Lono L. Simatupang
Jln. Teknika Utara, Pogung, Sleman, Yogyakarta 55281 Telp. 0274-544975

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Kèjhungan: Gaya Nyanyian Madura dalam Pemaknaan Masyarakat Madura Barat pada Penyelenggaraan Tradisi Rèmoh Mistortoify, Zulkarnain; Haryono, Timbul; Simatupang, Lono L.; Ganap, Victorius
RESITAL : JURNAL SENI PERTUNJUKAN Vol 11, No 1 (2010): Juni
Publisher : Institut Seni Indonesia Yogyakarta

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Kèjhungan in Rèmoh Tradition on West Madura. Kèjhungan or singing style comes from the activity of peoplesinging about their everyday lives in Madura’s society. When the kèjhungan has become an “established” singing style,therefore the meaning of the kèjhungan includes the ownership meaning that is inherited through oral traditions andlegitimized in the culture of the people of Madura. The research’s assumption explains that the existence of the kèjhunganbecomes an important conscious for the whole singing culture of the Madura people. Even, in the elite village life for examplein the “gathering tradtion” of blatèr community, kèjhungan has become their identity of existence. This research is a studyon the representation of values when the kèjhungan is made as a symbol or legitimate image for the blatèr communityin the Madura society. The fi ndings of this research explains that kèjhungan has become the object of consumption thatis advanced to the blatèr community in achieving their respect. With their power, the blatèr can construct traditionalkèjhungan values into outstanding symbols in strengthening their existence in Madura’s society.
Proses Kreatif Teater Garasi Yogyakarta Dalam Lakon Waktu Batu Iswantara, Nur; Soemanto, C. Soebakdi; Haryono, Timbul; Simatupang, Lono L.
RESITAL : JURNAL SENI PERTUNJUKAN Vol 13, No 2 (2012): Desember
Publisher : Institut Seni Indonesia Yogyakarta

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Tujuan penelitian ini memahami konsep dan proses kreatif Teater Garasi Yogyakarta (TGY). TGY merupakan salah satu kelompok teater kontemporer Indonesia yang cukup fenomenal. Puluhan karya TGY telah disajikan dihadapan penonton baik di tingkat lokal maupun nasional. Penelitian difokuskan pada faktor-faktor internal dan eksternal yang mempengaruhi situasi kondusif bagi pertumbuhan dan perkembangan kelompok TGY. Teori kreativitas, perbandingan seni, semiotika dan manajemen seni digunakan untuk membedah permasalahan yang diajukan. Hasil penelitian menunjukkan bahwa TGY berada dalam lingkungan perteateran Yogyakarta yang syarat dengan teater tradisional melakukan ‘pemberontakan’ artistik. Sebagai organisasi seni teater kontemporer, TGY memiliki visi dan misi yang jelas. Melalui ‘laboratorium penciptaan teater’ TGY mampu menghasilkan satu maha karya pertunjukan lakon Waktu Batu (WB). Pertunjukan lakon WB terdiri tiga sub judul: ‘Waktu Batu 1, Kisah-kisah yang Bertemu di Ruang Tunggu’; ‘Waktu Batu 2, Ritus Seratus Kecemasan dan Wajah Siapa yang Terbelah’; dan ‘Waktu Batu 3, Deus ex Machina dan Perasaan-perasaan Padamu’. Karya ini inspiratif karena memakan waktu empat tahun proses kreatifnya, digerakkan oleh insan-insan muda dan dipentaskan road show di berbagai kota di Indonesia dan Singapura.Kata kunci: Teater Garasi, kesenian Yogyakarta, Waktu Batu.ABSTRACTThe Creative Process of Garasi Theater Yogyakarta for the Story of Waktu Batu. The aims of this research is to understand the creative concept and process of Garasi Theater Yogyakarta. It is one of the phenomenal Indonesian contemporary groups of theater. Some of its works have already been performed in front of local and national audiences as well. This research mainly focuses on the internal and external factors which have influnced the condusive situation towards the development and popularity of Garasi Theater Yogyakarta. In order to solve the problems formulated in the research, the theory of creativity and the comparison between semiotic and management arts were actively used. The result of the research showed that Garasi Theater Yogyakarta has a traditional characteristic developed in a theater community of Yogyakarta and soon afterwards it has carried out such an artistic rebellion. The Garasi Theater Yogyakarta is as a group of contemporary theatre which has very clear vision and mission. By doing the creative work through a laboratory of theatrical production, Garasi Theater Yogyakarta was able to create a masterpiece of a performance entitled Waktu Batu. The performance of Waktu Batu consists of three sub-titles, namely: ‘Waktu Batu 1, Kisah-kisah yang Bertemu di Ruang Tunggu’; ‘Waktu Batu 2, Ritus Seratus Kecemasan dan Wajah Siapa yang Terbelah’; dan ‘Waktu Batu 3, Deus ex Machina dan Perasaan-perasaan Padamu’. This theatrical work can be said as an inspirative work in which it took four years in its creative process, had been activated by youngsters, and had been performed by means of a road-show program through some cities in Indonesia and Singapore.Keywords: Garasi Theater, Yogyakarta arts, Waktu Batu
Musik Gospel’ Sebagai Ekspresi Spiritual-Musikal Jemaat Gereja Kristen Kharismatik Wijayanto, Bayu; Simatupang, Lono L.; Ganap, Victorius
Journal of Urban Societys Arts Vol 13, No 2 (2013): Oktober 2013
Publisher : Institut Seni Indonesia Yogyakarta

