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All Journal JOGED Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Journal of Urban Society´s Arts MUDRA Jurnal Seni Budaya Panggung Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang JURNAL TATA KELOLA SENI Acintya Gelar : Jurnal Seni Budaya Belom Bahadat : Jurnal Hukum Agama Hindu
I Wayan Dana
Institut Seni Indonesia Yogyakarta
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences Other

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Journal : Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang

 1 
Pengelolaan Pementasan Wayang Kulit Ki Eko Kondho Prisdianto di Tulung Agung Jawa Timur Fatoni Purwitoaji; I Wayan Dana
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 1: May 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (909.464 KB) | DOI: 10.24821/dtr.v5i1.7660

Abstract

 Wayang kulit merupakan salah satu bentuk tradisi atau kebudayaan lisan yang cukup memiliki tempat di hati masyarakat Jawa. Wayang kulit dimainkan oleh seorang dalang. Ki Eko Kondho Prisdianto merupakan dalang asli dari Jawa Timur lebih tepatnya dari Kabupaten Tulungagung. Metode yang digunakan dalam penelitian ini adalah kualitatif deskriptif, dengan menggunakan teori manajemen yang terdiri dari fungsi manajemen, prinsip-prinsip manajemen. Teknik pengumpulan data dilakukan dengan tiga tahapan yaitu, wawancara, observasi, dan pemanfaatan dokumen yang ada. Penelitian ini mendeskripsikan bagaimana praktik manajemen dalam pementasan wayang kulit dengan landasan teori manajemen. Pada hasil penelitian ini disimpulkan bahwa Ki Eko Kondho Prisdianto telah menerapkan beberapa praktik manajemen sederhana, seperti fungsi manajemen, prinsip manajemen, yang dilaksanakan dengan baik. Beberapa temuan kasus di lapangan memang belum sesuai dengan teori manajemen. Hal ini didasari dengan latar belakang Ki Eko Kondho Prisdianto yang bukan seorang akademisi melainkan belajar secara tradisional.Kata kunci: Pementasan Wayang Kulit, Ki Eko Kondho Prisdianto, Tulungagung, Manajemen.AbstractWayang kulit is a form of tradition or oral culture that has quite a place in the hearts of Javenese people in particular and is played by a puppeteer. Ki Eko Kondho Prisdianto, an original puppeteer from East Java, more precisely Tulungagung regency, has a fairly high popularity in the community, especially in East Java. The method used in this research is descriptive qualitative using management theory which consists of management functions. Management principles, and management fields. Data collection techniques were carried out by three methods, namely, interviews, observation, and the use of existing documents. This study describes how management practices in wayang kulit performances are based on management theory. The results of this study show that Ki Eko Kondho Prisdianto had implemented several existing management functions, management principles, and areas almost perfectly. Nevertheless, some of the cases in the field ar not in accordance with existing management theory. This is due to the fact that his educational background which is not necessarily academic as he got his expertise by learning traditionally.Keywords: Wayang Kulit Performances, Ki Eko Kondho Prisdianto, Tulungagung, Management  
Pengembangan Mamaca di Pamekasan Madura sebagai Penguatan Harmoni Kehidupan Sosial Supadma Supadma; I Wayan Dana
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 2: November 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2281.999 KB) | DOI: 10.24821/dtr.v4i2.6454

