Gelar Jurnal Seni Budaya最新文献

{"title":"Dimensi Estetis Tari Bedhaya Senapaten","authors":"Daryono Darmo Rejono","doi":"10.33153/glr.v17i2.2733","DOIUrl":"https://doi.org/10.33153/glr.v17i2.2733","url":null,"abstract":"ABSTRAK Penelitian yang berjudul Dimensi Estetis Tari Bedhaya Senapaten ini bertujuan untuk mendeskripsikan bentuk Tari Bedhaya Senapaten dan untuk mengetahui nilai estetis elemen-elemen yang membentuk Tari Bedhaya Senapaten.Tari ini mengungkapkan nilai Nebu-sauyun yang merupakan semangat kejuangan R.M. Sahid atau Pangeran Sambernyawa dengan laskarnya. Selama kurun waktu 16 tahun (1740-1756) semangat perjuangan nebu-sauyun mampu menjadi perekat yang sangat kuat terhadap berbagai unsur masyarakat untuk bersama-sama memerangi kedholiman yang terjadi di negeri ini.Abstraksi nilai-nilai wigati tersebut dituangkan ke dalam karya tari bergenre bedhaya dengan judul Bedhaya Senapaten. Bentuk tari ini memiliki dimensi estetis pada elemen-elemennya. Parker mengatakan bahwa karya seni harus merupakan kesatuan organis dari berbagai elemen-elemen pembentuknya. Indikatornya adalah The Principle of Theme, The Principle of Thematic Variation, The Principle of Balance, The Principle of Evolution, dan The Principle of Hierarchi.Hasil penelitian menunjukkan bahwa tari ini merupakan kesatuan organis yang memiliki indikator estetis pada elemen-elemen pembentuk tari yaitu vokabuler gerak dan pola lantai, rias, busana, properti, musik tari, dan tempat pertunjukannya. Kata kunci: nebu-sauyun, Bedhaya Senapaten, dimensi estetis. ABSTRACT The research entitled The Aesthetic Dimensions of the Bedhaya Senapaten Dance aims to describe the form of the Bedhaya Senapaten Dance and to find out the aesthetic value of the elements that make up the Bedhaya Senapaten Dance. This dance reveals the value of Nebu-sauyun (literally a handful of sugarcane stems); the spirit of the struggle of R.M. Sahid or Prince Sambernyawa with his army against the Duth occupation. In 16 years (1740-1756), the spirit of the Nebu-Sauyun was able to become a powerful glue to various elements of society to jointly fight the cruelty that occurred in this country. The abstraction of the wigati (meaningful) values is poured into the Bedhaya genre dance work entitled Bedhaya Senapaten. This dance form has an aesthetic dimension to its elements. Parker said that the work of art must be an organic unity of the various constituent elements. The indicators are The Principle of Theme, The Principle of Thematic Variation, The Principle of Balance, The Principle of Evolution, and The Principle of Hierarchy. The results showed that the dance is an organic unit with aesthetic indicators. The elements that formed the dance are namely the motion vocabulary and floor patterns, make-up, clothing, property, dance music, and the venue.Keyword: nebu-sauyun, Bedhaya Senapaten, aesthetic dimensions.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47888624","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}

{"title":"Pendidikan Karakter Dalam Matakuliah Koreografi Mahasiswa Tari Di Isi Surakarta","authors":"S. Supriyanto","doi":"10.33153/glr.v17i2.2659","DOIUrl":"https://doi.org/10.33153/glr.v17i2.2659","url":null,"abstract":"Koreografi merupakan matakuliah praktek yang harus ditempuh selama berjenjang sampai dengan semester 7 dengan beban 15 SKS. Matakuliah ini merupakan dasar bagi mahasiswa tari untuk bisa menciptakan sebuah tari. Koreografi dipandang mampu sebagai pembentukan pendidikan karakter di ISI Surakarta. Di dalam matakuliah ini sarat akan nilai-nilai kebersamaan, kerja sama, menghargai sesama, saling bertukar pikiran, dan empati. Penelitian ini akan merumuskan beberapa persoalan yaitu bagaimana model pembelajaran koreografi di ISI Surakarta dan nilai-nilai dalam pendidikan karakter apa saja yang terkandung dalam matakuliah koreografi. Tujuan dari penelitian ini adalah Mendeskripsikan model pembelajaran matakuliah koreografi di Institut Seni Indonesia Surakarta dan menemukan nilai-nilai pendidikan karakter yang terkandung dalam matakuliah koreografi. Penelitian merupakan jenis penelitian pustaka dengan memanfaatkan berbagai literatur kepustakaan seperti buku, jurnal, hasil penelitian, makalah, maupun dari internet. Hasil penelitian ini nanti menjadi sampel bagi pendidikan karakter mahasiswa di ISI Surakarta.  ","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45298815","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}

