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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

Potehi Puppet (布袋戲) in Java Hirwan Kuardhani
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 1 (2018): May 2018
Publisher : Institut Seni Indonesia Yogyakarta

AbstractPotehi (布袋戏) puppet theater in Java is called as Chinese puppet and originated from Fujian (福建) and Guangdong (广东) Province. Chinese puppets that were allegedly meant here is Potehi because the forms of other kinds of puppet theater from China was not discovered the traces. Leather puppet, such as Purwa, or string puppet (marionette), or even Rod puppet is not recognized by the Javanese people, most of them are only familiar with Potehi Chinese puppet. This is confirmed by the data that most Chinese emigrants who came to Java is the Hokkien (Fujian) who owned Potehi puppet theater. Some of Potehi playhouse stage are in the form of permanent building of a brick wall that has been decorated with images of deities or knock -down building which is similar to ronda substations that can be assembled. When Potehi stage is used for shows in pagoda, it will be included in the playhouse stage. It is different if the shows take place outside the pagoda, such as in malls, galleries, churches, festivals and so on, then it will be without the playhouse stage. Potehi stage shaped like a castle building with division of imaginary spaces. The upper part is the sky or deities’ palace, and the bottom is the human castle. It can also be interpreted as two natures; macrocosm and microcosm. The Sky Palace keep supervising the administration of human castles that have been mandated to regulate human. General grip of Potehi Puppet Theatre in Java includes: material story and a common way of presenting the general grip of the story of Potehi Puppet Theatre in Java that include: materials and way of presenting sequence actions stories that are taken by sehu and the board of pagoda when holding Potehi show in pagoda are as follow: 1 Sehu prepares the figures. 2. Sehu with Lauw Cu (the board of pagoda) perform Puak Poe rituals. 3. Sehu prepare the staging equipment. 4. The show is based on the agreed time with pagoda sides. Potehi shows for the Chinese community carry out ritual, social, and educational functions.Keywords: puppet theater; Potehi; Javanese performanceAbstrakWayang Potehi di Jawa. Teater Boneka Potehi di Jawa disebut sebagai pertunjukan boneka Cina yang berasal dari Provinsi Fujian dan Guandong. Diduga pertunjukan Potehi datang ke Pulau Jawa pada abad ke-16. Wayang Potehi dikenal sebagai wayang Cina karena bentuknya tidak ditemukan di wilayah Jawa. Wayang kulit di Jawa sama dengan wayang Purwa, wayang bertangkai di Jawa dikenal dengan wayang golek. Teater boneka Potehi dibawa para emigran Hokkian (Fujian) ke Jawa, dan dimainkan pada panggung permanen ataupun panggung yang berpindah. Ketika pertunjukan Potehi dimainkan di Kelenteng, digunakan stage yang permanen berbentuk rumah-rumahan. Hal demikian berbeda dengan pertunjukan yang dimainkan di luar Kelenteng, seperti di mal, galeri seni, gereja, atau festival-festival. Panggung Potehimerupakan perwujudan simbol dunia, yakni paling atas adalah istana langit yangmerupakan tempat para dewa, sementara bagian bawah adalah istana manusiabiasa atau tempat masyarakat biasa. Hal tersebut dapat digambarkan sebagaialam makrokosmos dan alam mikrokosmos. Secara keseluruhan, pementasanPotehi di Jawa masih mengikuti patokan, lakon, tatacara Potehi asalnya, yaitu:1. Sehu atau dalang menyiapkan lakon dan mengajukan judul lakon yang akandibawakan. 2. Sehu bersama Lauw Cu (petugas upacara) melakukan ritual PuakPoe. 3. Sehu mendapatkan persetujuan mengenai lakon yang akan dibawakan. 4. Pertunjukan digelar berdasarkan lakon yang telah disetujui dewa. PertunjukanPotehi bagi komunitas masyarakat Tionghoa membawa serta fungsi sosial, ritual,dan pendidikan.Kata kunci: teater boneka; Potehi; pertunjukan Jawa

