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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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Transformasi Multipel dalam Pengembangan Seni Kuda Kepang Kiswanto Kiswanto
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 discourse the perspectives of multiple transformations in the practice of developing performing art of kuda kepang at Turonggo Seto Mardi Utomo group in Boyolali, Central Java. The study of multiple transformations has long been evolving in design and architecture research, but the perspective is rarely encountered in performing arts research which on average still views transformation as a linear or multi-linear process of change. Multiple transformations describe a condition of change made by multiplying or doubling the shape of the kuda kepang art (by taking the same essence, core, or fibre of its structure) into various kinds. The multiplication shows a process of creative development that is triggered by two factors, namely the development of aesthetic and market needs.Keywords: kuda kepang; multiple transformations; traditions; creativity; markets

Barentak Function In Barumpe Mayang Ceremony In Dayak Simpakng Tribe Rina Martiara; Budi Astuti; Ranty Muwa Pratama
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 1: May 2022
Publisher : Institut Seni Indonesia Yogyakarta

Barentak dance is a dance by Boren (shaman) at Barumpe Mayang ritual ceremony in Dayak Simpakng tribe. Barentak is a foot-centered movement, which is a foot beat that follows the sound of accompaniment music and rayah (singing) sung by Pabayu. At the time of Barentak, Boretn was in a trance state to communicate with Duata or God, the spirits of ancestors to be present in Barumpe Mayang.Barentak is the centerpiece of the Barumpe Mayang. Barentak dance can not be separated in the running of the ritual. Barumpe Mayang is an ordination ceremony (level increase) performed by a Form to clean his body (mansiakng daging) by using pinang flowers (mayang). With this ordination it is expected that a Boretn will pass through renewal, be cleansed from disease, kept away from danger, given good luck, and given back strength (spiritual power).To solve research problems, structural functionalism theory is an anthropological perspective of Brown. This theory explores society as a social system, wherein the concept there is a concept of conditions of existence. The condition of existence is used as a process to achieve existence (something), which involves existence other than human beings to meet the needs of what is being done. If there is a missing structure and element, then there will be an imbalance, so Barumpe Mayang and Barentak dance cannot be done.The analogy is used to see the function of Barentak in the ceremony Barumpe Mayang. There are very supportive structures in it such as Barentak dance, motion, actors, accompaniment and poetry, offerings, makeup and clothing, floor patterns and so on. The structures, elements and parts are interconnected in the Barumpe Mayang ceremony, functioning, integrating, moving and operating in the unity of the system.Keywords: Barentak, Barumpe Mayang , Dayak Simpakng Tribe.

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

Tinular Tutur : Audio Drama Media Counter Hegemony Ruler of The New Order (Analysis of Critical Discourse) Purwanto Lephen
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 1: May 2021
Publisher : Institut Seni Indonesia Yogyakarta

The heyday of the 1980-1990 audio drama created by the Sanggar Cerita and the Teater Sanggar Prativi, Jakarta, Indonesia, was an industrial production of drama initiatives synergize between drama creators, pharmaceutical companies and herbal medicine as sponsors, and private radio companies that broadcast them. The productivity of audio drama works in the New Order era reached dozens of titles; some audio drama works produced up to 720 series or 24 episodes for two years broadcast. The audio drama Tutur Tinular by S. Tidjab uses history in Java (Singasari, Kediri, Majapahit) as a source of creation. Critical Discourse Analysis used (Norman Fairclough) is used to reveal texts, practices of discourse. Between social practices were resulting in the finding that in the audio drama, Tutur Tinular contains the behaviour of kings (rulers), royal authorities (patih, warlords), warriors (good people), criminals (bad people), and persecuted people. In the power New Order era, audio drama, which was considered an entertainment media and educational history of nationalism, was a media of resistance of the New Order military rulers. It contained the rulers' behaviour and soldiers who oppressed their people, but it never received a reprimand and a ban on the authorities until the regime subsided.Keywords: drama audio, counter-hegemony, critical discourse

