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

DTR
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Published by Institut Seni Indonesia Yogyakarta

ISSN : 25025880 EISSN : 26866027 DOI : https://doi.org/10.24821/dtr.v4i2

Core Subject : Humanities, Art,

Arts Humanities

Dance & Theater Review (DTR) is a journal published in May and November, hosted by the Faculty of Performing Arts of Institut Seni Indonesia Yogyakarta. It is firstly published in May 2018. Journal of DTR contains any results of research and creation of dance, theatre, and wayang as well as performing arts education.

Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan

Articles 56 Documents

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New Show Paradigm of Wayang Klithik Wonosoco I Nyoman Murtana
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 2 (2018): November 2018
Publisher : Institut Seni Indonesia Yogyakarta

AbstractWayang Klithik Wonosoco is classified as rare because it is only performedonce a year as a means of bersih desa ritual. However, the show still comeswith a new paradigm. The results of the study show that the wayang KlithikWonosoco Village has undergone a paradigm shift since puppeteer and severalmusicians studied at the Surakarta Kasunanan Palace. This research appliedbasic research method by applying the theory of change to enrich the basicknowledge. The basic understanding of the values of the cultural practices ofwayang shows in the Surakarta Kasunanan Palace is converted to WonosocoVillage after going through an adaptation process. This article is expectedto be an inspiration for the development of science and practice in the fieldof puppet art. The paradigm of Wayang Klithik Wonosoco has changed; as aresult, it becomes new. The changes involve the concepts, methods, forms andstructures of the staging which consists of jejer, babak unjal, paseban jawi,perang gagal, goro-goro, pertapan, perang brubuh, and tancep kayon. Likewisesulukan (puppeteer singing) is enriched with several cengkok sulukan of shadowpuppet and pocapan (monologue) as signs of changing scenes in each pathet.The adaptation process has change the form and structure of Wayang KlithikWonosoco show; it becomes new.Keywords: Wayang Klithik; Wonosoco

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

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

The Wayang Performance of Enthus Susmono: A Resistance of Tegal-Pesisiran Identity in Breaking the Tradition Hegemony Hariyanto Hariyanto
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 1 (2018): May 2018
Publisher : Institut Seni Indonesia Yogyakarta

AbstractThis article aims to reveal and explain the process of cultural resistance appeared as a result of cultural violence conducted by authoritarian government regime in Indonesia. The standardization process of puppetry style, which was based on the tradition hegemony of Keraton Surakarta and Ngayogyakarta, in Enthus Susmono’s view, was considered as being a political practice of cultural violence existed during the New Order era – a practice that seemed to eliminate minor puppetry traditions in the Javanese culture. It is in the framework of Titon’s model that the appearance of a culture form may result from a historical memory that this article tries to explain the cultural resistance efforts by Susmono, which were represented in his performance of Wayang golek Gagrag Tegalan, in order to articulate the cultural identity of Tegal-Pesisiran.Keywords: Enthus Susmono; wayang golek Tegal; wayang PesisiranAbstrakWayang Gaya Enthus Susmono: Resistensi Identitas Tegal-Pesisiran dalam Mendobrak Hegemoni Tradisi. Tulisan ini ingin mengungkap serta menjelaskan proses resistensi kultural yang timbul akibat praktik kekerasan budaya oleh hegemoni rezim pemerintahan yang otoriter di Indonesia. Upaya standarisasi pedalangan yang berpijak pada hegemoni tradisi dua istana, yaitu Surakarta dan Ngayogyakarta, oleh Enthus Susmono dipandang sebagai praktik politik kekerasan budaya terjadi semasa Orde Baru, yang seolah-olah menghilangkan berbagai tradisi kecil dunia pedalangan di Jawa. Melalui Pandangan Titon bahwa kemunculan sebuah bentuk kebudayaan yang didasari oleh memori kesejarahan, artikel ini menjelaskan mengenai resistensi kultural yang dilakukan Enthus Susmono, yakni melalui karyanya dalam pertunjukan Wayang Golek Gagrag Tegalan, untuk mengekspresikan dan mengartikulasikan identitas budaya Tegal-Pesisiran.Kata kunci: Enthus Susmono; wayang golek Tegal; wayang Pesisiran