{"title":"Kajian Desain Batik Tulis di Batik Owens Joe Bekonang","authors":"Ladivine Pamela","doi":"10.33153/GLR.V17I2.2653","DOIUrl":"https://doi.org/10.33153/GLR.V17I2.2653","url":null,"abstract":"Batik mengalami perkembangan dalam desain dan proses pembuatannya. Batik Owens Joe Bekonang menaikan kembali pamor batik Bekonang melalui desain batik tulis modern. Batik tulis modern salah satu upaya agar batik tetap bertahan ditengah maraknya tekstil motif batik. Masalah yang dikaji dalam penelitian adalah bagaimana latar belakang batik tulis di Batik Owens Joe Bekonang, dan bagaimana desain batik tulis di Batik Owens Joe Bekonang. Tujuan dari penelitian adalah untuk menjelaskan  latar belakang batik tulis di Batik Owens Joe Bekonang, dan mengetahui desain batik tulis di Batik Owens Joe Bekonang. Penelitian ini menggunakan pendekatan desain dari Prof Nanang Rizali untuk mengkaji desain batik tulis. Hasil penelitian menunjukkan bahwa: pertama, pada tahun 2009 Bekonang kembali memproduksi batik tulis, ditahun 2011 Batik Owens Joe Bekonang sebagai pelopor yang menaikan kembali pamor batik tulis Bekonang. Kedua, ditinjau dari desain batik tulis di Batik Owens Bekonang terdapat fungsi, estetika, proses pembuatan, material, trend mode, selera konsumen, dan pemasaran.Kata kunci: Desain Batik Tulis, Bekonang.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44322972","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}

{"title":"Unsur penggarapan Tari Dolalak Lentera Jawa II karya Melania Sinaring Putri","authors":"Putri Rachmawati","doi":"10.33153/GLR.V17I2.2681","DOIUrl":"https://doi.org/10.33153/GLR.V17I2.2681","url":null,"abstract":"Tari Dolalak Lentera Jawa II  merupakan sebuah karya tari baru yang disusun oleh Melania Sinaring Putri tahun 2014. Diciptakan untuk mewakili Indonesia  pada  Festival  di  Malaysia  pada  tanggal  12-15  November  2014. Garapan ini menarik karena terdapat inovasi yang dilakukan koreografer. Teori yang dijadikan sebagai pisau bedah unsur-unsur penggarapan menggunakna teori garap oleh Rahayu Supanggah menegaskan bahwa garap merupakan   sebuah   sistem   yang   melibatkan  6   (enam)   unsur   yang   saling berkaitan, yaitu terdiri dari materi garap atau ajang garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap, dan pertimbangan garap (Supanggah 2007, 4). Metode yang digunakan dalam penelitian ini adalah metode kualitatif, dengan pendekatan         entokoreologi.       Hasil   penelitian     ini menyimpulkan terbentuknya            komposisi                baru, bentuk  sajian         yang       dihasilkan       terkesan berkarakter gagah centil karena adanya gerak tari yang dihasilkan lebih energik, bervolume besar dan adanya tempo gerak yang lebih cepat. Elemen-elemen koreografi yang dipadatkan sehingga pertunjukkan berdurasi 8 menit..","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41456832","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}

