Pub Date : 2024-07-26DOI: 10.24114/gondang.v8i1.56549
Widia Srilestari, Tati Narawati, Yudi Sukmayadi
The problem of this research is how Senam Bedincak can be an alternative recreational sport for the people of Bangka Belitung. The purpose of this study is to describe and analyze the choreographic and musical structure of Bedincak Gymnastics in Bedindak Gymnastics so that it becomes an alternative recreational sport for the people of Bangka Belitung. The method used is descriptive analysis with a qualitative approach. Bedincak Gymnastics is a community sport that adopts traditional Bangka Belitung dance movements such as Kedidi Dance, Dincak Dambus Dance and Measles Dance. The purpose of Bedincak Gymnastics is to improve the overall health and fitness of the community as well as to introduce and preserve Bangka Belitung culture to the community. Bedincak Gymnastics consists of 7 movement structures, namely opening movement, pattern 1 movement, pattern string movement, bedincak basic movement, pattern 2 movement, pattern 3 movement and closing movement.
{"title":"Movement Analysis Of Bedincak Gymnastics Based On Traditional Dance Of Bangka Belitung","authors":"Widia Srilestari, Tati Narawati, Yudi Sukmayadi","doi":"10.24114/gondang.v8i1.56549","DOIUrl":"https://doi.org/10.24114/gondang.v8i1.56549","url":null,"abstract":"The problem of this research is how Senam Bedincak can be an alternative recreational sport for the people of Bangka Belitung. The purpose of this study is to describe and analyze the choreographic and musical structure of Bedincak Gymnastics in Bedindak Gymnastics so that it becomes an alternative recreational sport for the people of Bangka Belitung. The method used is descriptive analysis with a qualitative approach. Bedincak Gymnastics is a community sport that adopts traditional Bangka Belitung dance movements such as Kedidi Dance, Dincak Dambus Dance and Measles Dance. The purpose of Bedincak Gymnastics is to improve the overall health and fitness of the community as well as to introduce and preserve Bangka Belitung culture to the community. Bedincak Gymnastics consists of 7 movement structures, namely opening movement, pattern 1 movement, pattern string movement, bedincak basic movement, pattern 2 movement, pattern 3 movement and closing movement.","PeriodicalId":513242,"journal":{"name":"Gondang: Jurnal Seni dan Budaya","volume":"7 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141801220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-24DOI: 10.24114/gondang.v8i1.56229
Sultana Putri, Nurul Hidayati
Rambu Tuka' has the meaning Kameloan which means joy or happiness. For example, wedding ceremonies, tongkongan houses, and harvests. The process of the Rambu Tuka' event carried out by the Toraja community is followed by the Ma'letton ritual or what is known as the slaughtering of pigs, buffalo and chickens, then distributed to the community. Furthermore, the Pa'gellu Dance became a form of dance performed by the Toraja people during the Rambu Tuka' event. This ceremony is also carried out by the Toraja people as a form of gratitude to God for the gifts given. The uniqueness of the Rambu Tuka event then became a source of inspiration for the author in creating fashion works consisting of one ready-to-wear outfit. Clothing creation uses the Double Diamond Model process or double diamond model which consists of four creative processes, namely: (1) Discovery phase, (2) Define phase, (3) Development phase, (4) deliver. It is hoped that the results of this clothing creation will make people more familiar with the diversity of Indonesian culture, especially the uniqueness of the Rambu Tuka' ceremony.