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‘Praise and worship’ (‘pujian dan penyembahan) adalah aktivitas ibadah olehkomunitas gereja aliran Kharismatik yang bertujuan untuk memuji danmenyembah Tuhan yang dilakukan melalui nyanyian dan penyajian musik. Bentukdan sifat musik gospel rohani ini cenderung menunjukkan ciri-ciri dan sifat musikmusik pop. Permasalahan utama dalam tulisan ini membahas bentuk, fungsi, danpandangan gereja terjadap musiknya. Penelitian ini menggunakan pendekatandeskriptif kualitatif, yaitu mendeskripsikan dan menganalisis struktur musik danpenggunaannya dalam konteks aktivitas ibadah. Berdasarkan analisis musikal dankontekstual, nampak interelasi antara unsur-unsur yang menonjol, yaitu syair danmelodi lagu yang didukung rhythm musik yang memberikan stimulasi emosi atauperasaan dan suasana tertentu yang sesuai dengan konteks ibadah. Syair atau liriklagu terbingkai melodi lagu yang melodius repetitif (berulang-ulang) dan sekuen.Rythm musik dengan beat yang jelas menjadi dasar irama lagu yang kuat untukmenekankan keserempakan dan soliditas tempo lagu yang dinyanyian oleh jemaat.Keberadaan musik dalam ibadah memiliki fungsi antara lain (1) lirturgis, (2)komunikasi, (3) pengajaran (dokrin), (4) pewartaan Injil, dan (5) integrasi sosialjemaat. ‘Gospel Music’ as a Spiritual-Musical Expression of Charismatic ChristianChurch Community. ‘Praise and worship’, religious activity by a charismatic Christian churchcommunity aims to praise and worship the Lord, which is done by singing and playing music.The shape and nature of gospel music in church worship ishh likely to show characteristics andproperties of pop music. Problems in this study relate to the form and function of music as wellas the Church’s view of the music. The method used in this research is a descriptive qualitativeapproach, to describe the analysis of the structure of music and use of music in the context ofchurch worship activity. Based on these results, it can be concluded that the apparent interrelationbetween the musical elements that stand out the lyric and melody backed music rhythm stimulatingemotions or feelings and a certain atmosphere appropriate to the context of worship. Poetry or songlyrics are framed melodious repetitive melody (repeatedly) and sequences. The rhythm of musicwith a clear beat to the rhythm of the song is a strong foundation to emphasize simultaneity andsolidity tempo of song sung by the congregation in worship. Music has several functions such as(1) liturgical, (2) communication, (3) teaching (doctrine), (4) preaching the gospel, and (5) socialintegration of church.
NEGOSIASI MITOS HUBUNGAN PEREMPUAN DENGAN ALAM DALAM TEKS OPERA BATAK PEREMPUAN DI PINGGIR DANAU KARYA LENA SIMANJUNTAK (TINJAUAN EKOFEMINISME) W, Elly Prihasti; Udasmoro, Wening; Simatupang, Lono L.
Lingua Vol 13, No 2 (2017): July 2017
Publisher : Lingua

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Perempuan lahir bukan sebagai perempuan, tetapi menjadi perempuan. Pernyataan Beauvoir ini mempertegas bahwa sosok perempuan ada karena menjadi. Sosok perempuan atau ibu yang ideal dari zaman peradaban sampai sekarang selalu mengalami perubahandari yang paling dihargai/dipuja sampai dibenci/dicela. Sastra adalah kaya tiruan yang mampu merefleksikan dan merepresentasikan dunianya. Teks Opera Batak Perempuan di Pinggir Danau karya Lena Simanjuntakmerepresentasikan bagaimana perempuan dimitoskan mempunyai kedekatan dengan alam sampai pada yang mengingkari alam.Namun demikian, ada pandangan yang kontras dalam diri perempuan maupuan antar individu. Bagaimanakah hubungan perempuan dengan alam dimitoskan? Data penelitian ini berupa kalimat-kalimat dalam dialog yang menggabarkan tematema hubungan perempuan dengan alam. Data diperoleh dengan menggunakan metode simak. Data yang terkumpul kemudian dianalisis dengan teknik dialogis kontradiktif, yaitu data yang kontradiksi didialogkan dengan menggunakan kajian ekofeminisme, yang melihat dampak pembanguan bagi kedekatan perempuan dengan alam.Hasil penelitian menunjukka bahwa zaman dan kuasa berandil dalam menciptakan mitos hubungan perempuan dengan alam.Simone de Beavoir stated that women are born not as a woman, but being a woman. This statement confirmed that women exist because of being. The ideal figure of a woman or the mother in the present times civilization is always on changing, from the most respected figure/ adoredto become a hated / heckled figure. These figures of women ricely reflected in literary works to record the image of women through their world. Lena SimanjuntaksOpera Batak Perempuan di Pinggir Danauis one of literary works, which represent how women mythologyzed of which they have a closeness relationshipwith nature or denies nature. Women even portrayed have a contrast views between one another, or they have no the universal view about the nature. The changeof the myth of women relationship with nature is caused of the changing times and the power that surround it. So, this writing will explore how the myth of women relationship with nature negotiated in this literary work. The data of this study is taken from sentences in the dialogue that illustrate the theme of all natural relations with women. Data obtained using methods refer to. The collected data were then analyzed by dialogic contradictory,by using ecofeminism point of view, then decided to be the tools of analysis. They stated that there is a close relationship between the development impact on women closeness to nature.
Habitus, Ngêng, dan Estetika Bunyi Mlèsèt dan Nggandhul pada Karawitan Prasetya, Hanggar Budi; Haryono, Timbul; Simatupang, Lono L.
Paradigma, Jurnal Kajian Budaya Vol 1, No 2 (2011)
Publisher : Fakultas Ilmu Pengetahuan Budaya

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Abstract

The paper explains about mlèsèt and nggandhul phenomena in the Javanese Karawitan in the perspective of Piere Bourdieu’s sociology of arts. The datas were collected through interviews with pengrawit,or gamelan players, and observation of gamelan played during the performance of Yogyakarta wayang.The research shows that mlèsèt and nggandhul aresound aesthetics for the listeners and habitus of the gamelan players. Therefore, a gamelan player should possess his ngêng in order to precisely play the correct rhythm of mlèsèt and nggandhul.