Abstract

The Development of Mamaca in Pamekasan Madura as Strengthening Harmony of Social Life. This study aims to develop one of the traditional performing arts, namely Mamaca in Pamekasan Regency, Madura Island, which is abandoned, especially by the local younger generation. Mamaca, which emphasizes the nobility of values and norms in its form and implementation, is capable of strengthening the nation’s character and the harmony of social life. Thus, this research is an effort to reconstruct local cultural and community values. Seeing its essential role, this research on Mamaca will be carried out in three years. Mamaca presents the values of local wisdom and uses the hermeneutic approach. The reinforcement is designed in the form of new Mamaca choreography according to the spirit of the times. It also reflects the will of the supporting community but still does not leave its primary source. The design of the form of presentation is based on an emic and ethical point of view, namely using a choreographic approach by involving the ideas of local artists or actors. The “new” Mamaca choreography was introduced to students of several elementary schools, as well as to existing performing arts groups. By introducing and teaching it to young children, it is hoped that the stronger and longer roots will be planted for growth. Its introduction and application are followed up by contesting it to motivate others in arts and to promote it to a broader audience, Mamaca can be developed outside its original area, but with similar traditional performing arts. Based on this plan, further development of choreography is also designed to be taught to children and adapted to their distribution area.Keywords: mamaca; Pamekasan Madura; local wisdom; national character;social harmony
Kuratorial Solo International Performing Arts (SIPA) 2021 sebagai Bentuk Inovasi dan Konsistensi Festival Berskala International I Wayan Dana; Rika Amalia Putri
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 2: November 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v5i2.9538

Abstract

Solo International Performing Arts (SIPA) 2021 Curatorial as a Form of Innovation and Consistency on an International Scale Festival This research focuses on the curatorial process in Performing Arts practice by taking a case study at the largest annual Performing Arts event in the city of Solo, SIPA (Solo International Performing Arts) in 2021. SIPA Festival has a curatorial concept that is detailed and mature and relevant to the circumstances of the times. Curatorial at the SIPA Festival focuses on the selection of event themes, mascots, and the selection of performers. The research method used is a qualitative method, which will focus on observation, documentation, and structured interviews. The main source of data is from the description of the source, and the memory of the source. The results of this study are about the explanation of the curatorial process in the series of SIPA 2021 events,- and the identification of the concept of curatorial thinking. Each SIPA 2021 performer has their own reasons why they were chosen to perform on the magnificent stage of SIPA 2021, this reason is in the description of the curators. The standards applied by SIPA Festival for its performers are absolute requirements that must be met by performers in order to be able to display their works on the SIPA 2021 stage.Keywords: Solo International Performing Arts, Festival, Performance Art, Curatorship, Curator
Kajian Hasil Rekonstruksi Tari Opak Abang di Kabupaten Kendal Anggun Ida Mawadda; I Wayan Dana
Dance and Theatre Review Vol 6, No 1: May 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v6i1.9337

Abstract

Tari Opak Abang merupakan tarian resmi Kabupaten Kendal, diresmikannya tari Opak Abang menyebabkan dirubahnya penampilan kemasan pertunjukannya. Pemerintah Kendal melakukan rekonstruksi dengan kegiatan penggalian, reinterpretasi, dan reaktualisasi. Penelitian ini mengulas sejauh mana hasil rekonstruksi tari Opak Abang sebagai identitas kesenian Kabupaten Kendal. Keberhasilan dikenalnya tari Opak Abang membutuhkan kolaborasi peran penta-helix, diantaranya pemerintah, pelaku seni, masyarakat penyangganya, budayawan atau seniman, media, dan pebisnis. Pemerintah Kabupaten Kendal sudah melakukan upaya untuk mengenalkan tarian ini dengan melibatkannya dalam berbagai festival dan acara. Namun kenyataannya tarian ini belum cukup dikenal secara merata, bahkan oleh masyarakat Kendal itu sendiri. Nampaknya ketidakseimbangan para peran penta-helix membuat tarian ini belum dikenal menjadi identitas kesenian Kabupaten KendalKata kunci: rekonstruksi, tari Opak Abang, pentahelix
Co-Authors A. M. Hermien Kusmayati Agustin Anggraeni Anggun Ida Mawadda Fatoni Purwitoaji I Made Agus Tresna Tanaya I Nyoman Cau Arsana Ni Nyoman Sudewi Ni Wayan Rizka Arisanti Rahmani Rahmani Raja Alfirafindra Rika Amalia Putri St. Hanggar Budi Prasetya Supadma