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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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Pantomim di Indonesia: Sebuah Metode Pendidikan Nur Iswantara
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 1 (2019): May 2019
Publisher : Institut Seni Indonesia Yogyakarta

The learning methods of pantomime in Indonesia in the context of national education can be designed to support character education programs scheduled by the government through formal and non-formal education channels. The purpose of this study of pantomime learning methods is to package the way of parenting in the education realm. The method used is a qualitative method and method of action. The findings of the pantomime learning method are in the form of pantomime concepts and presentation techniques that offer new ways and procedures to improve and enhance the professionalism of the ability to educate pantomimes nationally. Thus in the presentation of pantomime learning with sign language, the expression on the face and body of the culprit can be appreciated by every person, community and citizen of Indonesia and other nations.Keywords: pantomime; the professionalism of educators; character education; formal and non-formal education

Relevansi Tari Tamborin Sebagai Pelayanan Gereja Dalam Masa Pandemi Ivena Nathania
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 1: May 2022
Publisher : Institut Seni Indonesia Yogyakarta

Penelitian ini merupakan kajian sosiologi Talcott Parson tentang teori Skema AGIL yaitu Adaptation, Goal Attainment, Integration, Latency yang digunakan untuk menganalisis tari Tamborin sebagai tatanan peribadatan gereja yang relevan dengan masa pandemi. Tujuan penelitian ini mengidentifikasi relevansi Tari Tamborin dalam masa pandemi ini sesuai dengan Skema AGIL menurut teori Talcott Parson, untuk itu dibutuhkan analisis yang mendalam menggunakan metodologi kualitatif, sehingga mendapatkan hasil berupa : (1) Tari Tamborin harus beradaptasi selama masa pandemi agar tercapai tujuan peribadatan (2) Integrasi Tari Tamborin tidak dapat dilakukan sendiri tanpa adanya kerja sama dari tatanan ibadah lainnya sehingga tercapai tujuan yaitu hanya berpusat kepada Tuhan (3) Menjadi sebuah kesempatan untuk dapat menyebarkan Injil ke seluruh dunia dengan adanya media digital yang digunakan sekarang. Kata kunci: Tari Tamborin, Skema AGIL, Talcott Parson AbstractThis research is a sociological study of Talcott Person on the theory of the AGIL Scheme, namely Adaptation, Goal Attainment, Integration, Latency which is used to analyze the Tamborin dance as a church worship order that is relevant to the pandemic. The purpose of this study is to identify the relevance of the Tamborin Dance during this pandemic in accordance with the AGIL Scheme according to Tallcot Parson's theory, for that an in-depth analysis using qualitative methodologies is needed, so as to get the results in the form of: (1) The Tamborin Dance must adapt during the pandemic in order to achieve the goals of worship ( 2) The integration of the Tamborin Dance cannot be done alone without the cooperation of other worship arrangements so that the goal is achieved which is only centered on God (3) It becomes an opportunity to be able to spread the gospel throughout the world with the digital media used today.Keywords : Tamborin Dance, AGIL Scheme, Talcott Parson

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

Situs Megalitik Tutari sebagai Sumber Inspirasi Penciptaan Koreografi Site-Specific “Tutari MegArt Lithic” Sri Rustiyanti
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 1: May 2021
Publisher : Institut Seni Indonesia Yogyakarta

The Tutari Megalithic Site is a large stone age civilization site located in Doyo Lama Village, Waibu District, Jayapura Regency, Papua. Visually, on this site, there are stones with various motifs of prehistoric paintings on them. However, if it is studied in-depth, primarily through the perspective of choreography, this site has a broad potential to be a source of inspiration for creating works of art. Collaborating with previous research from the Papua Archeology Center, the creation of this Tutari MegArt Lithic artwork is focused on specific parts of the Tutari Megalithic site that can be used as inspiration for creating artworks. The method used in this writing is descriptive analysis. The purpose of this paper is to provide an overview of how choreography can collaborate across disciplines in the creation of works of art staged at the Tutari archaeological site. This paper describes the sources of inspiration for creating site-specific choreographic works of art entitled Tutari MegArt Lithic, including visual inspiration, artistic inspiration and idea inspiration.Keywords: Tutari Megalithic Site; site-specific choreography; source of inspiration; painting motive

Konsep Dasa Paramartha pada Karakterisasi Tokoh Aji Dharma dalam Pertunjukan Wayang Tantri oleh I Wayan Wija I Dewa Ketut Wicaksandita; Hendra Santosa; I Ketut Sariada
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 1 (2020): May 2020
Publisher : Institut Seni Indonesia Yogyakarta

The Concept of Dasa Paramartha on the Characterization of Aji Dharma in a Wayang Tantri Performance by I Wayan Wija. Dasa Paramartha, as the teachings of dharma (goodness) in Hinduism, then becomes a material that is flexible enough to be displayed in broadcasting the meaning and value of ethical, moral, and social behavior education. Wayang Tantri, in the play of Sang Aji Dharma Kepastu presents the character of Prabu Aji Dharma with the characteristics trait displayed as a figure of dharma who later becomes a role model for Wayang Tantri audiences. This study aims to reveal the values of Dasa Parartha’s teachings in the characterization of Aji Dharma figures. The qualitative descriptive method with data collection in the form of observation, interviews, and study documentation of the Wayang Tantri video of Sang Aji Dharma Kepastu with a duration of approximately 2 hours, then analyzed by, The Aesthetic Pedalangan Theory supported by Semiotic Theory. The results of the research are the representation of the teachings of Dasa Parmartha, which is in the form of Tapa: physical and mental self-control; Bharata: curb lust; Samadhi: mental concentration on God; Santa: being calm and honest; Sanmata: aspiring and aiming towards goodness; Karuna: affection between living beings; Karuni: compassion for plants, goods and so on; Upeksa: being able to distinguish right from wrong, good and bad; Mudhita: trying to please others; and Maitri: eager to seek friendship based on mutual respect.Keywords: representation; Dasa Paramartha; Aji Dharma; Wayang Tantri