{"title":"Rambu Tuka': Making Ready-to-Wear Clothes Inspired by Traditional Thanksgiving Ceremonies in Toraja Land","authors":"Sultana Putri, Nurul Hidayati","doi":"10.24114/gondang.v8i1.56229","DOIUrl":"https://doi.org/10.24114/gondang.v8i1.56229","url":null,"abstract":"Rambu Tuka' has the meaning Kameloan which means joy or happiness. For example, wedding ceremonies, tongkongan houses, and harvests. The process of the Rambu Tuka' event carried out by the Toraja community is followed by the Ma'letton ritual or what is known as the slaughtering of pigs, buffalo and chickens, then distributed to the community. Furthermore, the Pa'gellu Dance became a form of dance performed by the Toraja people during the Rambu Tuka' event. This ceremony is also carried out by the Toraja people as a form of gratitude to God for the gifts given. The uniqueness of the Rambu Tuka event then became a source of inspiration for the author in creating fashion works consisting of one ready-to-wear outfit. Clothing creation uses the Double Diamond Model process or double diamond model which consists of four creative processes, namely: (1) Discovery phase, (2) Define phase, (3) Development phase, (4) deliver. It is hoped that the results of this clothing creation will make people more familiar with the diversity of Indonesian culture, especially the uniqueness of the Rambu Tuka' ceremony.","PeriodicalId":513242,"journal":{"name":"Gondang: Jurnal Seni dan Budaya","volume":"20 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141808893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-24DOI: 10.24114/gondang.v8i1.53297
Fajar Persada Supandi
Prambanan Temple in Yogyakarta is one of Indonesia's most meaningful and historic cultural heritages. One of the most impressive elements of the temple is the Kresnayana Relief, which depicts the epic story of Lord Vishnu transforming into Kresna. This relief has high artistic and historical value, but understanding and appreciation of the story is often limited. This research aims to design an interactive media that combines visual language with modern technology, focusing on the Kresnayana Relief. Through literature studies, surveys, interviews, and visual art analysis, we understand the story of the Kresnayana Relief and the interest of visitors to Prambanan Temple in interactive media. The result of this research is an interactive media prototype designed to provide an immersive experience in understanding the Kresnayana Relief story. The prototype includes a user-friendly interface, visual animation, narration, and audio elements that aim to enhance visitors' understanding and appreciation of this relief.
{"title":"Designing Interactive Media for the Introduction of Visual Language on Kresnayana Relief in Prambanan","authors":"Fajar Persada Supandi","doi":"10.24114/gondang.v8i1.53297","DOIUrl":"https://doi.org/10.24114/gondang.v8i1.53297","url":null,"abstract":"Prambanan Temple in Yogyakarta is one of Indonesia's most meaningful and historic cultural heritages. One of the most impressive elements of the temple is the Kresnayana Relief, which depicts the epic story of Lord Vishnu transforming into Kresna. This relief has high artistic and historical value, but understanding and appreciation of the story is often limited. This research aims to design an interactive media that combines visual language with modern technology, focusing on the Kresnayana Relief. Through literature studies, surveys, interviews, and visual art analysis, we understand the story of the Kresnayana Relief and the interest of visitors to Prambanan Temple in interactive media. The result of this research is an interactive media prototype designed to provide an immersive experience in understanding the Kresnayana Relief story. The prototype includes a user-friendly interface, visual animation, narration, and audio elements that aim to enhance visitors' understanding and appreciation of this relief.","PeriodicalId":513242,"journal":{"name":"Gondang: Jurnal Seni dan Budaya","volume":"35 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141810090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-24DOI: 10.24114/gondang.v8i1.57629
Romzi Akram Al Naufal, D. Djatiprambudi, Setyo Yanuartuti
The dhadhak merak is an iconic mask in Reyog Ponorogo. Over a very long period of time, the dhadhak merak has visually evolved into the form that is often seen today. The visual phenomenon then forms an image of Ponoragan visual culture that is interesting to explore in greater depth. This is what attracts the author's attention to focus on reviewing: 1) The phenomenon of visual development of dhadhak merak over time and 2) Reading Ponoragan visual culture in dhadhak merak. This research is a descriptive qualitative research, with data collection techniques using literature studies and archival documentation. In the process of reading the visual culture of dhadhak merak, the author conducted a review from several aspects, namely: visual structure, function, value, and meaning. The results of this study are 1) The dhadhak merak has undergone seven phases of development starting from its simple dhadhak to the form that is commonly found today. 2) The visual structure, function, historical value, and meaning of the dhadhak merak are constructed on the culture of the people of Ponorogo itself starting from the era of animism-dynamism, Hindu-Buddhism, Islam, to the present era. From that, the Ponoragan culture as a very strong identity marker can be reflected in the dhadhak merak visual culture artifact.
