I Nyoman Murtana
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THE IMPLICATION OF PLUSES AND MINUSES OF RAHWANA’S BEHAVIOR TOWARDS INDONESIAN MODERN SOCIAL LIFE Murtana, I Nyoman
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Publisher : Universitas Sebelas Maret

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Rahwana ? the King of Alengka in the wayang story of Nusantara is the king of the three worlds. The lower realm is inhabited by jinns, demons, the centre realm is inhabited by humans, and the upper realm is the nature of the Gods. Rahwana was a hermit and devoted worshiper to Shiva. He was given abundant gifts of supernatural powers and wealth. The Palace of the King of Alengka was very magnificent. The people were prosperous. Rahwana did everything he wanted to have. He could not be killed by anyone and with anything. If he was killed by the enemy, Rahwana would soon come back to life, because he had drunk an eternal drink from the God residing in his soul. That is why Rahwana was acting arbitrarily, without needing ethics. Rahwana could mate with other women he liked, even though they were married. The women of his choice were willing to date, for fear of threats. However, Rahwana's service was very satisfying. The husbands of the women he dated were silenced with property. The husband was afraid of his wife and king. That is one proof that God is the most merciful to the faithful devotees, without having to curb behavior with social rules, except the law of karma. The people of Alengka were free to express themselves, but they must be morally responsible. Law enforcers can be richer than entrepreneurs, because legal processes could be bought. The Unitary State of the Republic of Indonesia is inhabited by a diverse ethnic group with various languages and cultures. The Javanese, Sundanese, Lombok, and Balinese tribes are fond of watching the tradition of puppet show as a source of educational value and a reference to social behavior even though the Indonesian people live in a modern way characterized by industrial culture. This article aimed to find out the implications of the pluses and minuses of the behavior of Rahwana figure towards modern Indonesian society. Qualitative method is considered appropriate for data collection with the application of conflict theory. Through this theory, it is expected that there will be a motive for social conflict in modern Indonesian society.
GARAP PERTUNJUKAN WAYANG KULIT JAWA TIMURAN Nugroho, sugeng; Sunardi, S; Murtana, I Nyoman
Acintya Jurnal Penelitian Seni Budaya Vol 10, No 2 (2018)
Publisher : Acintya Jurnal Penelitian Seni Budaya

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This research is meant to prove the result of aesthetic aspect in wayang kulit performance of Jawa Timur style categorized as ‘kerakyatan (folk)’ pakeliran. The problem is analyzed based on the concept of ‘garap pakeliran’ offered by Sugeng Nugroho (2012) and the theory belongs to Umar Kayam (1981) concerning arts categorization. The method used is qualitative method with descriptive analysis. The data is collected through library study, documentation studies, interview, and field observation. The research finding shows that the current wayang kulit performance of Jawa Timur style cannot be categorized as folk art but rather to be kitsch. It represents a performing art that always change and move on along the time. It is attempted to be more interesting supposed to be survived and to earn money.Keywords: wayang kulit, Jawa Timuran, performance treatment.
IDEOLOGY OF THE STORY CUPAK KE SWARGAN BY PUPPET MASTER I MADE JANGGA: IN THE PERSPECTIVE OF CULTURAL STUDIES Murtana, I Nyoman; Suastika, I Made; Dibia, I Wayan; Kutha Ratna, I Nyoman
E-Journal of Cultural Studies Vol. 4, No. 2 Juli 2010
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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This dissertation contains the result of the research in the ideology of thestory or Lakon Cupak Ke Swargan (hereon abbreviated to LCS) by the puppetmaster or Dalang Jangga, in a performance of Wayang Cupak at Dukuh PuluTengah, Mambang Village, East Selemadeg District. This story conveys anumber of life values which are expressed ideologically through various events,including a power struggle, a love story, and a search for God. All the events areexpressed aesthetically so that audience can enjoy the performance.The target of the research is a performance of LCS by Dalang Jangga in arecording by Aneka Record Tabanan, which the writer transcribed in the form of awritten text. The research focuses on the idelogy contained in LCS. The type ofdata used was qualitative data about the ideology that was assumed to be found inthis story. The qualitative data associated with the life of the late Dalang Jangga,in relation to his work in the field of shadow puppet theater, was based on the datacollected in the field through in-depth interviews with a number of informants,using a snowball technique. A post-modern approach was applied through phenomenological,deconstructive, and critical paradigms. The analysis was carried outusing an analytical descriptive technique based on an interpretation of the datacollected. The focus of the analysis was directed by applying three theories,namely theories of ideology, function, and semiotics.Three main topics were obtained from the analysis of the data, namely theform, function, and meaning of the ideology. By studying the ideological form, itwas possible to gain a picture about the conservative, progressive, and pragmatic ideology of Dalang Jangga. From the ideological function, the writer gained anidea of its social dynamic, educational, ritual, and aesthetical. A study of theideological meaning provided an illustration of the symbolic, ethical, andaesthetical meanings.
PEMBERDAYAAN MASYARAKAT LOKAL DALAM AKTIVITAS PARIWISATA BUDAYA BALI Murtana, I Nyoman
Dewa Ruci Jurnal Pengkajian dan Penciptaan Seni Vol 5, No 2 (2008)
Publisher : Dewa Ruci Jurnal Pengkajian dan Penciptaan Seni