Pamenan as an Aesthetic Concept of Creating a Wayang Padang Theatre Sahrul Nazar
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 1 (2018): May 2018
Publisher : Institut Seni Indonesia Yogyakarta

AbstractWayang Padang Theater performance, perceived from the communication perspective, commonly uses a lapau—a traditional coffeestall (pamenan kato)—style dialogue. Meanwhile, Wisran Hadi also makes use of visual aesthetic (pamenan mato). Pamenan is defined as a game, both creatively or philosophically. Dialogue plays an essential role in the performance that can provide a playful sense that sometimes sounds like there is a misscommunication or an altered meaning. This is actually a distinct characteristic of Wisran Hadi in presenting an entertainment through words. Pamenankato is a technique used by Wisran Hadi in creating a work of art that can entertain the society. The society itself is quite appreciative in absorbing the words uttered by the actors on the stage. On he other side, the visual aesthetic or pamenan matois related with thevisual elements shown on the stage. The aesthetic concept of the play can be seen from the use of words or expressions, the flow of the story, the characters, the costumes, the movements, and the organization of stage, music and lighting. These elements are effectively applied by Wisran Hadi in his Wayang Padang performance.Keywords : pamenan; pamenan Kato; pamenan Mato; Wayang Padang; Wisran HadiAbstrakPamenan sebagai Konsep Estetis Penciptaan Teater Wayang Padang. Pementasan teater Wayang Padang, ditinjau dari segi komunikasi, menggunakan dialog gaya lapau atau warung kopi (pamenan kato). Sementara itu, ditinjau dari segi estetika visual, Wisran Hadi memakai keindahan lihatan (pamenan mato). Pamenan diartikan sebagai permainan, baik permainan secara kreatif maupun permainan secara filosofis. Dialog menjadi hal yang utama dalam pementasan ini. Dialog dalam Wayang Padang seperti bermain-main, kadang-kadang tidak menyambung dan diplesetkan. Hal ini merupakan ciri khas Wisran Hadi dalam menghadirkan hiburan lewat kata-kata. Pamenan kato seperti ini merupakan cara Wisran Hadi dalam membangun karya yang bisa menghibur masyarakat. Masyarakat cukup apresiatif dalam menyimak seluruh kata yang diucapkan oleh aktor di atas pentas. Estetika visual atau pamenan mato berkaitan dengan permainan yang terlihat di panggung pementasan. Estetika konsep penciptaan yang mengarah pada permainan yang terlihat, meliputi unsur kata atau ucapan, cerita, tokoh, kostum, gerak, tata pentas, musik, dan cahaya. Unsur inilah yang dipermainkan oleh Wisran Hadi dalam pementasan teater Wayang Padang.Kata kunci : pamenan; pamenan Kato; pamenan Mato; Wayang Padang; Wisran Hadi

Interculturalism in The Eyes of Marege Performance Alif Anggara
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 1 (2018): May 2018
Publisher : Institut Seni Indonesia Yogyakarta

AbstractThe Eyes of Marege is a surreal drama which consists of two acts with fourteen scenes. It is an intercultural performance that raises the history of relations between Makassar and Aborigines in the past. The research aims to know the basic idea of creation, the concretization stages, as well as the structure and texture of the performance. This research applies a qualitative method with a sociological approach. Observations were started from DVDs of the performance and drama script of The Eyes of Marege. Data were collected from interviews with some respondents and literature study. The Eyes of Marege is inspired by folklore, myths, songs about Makassarese coming to Arnhem Land - Northern Australia to find sea cucumbers. It was the place where Julie Janson had lived for thirty years and was raised by the Yolngu family. In addition, Julie Janson got some other inspirations from several readings and personal experiences when visiting Makassar.Keywords: Eyes of Marege; Makasarese folklore; Julie JansonAbstrakInterkuluralisme dalam Pertunjukan The Eyes of Marege. The Eyes Of Marege merupakan drama absurd atau surealis yang terdiri dari dua babak dengan empat belas adegan. Penelitian ini bertujuan untuk mengetahui ide dasar penciptaan, tahapan konkretisasi, serta struktur maupun tekstur pertunjukannya. Penelitian ini menggunakan metode kualitatif dengan pendekatan sosiologi. Penelitian dilakukan dengan cara pengamatan pertunjukan dan analisis naskah drama diikuti dengan wawancara dan studi pustaka. Berdasarkan penelitian dapat disimpulkan bahwa drama ini terinspirasi dari cerita rakyat, mitos, nyanyian-nyanyian tentang orang Makassar yang datang ke Arhemland – Australia Utara untuk mencari teripang. Tempat itu adalah tempat di mana Julie Janson pernah tinggal selama tiga puluh tahun dan diasuh oleh keluarga Yolngu. Drama ini dapat digolongkan sebagai pertunjukan interkultural yang mengangkat masalah sejarah hubungan antara suku Makassar dan suku Aborigin yang pernah terjalin di masa silam.Kata kunci: Eyes of Marege; folklore Makassar; Julie Janson