Persebaran Cerita Panji dalam Spirit Kenusantaraan Sumaryono Sumaryono
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 1 (2020): May 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 Panji story that appeared around the XIII century at the end of King Airlangga in Singasari, East Java, became popular in the golden age of the Majapahit kingdom. In 1330 Gajah Mada was appointed by King Putri Majapahit Tribhuanatunggadewi as the ‘Mahapatih’ of the Majapahit kingdom. One year later, in 1331, to be precise, Mahapatih Gajah Mada made an oath known as the “Palapa Oath.” The “Palapa Oath” stated, among other things, that Gajah Mada would not enjoy/eat a palapa before “Nusantara” could be unified. As Mahapatih, every effort was made to realize the ideals contained in the “Palapa Oath.” Mahapatih Gajah Mada increasingly found a clear path after Tribhuanatunggadewi died, and was replaced by his first son named Hayam Wuruk. When he was crowned, king Hayam Wuruk was 16 years old. Under the inexperienced ‘Raja Muda,’ Mahapatih Gajah Mada’s power grew even more remarkable. It is even said that the real king of Majapahit was Gajah Mada. Due to the tremendous efforts of Mahapatih Gajah Mada, the expansion of the Majapahit empire was influential in various regions throughout the Archipelago. Furthermore, with a synchronic approach, it can be assumed that the spread and existence of the Panji story in various regions in Indonesia can be considered as traces of Mahapatih Gajah Mada’s expansionary politics in realizing his ideals as pronounced in the famous ‘Palapa Oath.’ As it is known, the distribution of the Panji story then adapted to local cultures, which made the Panji story have various versions. For example, the Panji story’s performance in Central Java, Malay, Lombok, Kalimantan, and even to countries on the Southeast Asian peninsula. So two important things to note are that the spread of the Panji story in various regions is in line with Gajah Mada’s expansionary politics. It contains the spirit of ‘Kenusantaraan.’ Various versions of the Panji story in the multiple areas show the nature of diversity in the Archipelago’s unity, which is centered in the Majapahit Kingdom. That is what inspired the founders of this republic to adopt the philosophy of “BHINEKA TUNGGAL IKA,” including the color of the flag “red and white” derived from “coconut sugar,” which has been known since the Majapahit era.Keywords: the distribution of the Panji story; the Palapa Oath; the Archipelag

Menyoal Ketubuhan dan Nilai Performatifnya F.X. Widaryanto
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 2 (2019): November 2019
Publisher : Institut Seni Indonesia Yogyakarta

Corporeality as an existance of human body related to object and subject aroundis interesting to be explored, not only its capasity as an instrument of ritualpurposes but also as instrument of its daily “performative” expression. Thekinetic art is not considered belong to dance genre. It can be seen that the genreis expanded to be fluid so that one finds a difficulty to define performance stylewhich not convensionally has form patterns indicated by its kinetic genealogy.Through a profundity of the observation of human body motion related bothculturally and naturally to spatial “ecosystem,” one can see the performativevalue instead of its conventional performance characterized by the form ofits creative tradition. Furthermore, contemporarily it can be indicated thatcorporeality with performative values has a lot of opportunities to contributesignificantly within various aspects of ecocriticism. This is a kind of a critical thinking in term of an efford to remind everybody to be aware of the relationship between human and the environmental problems.Keywords: corporeality; ecocriticism; performative value

Giyah Supanggah: Trace of Artist of Wayang Topeng Dalang Klaten Sri Dwi Wahyuni
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 2 (2018): November 2018
Publisher : Institut Seni Indonesia Yogyakarta

The significance of this research is the transmission of cultural tradition artfrom the descendants of Makaton (Somokaton) puppeteers, namely Jaka PurwaPandaya (father) and Widhi Harsono (grandfather). As an active heir, GiyahSupanggah is a woman who becomes a puppeteer as well as dancer of wayangtopeng dalang, cut and make puppets, and deepen the knowledge and skills ofplaying gamelan. Giyah is a figure of artist who has various artistic talents andemancipation figure of Javanese women of her times. As a mask puppet dancer,she is committed to preserving and developing the genre of performing artsin order to survive and thrive. Giyah’s integrity is shown in the art activitiesby establishing Sanggar Sekar Kedhaton in her home. It is expected that thetransmission of culture among the younger generation as the successor oftraditional art can take place. The present study belongs to a qualitative researchemploying descriptive-analysis based on anthropological approach. It focuseson the analysis of internalization process, socialization, and enculturation thatform Giyah as an active heir of puppeteer and dancer of wayang topeng dalangfrom Klaten. The qualification of Giyah as a puppeteer and dancer contributesto the preservation of traditional art marked by her reputation as a public figureof a traditional artist. The purpose of this study is to know and describe the roleof Giyah as a bearer of traditional art as a legacy of local wisdom. The benefitis to reveal the existence of a forum of creativity for the younger generation inan effort to preserve and develop the art of tradition in order not to be extinctfaded by the times.Keywords: Giyah Supanggah; female puppeteer; wayang topeng dalang