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In social life, art considerably can help to perfect human and their society in physi- cal, spiritual and psychological side.  Based on their belief the role and function of art, like mentioned above, resulting many kinds of art which goes to manifestation of artist creativity and their society.  No exception happens in Bali, too.  There are lots of various arts which are as the hairs of an old agricultural-feudalism society that people today of  desperately reborn and developed them.   In case of one of preservation conceptions, it  is made such as classification of art; sacred art and profane.  The classification is significantly made to anticipation tourism organizer to not harmfully perform that sacred art to be sold by tourist.  Unfortunately, this classification has no cultural power to be obeyed, so till today it is consequently still be a conflict.  What is all about happens due to that tourism such as has a big power to screw up that classifications of sacred art and profane.  It will be more ridiculous when there is an art work which previously become a sacred art must be sold for the sake tourists satisfaction.  It seems that tourism activities is identical to market. Bali, actually, is merely the market.  In “small” part it goes to art market such as art performance, handy craft, painting, sculpture, and other else, then natural tourism object on the other side.   Based on the facts show that art reproduction only be done by a small society which has skill to create work of arts.  Meanwhile, the small society has no evenly big chance due to the local government indicated less atten- tion to empowering them.  Today, there are some people who has desperately kept the  maintaining the image of Balinese cultural identity by undergoing traditional and religion  ritual ceremony hugely and attractively, but it comes to unpleasantly that the lesson just to be anjoyed by as a merely profane performance. Key words: local society, tourism, empowering.
MITOS TOKOH PEREMPUAN LAKON ABDULMULUK JAUHARI TEATER DULMULUK TUNAS HARAPAN Handayani, Tri Puji; Murtana, I Nyoman
Gelar : Jurnal Seni Budaya Vol 15, No 2 (2017)
Publisher : Gelar : Jurnal Seni Budaya

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Penelitian berjudul “Mitos Tokoh Perempuan Lakon Abdulmuluk Jauhari Teater Dulmuluk Tunas Harapan” ini menganalisis tentang tokoh perempuan yang dimainkan oleh aktor laki-laki dan mitos tokoh perempuan dalam lakon Abdulmuluk Jauhari. Dengan menggunakan teori semiotika untuk menjawab permasalahan tersebut maka peneliti membuat pertanyaan dalam rumusan masalah yang berkaitan dengan: bagaimana materi mitos wicara tokoh perempuan dalam lakon Abdulmuluk Jauhari pertunjukan teater Dulmuluk kelompok Tunas Harapan. Penelitian ini menggunakan teori semiotika Roland Barthes untuk melihat analisis tokoh perempuan dalam lakon Abdulmuluk Jauhari. Hasil penelitian ini memberikan pemahaman yaitu (1) Tokoh perempuan yang dimainkan oleh aktor laki-laki menampilkan sosok perempuan dengan menggunakan kostum, make-up, hair style, gerak dan nada yang menyerupai perempuan. Tunas Harapan dalam menampilkan tokoh perempuan melalui aktor laki-laki memiliki simbol-simbol kebudayaan yang disampaikan melalui tokoh perempuan. (2) Tunas Harapan menampilkan tokoh perempuan berdasarkan ideologi gender yang menghadirkan mitos perempuan, yaitu perempuan sebagai kesetaraan gender, perempuan sebagai sosok pemberani, perempuan sebagai sosok penguasa, dan perempuan sebagai penyelamat.Kata kunci: Teater Dulmuluk, Tokoh Perempuan, Mitos.The research entitled “ Mitos Tokoh Perempuan Lakon Abdulmuluk Jauhari Teater Dulmuluk Tunas Harapan “ analyzed the female characters played by male actors and the myth of a female character in Abdulmuluk Jauhari’s play. By using semiotic theory to answer these problems, the researcher makes a question in the formulation of the problem related to: how is the material of the myth of the talk of female characters in Abdulmuluk Jauhari’s play Dulmuluk theater group Tunas Harapan. This study uses Roland Barthes’s semiotic theory to look at the analysis of female characters in Abdulmuluk Jauhari’s play. The results of this study provide understanding, namely (1) The female figure played by male actors displays a female figure using costumes, make-up, hair styles, movements and tones that resemble women. Tunas Harapan in presenting female characters through male actors has cultural symbols conveyed through female characters. (2) Tunas Harapan presents women leaders based on gender ideology that presents myths of women, namely women as gender equality, women as brave figures, women as figures of rulers, and women as saviors.Keywords: Theater Dulmuluk, Female Leader, Myth.
PERTUNJUKAN WAYANG KULlT: WISATA MANDALA KESADARAN KOSMIS Murtana, I Nyoman
Gelar : Jurnal Seni Budaya Vol 9, No 1 (2011)
Publisher : Gelar : Jurnal Seni Budaya

