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Jurnal Pakarena
Published by Universitas Negeri Makassar
ISSN : 25286994     EISSN : 27146081     DOI : 10.26858
Core Subject : Education, Art,
Arts Other
Jurnal Pakarena merupakan jurnal ilmiah yang dikelola oleh Prodi Pendidikan Sendratasik Fakultas Seni dan Desain dengan proses peer review. Menerbitkan Artikel hasil dan pengkajian seni, dengan ruang lingkup: seni rupa, drama, tari, dan musik.
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Articles 90 Documents
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PAJAGA BONE BALLA DANCE AS ETHNO PEDAGOGY IN LUWU SOCIETY, SOUTH SULAWESI Ilham Haruna; Jaeni B Wastap; Sukmawati Saleh
JURNAL PAKARENA Vol 8, No 1 (2023): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v8i1.45862

Abstract

This research intends on the didactic constellation of the Luwu Kingdom community to shape the character of descendants by the convention on pangadereng values. The didactic is implemented into the cultural cohesion of dance. This research uses qualitative analysis with an ethnopedagogical or ethno-didactic approach. The continuum of this research looks at the factors in obtaining evidence, namely observation, in-depth interviews, field and non-field notes (literature review), and documentation. The didactic convergence of the Pajaga Bone Balla dance becomes a distinctive form to create a human entity with superior character, not only for particles but as a whole in every living thing. Dancers who can practice the didactic value of the dance are human beings with a degree of self-control over all lustful dependencies. The Pajaga Bone Balla dance which is intended for the sons and daughters of the Luwu dynasty is a means of life meditation to forge character to become a complete human being. Recursive research is needed to find deeper and more coherent conclusions about the constellation of intangible cultural heritage. Dissemination of revolutionary data is needed to minimize the invalidity of an object of research. The deterministic intangible culture, in this case, the Pajaga Bone Balla dance, both whose didactic dance cohesion for male dancers (Pajaga Bone Balla Tulolo) and female dancers (Pajaga Bone Balla Anak Dara), requires transparency from the aristocrat layer at the level of Luwu sovereignty so that this cultural heritage is maintained.
Tinjauan Estetika Bentuk Gestalt pada Kufi Square (Kufi Murabba) Karya FOKS Indonesia Muhammad Muhaemin
JURNAL PAKARENA Vol 8, No 1 (2023): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v8i1.46970

Abstract

Penelitian ini mengkaji Kufi Square anggota FOKS Indonesia dari sudut pandang estetika bentuknya sebagai bagian dari penelitian identitas desain. Metode yang digunakan yaitu deskriptif analisis dengan menggunakan teori Gestalt. Kufi square karya anggota komunitas FOKS Indonesia ditinjau dari estetika bentuknya berdasarkan teori Gestalt menggunakan empat prinsip utama yaitu keseragaman (similiarity), kelengkapan (closure), kontinuitas (continuity), dan simetri (symmetry), namun penggunaan prinsip kedekatan (proximity) masih kurang sedikit. This research examines the Kufi Square, a member of FOKS Indonesia, from the perspective of its aesthetic form as part of a study on design identity. The method employed is descriptive analysis using the Gestalt theory. The Kufi Square created by members of the FOKS Indonesia community is assessed in terms of its aesthetic form based on the Gestalt theory, utilizing four main principles: similarity, closure, continuity, and symmetry. However, the application of the principle of proximity is slightly lacking.
CHARACTERISTICS OF 'PARKAN HUMOR' IN WAYANG WONG'S PERFORMANCE Indah Zulhidayati
JURNAL PAKARENA Vol 8, No 1 (2023): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v8i1.42519

