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Jantra

jantra
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Published by Balai Pelestarian Nilai Budaya Daerah Istimewa Yogyakarta

ISSN : 19079605 EISSN : 27150771 DOI : -

Core Subject : Humanities, Education, Art, Social,

Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

Sejarah: Meliputi kajian sejarah yang bertema nasionalisme dan pengembangan karakter bangsa melalui bidang sosial, ekonomi, politik, budaya dengan ruang lingkup utama wilayah Indonesia, dan wilayah lain apabila ada keterkaitan dengan Indonesia, yang bisa dijadikan media diseminasi dalam menanamkan sikap kebangsaan. Budaya: Meliputi pokok kajian dalam bidang antropologi, geografi, naskah kuna, yang membahas tentang perubahan budaya, kearifan lokal, tradisi lisan, simbol, sistem pengetahuan, kerajinan, religi, keragaman budaya

Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)

Articles 9 Documents

Search results for , issue "Vol 14 No 2 (2019): Seni Pertunjukan" : 9 Documents clear

SENIMAN DAN SENI PERTUNJUKAN DI KAMPUNG KEMLAYAN SURAKARTA 1930-1970 Heri Priyatmoko
Jantra. Vol 14 No 2 (2019): Seni Pertunjukan
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

This research departs from the assumption that generally the public only comprehend artists only when they appear on stage, They do not realize their creative activities while they are staying at home. The focus of this research is the community of gamelan musicians and dancers who settled in kampong Kemlayan, Surakarta from 1930-1970. The method used in this study is the historical method including heuristics, source verification, interpretation, and historiography. The results of the research showed that the palace artists in Kasunanan Surakarta considered that the kampong where they live was not only a place to live but also a place where they can practice and rehearse before they performed in the palace in front of their King or in other public spaces. It is in their small kampong that they cultivate creativity without strict rules like in the palace. New gendhings (gamelan songs) and choreographies were born in this kampong. This had strengthened the kampong’s identity as the “breeder” of productive artists. For decades, lots of karawitan and dance activities in Kemlayan had changed its face. It was like a “stage” that invited the people’s and local children’s attention. The plenty activities had attracted and encouraged the local children to join the activities. In this way, regeneration process was taking place.

REFLEKSI KETAUHIDAN DALAM WAYANG SADAT LAKON KI AGENG PENGGING Hasan Ashari; Hermanu Joebagio; Musa Pelu
Jantra. Vol 14 No 2 (2019): Seni Pertunjukan
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Firstly performed in 1985 by Suryadi (a religious figure of Trucuk), Wayang Sadat is a medium to teach Tauhid (tawheed), the message of Islam. This research analyzes the teaching of Tauhid within Wayang Sadat performance, in the lakon (story) “Ki Ageng Pengging”. The sources of data were key informants, documents, and archives related to Wayang Sadat performance. The data were collected by interviews, the content of the performed lakon, depth examination of document and archives. The triangulation method was used to test the validity of the collected data. The data was analysed using the interactive model that consists of three stages: data reduction, data presentation, and data verification. The result of the research shows that the lakon “Ki Ageng Pengging” contains the teachings of Tauhid embedded in the janturan (narration), dialogues, lyrics of the music, and lyrics of sulukan (songs by the dalang – puppet master).

GAMELAN SOEPRA SEBAGAI REKONTEKSTUALISASI GAMELAN JAWA Nugrahanstya Cahya Widyanta
Jantra. Vol 14 No 2 (2019): Seni Pertunjukan
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Gamelan Soepra is an adaptation of Javanese gamelan. The difference lies in the tuning system and the physical form of the gamelan foot which is made higher. This difference has shifted the contextual meaning of Javanese gamelan. This descriptive qualitative research collected the data from field observations. Javanese gamelan has its own philosophical meanings which contain noble values. For example, the cross-legged sitting position on the floor for Javanese gamelan player implies the meaning of modesty. Gamelan Soepra does not have such meaning because of the higher physical form of its foot. The Gamelan has its own philosophical meaning.

TAYUBAN DALAM TRADISI SAPARAN DI KELURAHAN TEGALREJO, KECAMATAN ARGOMULYO, KOTA SALATIGA Fandy Aprianto Rohman
Jantra. Vol 14 No 2 (2019): Seni Pertunjukan
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Tegalrejo is the only sub-district in Salatiga that still preserves the tayuban, a traditional dance where men dance directly with women. The dance is performed each year as the climax in the village cleansing ceremony of the Saparan festival. The tayuban, which is an important function in the ceremony, has been passed down from generation to generation is well maintained by the people of Tegalrejo sub-district. The tayuban also functions as an entertainment for the local people. This qualitative research aims to describe the tayuban and its elements. The data were collected from interviews, observation, and available documents. The research has found that the elements of the tayuban include ledhek (female dancers), pengrawit (gamelan musicians), penjanggrung (men who dance together with ledheks), and offerings.

STRATEGI GRUP GAGAK RIMANG DALAM MELESTARIAN SENI KUDA LUMPING DI TEMANGGUNG Hamidulloh Ibda; Intan Nasution
Jantra. Vol 14 No 2 (2019): Seni Pertunjukan
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Kuda Lumping is a Javanese traditional dance commonly called Jaran Kepang, Jathilan, Jaran Eblek, and others. Accompanied by gamelan music, the dance involves a group of dancers who “ride” on colourful flat horses made of bamboo. The data of this descriptive qualitative research were drawn from interviews and observation. The aim of this research describes how the Gagak Rimang group was established, its form of performance, and its strategies to preserve Kuda Lumping dance. The problems faced by the Gagak Rimang group are among others finance, rehearsals, personnel, lack of female dancers. However, there are circumstances which profit the group, such as, competition among groups of Kuda Lumping, support from the local government, the synergy that has developed between the group and mass organizations, societies, as well as free promotion on social media by its spectators.

