Panggung最新文献

{"title":"ANALISIS BENTUK PRODUK KERAMIK STUDIO MANDIRI DENGAN TEMA TRADISI LOKAL INDONESIA MELALUI PENDEKATAN ‘ATUMICS’","authors":"Sasanti Puri Ardini, Gita Winata","doi":"10.26742/panggung.v33i4.2930","DOIUrl":"https://doi.org/10.26742/panggung.v33i4.2930","url":null,"abstract":"Indonesia, known for its rich cultural diversity and traditional practices, offers a wide range of ceramic \u0000products that have a strong basis in tradition. These creations appear from the artistic endeavors of \u0000individual artists, independent studios, and craft-based industries. The scope of diversity extends beyond \u0000the topic of the field of tradition, which includes a combination of technical abilities and materials used \u0000for the creation of a piece, thus implementing a transformation of a local tradition into an innovative \u0000and creative product. This article present an exhibition and analysis of independent studio and craftbased industries ceramics products that explore the theme of local Indonesian traditions through the \u0000application of the The ATUMICS method is a way of Transformation Tradition that was introduced by \u0000Adhi Nugraha. The study using the ATUMICS framework, which refers Artifact (A), Technique (T), \u0000Utility (U), Material (M), Icon (I), Concepts (C) and Shape (S). These models were utilized to define \u0000the components that were found in ceramics products originating from three different ceramic studio \u0000or craft-based industries in Indonesia. The research results provide insight into which elements can be \u0000applied and combined through the ATUMICS method to enhance local traditions in ceramics. \u0000 \u0000Keywords: ceramic, craft, product, tradition, atumics","PeriodicalId":475623,"journal":{"name":"Panggung","volume":"286 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139022151","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":"PATHET SEBAGAI STRUKTUR ADEGAN WAYANG KULIT JAWATIMURAN SUBGAYA MALANGAN","authors":"Dwi Cahyo Pangestu, Raheni Suhita, Edy Suryanto","doi":"10.26742/panggung.v33i4.2929","DOIUrl":"https://doi.org/10.26742/panggung.v33i4.2929","url":null,"abstract":"Malangan’s puppet is a shadow puppet that grows and develops in East Jawa, precisely in the Greater Malang \u0000area. Malangan’s puppet differs from other styles in the scene structure department, which is covered by five \u0000pathet (Javanese gamelan modes) concepts. The purpose of this research is to describe the structure of the \u0000scene using five pathet concepts with the sample of the Malangan’s puppet script, Gathotkaca Lair. This \u0000Study applied the descriptive qualitative method. The research data were drawn from the data source of the \u0000Malangan’s puppet script with the Gathotkaca Lair’s play. The data collection employed content analysis \u0000techniques by evaluating several character dialogues that represent the scene structure in each pathet. The \u0000data analysis technique implemented the Miles & Huberman interactive model. The results of the study \u0000suggest that the scene structure in the Gathotkaca Lair’s script is well packaged into five pathets. The five \u0000pathets are pathet sepuluh (tenth), pathet wolu (eight), pathet sanga (ninth), pathet miring, and pathet \u0000serang. Pathet sepuluh serves as the opening act, while pathet serang is the closing act. \u0000 \u0000Keywords: Structur of the Scene,, Malangan’s Puppet, Pathet","PeriodicalId":475623,"journal":{"name":"Panggung","volume":"67 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139025257","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":"PANJI DALAM TRADISI SENI PERTUNJUKAN: Alih Estetika dari Keraton Merasuki Estetika Kerakyatan","authors":"Rohmat Djoko Prakosa","doi":"10.26742/panggung.v33i4.2917","DOIUrl":"https://doi.org/10.26742/panggung.v33i4.2917","url":null,"abstract":"Panji in the performing arts tradition has a big role. The diversity of forms and types of performances \u0000expresses the Panji cycle on the theme of wandering/wandering patriotic, romantic. There is an aesthetic \u0000transfer from palace aesthetics to popular aesthetics, research into this aesthetic transfer needs to be \u0000carried out to obtain aesthetic diversity. So it is necessary to explore the variants formed by local and \u0000folk traditions. To explore Panji’s cultural diversity in performing arts, a literature study is needed to \u0000approach Panji from the perspective of performing arts history. Direct observation of the forms and types \u0000of Panji performances, and observation of audio-visual