Abstract

Parkan as the life of the Wayang Wong show in Sembalun, his presence is always awaited by the audience. Parkan's regeneration is important for the survival of Wong puppet art in Sembalun Bumbung. The purpose of this study was to find out the characteristics of the cast masks and the characteristics of Parkan's humor. This stage of research uses qualitative research with a cultural studies approach. The location of this study is in Sembalun Bumbung, East Lombok in the Wayang Wong art group. The data collection technique used by researchers is by means of observation,  interviews, and analysis of secondary data (text, photo, video of Wayang Wong performance). Meanwhile, the data analysis techniques used are data reduction, data presentation, and data verification. The result of this study is that there are two characteristics of Parkan humor, namely planned and improvised. In planned humor, there are six concepts of humor presented, namely Pecangklitan Humor, Mewaran, Komikan, Syair, and Penter Blok. 
HISTORY OF MARKETING COMMUNICATION OF CINEMA PRODUCTION IN THE EXHIBITION INDUSTRY IN JEMBER Denny Antyo Hartanto
JURNAL PAKARENA Vol 8, No 1 (2023): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v8i1.42032

Abstract

This research aims to document the history of cinema product communication for the sake of archiving the history of cinema in the city of Jember. In addition, it also aims to identify and identify the background of the problems that have resulted in the cinema industry in Jember experiencing the closure of operations, so that the problems faced by the local exhibition industry in Jember can be identified. In addition to knowing the history of the development of cinema in the city of Jember.This research focuses on the study of documenting artifacts from the communication process of cinema production in Jember City. Before the industrialization of film exhibitions which was dominated by the Cinema 21 Group and modern cinemas with the Cineplex concept as it is today, the city of Jember once had several local cinema buildings as public spaces to be able to communicate film products to the audience as a fulfillment of the entertainment needs of the Jember people. However, in the 1990s some cinema buildings are now just history. The existence of the cinema building has disappeared from the circulation of the film industry in the city of Jember. The methods used are descriptive qualitative research methods and historical or historical methods. The results of the study are in the form of findings about historical facts and the problems that lie behind the local cinema industry in Jember experiencing operational closures and no trace so that historical documentation and historiography interests or historical writing of local cinema developments in Jember are needed. There are several factors that are indicated to be the cause of the closing of cinemas in Jember, namely: (1) Jember people have experienced boredom with hot films that are often screened in cinemas, (2) The emergence of private TV channels in the 1990s, (3) The ease of obtaining pirated film VCDs and the proliferation of VCD Players in people's homes, (4) The decline in the quality of Indonesian films, and (5) The ease with which people get new films in internet cafes (internet cafes) before the advent of the era of social media such as youtube.
Strategi Kreatif Rumah Produksi Krakatoa dalam Program Kuis Siapa Berani di TVRI Erika Dyah Muftiarini; Donie Fadjar Kurniawan
JURNAL PAKARENA Vol 8, No 2 (2023): Agu-Des (Ongoing)
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v8i2.45272

Abstract

Penelitian ini membahas mengenai strategi kreatif rumah produksi Krakatoa dalam program Kuis Siapa Berani di TVRI. Sedangkan tujuan dari penelitian ini adalah mendiskripsikan secara mendalam dan tertulis mengenai strategi kreatif tim Krakatoa dalam program acara Kuis Siapa Berani. Penelitian ini merupakan penelitian diskriptif kualitatif. Penelitian ini menggunakan program Kuis Siapa Berani Episode 20 sebagai objek kajian penelitian. Teknik pengumpulan data yang digunakan adalah kajian dokumen, observasi dan wawancara. Hasil penelitian ini menunjukkan strategi kreatif yang diterapkan dalam episode 20 meliputi strategi 100 orang peserta, pemilihan host yang sudah familiar dan peserta dari berbagai kalangan, gimmick berupa improfisasi host maupun peserta yang menambah keseruan kuis, penggunaan bahasa yang santun dan sopan, pertanyaan yang mengedukasi dan dapat dipertanggung jawabkan kebenarannya, serta setiap babak permainan yang memiliki tingkat kesulitan yang berbeda. ABSTRACTThis study discusses about the creative strategies of Krakatoa Production team in the Kuis Siapa Berani in TVRI. While the purpose of this study is to describe in depth and in writing about creative strategies of Krakatoa Production in the Kuis Siapa Berani. The research method used is qualitative descriptive.The research uses the program Kuis Siapa Berani episode 20 as a study of research. the method that has been used for the data collection is document, observation and interview. The result of the research shows that the creative strategies that has been applied on episode 20 involve 100 people’s strategies, familliar host ellectio and participant from various circles, gimmick that involving improvisation of the host or participant makes the show become exciting, formal and polite language that has been used, question that can educate and the truth is responsible for, also in every game round that have a different level of difficulty. 
Peran Modal Sosial Dalam Pelestarian Kesenian Tari Zapin Melayu Di Kota Batam Pada Era Modernisasi Widya Kezia Caroline Marbun; Yosafat Hermawan Trinugraha; Nurhadi Nurhadi
JURNAL PAKARENA Vol 8, No 2 (2023): Agu-Des (Ongoing)
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v8i2.20677