{"title":"Roosters As a Source of Ideas for Creating Graphic Art Work with Silkscreen Technique","authors":"Ismi Aryati","doi":"10.33153/glr.v17i2.2585","DOIUrl":"https://doi.org/10.33153/glr.v17i2.2585","url":null,"abstract":"This final task is a visualization based on the imagination in the form of silkscreen work with Rooster. The problem discussed in this final task is what is the uniqueness of rooster that becomes our correlation in life, the reason why choosing a life of rooster as a source of ideas in creating silkscreen work and how Visualize the rooster theme in silkscreen work. The purpose of writing this final task is to explain how the habits and characteristics owned by the Rooster can give a learning in our lives. Which gives reasons on the selection of Rooster that was appointed as the source of ideas in the creation of silkscreen works, visualizing the theme of rooster in silkscreen work. The rooster has unique habits and characteristics. An example of a rooster's habit is crowed in the morning and how it survives. In the characteristics of rooster that is rarely known by Banayak people is, when the head of the rooster can be in the same position when we shake the Badannnya. The balance in the rooster becomes its own characteristic. With the life of the rooster that gives an idea of the author's life that will be visualized into graphic artwork. The life of Rooster that gives its own background to the author of the Life of the rooster theme is interesting so it is lifted in the background of this final task introduction. The creation of this work is expected to attract the attention of the connoisseur of the art of life in the rooster that visualized in silkscreen work to pour the idea, the visualization of the life of Rooster is also supported by the media canvas with a Silkscreen technique. The work depicts the life of the rooster and how the results of the observations and expressions that the author poured into the work.Keywords: rooster, graphic arts, silkscreen   ","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42107018","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}

{"title":"Gareng Sumarbagyo: Analisis Karakter Gerak","authors":"Dewi Wulandari","doi":"10.33153/glr.v17i2.2632","DOIUrl":"https://doi.org/10.33153/glr.v17i2.2632","url":null,"abstract":"Penelitian ini mengungkapkan tentang karakter gerak yang dibawakan Sumar Bagyo ketika membawakan tokoh Gareng di atas panggung wayang maupun di luar panggung wayang. Terdapat tiga persoalan penting yang menjadi pokok bahasan dalam penelitian ini, yaitu bagaimana personifikasi Gareng dalam wayang kulit ke dalam wayang orang?, mengapa Sumar Bagyo memilih Gareng?, karakter gerak gecul Sumar Bagyo dalam mengekspresikan Gareng disetiap pementasannya?. Tujuan penelitian ini adalah mendiskripsikan secara analisis tentang personifikasi Gareng, alasan Sumar Bagyo memilih Gareng, dan tentang karakter gerak gecul yang dibawakan Sumar Bagyo dalam mengekspresikan Gareng menurut versinya. Penelitian ini bersifat kualitatif dengan menggunakan pendekatan etnokoreologi dengan meminjam atau menggunakan beberapa konsep dan teori sebagai pendukung penelitiannya, yaitu teori perubahan sosial A. Boskoff, konsep solah ebrah Slamet yang sesuai dengan teori effort-shape Ann Hutchinson, konsep fisiognomi  Prasetyono, mimic dan expressive gestures oleh Morris. Simpulan dari penelitian ini adalah karakter gerak Gareng Sumar Bagyo cenderung menyempit, volume kecil, mengacu pada bentuk gerak tari Jawa Timur dengan iringan menyentak, bentuk jari selalu dalam posisi kipas atau megar (Jawa).","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46552180","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}