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The domain of intellectual and empirical consciousness analyzing wayang as a thinking subject shows that the reality of wayang realm is the formation of human thought. On the contrary, empiricism understands human consciousness in wayang as the reflection on an objective fact beyond the thought. That is why, the reality of wayang itself can be understood objectively as far as it is reflected on consciousness. However, the performance is intended for the emotional domain to develop the human imaginative power of nature. The domain of nature and that of human being in wayang develops cultural consciousness, the position of human being in the universe and the position of nature for human life, both in horizontal and vertical dimensions excreted in wayang kulit performance. The domain of ontological function has something to do with the difference between the manifest function and the latent function (visible and invisible functions) of wayang kulit performance. The manifest function is an objective consequence of adapted system demanded and realized by partisans of that system. On the contrary, the latent function is the objective consequence of wayang kutlt performance undesired and unrealized by community members.  The domain of entertainment and of rite converging in wayang kullt performance review the duality of social function of wayang kulit performance. On the one hand wayang kulit performance has the  function of entertainment and on the other hand it has a spiritual mission to meet a part of human necessities of sacred life.Key words: tourism, nature, human being, wayang kulit performance.
SUTRADARA DJAKA HARJANTO PERTUNJUKAN HARDHASANGKARA WAYANG ORANG RRI SURAKARTA Alifi, Muhamad; Murtana, I Nyoman
Gelar : Jurnal Seni Budaya Vol 15, No 2 (2017)
Publisher : Gelar : Jurnal Seni Budaya

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Hasil penelitian menunjukkan bahwa sutradara wayang orang merupakan sebuah jabatan untuk mendidik, mengajar, membimbing, mengarahkan, melatih, menilai, dan mengevaluasi pertunjukan wayang orang. Sutradara fungsinya sebagai pendidik menyampaikan pengetahuan yang telah dimiliki kepada semua pemain. Figur seniman tradisi yang melekat pada diri Joko Harjanto karena profesionalisme yang dimiliki untuk melestarikan budaya tradisi wayang orang. Saat ini hiburan berkembang cukup pesat, mendobrak nilai budaya masyarakat. Figur seniman tradisi berperan aktif menyelamatkan dan kembali pada akar budaya pertunjukan wayang orang. Sesuai dengan semangat RRI Surakarta yang lebih mengutamakan nilai-nilai budaya yang sudah ada dimasyarakat dari pada menciptakan budaya baru dalam seni pertunjukan.Kata kunci: Wayang Orang, Hardhasangkara, Sutradara.  The results of the study show that the director of wayang orang is a position to educate, to teach, to guide, to direct, to train, to assess, and to evaluate the performances of wayang orang. The director functions as an educator conveys the knowledge that has been shared with all presenters. A traditional artist who is attached to Joko Harjanto because of the professionalism he has to preserve the culture of wayang orang traditions. At present entertainment is growing quite rapidly, breaking the cultural value of society. Traditional artist figures play an active role in saving and returning to the cultural roots of the wayang orang. It is In accordance with the spirit of RRI Surakarta which prioritizes the cultural values that already exist in the community rather than creating a new culture in the performing arts.Keywords: Wayang Orang, Hardhasangkara, Director.   
STRATEGI VISUAL IKLAN TELEVISI KUKU BIMA ENERGI PRODUKSI PT. SIDO MUNCUL SEMARANG Sulaiman, Annas Marzuki; Murtana, I Nyoman
Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015)
Publisher : Gelar : Jurnal Seni Budaya