Sustaining and Strengthening Indonesia Art and Culture AM Hermien Kusmayati
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 1 (2018): May 2018
Publisher : Institut Seni Indonesia Yogyakarta

AbstractThis study aims to analyze the background and sustainability of plurality or diversity of Indonesian art and culture in the form of implementation as a revitalization of traditional performing arts. Qualitative research with an ethnographic approach and an emic and ethical point of view are employed to observe it. The richness of art —both material and non-material with its various aspects are created through struggles against nature, space, and time which are not always easy to address. The cone-shaped cultural wealth as an art is created from the depths of consciousness, understanding, and insight which are not simple but bearing various symbols. The use of symbols in the form of art lengthens its roots from one generation to the next as a representation of the clarity and wisdom of the crystallization of the intelligence of feelings and thoughts. Informal and non-formal educations are efforts which can be done by the present generation to confirm its sustainability. In the vastness of a very open global era, as intercultural interactions intensify, a strong and resilient culture is needed. As something inherited, the future sustainability lies in the hands of the generation, i.e. the society of the recipients in the present and the future.Keywords: Indonesian art; traditional dance; batik; mamacaAbstrakKeberlanjutan dan Penguatan Seni-Budaya. Penelitian ini bertujuan untuk menganalisis latar belakang dan keberlanjutan pluralitas atau keberagaman seni budaya Indonesia dalam wujud pelaksanaan sebagai suatu revitalisasi seni pertunjukan tradisi. Penelitian kualitatif dengan pendekatan etnografis dan sudut pandang emik serta etik ditempatkan untuk mencermatinya. Kekayaan seni – budaya baik bendawi maupun non bendawi dengan berbagai aspeknya diciptakan melalui pergulatan terhadap alam, ruang, dan waktu yang tidak selalu mudah disikapi. Kekayaan budaya yang mengerucut sebagai seni yang diciptakan dari kedalaman kesadaran, pemahaman, serta penghayatan yang tidak sederhana bermuatan berbagai simbol. Penggunaan simbol-simbol dalam wujud seni, memanjangkan akarnya dari satu generasi ke generasi berikutnya sebagai representasi kejernihan dan kearifan dari kristalisasi kecerdasan perasaan dan pikiran. Melalui dan di dalam pendidikan baik formal maupun non formal adalah upaya yang dapat dilakukan oleh generasi sekarang untuk meneguhkan keberlanjutannya. Di keluasan era global yang sangat terbuka, ketika interaksi kebudayaan antarbangsa semakin intensif, sungguh diperlukan ketahanan budaya yang sangat kuat dan tangguh. Sebagai sesuatu yang diwariskan, maka kelanjutannya di masa depan berada di tangan generasi pewarisnya, yaitu masyarakat penerimanya pada saat sekarang maupun yang akan datang.Kata kunci: kesenian Indonesia; tari tradisi; batik; mamaca

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

The Concept of NEO Theater Performances: Appreciation for Acting Tatang Abdullah
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 2 (2018): November 2018
Publisher : Institut Seni Indonesia Yogyakarta