{"title":"Reading Ponoragan Visual Culture on The Visual Development Phenomenon of Dhadhak Merak Reyog Ponorogo","authors":"Romzi Akram Al Naufal, D. Djatiprambudi, Setyo Yanuartuti","doi":"10.24114/gondang.v8i1.57629","DOIUrl":"https://doi.org/10.24114/gondang.v8i1.57629","url":null,"abstract":"The dhadhak merak is an iconic mask in Reyog Ponorogo. Over a very long period of time, the dhadhak merak has visually evolved into the form that is often seen today. The visual phenomenon then forms an image of Ponoragan visual culture that is interesting to explore in greater depth. This is what attracts the author's attention to focus on reviewing: 1) The phenomenon of visual development of dhadhak merak over time and 2) Reading Ponoragan visual culture in dhadhak merak. This research is a descriptive qualitative research, with data collection techniques using literature studies and archival documentation. In the process of reading the visual culture of dhadhak merak, the author conducted a review from several aspects, namely: visual structure, function, value, and meaning. The results of this study are 1) The dhadhak merak has undergone seven phases of development starting from its simple dhadhak to the form that is commonly found today. 2) The visual structure, function, historical value, and meaning of the dhadhak merak are constructed on the culture of the people of Ponorogo itself starting from the era of animism-dynamism, Hindu-Buddhism, Islam, to the present era. From that, the Ponoragan culture as a very strong identity marker can be reflected in the dhadhak merak visual culture artifact.","PeriodicalId":513242,"journal":{"name":"Gondang: Jurnal Seni dan Budaya","volume":"5 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141809144","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-09DOI: 10.24114/gondang.v8i1.56571
Annastasya Nur Intandiani, Juju Musunah, Tati Narawati
Dance performance is not merely a sequence of artistically arranged movements. Instead, a dance performance serves as a cultural communication medium between the creator and the audience. In the presentation of dance, expressed through each movement, there is meaning that goes beyond the physical aspects alone. Whether through harmonious movement or the selection of specific themes, a dance performance acts as a window that opens the audience's view into the world of emotions, values, and stories intended by the creator. The Bubuka Lawang Dance during Nyiar Lumar in Kawali, Ciamis Regency, West Java, showcases a community that continues to preserve and uphold its culture through Nyiar Lumar activities held every two years. Since 1998, Nyiar Lumar has been organized with the aim of building social solidarity through artistic activities in public spaces. This article aims to describe the research findings on the presentation of the Bubuka Lawang Dance during Nyiar Lumar in Kawali, Ciamis Regency. The research method employed is descriptive with a qualitative approach. The results reveal three stages in Nyiar Lumar: ngawalan (Opening ceremony), lalampahan (Journey), and magelaran (Performance). Additionally, there is a distinctive dance always featured during Nyiar Lumar titled "Tari Bubuka Lawang," with a different concept each year. Nyiar Lumar is closely related to the historical event of the Bubat War, which serves as the theme for Nyiar Lumar. The stage concept utilized is an outdoor stage with lighting relying on torches and candles. The movements are categorized into locomotion, pure movement, and symbolic gestures. Nyiar Lumar has become a biennial event to commemorate the history of West Java, Indonesia.