Pengelolaan Pertunjukan Teater di Jakarta tahun 1972 hingga tahun 2017 Deden Haerudin
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 1: May 2021
Publisher : Institut Seni Indonesia Yogyakarta

Pertunjukan teater dimaknai sebuah pengomunikasian gagasan dan pemikiran seniman melalui pertunjukan. Meskipun dalam proses pengomunikasian tersebut dibatasi oleh sejumlah batasan kekuasaan. Penelitian ini bertujuan untuk mengetahui pengelolaan pertunjukan teater pada kegiatan Festival Teater Jakarta kurun waktu 1972 hingga 2017. Penelitian ini dilaksanakan dengan menggunakan metode studi kasus kesejarahan. Data penelitian dikumpulkan melalui dokumen dan wawancara untuk selanjutnya dikategorikan dan dianalisis untuk menemkukan sejumlah temuan. Temuan penelitian tersebut selanjutnya divalidasikan dengan teknik validasi triangulasi sumber data yang menyinkronkan sejumlah sumber data pada temuan penelitian. Penelitian ini mengungkap bahwa pengelolaan pertunjukan teater pada kegiatan FTJ mengadaptasi kebijakan pemerintah yang berwenang ditandai dengan dua periode (periode 1972-2000 dan periode 2000-2017) dengan memerhatikan kebutuhan dan potensi daya ungkap para kalangan seniman. FTJ telah menjadi magnet bagi para pegiat teater untuk mendapatkan pengakuan sebagai kelompok teater. Meskipun, tak sedikit kelompok teater yang membubarkan diri pasca mengikuti kegiatan FTJ. Penelitian ini merekomendasikan topik penelitian selanjutnya untuk mengungkap pengelolaan teater pasca partisipasi kegiatan FTJ.

Penciptaan Teater “Hikayat Cantoi”: Adaptasi dari Konsep Teater Tutur Aceh Adnan PM TOH Sulaiman Juned
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 1 (2020): May 2020
Publisher : Institut Seni Indonesia Yogyakarta

AbstractCreating the monologue theater is based on Teater Tutur Aceh, PM TOH. The author did not start from the saga script but wrote a monologue script entitled “Hikayat Cantoi” and was performed in Indonesian. The show combined the modern convention, especially in movement and blocking of actors on stage, setting (decoration), props, make-up, and clothing by using the wealth of the body as music (body percussion music), such as: pat the chest, thighs, stomach, and fingertips in the Seudati, Didong, and Guel dance. This work presents a character who has historical and psychological complexities. Cantoi, an Acehnese man who works as a teacher, is forced by the situation to become “Pak Turut” to save his soul. The author chose this imaginary character because in Aceh, the term for someone who is smart but looks stupid, and is called Cantoi. Between 1996-2003, Acehnese society experienced a cultural shift or change. It happens because of social interaction through the pressures that are experienced at any time. Changes in social behavior lead to the birth of ideology and the restructuring of people’s behavior.Keywords: creative process; monologue; speech theater; Adnan PM TOH; Acehnese locality

Nilai-Nilai Kearifan Lokal Melalui Tari Galombang Gaya Sasaran: Studi Sasaran Sebagai Sarana Pendidikan Kultural Nerosti Nerosti
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 1 (2019): May 2019
Publisher : Institut Seni Indonesia Yogyakarta

This article aims to discuss the issue of Minangkabau local wisdom manifested in Galombang dance activities in the context of the target style. The existence of pencak silat targets is very meaningful for Minangkabau men because the target is not only a means of physical endurance training but also a basis for cultural education for Minangkabau people. Thus, the problem that will be expressed in this article is about the importance of the target for men in Minangkabau as a means of educating local wisdom, by expressing the implementation of local wisdom values through the target-style Galombang dance, and also explaining the extent to which values of the local wisdom is manifested in today’s Galombang dance performances. Sasaran and Galombang dance are two things that are interconnected in building the values of local wisdom in Minangkabau. This cultural activity has been started since the past when the royal system ruled in Minangkabau. In turn, the target as a forum for cultural education that contains local wisdom values becomes the place to produce Galombang dance, so that the values of local wisdom are manifested in the target-style Galombang dance.Keywords: local wisdom values; Sasaran; Sasaran Style of Galombang dance

