINARY POWER IN MALANG’S MASK PUPPET PERFORMANCE Tri Wahyuningtyas
International Journal of Performing Arts (IJPA) Vol. 1 No. 2 (2022): DESEMBER
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v1i2.60

Abstract

The two focuses of this research include describing the formation of the puppeteers' episteme in Malang district and explaining the process of internalizing the experience and reasoning of the puppeteer who acts as a director as well as a person possessing high spiritual strength. Second, the body discipline power of the Malang masked puppeteer. This qualitative research used interview and observation data which were analyzed using Michel Foucault's post-structuralist theory approach. The results of the study performance that puppeteers of mask puppet performance in Malang district have a stronger disciplinary power orientation compared to other puppeteers. The power of knowledge of puppeteers is obtained through disciplining the body which is built from its existence socially and environmentally. The puppeteer of mask puppet performance has roles as a person who has spiritual power and as a director in organizing the mask puppet performance. The power of knowledge of the puppeteer produces the discourse of the puppeteer who has autonomy and power. Keywords: DISCIPLINARY POWER,BODY, PUPPETEER
Co-Authors Desyandri Desyandri Dyah Pratamawati Endang Wara Suprihatin Suprihatin ika wahyu widyawati Kharisma Melati Sukma