{"title":"Bubuka Lawang Dance in Nyiar Lumar as a Media for Cultural Communication in Ciamis","authors":"Annastasya Nur Intandiani, Juju Musunah, Tati Narawati","doi":"10.24114/gondang.v8i1.56571","DOIUrl":"https://doi.org/10.24114/gondang.v8i1.56571","url":null,"abstract":"Dance performance is not merely a sequence of artistically arranged movements. Instead, a dance performance serves as a cultural communication medium between the creator and the audience. In the presentation of dance, expressed through each movement, there is meaning that goes beyond the physical aspects alone. Whether through harmonious movement or the selection of specific themes, a dance performance acts as a window that opens the audience's view into the world of emotions, values, and stories intended by the creator. The Bubuka Lawang Dance during Nyiar Lumar in Kawali, Ciamis Regency, West Java, showcases a community that continues to preserve and uphold its culture through Nyiar Lumar activities held every two years. Since 1998, Nyiar Lumar has been organized with the aim of building social solidarity through artistic activities in public spaces. This article aims to describe the research findings on the presentation of the Bubuka Lawang Dance during Nyiar Lumar in Kawali, Ciamis Regency. The research method employed is descriptive with a qualitative approach. The results reveal three stages in Nyiar Lumar: ngawalan (Opening ceremony), lalampahan (Journey), and magelaran (Performance). Additionally, there is a distinctive dance always featured during Nyiar Lumar titled \"Tari Bubuka Lawang,\" with a different concept each year. Nyiar Lumar is closely related to the historical event of the Bubat War, which serves as the theme for Nyiar Lumar. The stage concept utilized is an outdoor stage with lighting relying on torches and candles. The movements are categorized into locomotion, pure movement, and symbolic gestures. Nyiar Lumar has become a biennial event to commemorate the history of West Java, Indonesia.","PeriodicalId":513242,"journal":{"name":"Gondang: Jurnal Seni dan Budaya","volume":"8 28","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141835831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-09DOI: 10.24114/gondang.v8i1.54860
Heri Murbiyantoro, Budi Dharmawanputra, Raden Roro Maha Kalyana Mitta Anggoro, H. Y. Karyawanto, Marda Putra Mahendra
Music education is a realm of study concerned with the teaching and learning of music. This music education will develop affective, motor skills in students who play instruments and expand cognitive development through reasoning and interpretation of musical notation. However, many people still underestimate music education. In the education and teaching system of music arts, especially in the last years of the 20th century, new methods emerged. One of the methods that will be discussed is the Tonika-Do Method. This article is a type of literature study and uses the exposition method in presenting the concepts contained in previous studies. The sources used contain the results of discussions about art education, music, and music education. The application of fixed "do" is not carried out as it should be from the meaning of fixed "do" itself. The reading system used in this lesson is not an fixed "do", but a system taken from the basic idea of an fixed "do" system, where 'Do' is not understood as a C, D, E note or something else, but is more understood as a number 1, which is the tone of writing in numerical notation. This fixed “do” reading system is carried out with the aim of avoiding moving 1 ('do') which is generally found in how to read numerical notation, which of course tends to make it difficult for students in a notation recognition. The learning process can include practicing the C scale, followed by the chromatic scale, etude, then entering the song.
{"title":"Implementation of Reading Fixed ‘Do’ and Moving ‘Do’ Notations on Improving Music Practical Achievement","authors":"Heri Murbiyantoro, Budi Dharmawanputra, Raden Roro Maha Kalyana Mitta Anggoro, H. Y. Karyawanto, Marda Putra Mahendra","doi":"10.24114/gondang.v8i1.54860","DOIUrl":"https://doi.org/10.24114/gondang.v8i1.54860","url":null,"abstract":"Music education is a realm of study concerned with the teaching and learning of music. This music education will develop affective, motor skills in students who play instruments and expand cognitive development through reasoning and interpretation of musical notation. However, many people still underestimate music education. In the education and teaching system of music arts, especially in the last years of the 20th century, new methods emerged. One of the methods that will be discussed is the Tonika-Do Method. This article is a type of literature study and uses the exposition method in presenting the concepts contained in previous studies. The sources used contain the results of discussions about art education, music, and music education. The application of fixed \"do\" is not carried out as it should be from the meaning of fixed \"do\" itself. The reading system used in this lesson is not an fixed \"do\", but a system taken from the basic idea of an fixed \"do\" system, where 'Do' is not understood as a C, D, E note or something else, but is more understood as a number 1, which is the tone of writing in numerical notation. This fixed “do” reading system is carried out with the aim of avoiding moving 1 ('do') which is generally found in how to read numerical notation, which of course tends to make it difficult for students in a notation recognition. The learning process can include practicing the C scale, followed by the chromatic scale, etude, then entering the song.","PeriodicalId":513242,"journal":{"name":"Gondang: Jurnal Seni dan Budaya","volume":"2 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141836054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study analyzes and explores disaster village tourism and life situation communication, clarifies the form and virtual scenarios, determines building blocks, and suggests sufficient functional requirements to develop virtual tourism scenarios. The questionnaire survey method is direct and effective for identifying questions; the case analysis method surveys the situation of the disaster village tourist attraction; and the theoretical analysis method discusses theories related to Digital Photo Book. The results indicate that tourists are interested in using Digital Photo Book as an information guide. Digital Photo Book's contribution to tourist information is more significant than conventional information, with 77% of tourists believing that the information provided greatly influenced their interest in the future. 70% of respondents stated that the impact of the information provided reached a satisfactory level. Digital Photo Book is more easily accepted and appreciated by tourists and is more suitable to be applied globally in the aspect of tourism, especially in areas with limited access.