documents, portraits and social media broadcasts \u0000about Panji. The results of the literature study and observations made can be described as the story of \u0000Panji in various forms of performance aesthetic expression. A variety of aesthetic performances of theatre, \u0000music, dance and visual aesthetic expressions. Broadly speaking, the aesthetics of the story of Panji is told \u0000in a classical aesthetic that is developed as a palace tradition and is embodied in the populist aesthetics \u0000that are spread across various areas of local populist culture. \u0000 \u0000Keywords: Panji, tradition, aesthetics, performance","PeriodicalId":475623,"journal":{"name":"Panggung","volume":"91 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139026586","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 LAMPU HIAS BERBASIS SENI ETNIK BATAK","authors":"Mesra Mesra, Anam Ibrahim, S. Sumarsono","doi":"10.26742/panggung.v33i4.2952","DOIUrl":"https://doi.org/10.26742/panggung.v33i4.2952","url":null,"abstract":"Lampu hias merupakan salah satu elemen interior pada sebuah ruangan. Lampu hias biasanya \u0000digunakan pada ruang tamu, ruang keluarga, lobi hotel, dan ruang pertemuan. Lampu hias yang \u0000dijual oleh pabrik terbuat dari bahan kaca, kristal, dan stainless steel. Namun, di sisi lain, ada \u0000pula lampu hias yang terbuat dari bahan bambu, rotan, dll., yang dibuat oleh pengrajin rumahan. \u0000Sehubungan dengan itu peneliti membuat lampu hias dengan dekorasi etnik Batak, yang disebut \u0000dengan “Gorga”. Gorga merupakan ornamen tradisional pantas menjadi kreasi baru pada masa \u0000sekarang. Tujuan penelitian ini adalah untuk menciptakan lampu hias yang berciri daerah Sumatera \u0000Utara. Penelitian sejenis ada “Motif Batik Parang Dan Kawung Sebagai Dekorasi Pada Lampu Hias \u0000Keramik” (Asmara dan Meilani, 2020). Metode penelitian ini adalah deskriptif kualitatif dengan \u0000tahapan kerja; ekplorasi, perancangan, dan perwujudan (Gustami, 2001). Hasil penelitian adalah 4 \u0000corak dekorasi lampu gantung, 4 corak dekorasi lampu dinding, dan 7 corak dekorasi lampu meja. \u0000 \u0000Kata kunci: lampu hias, elemen interior, Seni Etnik Batak","PeriodicalId":475623,"journal":{"name":"Panggung","volume":"92 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139024409","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":"REPRESENTASI NILAI SIRI’ NA PACCE PERTUNJUKAN TEATER RAKYAT KONDOBULENG SANGGAR SENI TRADISIONAL I LOLO GADING PAROPO","authors":"Asia Ramli, A. Saputra","doi":"10.26742/panggung.v33i4.2904","DOIUrl":"https://doi.org/10.26742/panggung.v33i4.2904","url":null,"abstract":"Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis pertunjukan teater rakyat \u0000Kondobuleng representasi nilai siri’ na pacce (harga diri dan kehormatan). Metode penelitian \u0000menggunakan jenis penelitian kualitatif dengan pendekatan interdisiplin. Pertunjukan Teater \u0000Rakyat Kondobuleng (PTRK) merupakan salah satu karya seni kolektif yang di dalamnya memuat \u0000beragam unsur seni yang saling terkait antar satu dengan yang lain, tokoh/karakter, pemeranan, \u0000dialog, kostum, rias, properti, tari atau gerak, musik, dan lagu. Penelitian ini menguraikan \u0000fenomena pertunjukan dengan menggunakan salah satu teori dari John Fiske yang membaca \u0000realitas seni dengan berfokus pada representasi. Teknik pengumpulan data menggunakan \u0000teknik observasi, wawancara, dan dokumentasi. Pada tahapan analisis data diolah dengan \u0000bentuk reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian ditemukan \u0000representasi nilai siri’ na pacce yang berhubungan dengan sosiokultural masyarakat pesisir \u0000Bugis-Makassar meliputi mempertahankan diri dan kehormatan, memegang teguh pendirian, \u0000menumbuhkan kerja gotong royong, menanamkan sifat tolong menolong, menumbuhkan etos \u0000kerja, menempatkan seseorang dengan keahliannya, mengambil keputusan secara arif dan \u0000bijaksana, serta menjunjung tinggi rasa kesetiakawanan. Nilai yang disampaikan termuat pada \u0000adegan dari pertunjukan teater rakyat Kondobuleng. \u0000Kata kunci: Pertunjukan, Teater, Representasi, Nilai siri’ na pacce.","PeriodicalId":475623,"journal":{"name":"Panggung","volume":"20 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138627052","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":"MAKNA FILOSOFIS MOTIF SENI UKIR REK PALEMBANG","authors":"H. Hudaidah, Lilis Trianti, L. Rukmana","doi":"10.26742/panggung.v33i4.2921","DOIUrl":"https://doi.org/10.26742/panggung.v33i4.2921","url":null,"abstract":"The wood carving motifs of Palembang, known as “rek,” have