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Kuku Bima Energi is a brand of an energy drink produced by P.T. Sido Muncul, Semarang. Sido Muncullaunches an advertisement of version Mari Berwisata di Negeri Sendiri (Let’s go touring in our own country).The research is purposed to describe: 1). background of PT. Sido Muncul represents television advertisementKuku Bima Energy version Mari Berwisata di Negeri Sendiri; 2). Visual strategy of television advertisementKuku Bima Energy version Mari Berwisata di Negeri Sendiri; and 3). Visual form of television advertisementKuku Bima Energy version Mari Berwisata di Negeri Sendiri. The research uses qualitative method and casestudy approach. The research process is arranged based on the data gaining and correlation in order toaccumulate information related to visual strategy and advertisement structure. The analysis used is aestheticsMonroe Beardsley. The result of research shows that Kuku Bima Energi in its imaging has been succeed inusing the nationalism issues to bind consumers by raising up the cultural and tourism values through televisionadvertisement. It makes the nationalist image and love to local culture attached to Kuku Bima Energi and hasbound consumers emotionally.Keywords: Kuku Bima Energy, Brand, imaging, visual strategy, aesthetics
ERAN SEMAR, GARENG, DAN PETRUK DALAM PERTUNJUKAN WAYANG KULIT PALEMBANG LAKON PRABU UKIR GELUNG NEGAK BLABAR KAWAT Johansyah, J.,; Murtana, I Nyoman
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 11, No 1 (2015)
Publisher : Lakon Jurnal Pengkajian & Penciptaan Wayang

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In responding to the cultural and traditional development in Palembang, the writer tries to analyzean interesting phenomena on wayang kulit performance in Palembang involving theater Dulmulukartists appointed by the dalang to take the roles of Semar, Gareng, and Petruk in lakon PrabuUkir gelung Negak Blabar Kawat. The research is analized by using the theories of dramaturgi,role, structure, and creativity. The data is collected by using descriptive analysis method. Thefinding shows that the performance gets a good respond from the audience because of thepresence of Semar, Gareng, and Petruk. Their presence in the performance has made achange to the performance structure and has given a good enthusiasm to the audience.Keywords: wayangkulit Palembang, Semar, Gareng, Petruk, role.
Peristiwa Teater Tu(M)Buh Sebagai Konstruksi Politik Tubuh Saputra, Andi Taslim; Murtana, I Nyoman
PANGGUNG Vol 29, No 2 (2019): Konstruksi Identitas Budaya dalam Seni dan Sastra
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v29i2.904

Abstract

ABSTRACT Body politics is often stigmatized in the context of community and government institutions, such as the military, hospitals, prisons, etc. This study shows the body politics in different contexts. This study reads the theater phenomenon that gave birth to the body's political form in the context of theater with the focus of case studies of process Tu(m)buh by Tony Broer's. The application of Tony Broer's theater work differs from that of other theaters, the idea of the body's political construction. To read the question of Tony Broer's political practice using Foucault's disciplinary power concept. This research uses descriptive analytic research method. Data collection was done through observation, documentation, interview, and data analysis. The result showed, Tony Broer execute body politic practice in the event of Tu(m)buh theater. The formation of Tony Broer's body construction is disciplined and body forming that intense, hard, and radical. Tony Broer's actions gave birth to concepts and practices that show the body's political image, both to oneself and to others, to the theater of Tu(m)buh as the presentation of the body's political construction.Keywords: Theater, Body Politics, Tu(m)buhABSTRAK Politik tubuh kerap distigmakan dalam konteks institusi-institusi kemasyarakatan dan pemerintah, misalnya militer, rumah sakit, lapas, dan sebagainya. Kajian ini memperlihatkan politik tubuh dalam konteks berbeda. Penelitian ini membaca fenomena teater yang melahirkan bentuk politik tubuh fokus studi kasus peristiwa Tu(m)buh karya Tony Broer. Penerapan kerja teater Tony Broer berbeda dari pelaku teater lainnya, yakni gagasan politik tubuh. Untuk membaca persoalan praktik politik tubuh Tony Broer menggunakan konsep disciplinary power Foucault. Penelitian ini menggunakan metode penelitian deskriptif analitik. Pengumpulan data dilakukan melalui observasi, dokumentasi, wawancara, dan analisis data. Hasilnya menunjukkan, Tony Broer melaksanakan praktek politik tubuh dalam peristiwa teater Tu(m)buh. Pembentukan kontruksi tubuh Tony Broer berupa pendisiplinan dan pembentukan tubuh yang intens, keras, dan radikal. Tindakan Tony Broer melahirkan konsep dan praktis yang memperlihatkan citra politik tubuh, baik terhadap diri sendiri dan atas orang lain, sehingga peristiwa teater Tu(m)buh sebagai kerja teater presentasi politik tubuh.Kata Kunci: Teater, Politik Tubuh, Tu(m)buh.