{"title":"Exploring Resilience: A Virtual Tour of Disaster-Affected Communities through Digital Photo Stories","authors":"Annalisa Sonaria Hasibuan, Rezha Destiadi, Andi Supriadi Chan, Alfannisa Annurrullah Fajrin","doi":"10.24114/gondang.v8i1.52581","DOIUrl":"https://doi.org/10.24114/gondang.v8i1.52581","url":null,"abstract":"This study analyzes and explores disaster village tourism and life situation communication, clarifies the form and virtual scenarios, determines building blocks, and suggests sufficient functional requirements to develop virtual tourism scenarios. The questionnaire survey method is direct and effective for identifying questions; the case analysis method surveys the situation of the disaster village tourist attraction; and the theoretical analysis method discusses theories related to Digital Photo Book. The results indicate that tourists are interested in using Digital Photo Book as an information guide. Digital Photo Book's contribution to tourist information is more significant than conventional information, with 77% of tourists believing that the information provided greatly influenced their interest in the future. 70% of respondents stated that the impact of the information provided reached a satisfactory level. Digital Photo Book is more easily accepted and appreciated by tourists and is more suitable to be applied globally in the aspect of tourism, especially in areas with limited access.","PeriodicalId":513242,"journal":{"name":"Gondang: Jurnal Seni dan Budaya","volume":"16 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141700075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Batik is one of the handicrafts that has high artistic value which has been passed down from generation to generation by the ancestors of the Indonesian nation since the Majapahit Kingdom and continues to be preserved today. However, we have discovered the reality that currently there are still many people who do not fully understand the meaning or philosophy behind batik motifs. Through this, it is necessary to have an educational process for the community, one of which can be carried out by the batik industry. The purpose of this study is to provide an overview regarding how the educational process carried out by Kampung Batik Kauman, especially Batik Gunawan Setiawan, is to provide a comprehensive understanding of batik to the public. This research was conducted in Surakarta, namely in Kauman Batik Village, precisely in Gunawan Setiawan Batik. The research method used is a qualitative research method with a case study approach. The results showed that there were several educational processes carried out by Batik Gunawan Setiawan, such as creating a batik gallery, conducting batik exhibitions and holding batik training. Furthermore, the process of batik education in the community is analyzed using Structural-Functional Theory - Radcliffe Brown as a countermeasure to tensions. As he stated that culture is not to satisfy individuals but to fulfill the social structure of society and emerge to overcome tensions such as theft of cultural identity due to the lack of public concern regarding local culture.