{"title":"Model Pertunjukan Wayang Sinema Lakon Dewa Ruci sebagai Wahana Pengembangan Wayang Indonesia","authors":"S. Sunardi","doi":"10.33153/GLR.V17I2.2748","DOIUrl":"https://doi.org/10.33153/GLR.V17I2.2748","url":null,"abstract":"Artikel ini bertujuan mendeskripsikan model pertunjukan wayang sinema lakon Dewa Ruci sebagai wahana pengembangan wayang Indonesia. Model pertunjukan wayang sinema dikreasi untuk menjawab berbagai persoalan dunia pedalangan, yaitu minat generasi muda terhadap wayang menurun dan bahaya kepunahan seni pertunjukan wayang di Indonesia. Ada tiga permasalahan yang dikaji, yaitu: (1) bagaimana konsep dasar inovasi pertunjukan wayang sinema; (2) bagaimana struktur pertunjukan wayang sinema lakon Dewa Ruci; dan (3) mengapa model pertunjukan wayang sinema menjadi wahana pengembangan wayang Indonesia. Metode kajian yang digunakan adalah wawancara, studi pustaka, observasi, dan proses inovasi model pertunjukan wayang sinema. Hasil kajian menunjukkan bahwa: (1) model pertunjukan wayang sinema didasarkan pada konsep bentuk, lakon, narasi, sabet, dan musik yang disusun dengan paradigma sinematografi; (2) bentuk pertunjukan wayang sinema merupakan perpaduan antara wayang kulit purwa yang dikemas dengan disiplin sinematografi sehingga berujud film wayang sinema; dan (3) model pertunjukan wayang sinema lakon Dewa Ruci menjadi model pengembangan wayang Indonesia dengan kandungan nilai budi pekerti dan kebaharuan bentuk pertunjukan sesuai perkembangan zaman.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47977885","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}

{"title":"Penciptaan Karya Komposisi Musik Sebagai Sebuah Penyampaian Makna Pengalaman Empiris Menjadi Sebuah Mahakarya","authors":"Nicolas Agung Pramudya","doi":"10.33153/GLR.V17I1.2597","DOIUrl":"https://doi.org/10.33153/GLR.V17I1.2597","url":null,"abstract":"ABSTRAK Komposisi Musik “Katur Ibu” adalah komposisi musik yang ide penggarapannya berangkat dari sebuah cinta, pengorbanan dan kasih sayang  yang  dikemas dengan format  tradisi dan modern menghadirkan warna baru dalam komposisi penciptaan, yang membentuk sebuah karya musik yang utuh. Jenis karya seni  tidak menata pada  kejadian  menurut  alur  yang  sebenarnya akan tetapi lebih kepada suasana yang mendukung. Komposisi  musik “Katur Ibu” terdiri dari 5 bentuk utama dengan menggunakan tempo Allegro, moderato, adagio, andante, dan vivance, yang dapat menggambarkan suasana tenang, sedih, gembira dan semangat, pengkarya maknai  sebagai guratan sisi pandang terhadap realita yang  terlintas  dalam  fikiran  pengkarya  seperti emosi penyesalan,  kegamangan, ketulusan dan impian. Penyajian komposisi musik “Katur Ibu” memakai beberapa instrument pokok dan intrumen pendukung yaitu, Piano sebagai melodi utama, flute, bass elektrik, drum pad DTX, saron, bonang, kendang Sunda dan keyboard sebagai Accompainement dalam komposisi musik yang dikemas dalam konsep pertunjukan ini. Kata kunci: Komposisi, pengalaman empiris, Katur Ibu. ABSTRACT “Katur Ibu” Music Composition is a musical composition which the cultivation ideas depart from a love, sacrifice and affection that is packaged in a traditional and modern format presenting a new color in the composition of creation, which forms a complete musical work. types of artworks do not arrange the events according to the actual plot but rather to the atmosphere that supports it. The musical composition “Katur Ibu” consists of 5 main forms using tempo Allegro, moderato, adagio, andante, and vivance, which can describe the atmosphere of calm, sadness, joy and enthusiasm. The composer means as a side view of reality that comes to mind such as emotions of regret, anxiety, sincerity and dreams. The presentation of “Katur Ibu” music composition uses several basic instruments and accompanying instruments, including, Piano as the main melody, flute, electric bass, DTX drum, saron, bonang, Sundanese drum and keyboard as Accompainement in the musical composition that is packaged for the show. Keywords: Composition, empirical experience, Katur Ibu.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42355825","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}