Abstract

Penelitian ini bertujuan untuk mengetahui Peran Modal Sosial dalam Pelestarian Kesenian Tari Zapin Melayu di Kota Batam pada era modernisasi. Penelitian ini menggunakan metode kualitatif dengan sifat deskriptif. Teknik pengumpulan data dilakukan dengan wawancara mendalam, observasi non partisipan, studi kepustakaan dan dokumentasi. Pengambilan informan dalam penelitian ini menggunakan purposive sampling. Hasil penelitian menunjukkan bahwa yang berperan aktif dalam pelestarian kesenian Tari Zapin Melayu adalahpemerintah (Dinas kebudayaan Kota Batam), staff rumah budaya Indonesia, pelatih sanggar, penari, serta masyarakat Kota Batam. Hubungan yang terjalin dalam pelestarian kesenian Tari Zapin Melayu diikat oleh kepercayaan. Selain itu, Jaringan yang ditemukan dalam pelestarian kesenian Tari Zapin Melayu tidak lepas dari peran pemangku kepentingan (stakeholder). Adanya kerja sama antara pemerintah, pelatih sanggar dan masyarakat yang terlihat dari festival budaya yang diselenggarakan di Kota Batam hampir setiap tahunnya menjadi salah satu upaya pelestarian Tari Zapin Melayu,
Opak Abang Dance Recontruction As The Artistic Identity Of Kendal District Anggun Ida Mawadda
JURNAL PAKARENA Vol 8, No 2 (2023): Agu-Des (Ongoing)
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v8i2.44160

Abstract

The Opak Abang dance is the official dance of Kendal Regency, the inauguration of the Opak Abang dance has changed the appearance of the packaging of the show. The Kendal government carried out the reconstruction through excavation, reinterpretation, and reactualization. This study reviews the results of the reconstruction of the Opak Abang dance as an artistic identity in Kendal Regency. The success of the recognition of the Opak Abang dance requires the collaboration of the penta-helix roles, including the government, artists, supporting communities, cultural or artists, media, and business people. The Kendal Regency Government has made efforts to introduce this dance by involving it in various festivals and events. But in fact this dance is not well known, even by the Kendal community itself. It seems that the imbalance in the roles of the penta-helix makes this dance not yet known as the artistic identity of Kendal Regency.
ENERGI FUNKOT GRUP MUSIK PRONTAXAN DI TENGAH PERKEMBANGAN MUSIK INDIE DI INDONESIA Tristania Berdieta Sarinastiti
JURNAL PAKARENA Vol 8, No 1 (2023): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v8i1.41217