Malay Dance: Expression on Maritime Society Rina Martiara
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 1 (2018): May 2018
Publisher : Institut Seni Indonesia Yogyakarta

AbstractNusantara as bhinneka (unity) culture has not been studied completely and comprehensively. It is only called as equatorial emerald region that most of the people are farmer. Children’s song says that my grandmother is a sailor, but Nusantara’s society can not precisely express the distance of society with the ocean. The current dance research examines dance as a particularistic study of dance on a particular tribe, and it ignores the extensive research on a large scale. This study will evolve to find the cultural mapping of Nusantara dance based on cultural style categorization of mental map; it is a new awareness of how to think based on cultural geography. The approach of the study was the analysis of the motion structure that builds a dance and all the supporting aspects that will create the cultural style of the community. Textual analysis will examine the elements of dance those are motion, accompaniment, floor pattern, property, makeup and clothing, outfit of show. Contextual analysis was used to analyze the cultural values in the dance. Those two methods can be used to draw aesthetic patterns possessed by Malay culture. The conclusion of maritime culture pattern study presented that there were four different patterns with farmer community pattern which have three patterns and rice farmer which have five patterns.Keywords: Malay dance; maritime culture; pattern of fourAbstrakTari Melayu: Ekspresi Masyarakat Maritim. Nusantara sebagai budaya yang bhinneka selama ini belum mendapat kajian secara tuntas dan komprehensif. Nusantara hanya disebut sebagai daerah zamrud khatulistiwa yang sebagian besar masyarakatnya adalah petani. Lagu anak-anak mengatakan bahwa nenek moyangku seorang pelaut, tetapi justru masyarakat Nusantara tidak mampu menyatakan secara jelas jarak masyarakat dengan lautan. Penelitian tari yang berkembang sekarang ini umumnya lebih banyak melihat tari sebagai studi yang partikularistik mengenai tari pada suatu suku bangsa tertentu, dan melupakan kajian yang meluas dalam skala besar. Kajian ini akan berkembang untuk menemukan pemetaan budaya tari Nusantara berdasarkan kategorisasi gaya budaya yang didasarkan pada mental map, yaitu satu kesadaran baru tentang cara berpikir berdasarkan geografi budaya. Pendekatan yang digunakan adalah analisis struktur gerak yang membangun sebuah tari dan seluruh aspek pendukungnya yang akan membentuk gaya budaya masyarakat tersebut. Analisis tekstual akan mengkaji unsur-unsur tari yang terdiri dari: gerak, iringan, pola lantai, properti, rias dan busana, perlengkapan pertunjukan. Analisis kontekstual digunakan untuk menganalisis nilai-nilai budaya yang terkandung di dalam tari tersebut. Dari kedua metode tersebut dapat dipetakan pola estetis yang dimiliki oleh budaya Melayu. Simpulan yang dapat ditarik bahwa pola budaya maritim adalah pola empat yang berbeda dengan pola masyarakat petani ladang yang berpola tiga dan petani sawah yang berpola lima.Kata kunci: tari Melayu; budaya maritim; pola empat

Bilah Berputar sebagai Media Pembelajaran Olah Tubuh untuk Melatih Gerak dalam Pengendalian Diri Sarjiwo Sarjiwo
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 2: November 2021
Publisher : Institut Seni Indonesia Yogyakarta