{"title":"Tradisi Tale Dalam Kehidupan Masyarakat Kerinci","authors":"Ayu Mayang Sari","doi":"10.33153/GLR.V17I1.2600","DOIUrl":"https://doi.org/10.33153/GLR.V17I1.2600","url":null,"abstract":"ABSTRAK This research focuses on the subject matter of Tradition of tale (Traditional Song) in the life of Kerinci People. It aims to see and formulate the existence of Tale. In understanding it, qualitative research methods are used so that the data obtained is descriptive of the behavior of those observed. This study uses a phenomenological point of view that is seeing phenomena as appear appropriate in the field. From the result of the study, it was found that tale is a song of the Kerinci folk in the form of a rhyme. Tale is present in various traditional arts in Kerinci. The tale tradition can be classified according to how to sing it; they are tale that is sung without equipping by music instrument, tale in dancing and tale that is sung equipped by using music instrument. Keywords: Tradition, Tale, Kerinci.  ABSTRACT This research focuses on the subject matter of how the tale tradition in the lifes of  people in Kerinci. It aims to learn and formulate the existence of tale. The qualitative research method is used to examine the problem in order to present descriptive data relating to the behavior of the people observed. This study uses a phenomenological point of view, namely seeing the phenomena as they appear in the field. The result of the study shows that the tale represents Kerinci folk song in the form of a rhyme. The tale is present in various traditional arts in Kerinci. The tale can be classified based on how it is sung, namely the tale that is sung without musical instruments, tale in the dance and tale that are using musical instruments. Keywords: Tradition, Tale, Kerinci","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43560480","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}

{"title":"Kirab Temanten “Kemarau Kemarin Basah” Perspektif Peristiwa Pernikahan","authors":"Paramudita Selvia Rengga Arbella","doi":"10.33153/GLR.V17I1.2596","DOIUrl":"https://doi.org/10.33153/GLR.V17I1.2596","url":null,"abstract":"ABSTRAKBerawal dari ketertarikan terhadap ritus pernikahan. Permasalahan yang disampaikan dalam karya ini lebih kepada makna substansi dan sudut pandang mengenai peristiwa pernikahan yang dilalui oleh pengkarya. Substansi dan sudut pandang tersebut berkaitan dengan pemaknaan setiap prosesi yang dilaksanakan menurut adat istiadat dan norma keagamaan yang berlaku di lingkungan pengkarya. Sehingga penyampaian substansi dan esensinya berakar pada budaya lokal. Sebuah pernikahan tentunya memiliki aturan-aturanya tersendiri, baik aturan dalam kepercayaan atau agama yang dianut, adat-istiadat, maupun aturan dalam negara. Sehingga menurut pengkarya perjalanan setiap prosesi yang sudah mentradisi sampai sekarang ini, seperti hanya menjalani suatu rangkaian koreografi yang dilakukan begitu saja dan kemudian selesai. Dari situ pengkarya merasa ragu, apakah prosesi tersebut dapat memberikan makna bagi pelakunya. Terlebih penjelasan-penjelasan yang bersifat mitos. Misalnya jika tidak menjalankan prosesi atau tidak memenuhi syarat tertentu akan berdampak negatif dan sebagainya. Dengan proses yang demikan, pengkarya menjadi paham bahwa ritus pernikahan mengandung banyak hal yang bisa dikritisi, digali, dan dikembangkan. Hal-hal tersebut seperti, rangkaian prosesi pernikahan, kemasan prosesi pernikahan, cara pandang terhadap pemaknaan prosesi pernikahan, dan bentuk penyampaiannya dalam dimensi seni pertunjukan. Kata kunci: tradisi, ritus pernikahan, pertunjukan, kolaborasi.ABSTRACT It is starting from an interest in marriage rite. The problems presented in this work are more about the           substance meaning and point of view regarding the marriage event that is passed by the writer (creator). The substance and point of view is related to the meaning of each procession carried out according to the customs and religious norms that is applied in the writer’s society. It means that the delivery of substance and essence is rooted in local culture. A marriage certainly has its own rules, according to the  beliefs or religion, customs, and rules of the country. According to the writer every procession that traditionally happens is like a series of choreography that must be done. the writer feels doubtful whether the procession can give any meaning to the brides, moreover, it is mythical explanations, for example, if the brides do not carry out the processions or do not meet the certain conditions, they will get a negative impact and others. For the reason, the writer learns that the marriage rite contains many things that can be criticized, explored, and developed. These things include, a series of wedding processions, wedding processions package, the ways of looking at the meaning of wedding procession, and the form of conveying to the dimensions of performing arts. Keywords: tradition, marriage rites, performances, collaboration.","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45215558","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}