蜡染是具有极高艺术价值的手工艺品之一，自 Majapahit 王国以来，印尼民族的祖先们一直将其代代相传，并延续至今。然而，我们发现，目前仍有许多人并不完全了解蜡染图案背后的含义或哲学。因此，有必要对社会进行教育，而蜡染行业可以开展这方面的工作。本研究的目的是概述 Kampung Batik Kauman（尤其是 Batik Gunawan Setiawan）开展的教育过程是如何让公众全面了解蜡染的。这项研究在苏腊卡尔塔（Surakarta）进行，即在考曼蜡染村（Kauman Batik Village），准确地说是在古纳万-塞蒂亚万蜡染村（Gunawan Setiawan Batik）。采用的研究方法是个案研究的定性研究方法。研究结果表明，古纳万-塞蒂亚万蜡染村开展了多项教育工作，如创建蜡染画廊、举办蜡染展览和蜡染培训。此外，还利用拉德克里夫-布朗（Radcliffe Brown）的结构功能理论（Structural-Functional Theory）对社区蜡染教育过程进行了分析，以此作为应对紧张局势的对策。正如他所说，文化不是为了满足个人，而是为了满足社会的社会结构，文化的出现是为了克服紧张局势，如由于公众对本地文化缺乏关注而导致文化身份被盗。
{"title":"The Role of Gunawan Setiawan's Batik Industry in the Education Process and Maintaining Batik Cultural Symbols in the Community","authors":"Renzi Noviana, Omy Marissa Verdiani, Mohamad Rizki Azhar, Yosafat Hermawan Trinugraha, Bagas Narendra Parahita","doi":"10.24114/gondang.v8i1.48573","DOIUrl":"https://doi.org/10.24114/gondang.v8i1.48573","url":null,"abstract":"Batik is one of the handicrafts that has high artistic value which has been passed down from generation to generation by the ancestors of the Indonesian nation since the Majapahit Kingdom and continues to be preserved today. However, we have discovered the reality that currently there are still many people who do not fully understand the meaning or philosophy behind batik motifs. Through this, it is necessary to have an educational process for the community, one of which can be carried out by the batik industry. The purpose of this study is to provide an overview regarding how the educational process carried out by Kampung Batik Kauman, especially Batik Gunawan Setiawan, is to provide a comprehensive understanding of batik to the public. This research was conducted in Surakarta, namely in Kauman Batik Village, precisely in Gunawan Setiawan Batik. The research method used is a qualitative research method with a case study approach. The results showed that there were several educational processes carried out by Batik Gunawan Setiawan, such as creating a batik gallery, conducting batik exhibitions and holding batik training. Furthermore, the process of batik education in the community is analyzed using Structural-Functional Theory - Radcliffe Brown as a countermeasure to tensions. As he stated that culture is not to satisfy individuals but to fulfill the social structure of society and emerge to overcome tensions such as theft of cultural identity due to the lack of public concern regarding local culture.","PeriodicalId":513242,"journal":{"name":"Gondang: Jurnal Seni dan Budaya","volume":"21 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141233885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-01DOI: 10.24114/gondang.v8i1.53037
Riyan Hidayatullah, Chamil Arkhasa Nikko Mazlan
Women have played a significant role in the history of Lampung's indigenous people, a.k.a Ulun Lappung. Lampung and women have had a long relationship since the Lampung people's ancestors settled in this area in the 14th century. Ratu Sekarmong, a Lampung indigenous resident, has led the Tumi tribe in Sekala Brak. Then women played a unique role in the stringed music of the Pepadun community two generations ago, particularly the gitar tunggal. Participant observations of female gitar tunggal performers, particularly those from the Pepadun ethnic group of Lampung, were used to conduct this qualitative study. The number of female guitar players in Lampung is currently dispersed. Women of the ethnic Pepadun make up the majority of the performers. In-depth descriptions are also produced using ethnographic data and digital documents from the internet. Investigations on virtual field sites, interviews, and literature reviews are used to collect research data. According to the findings, male and female gitar tunggal performers use the same way in techniques. Contrarily, female guitarists have different goals than male guitarists. Women are prohibited from playing stringed instruments in public or in the local music industry. In addition, male performers typically remain active on stage, whereas female performers only reside in their homes. In the traditional view, their creativity is only used for household amusement. As a result, female guitarists must advance new coping mechanisms that affect their ability to retain music. Women's contributions to developing Lampung stringed music must be acknowledged, particularly in light of the patrilineal Lampung traditional system.
