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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Panggung Capture : Jurnal Seni Media Rekam ARTISTIC : International Journal of Creation and Innovation
Sri Hastanto
Sekolah Pascasarjana, Universitas Gadjah Mada Yogyakarta
Arts Humanities Education Languange, Linguistic, Communication & Media

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KONSEP ÊMBAT DALAM KARAWITAN JAWA Hastanto, Sri
PANGGUNG Vol 22, No 3 (2012): Manifestasi Konsep, Estetika, dan Makna Seni dalam Keberbagaian Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i3.80

Abstract

Êmbat is one of the musical concept in Javanese gamelan music – karawitan Jawa. It is a kind of musical characteristic of a gamelan ensamble  which is generated by its interval structure – Jv. jangkah – of  that gamelan. The only way to understand êmbat, one may investigate  gamelan tuning system. Êmbat had been metioned in old Javanese manuscripts including Centhini and Wédhapradangga. Kunst and Hood also discussed êmbat in some extend, but the result does not quite fit to reality. This work aims to explain the concept of êmbat from the angle of the culture owner – Javanese.In order to explain the concept, this study has firstly to discover the concept of pitch in karawitan Jawa, secondly the tolerance of the limit in sifting tones , and finally approaching the main goal: the concept of êmbat it self. To reach the goal this studi conducted some simple experiments. Key words:structure of jangkah, tolerance of sifting notes,  and êmbat
Kanca Indihiang sebagai Embrio Kreativitas Mang Koko Satriana, Rasita; Haryono, Timbul; Hastanto, Sri
Resital: Jurnal Seni Pertunjukan Vol 15, No 1 (2014): Juni 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v15i1.798

Abstract

Kanca Indihiang adalah sebuah grup yang dibentuk oleh Mang Koko tahun 1946, yang termasukpada genre seni Jenaka Sunda, yakni seni pertunjukan dengan format seni humor. Kreativitas MangKoko dalam melakukan berbagai inovasi garap, membuat grup Kanca Indihiang sangat berbeda denganseni Jenaka Sunda pada umumnya. Nama Mang Koko terkenal sebagai pencipta genre seni baruatau dikenal dengan sebutan karawitan wanda anyar. Untuk mengungkap perkembangan kreativitasMang Koko, digunakan metode kualitatif dengan pendekatan etnomusikologi. Berdasarkan hasilpenelitian dapat disimpulkan bahwa dalam wadah grup Kanca Indihiang, Mang Koko bereksplorasimemodernisasi kekakuan pakem seni kawih Sunda tradisi. Karawitan wanda anyar diyakini sebagaigenre karawitan Sunda yang terbentuk dari akumulasi kreativitas berkesenian dari Mang Koko.Kanca Indihiang: As a Creativity Embryo of Mang Koko. Kanca Indihiang is a group which wasfirst created by Mang Koko in 1946 and is one of the Sundanese art genres that is a performing art withsuch a humorous art format. Mang Koko’s creativity in doing works on a variety of innovations makes KancaIndihiang group may differ a lot from Sundanese humorous art in general. Mang Koko’s name then becomesfamous as a creator of a new art genre called ‘karawitan wanda anyar’. Thus, a qualitative research applyingethno-musicological approach is done to uncover the development of Mang Koko’s creativity. According to thisresearch, it can be concluded that within this Kanca Indihiang group, Mang Koko did some explorationsto modernize rigidity in the rules of traditional Sundanese kawih. Karawitan wanda anyar is believed as aSundanese karawitan genre shaped from the accumulation of Mang Koko’s artistic creativities.
ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM Kartika, Bambang Aris; Prihatini, Nanik S.; Hastanto, Sri; Dharsono, D.,
Capture : Jurnal Seni Media Rekam Vol. 10 No. 2 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (700.541 KB) | DOI: 10.33153/capture.v10i2.2366

Abstract

This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text 
SOEGIJA BIOPIC FILM, POLITICAL AFIRMATION, AND POLITICAL IDENTITY: DECONSTRUCTION OF INDONESIAN HISTORIOGRAPHY Kartika, Bambang Aris; Prihatini, Nanik Sri; Hastanto, Sri; Dharsono, Dharsono
Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i1.3111

Abstract

Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.
CREATION AND TRANSFORMATION OF BARONGAN LEMPUNG IN BLORA Muksin, Muksin; Dharsono, Dharsono; Hastanto, Sri; Damayanti, Nuning Y.
ARTISTIC : International Journal of Creation and Innovation Vol. 1 No. 1 (2020)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v1i1.2995

Abstract

Barongan is a ritual medium in the rituals of the sacred traditional ceremonies. Its shape and character emit a scary and frightening aura. Children Blora make artificial barongan become barongan lempung as toys. This study focuses on the issue of transformation in the barongan lempung Blora. This study uses a qualitative approach with direct observation methods, interviews, artifact data and literature studies. Data analysis uses an interactive analysis approach. The results of the study showed that: (1) The existence of the mask barongan is in the heart’s of Blora people, has the form of a sacred, fierce and frightening, but its presence is always eagerly awaited by adults to children as entertainment; (2) the mask barongan gives a distinct impression in the hearts of children, so that barongan sacred inspires the emergence of barongan lempung (clay mask) as their toys; (3) The shape of the barongan lempung is created by imitating it directly from the original barongan.
Co-Authors Bambang Aris Kartika, Bambang Aris Dharsono, D., Dharsono, Dharsono Muksin Muksin Nuning Y. Damayanti Prihatini, Nanik S. Prihatini, Nanik Sri Rasita Satriana Timbul Haryono