KIPRAH SAKDIAH DALAM KANCAH MUSIK POP DAERAH GAYO Raudhatul Jannah; G. R. Lono Lastoro Simatupang; Wiwik Sushartami
Jantra. Vol 14 No 2 (2019): Seni Pertunjukan
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Sakdiah is a woman from Gayo, Aceh. She has pursued her career as a pop singer in the land of Sharia Aceh, among the Gayo ethnic group that practice a patriarchal system. Pop music is mostly dominated by men and this situation determines the position of women in the world of music. Using the methods from ethnomusicology, this research looks at Sakdiah’s position in the Gayo pop music and her journey in the world of music. The result of this research proves that Sakdiah is one of the most productive singers releasing albums. She has chosen to appear on stage as a solo singer. Her success is inseparable from music agents and producers.

TARI TUMBU TANAH SEBAGAI JATI DIRI MASYARAKAT SUKU ARFAK DI MANOKWARI, PAPUA BARAT Iwan Dwi Aprianto
Jantra. Vol 14 No 2 (2019): Seni Pertunjukan
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Tumbu Tanah dance or Dansa Tumbu Tana is a typical traditional dance of the Arfak ethnic group who live in Manokwari, West Papua. Tumbu Tanah dance is usually performed in important events, such as, welcoming guests from outside the Arfak community, victory in a battle, and wedding celebrations. This research aims to present a general description of Tumbu Tanah dance wich is also called the snake dance. The qualitative research qualitative drew the data from library research, observations, and available documents. This research shows that the main value found in Tumbu Tanah dance is that the Arfak community cannot live alone. This dance have to be performed by a number of people, at least by 10 persons. This indicates that in various activities they still need help from other people, both from their family and neighbors.

PEK BUNG KESENIAN TRADISIONAL DI PANDAK BANTUL Noor Sulistya Budi
Jantra. Vol 14 No 2 (2019): Seni Pertunjukan
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Pek Bung is a traditional music ensemble in Pandak District under Bantul Regency. Pek is the sound of bamboo produced by hitting it with a beater and bung a membranophone, a one-sided membrane drum made of klenthing (a pottery water jar) whose mouth is covered by a membrane made of a piece of inner tube. The sound bung is produced by striking the drum head. Pek Bung is also a multi-timbre ensemble consisting of both traditional and modern instruments, such as klenthing drum, bass bamboo (wind instrument), kenthongan (bamboo chime), maracas, wood guiro shaker, triangle, keyboard, gambang (bamboo xylophone), flute, and ukelele. Using primary and secondary data, this descriptive research looks at the form of Pek Bung ensemble, its function, the values embedded in the ensemble. The results showed that the performance of Pek Bung ensemble is divided into three parts: opening, content, and closing. The songs are presented in keroncong style, campursari and sholawat or qosidah. Pek Bung ensemble has several functions, such as religious message, entertainment, communication, education, preservation of symbols. Pek Bung ensemble contains several values, such as religious, social and cultural values.

REPRESENTASI IDENTITAS ORANG JAWA DALAM CERITA PANJI VERSI WAYANG GEDHOG Rudy Wiratama
Jantra. Vol 14 No 2 (2019): Seni Pertunjukan
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Wayang Gedhog is a genre of puppetry which once ever enjoyed its popularity in Java, particularly in Surakarta and Yogyakarta until the beginning of 20th century. Its Panji-themed lakon is always for all time identified with court traditions. It implicitly reflects the social order and paradigm of the members of this political institution from its court aristocrats to low-ranked officials. Wayang Gedhog is undergoing an era of change where the life of performing arts is rapidly developing. Using Homi Bhabha’s theory about Self Identification, this research aimed to reveal how far the lakon and artefacts of Wayang Gedhog represents today’s Javanese thoughts and manners and the factors that have influenced the matters. The data were collected from: 1) the information gathered especially from the courtiers, as seen from the social, cultural, religious and political aspects, 2) library research, and 3) puppets of Wayang Gedhog of Surakarta style. This research has found that Wayang Gedhog as a performing art does not only function as an entertainment or aesthetical presentation, but also record the efforts of the Javanese living in the courts to redefine their concepts of self identity.

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Contact Name
Indra Fibiona

Contact Email
indra.fibiona@kemdikbud.go.id

Phone
+6285647507523

Journal Mail Official
jantra@kemdikbud.go.id

Editorial Address
Jl. Brigjen Katamso No. 139, Yogyakarta, 55152

Location
Kota yogyakarta,

Daerah istimewa yogyakarta

INDONESIA

Abstract

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Indra Fibiona

Contact Email indra.fibiona@kemdikbud.go.id

Phone +6285647507523

Journal Mail Official jantra@kemdikbud.go.id

Editorial Address Jl. Brigjen Katamso No. 139, Yogyakarta, 55152

Location Kota yogyakarta, Daerah istimewa yogyakarta INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Indra Fibiona

Contact Email
indra.fibiona@kemdikbud.go.id

Phone
+6285647507523

Journal Mail Official
jantra@kemdikbud.go.id

Editorial Address
Jl. Brigjen Katamso No. 139, Yogyakarta, 55152

Location
Kota yogyakarta,

Daerah istimewa yogyakarta

INDONESIA