妇女在楠榜土著居民（又称乌伦拉榜）的历史中扮演着重要角色。自 14 世纪楠榜人的祖先在此定居以来，楠榜与妇女的关系就源远流长。楠榜原住居民 Ratu Sekarmong 曾领导塞卡拉布拉克的图米部落。随后，妇女在两代前的佩帕敦社区弦乐中发挥了独特的作用，尤其是吉他手。这项定性研究采用了对女性吉他手（尤其是来自楠榜佩帕敦族的女性吉他手）的参与式观察。目前，楠榜的女吉他手人数较为分散。佩巴敦族的女性占演奏者的大多数。此外，还利用人种学数据和互联网上的数字文档进行了深入描述。通过虚拟现场调查、访谈和文献综述来收集研究数据。研究结果表明，男女吉他手在演奏技巧上使用相同的方法。相反，女吉他手的目标与男吉他手不同。女性被禁止在公共场合或当地音乐界演奏弦乐器。此外，男性表演者通常活跃在舞台上，而女性表演者只能呆在家里。在传统观念中，她们的创造力只用于家庭娱乐。因此，女吉他手必须建立新的应对机制，这影响了她们保留音乐的能力。必须承认妇女对发展楠榜弦乐的贡献，尤其是在父系楠榜传统制度下。
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Pub Date : 2024-06-01DOI: 10.24114/gondang.v8i1.57435
Alvriza Mohammed Fadly, Hery Supiarza, Zakiah Pawitan
Synchronization between visual animation and music has been widely known as mickey-mousing. Notable old animation films have used this particular technique to reinforce action with a musical flourish and convey a certain meaning. Furthermore, animation music is commonly based on popular music, such as The Hungarian Rhapsody No.2 in Rhapsody Rabbit. The music is utilized not just as a scoring aspect but to dictate every Bugs Bunny's action when playing the piano. This research aims to study the implementation of the mickey-mousing technique in Rhapsody Rabbit film. It uses a qualitative content analysis approach to analyze visual and aural aspects—primary data is sourced from the Rhapsody Rabbit film and the Hungarian Rhapsody No. 2 music sheet. Secondary data is collected from literature studies related to the topic. Data collection is conducted through observation, interview, and documentation study. The data is analyzed using Klaus Krippendorf's content analysis technique which divided into six steps. The result of this study is that the mickey-mousing technique is implemented through a combination of a fast pace of visual and musical play altogether. Animation adapts to several parts of the musical composition so that articulation, illustration, and accentuation occur as a function of the mickey-mousing technique.
{"title":"Synchronization Functions of “Mickey-Mousing” in Animation Film Rhapsody Rabbit","authors":"Alvriza Mohammed Fadly, Hery Supiarza, Zakiah Pawitan","doi":"10.24114/gondang.v8i1.57435","DOIUrl":"https://doi.org/10.24114/gondang.v8i1.57435","url":null,"abstract":"Synchronization between visual animation and music has been widely known as mickey-mousing. Notable old animation films have used this particular technique to reinforce action with a musical flourish and convey a certain meaning. Furthermore, animation music is commonly based on popular music, such as The Hungarian Rhapsody No.2 in Rhapsody Rabbit. The music is utilized not just as a scoring aspect but to dictate every Bugs Bunny's action when playing the piano. This research aims to study the implementation of the mickey-mousing technique in Rhapsody Rabbit film. It uses a qualitative content analysis approach to analyze visual and aural aspects—primary data is sourced from the Rhapsody Rabbit film and the Hungarian Rhapsody No. 2 music sheet. Secondary data is collected from literature studies related to the topic. Data collection is conducted through observation, interview, and documentation study. The data is analyzed using Klaus Krippendorf's content analysis technique which divided into six steps. The result of this study is that the mickey-mousing technique is implemented through a combination of a fast pace of visual and musical play altogether. Animation adapts to several parts of the musical composition so that articulation, illustration, and accentuation occur as a function of the mickey-mousing technique.","PeriodicalId":513242,"journal":{"name":"Gondang: Jurnal Seni dan Budaya","volume":"12 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141233522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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