Idealisme Seniman Berdampak pada Marginalisasi Kesenian Indang Tradisi Indrayuda Indrayuda
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 2 (2019): November 2019
Publisher : Institut Seni Indonesia Yogyakarta

This article aims to reveal and analyze the problem of the artistry of traditional art in Padang Pariaman district. Today the existence of Indang art less popular in the cultural life of the community Padang Pariaman. In turn, Indang art is rarely used and functioned by Padang Pariaman society today. The research was done by explanation method, and the research data is qualitative. Data collected throughout the interview process, observation of socio-cultural symptoms of society, and the existence of Indang. The analysis was done by ethnography approach, by determining component analysis and determining the cultural theme. The result of the research obtained is that the structure and shape of Indang have not changed until now. Indang art form and structure is less suitable to the taste of today’s society so that Indang art is less popular to the public for entertainment activities. The activities of artists on stage often disturb the artistic and aesthetic performances, i.e. the artists often create any activities that spoil the atmosphere of the show.Keywords: Indang tradisi; form and structure; ethnographic approach; explanation method

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

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

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

Relasitas Lakuan Wayang dengan Iringan Gamelan Gagrag Yogyakarta Kasidi Hadiprayitno
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 1: May 2021
Publisher : Institut Seni Indonesia Yogyakarta

ABSTRAKMaksud dari penulisan ini adalah mengadakan studi terhadap relasitas lakuan gerak wayang gaya pedalangan Yogyakarta dengan musik iringan wayang. Data diperoleh dari pengamatan dan survei pergelaran wayang yang diselenggarakan di Sasana Hinggil Dwi Abad Yogyakarta. Pendekatan masalah dengan metode deskriptif analitis, sedangkan untuk kepentingan pembahasan dengan menggunakan analisis estetika terutama estetika pewayangan. Berdasarkan analisis yang dilakukan, diketahui bahwa lakuan gerak wayang dengan iringan wayang membentuk jalinan harmonik. Gending iringan wayang meliputi bentuk gending ageng, ladrangan, ketawang, lancaran, playon dan sampak, sedangkan dari segi estetik memenuhi kesatuan atau keutuhan, kekuatan, dan kerumitan (unity, intencity, dan complexcity).Kata kuci: Pertunjukan wayang, relasi gerak wayang dan gamelan, struktur harmonik ABSTRACTThe purpose of this is to conduct a study of the behavior of Yogyakarta puppet style movements with puppet accompaniment music. Data obtained from observations and surveys of wayang performances held at Sasana Hinggil Dwi Abad Yogyakarta. Approach to the problem with the analytical descriptive method, while for the purpose of discussion using aesthetic analysis, especially puppet aesthetics. Based on the analysis carried out, it is known that the wayang movements with accompaniment form a harmonic structure. Puppet accompaniment gending includes the forms of gending ageng, ladrangan, ketawang, lancaran, playon and sampak, while in terms of aesthetics it takes care of unity or integrity, strength, and complexity (unity, intencity, and complexcity).Key word: Wayang performance, relation of movement and music, harmonic structure.

Pembelajaran Tari di Sekolah Menengah Atas (SMA) di Yogyakarta: Kajian Embodiment dan Multikulturalisme Titik Putraningsih
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 1 (2020): May 2020
Publisher : Institut Seni Indonesia Yogyakarta

The Character Education through Arts: An Analysis of the Dance Learning Process in High Schools. This research aims to describe the practice of character education through the dance learning process in high schools, criticizing high schools’ approach for instilling character education to an attitude of tolerance and appreciative towards cultural diversity in Indonesia. It s qualitative research with an ethnocoreology and multicultural approach. The study used a purposive sampling method to determine the sample and selected schools that develop a multicultural educational dimension. The ethnocoreology approach is to observe embodiment experiences to the students who study local dance and Nusantara dance. A Multicultural approach is applied to monitor education for empowerment by using Ki Hadjar Dewantara’s Arts Education concept at schools. Data collection was conducted by observation, field study, literature, interviews, and documentation. Matthew B. Milles and A. Michael Huberman’s data reduction stages, data exposure, and concluding were used to analyze the data.The research findings show that (1) dance learning in high schools is an educational tool and an appropriate means to instill character education. It is an effort to positively influence students’ lives as a tool to control the students’ souls towards beauty, nobility, and refinement to live harmoniously and empowered. (2) Character education in dance lessons is by applying to appreciate, expressing, and creating dance works. (3) From a multicultural education perspective, the experience of the dancers’ needs will foster an attitude of tolerance and appreciation.Keywords: character education; dance learning; high school

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Home Page

OAI Link

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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

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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