been a traditional craft since the era \u0000of Srivijaya and continue to endure to this day. This craftsmanship holds high philosophical values \u0000influenced by Hindu-Buddhist and Islamic cultures. Its uniqueness lies in the predominant use of golden \u0000yellow color, and its carvings are exceptionally distinctive. The purpose of this writing is to unveil the \u0000philosophical meanings embedded in the motifs of Palembang’s wood carvings. The central issue is to \u0000explore the philosophical meanings of these motifs in Palembang’s wood carvings. This study employs a \u0000historical research method, with heuristic, source criticism, interpretation, and historiography steps. The \u0000tradition of wood carving art exhibits distinct characteristics and the uniqueness of various motifs, each \u0000carrying different philosophical values. The research findings indicate that the various motifs found in \u0000Palembang’s wood carvings hold profound philosophical meanings. For example, the motif of budding \u0000bamboo shoots symbolizes that humans should be beneficial to others, and the golden color represents \u0000triumph. Therefore, it is crucial to preserve this heritage for the younger generation so that they can \u0000develop an appreciation for their local culture, strengthen personal values, and enhance their identity, \u0000and self-awareness. \u0000 \u0000Keywords: Philosophical Meaning, Motif, Wood Carving, Typical of Palembang","PeriodicalId":475623,"journal":{"name":"Panggung","volume":"371 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139021287","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":"KOMPARASI INTERIOR RUMAH TRADISIONAL NUSANTARA: RUMAH JOGLO YOGYAKARTA INDONESIA DAN RUMAH MELAKA MALAYSIA","authors":"Swastika Dhesti Anggriani, Ponimin -, Lisa Sidyawati, Norsidah Ujang","doi":"10.26742/panggung.v33i3.1024","DOIUrl":"https://doi.org/10.26742/panggung.v33i3.1024","url":null,"abstract":"This study aims to determine the differences and similarities between traditional houses in Nusantara with research samples taken from 2 countries namely Joglo traditional hoise in Yogyakarta Indonesia and Melaka traditional house in Melaka Malaysia. The research method used is qualitative by means of descriptive research that takes the type of comparative activities of traditional house in Nusantara. Data obtained from direct observation to the location (Yogyakarta and Malaysia), interviews with informants, and taking documents data in the form of photos, layout drawings, and images. The results showed similarities and differences between the Joglo traditional house in Yogyakarta, Indonesia and the Melaka tarditional house in Malaysia. Judging from the aspect of the building, the Joglo house was built directly above ground level while the Melaka house was built with a stage system. The different types of buildings, plus the different users and spatial activities, lead to differences in interior layout. However, both Joglo traditional house and Melaka traditional house were built in 1 building mass. Both houses also still use wood material in some parts of the house. In addition, the house is also supported by poles that use wood material. Keyword: Comparation, Interior, Traditional House, Joglo, Melaka Penelitian ini bertujuan untuk mengetahui perbedaan dan persamaan diantara rumah tradisional Nusantara dengan sampel penelitian yang diambil dari 2 negara yaitu rumah tradisional Joglo Yogyakarta Indonesia dan rumah tradisional Melaka Malaysia. Metode penelitian yang digunakan adalah kualitatif dengan cara penelitian deskripsi yang mengambil jenis kegiatan komparasi rumah tinggal tradisional Nusantara. Data diperoleh dari observasi langsung ke lokasi (Yogyakarta dan Malaysia), wawancara kepada narasumber, serta mengambil data dalam bentuk dokumen berupa foto, gambar layout, dan gambar tampak. Hasil penelitian menunjukkan adanya persamaan dan perbedaan antara rumah Joglo Yogyakarta, Indonesia dan rumah Melaka Malaysia. Ditinjau dari aspek bangunan, rumah Joglo dibangun langsung di atas permukaan tanah sedangkan rumah Melaka dibangun dengan sistem panggung. Perbedaan jenis bangunan ini, ditambah perbedaan pengguna dan aktivitas ruangnya, menyebabkan adanya perbedaan tata ruang interior di dalamnya. Akan tetapi, Baik rumah Joglo dan Rumah Melaka dibangun dalam 1 massa bangunan. Kedua rumah tersebut juga masih menggunakan material kayu di beberapa bagian rumah. Selain itu, rumah juga disangga oleh tiang yang menggunakan material kayu. Keyword: Komparasi, Interior, Rumah Tradisional, Joglo, Melaka","PeriodicalId":475623,"journal":{"name":"Panggung","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135096560","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":"PERAN PEREMPUAN DALAM MELESTARIKAN KESENIAN RAMPAK BEDUG DI KABUPATEN PANDEGLANG","authors":"Alis Triena Permanasari, Syamsul Rizal","doi":"10.26742/panggung.v33i3.2740","DOIUrl":"https://doi.org/10.26742/panggung.v33i3.2740","url":null,"abstract":"Perempuan dalam Kesenian Rampak Bedug menjadi sebuah simbol. Rampak Bedug