This research investigates NEO Theatre (NT) by using historical approach. Ithas several significances; i.e. firstly, NT is one of modern theater groups thatinfluences modern theater development in Bandung; secondly, though it is stillrelatively new, the creativity of NT cannot be separated from the history ofFathul A. Husein’s creativity development as its director. By applying methodof history through several stages from heuristics, critics, interpretation, tohistoriography; NT’s creativity pattern can be constructed; it is in accordancewith the aim of this research, to achieve the historical illustration of NT’screativity pattern in realizing the prototype of theater performance entitledTritik Segaris Putih. Fathul A. Husein, as the NT leader, was one of the foundersof theater Actors Unlimited (AUL) established in mid 1990s. Having it ended,Fathul A. Husein, who acted more as a director, founded NT on 18 April 2012.Based on the works Fathul directed since his time in AUL, the creative processof NT shows similar creativity with the Studiklub Theater Bandung (STB). Animportant fact to support this statement is that as a modern theater observerand critic, Fathul had ever joined in some productions of STB during the timeof Suyatna Anirun (RIP) before he decided to join in the founding of AUL. Thus,it can be said that the model of STB theater creativity pattern is also reflectedon the creativity pattern of NT in each of its theater production.Keywords: theater history; theater production; NEO Theater

Traditional Elements in the Iranian Realistic Drama Farindokht Zahedi
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 2 (2018): November 2018
Publisher : Institut Seni Indonesia Yogyakarta

Modern Iranian drama developed in line with a liberal school of thought, bothbefore and after the Constitutional Revolution in 1906. It came during thetransition from a traditional to a new type of society that was able to tolerateand accept the revolution. The arrival of European theatre in 1878, with itsdependence on a written text rather than improvisatory acting, was part of themodernization process in Iran that enjoyed its height in the early years of thetwentieth century. At the same time, traditional theatre was being rediscovered,and playwrights started using some of its forms to develop indigenous modernIranian theatre to meet the standards of the genuine past and dynamic present.Although there was an assimilation of certain secular tendencies, the newlyappearing type of drama satisfied the need for modernity through defendingpolitical and social liberties. The road to transition began in the 1850’s andgained momentum during the 1940’s through the 1970’s, leaving its effects onIranian drama in such a way that its legacy persists to date.Keywords: realistic drama; Iranian drama; Iran Constitutional Revolution

Dramaturgy of Ludruk Karya Budaya on the Story of Sarip Tambak Oso Jihan Kusuma Wardhani
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 2 (2018): November 2018
Publisher : Institut Seni Indonesia Yogyakarta

This paper presents the dramaturgy of Sarip of Tambak Oso (STO), performedby Ludruk Karya Budaya Mojokerto (LKBM). LKBM as a Ludruk art group inEast Java has survived for about 47 years. The STO story has outlived the LKBMgroup. Ludruk has become a typical entertainment in East Java, and STO’s storyis one of the legends which continues to live in the people of East Java, especiallySidoarjo. STO’s story is very close to the community and the conflict in the playis a common issue in the community. This story reminds us of the importanceof good communication between the government and the community. Thisplay tells about the struggle for Sarip’ rights who does not want to pay taxesbecause of his poverty. This led to the resistance to the Dutch governmentand its accomplices. The Dutch finally found Sarip’s weakness. Sarip’s motherwould awake Sarip from death when she yelled out Sarip’s name. This storyis considered a true story by some people in the East Java region, especially inthe Oso Pond area, Sidoarjo. As the development progressed, this story laterbecame a lesson for the local community to wisely respond to all policies madeby the government. The government and the people should share the rightcommunication to create harmony. The dramaturgy study of LKBM in STO playwas important because the documentation was still relatively rare, and alsothe STO story is still contextual to date. The dramaturgy study of LKBM in theSTO play is expected to be able to become a learning, whether Ludruk as a folkart group or a story that can become known for the community.Keywords: Sarip Tambak Oso; Ludruk Karya Budaya

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

Home Page

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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

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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

Abstract

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