Abstract

As original Indonesian music, Dangdut has an appeal that is quite popular with various groups of people. Along with the times, dangdut music has undergone interesting modifications by combining dangdut songs with electronic music called Funky Kota music (Funkot). The purpose of this study was to examine the process and role of the Prontaxan music group which brought Funkot music amidst the development of indie music in Indonesia. The research method uses a descriptive qualitative approach by collecting data through interviews, observation, and literature study. The results of the study show that Prontaxan has become one of the musical groups that have finally made genre no longer an aspect to judge someone through their taste in music. They make music as a unifier and entertainment for everyone who listens to it by using an indie music approach that is a victim of the remix creations they do. Then approach social media with content that is entertaining and in tune with young people and still seems peripheral to the slang language that is typical of Funkot music in its era
REKONSTRUKSI TARI SALONRENG SEBAGAI DASAR PIJAKAN PENGEMBANGAN GERAK TARI ETNIS MAKASSAR Johar Linda
JURNAL PAKARENA Vol 8, No 2 (2023): Agu-Des (Ongoing)
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v8i2.45907

Abstract

Penelitian yang berjudul Rekonstruksi Tari Salonreng Sebagai Dasar Pijakan Pengembangan Gerak Tari Etnis Makassar. Tari Salonreng sebagai tari ritual, mengandung nilai-nilai estetika, dan nilai-nilai filosofi, yang dapat dijadikan sebagai dasar pijakan dalam kehidupan bermasyarakat. Penelitian ini bertujuan untuk menyusun dan menata kembali gerak tari Salonreng untuk dijadikan sebagai dasar pijakan pengembangan tari pada masyarakat etnis Makassar di Kabupaten Gowa. Sementara itu, tari Salonreng sebagai tontonan prosesnya dapat menunjukkan sebuah gejala pengembangan yang bersifat ganda, yaitu; evolutif dan revolutif. Penelitian ini merupakan penelitian kualitatif, dengan menggunakan metode etnografi, yakni Studi Pustaka, observasi, wawancara dan dokumentasi. Hasil penelitian adalah. Pengembangan gerak tari Salonreng, dari ritual menjadi tontonan disebabkan karena adanya pemanfaatan aset oleh pihak pariwisata. Tari Salonreng dalam ritual, sekarang ini ditarikan oleh seorang perempuan dewasa, gerak, musik iringan, menggunakan selendang panjang, kostum yang sederhana, dan pola lantai melingkar. Sedangkan pertunjukan tari Salonreng sebagai tontonan, ditarikan oleh empat orang atau lebih (kelompok) gadis remaja. Penari menggunakan selendang, gerak tari dan musik iringan yang lebih variatif, kostum yang dikenakan lebih lengkap dengan aksesoris, dan pola lantai yang lebih beragam. Langkah selanjutnya adalah pengembangan dan perubahan gerak tari Salonreng sebagai hasil dari rekonstruksi gerak tari.
PANAI TRADITION STUDY IN VISUAL NARRATIVE PERSPECTIVE (CASE STUDY: FILM TARUNG SARONG) Puang Andini
JURNAL PAKARENA Vol 8, No 2 (2023): Agu-Des (Ongoing)
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v8i1.36159

Abstract

The Panai tradition is a tradition in the wedding structure of the Makassar Bugis Tribe which entirely discusses the concept of ‘siri’ (self-esteem), this Panai tradition is also implemented in the film Tarung Sarong by Archie Hekagery produced by StarVision Plus in 2020 by choosing Netflix as the release media. So that a film review process is needed using theories (1) Qualitative (2) Visual Narrative (3) Ethnography (4) Ethics and Emic. Based on the results of the analysis, there was a shift between the Panai tradition in the film Tarung Sarung and those in the Bugis community of Makassar. In the past understanding in the Bugis community of Makassar, the Panai tradition was interpreted as the concept of self-esteem of a man who came to propose to a woman, while the current understanding of the Panai tradition is interpreted as the concept of ‘doi’ (money) given from the male side to the female side by looking at the female social strata including noble lineage, economic status. level of education, physical condition, and occupation.

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