 yang ada di Kabupaten Pandeglang hampir rata-rata menghadirkan perempuan dalam
 pertunjukannya. Selain itu, peran perempuan dalam eksistensinya menjadi ciri khas dalam
 kesenian tersebut. Tujuan penelitian ini untuk membahas dampak peran perempuan dalam
 upaya keberlangsungan Kesenian Rampak Bedug di Kabupaten Pandeglang. Mengingat
 sosok perempuan dalam kesenian ini menjadi sorotan bagi masyarakat umum. Penelitian ini
 merupakan penelitian kualitatif dengan pendekatan fenomenologi. Objek penelitian ini yakni
 sanggar Pamanah Rasa Kabupaten Pandeglang. Subjek dalam penelitian ini adalah perempuan
 yang sedang menuntut ilmu di pendidikan non-formal (sanggar seni) atau pelaku seni di
 sanggar Pamanah Rasa. Pengumpulan data menggunakan observasi langsung, wawancara
 mendalam, dan dokumentasi. Analisis data menggunakan kajian wanita dan kajian seni. Hasil
 penelitian dalam upaya pelestarian rampak bedug melalui keterlibatan secara aktif di sanggar,
 peningkatan apresiasi kepada masyarakat umum, dan terlibat dalam pengembangan dan
 pengemasan Kesenian Rampak Bedug.
 Kata Kunci: perempuan, rampak bedug, budaya lokal","PeriodicalId":475623,"journal":{"name":"Panggung","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135096569","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":"FUNGSI KESENIAN BELUK PADA MASYARAKAT ADAT KASEPUHAN CICARUCUB","authors":"Rita Tila","doi":"10.26742/panggung.v33i3.2739","DOIUrl":"https://doi.org/10.26742/panggung.v33i3.2739","url":null,"abstract":"Beluk from the Indigenous People of Kasepuhan Cicarucub are still maintained by the community based
 on their beliefs. The purpose of this research is to find out how the situation, events and functions of Beluk
 by the community in preserving their culture. In this study, the authors use the ethnographic theory
 of communication put forward by Dell Hymes. The method used in this research is qualitative with an
 ethnographic communication approach. Data collection techniques through interviews and document
 observation. To determine the informants used non-random sampling technique, namely purposive
 sampling. The data validity test technique used is the data triangulation technique which consists of
 interviews, observation and documentation. The data analysis technique used is to describe the findings
 in detail from the interpretation results, then draw conclusions on the research results obtained. The
 conclusion is that Beluk art has a purpose for education, morals and manners. The function of outs and
 outs in the traditional Kasepuhan Cicarucub community is a religious function, a social function and an
 entertainment function.
 Keywords: Function, Outline Art, Kasepuhan Cicarucub Indigenous People","PeriodicalId":475623,"journal":{"name":"Panggung","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135096386","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":"Ucing Corona: Modifikasi Permainan Tradisional pada Era Adaptasi Kebiasaan Baru","authors":"Yostiani Noor Asmi Harini, Ai Siti Zenab","doi":"10.26742/panggung.v33i3.1751","DOIUrl":"https://doi.org/10.26742/panggung.v33i3.1751","url":null,"abstract":"In the era of the covid pandemic, the Ucing-ucingan game is no longer played even though the game has an important function for children’s motoric, cognitive, language, and affective development. The purpose of this article is to offer the Ucing Corona game which is a modification of the Ucing-ucingan game which is suitable to be played in the era of adopting new habits. Ucing Corona was developed through the perspective of folklore and transformation. Ucing Corona was created through the stages of identifying game patterns, identifying game slices, and transforming games that are tailored to the needs of adopting new habits. The results of this study are the structure and functions of the Ucing Corona game. The results of this study are expected to provide alternative games that suit the need of adapting to new habits.","PeriodicalId":475623,"journal":{"name":"Panggung","volume":"357 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135096566","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}