The Rotating Blades as the Learning Media of Body Exercise to Train Movement in Self-Control. This study aims to reveal how media (blades) becomes the learning media of body exercises to train motion in self-control. This research is experimental research by giving treatment to research subjects. The treatment was carried out in three stages: (1) The study subjects adapted to the blades moving freely for 2 minutes; (2) the research subjects improvised motion freely while rotating the blades for 2 minutes; and (3) the research subjects improvised movement freely while turning the blades consciously to control themselves for 2 minutes. The motion process in the first, second, and third treatments was observed as the data for analysis. The observation was conducted by interviewing the research subjects. The results showed that in the first treatment, the blades that the research subjects rot hit the body, hitthe floor, and slack ropes accumulated twelve times. In the second treatment, the research subjects rotated the blades hitting the body, hitting the floor, and the slack ropes were cumulatively 21 times. And in the third treatment, the blades were rotated by the research subjects hitting the body, hitting the floor, and the slack ropes accumulated seven times. The research results indicate that if the free movement is not controlled, the possibility of an accident is more significant (21 times). Meanwhile, if the movement is controlled, the case of an accident is more minor (7 times).Keywords: rotating blade; body exercise; self-control

Penciptaan Peran Tokoh Xiau Mei dalam Naskah Senja dan Penantian Karya Hernandes Saranela Terinspirasi dari Film The Chinese Widow Shinta Kusuma; Hirwan Kuardhani; Rukman Rosadi
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

The Creation of the Character of Xiao Mei in the Play Script of Senja dan Penantian by Hernandes Saranela Inspired by The Chinese Widow Film. The script of Senja dan Penantian written by Hernandes Saranela, tells about the waiting of a Chinese descent girl waiting for her lover to return from the battlefield. This realism script of the play presents its challenges and requires a lot of references. The Chinese Widow film is a source of ideas. Ying's character as the main character is lovely because the play's depth brings out firm acting details. The actress made a series of observations and used the presentation approach to creating the Xiao Mei's character. The creation of this work aims to describe how the actress can portray the character's inner act by using Stanislavski's acting method. In her acting, the actress attains awareness of playing her roles to make the weakness of Xiao Mei's character's strength and uniqueness.Keywords: actor; acting; film

Revitalisasi Tari Tayung Raci Desa Raci Kulon, Kecamatan Sidayu, Kabupaten Gresik Dwi Zahrotul Mufrihah
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 2 (2019): November 2019
Publisher : Institut Seni Indonesia Yogyakarta

Tayung Raci dance is the original art of Raci Kulon village, Sidayu district, Gresik regency, which has been experienced apparent death 27 years. Meanwhile, Tayung Raci Dance begin to reappear sometime around 2014. The form of presenting Tayung Raci dance experience a change that is used to maintain its exclusion as the original art of Raci Kulon village. The change does not leave a culture that has became the identity of Tayung Raci Dance adapt to the community. This is called the revitalization effort that serves as one way of cultural preservation. The formulation of the research problem is how to revitalize Tayung Raci dance, Raci Kulon village, Sidayu district, Gresik regency. The objective of this research is to know the revitalization of Tayung Raci dance, Raci Kulon village, Sidayu district, Gresik regency. This research uses qualitative approach for the case of this study. The results of revitalization research take place in the form of presentation of Tayung Raci dance. The form of presentation are the presentation plot, motion, clothing, property, and music. Revolutions are divided into 5 rounds with some motion. The dress code has a symbolic meaning of dress or soldier’s uniform. The property consists of Wijil Trunojoyo spear, horses, Ketekan mask, Wedokan mask, Macanan mask and Pecut. Musical instruments use drums, Kenong and Tanjidor (drum), slompret and gong with the lyrics of songs use Sholawat Nabi.Keywords: revitalization; Tayung Raci dance; arts of Gresik district

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Surya Farid Sathotho

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+6282228334645

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dtreview@isi.ac.id

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Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta

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Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Surya Farid Sathotho

Contact Email suryafarid@isi.ac.id

Phone +6282228334645

Journal Mail Official dtreview@isi.ac.id

Editorial Address Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta

Location Kab. bantul, Daerah istimewa yogyakarta INDONESIA

Abstract

Abstract

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Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Surya Farid Sathotho

Contact Email
suryafarid@isi.ac.id

Phone
+6282228334645

Journal Mail Official
dtreview@isi.ac.id

Editorial Address
Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA