Kampoeng Wisata Titik Nol Jateng di Blaburan, Bligo, Ngluwar, Magelang, Jawa Tengah memiliki peluang untuk berkembang sebagai desa wisata minat khusus, olah raga, wisata edukasi, dan budaya di perbatasan Jawa Tengah dan Yogyakarta. Potensi wisata tersebut perlu dikembangkan dengan memberdayakan anak-anak dan remaja bermain musik dan berseni suara. Motode pemberdayaan dan pengembangan dilakukan dengan observasi, pendataan, pengklasifikasian, wawancara, dan uji kemampuan menyanyi dan bermusik. Sesudah data peserta pembinaan seni suara dan musik dihimpun, dilakukan uji kepercayaan diri tampil di depan umum. Selanjutnya dilaksanakan pengembangan sumber daya manusia yang berminat pada penguatan bakat menyanyi dan bermusik hingga mampu tampil di depan umum. Pelatihan diikuti 65 peserta dari berbagai desa. Materi yang diajarkan: menyanyi (seni suara) dan seni musik sehingga dapat dibuat atraksi wisata menyanyi lagu anak, lagu remaja, lagu Korea, dan menyanyi bersama (koor), baik lagu pop Jawa maupun Indonesia dan Korea. Bakat-bakat penyanyi dan bermusik di Desa Bligo tersebut dapat memperkuat atraksi wisata musik dan seni suara di Kampoeng Wisata Titik Nol Jateng yang pada tahun 2018-2019 sebanyak 12.100 pengunjung atau rata-rata 500 orang per bulan. Atraksi wisata saat istirahat atau makan biasanya belum ada hiburan. Potensi anak-anak dan remaja dalam bidang musik dan seni suara akan memperkaya atraksi wisata di tepi Sungai Krasak tersebut dapat menyejahterakan warga setempat.
The Cepung Lombok theatre is one of Jero Mihram's masterpieces. An intelligent Sasak Muslim person in Lombok, West Nusa Tenggara Province, eastern Indonesia. The invention has sourced a lontar called Tutur Monyeh written by Jero Mihram during the Hindu Karangasem Bali era in western Lombok. Based on the politic-social context and situation, the Cepung Lombok theatre cannot be separated from the social history. Also, the intellectual Sasak during inflaming freedom awareness is constantly related. Each symbol of the performance shown in the Cepung theatre has a close social relationship with each other. The study was conducted using qualitative methods based on interviews with Cepung theatre artists and other important documents. To strengthen the analysis, the Sociology of theatre and literary theories were used. The findings are that the Cepung theatre staging pattern is derived from Islamic values and Sasak culture. The performance staging pattern shows that one of the Sasak people's resistance against injustice is symbolized through the performance staging pattern itself. The resistance is expressed symbolically because the Islamic values and Sasak culture should be well-highlighted to differentiate themselves from the actors of injustice.
The heyday of the 1980-1990 audio drama created by the Sanggar Cerita and the Teater Sanggar Prativi, Jakarta, Indonesia, was an industrial production of drama initiatives synergize between drama creators, pharmaceutical companies and herbal medicine as sponsors, and private radio companies that broadcast them. The productivity of audio drama works in the New Order era reached dozens of titles; some audio drama works produced up to 720 series or 24 episodes for two years broadcast. The audio drama Tutur Tinular by S. Tidjab uses history in Java (Singasari, Kediri, Majapahit) as a source of creation. Critical Discourse Analysis used (Norman Fairclough) is used to reveal texts, practices of discourse. Between social practices were resulting in the finding that in the audio drama, Tutur Tinular contains the behaviour of kings (rulers), royal authorities (patih, warlords), warriors (good people), criminals (bad people), and persecuted people. In the power New Order era, audio drama, which was considered an entertainment media and educational history of nationalism, was a media of resistance of the New Order military rulers. It contained the rulers' behaviour and soldiers who oppressed their people, but it never received a reprimand and a ban on the authorities until the regime subsided.Keywords: drama audio, counter-hegemony, critical discourse
The creation of research-based role art requires proper scientific and theoretical methods. Many actors' creation results have not used logical and measurable methods, theories and processes. The process of creation based on the work of drama requires the analysis of drama as the basis of creation. Subjective considerations need to be objectified. On the other hand, the originality demands of casting work are required by examining and analyzing similarities and differences with previous similar works. The theory used is also complex, ranging from the analysis of structure and texture, actors as part of the theatre, the design of the casting work, the process of creation to the aesthetics of acting. Literature studies and practical experience can provide one solution for preparing the background of creation, the use of theatrical production theory, the position of actors in a theatre to design and methods that strengthen the creation process to become a high-quality acting work. Keywords: creativity, drama, actor, research, theatre Abstrak: Penciptaan seni peran berbasis riset membutuhkan metode ilmiah dan teori yang tepat. Sejumlah hasil penciptaan aktor belum memakai metode, teori, dan proses yang dilakukan secara logis dan terukur. Proses penciptaan berdasarkan karya drama memerlukan analisis drama sebagai dasar penciptaan. Pertimbangan yang subjektif perlu diobjektifkan. Di sisi lain, tuntutan originalitas suatu karya pemeranan dipersyaratkan dengan mencermati dan menganalisis persamaan maupun perbedaan dengan karya serupa sebelumnya. Teori yang dipakai juga kompleks, mulai dari analisis struktur dan tekstur, aktor sebagai bagian teater, rancangan karya pemeranan, proses penciptaan hingga estetika aktingnya. Kajian pustaka, dan pengalaman empirik dapat memberikan salah satu solusi untuk penyusunan latar belakang penciptaan, penggunaan teori produksi teater, posisi aktor dalam teater hingga rancangan, dan metode yang memperkuat proses penciptaan sehingga menjadi karya akting yang berkualitas tinggi..Kata kunci: kreativitas, drama, aktor, riset, teater
Desa Wisata “Kampoeng Wisata Titik Nol Jateng†berada di perbatasan Jateng dan DIY. Sebagaian besar warga di Desa Bligo, Nguwar, Kabupaten Magelang, Jawa Tengah memiliki smartphone dengan spesifikai yang canggih dan dapat memutar serta membuat multi media. Ada 20 anak dan remaja yang berminat menggunakan smatphone membuat konten berita dan reportase kegiatan di Kampoeng Wisata Titik Nol Jateng. Kunjungan pewisata ke destinasi tersebut kemudian dilfoto, divideo, diiput dan diunggah ke media sosial. Guna memberdayakan potensi para yutuber muda di Kampoeng Wisata Titik Nol Jateng, diselenggarakan pelatihan mengambil gambar, penyuntingan, reporter, dan membuat kanal berita Titik Nol TV. Jumlah peserta yang terampil bermedia sosial dan memuat di kanal Titik Nol TV di Blaburan semakin meningkat secara kualitas dan kuantitas. Namun, perlu ditingkatkan dengan memasang hotspot yang lebih baik dan peralatan produksi yang lebih berkualitas agar potensi yutuber di daerah tersebut semakin bermanfaat bagi pengembangan desa wisata berkelanjutan,  mensejarahterakan  warga setempat.
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