Unsur Tenaga Gerak dan Penerapannya pada Tari Seudati: Proses Kreatif di Sanggar Aneuk Metuah, Aceh Besar Sabri Gusmail; Prastika Dewi Nugra
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 2: November 2021
Publisher : Institut Seni Indonesia Yogyakarta

The Element of Motion and Its Application in Seudati Dance: The Creative Process at Aneuk Metuah Studio, Aceh Besar. This article is the research result which was conducted in Aceh Besar, which led to training activities to solve problems that occurred in the Aneuk Metuah Studio. The problem with the studio is about the dancers’ body resistance when dancing the Seudati dance, namely that the dancers get tired quickly, which impacts the quality of the dance movement. The program is oriented towards increasing creativity in managing the energy element when dancing the Seudati traditional dance. This type of research is qualitative research using the action research method (action research). The researcher identified specific problems and determined actions as solutions to these problems. Furthermore, the research refers to the construction method of creating dance in Jacqueline Smith’s book, translated by Ben Suharto, entitled Dance Composition: A Practical Guide for Teachers. The stages of activity include observation, determination of focus and preparation of training materials, transfer of materials, the performance of the Seudati dance, and evaluation of activities. The action is carried out in the form of training in the management of the energy element when dancing the Seudati dance. The material is delivered through audiovisual media and demonstrates it. Based on the process and the research results, it is found that the potential for the sustainability of the creative process can be carried out by the children of Aneuk Metuah studio in every training process in the future. It is hoped that this activity will have a long-term impact on the trainees in managing the elements of movement energy when dancing and increasing the artistic creativity in the studio.Keywords: dance; training; elements of motion; Seudati

Perubahan Balungan Lampahan dalam Pakeliran Wayang Kulit Purwa Gaya Surakarta Junaidi Junaidi; Bayu Aji Suseno
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

The Changes on Balungan Lampahan in Pakeliran of Purwa Puppet of Surakarta Style.This research aims to increase the appreciation of the shadow puppet purwa pakeliran according to the times and society. Balungan lampahan as the basic framework, is static and never to be changed, but then it is dynamic and full of changes. The method used is descriptive comparative, while data analysis is based on the structure theory of the wayang play by Alton L. Becker and Arnold Hauzer's social change. The results can be found in three forms of balungan lampahan namely: (1) overnight, (2) compact, and (3) solid. Change is partial and total due to changes in the society that supports wayang, namely as the art of royal ritual traditions (monarchy and ritualism) turning into modern art and entertainment (modern and profane). Thus, the change in balungan lampahan represents changing times and society, so it needs to be appreciated by the puppeteers for the pakeliran.Keywords: changes; balungan lampahan; pakeliran; shadow puppets; Surakarta style

Opera Batak Sisingamangaraja XII Episode Ugamo Malim Horja Bolon Na Parpudi: Usungan Tradisi dan Kontemporer Enrico Alamo; Rosta Minawati; Sulaiman Sulaiman; Sherli Novalinda
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

Batak Opera of Sisingamangaraja XII the Episode of Ugamo Malim Horja Bolon Na Parpudi: Carriying out the Tradition and Contemporary. The purpose of research and creation of Batak opera is to revitalize Batak traditional arts. Sisingamangaraja Opera Batak XII, the episode of Ugamo Malim Horja Bolon Na Parpudi, results from the research and creation of the Sisingamangaraja XII Batak opera. The creation of Batak opera uses research methods, namely observation, interviews, literature study, and documentation. The working process begins with reading the script, making blocks according to the script, detailing blocking, playing the role/scenes, music, and tutoring, selecting and doing the artistic and lighting creation. Opera Batak was done in contemporary work, including story elements, jokes (amalopas), and even accompaniment (uning-uning). Sisingamangaraja Opera Batak XII, the episode of Ugamo Malim Horja Bolon Na Parpudi tells the story of Ugamo Malim in the Dutch colonial era and the family of King Sisingamangaraja XII. The story’s plot consists of; news of the death of King Sisingamangaraja XII, the captivity of the Sisingamangaraja XII family, Ompu Ni Onggung, and Ompu Portahan Batu, who had a grudge against King Sisingamangaraja XII and followers of Ugamo Malim’s teachings. Tortor dance and Cawan dance were created contemporary. Sisingamangaraja Batak Opera XII, the episode of Ugamo Malim Horja Bolon Na Parpudi wants to maintain the existence and preserve the traditional arts of the Batak community.Keywords: Batak opera; Sisingamaraja XII; ugamo malim; tortor

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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

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