Michael H.B. Raditya
Pengkajian Seni Pertunjukan dan Seni Rupa Sekolah Pascasarjana, Universitas Gadjah Mada

Published : 3 Documents
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Hibriditas Musik Dangdut dalam Masyarakat Urban Raditya, Michael H.B.
Journal of Urban Societys Arts Vol 13, No 1 (2013): April 2013
Publisher : Institut Seni Indonesia Yogyakarta

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Abstract

Dangdut, merupakan jenis musik yang mengalami dan menemani perubahanyang terjadi di Indonesia. Eksistensinya menandakan dangdut merupakan jenismusik yang paling bertahan selama beberapa dekade. Konsistensinya yang tidakkunjung memudar memutuskan bahwa dangdut merupakan jenis musik yangdapat mewakili rakyat Indonesia. Eksistensi dan konsistensi dangdut diwujudkandengan adanya proses hibriditas yang dilakukan. Dangdut tidak semata-matabersikeras menjunjung nilai keaslian dangdut, tetapi dangdut selalu mengikutike mana arah perkembangan zaman. Hibriditas menjadi kekuataan dangdut,dan membedakan jenis musik ini dengan yang lain. Dangdut menerima segalaperbedaan, bahkan dangdut memadupadankan seluruh elemen yang ada. Dalammelihat proses hibriditas yang terjadi, habitus musikal menjadi poin terpentingdalam keberadaannya. Habitus yang ada membentuk hibriditas dalam arena-arenayang ada. Memadupadankan konsep habitus dan hibriditas merupakan mediasidalam memecahkan proses eksistensi dangdut. Etnografi, metode penelitian senidan pembacaan sejarah menjadi metode yang digunakan dalam menafsirkanfenomena yang ada. Hasil yang didapat dalam penelitian ini, bahwasanya dangdutsebagai musik hibrid tidak dapat mengacu pada satu gaya saja. Habitus menjadipoin terpenting, terlebih bila halnya terjadi di urban area. Habitus dalam arenaarenatertentu berbaur dan membentuk habitus baru, dan seterusnya. Habitussebagai unsur dalam hibriditasi itu tidak mengarah pada keglobalan semata, tetapijuga kelokalan yang ada. The Hybridity of Dangdut Music in Urban Society. Dangdut is a type of music thatendures and witnesses the transformation which has existed in Indonesia. Its existenceindicates that dangdut is the most durable type of music that has been sustained for somedecades. The consistency of dangdut which is not faded over time, has made dangdutto be a type of music that is able to represent Indonesian people. The existence andconsistency of dangdut can be realized by the hybridity process. Dangdut has adjustedits nature to the respective era instead of maintaining its original nature. The hybridityis the strength of dangdut that is able to differentiate dangdut with other types of music.Dangdut embraces all differences and is even able to matchmake with all other existingelements. In looking at how the hybridity process exists, the musical habitus has beenthe most important element. The habitus has shaped the hybridity in the existing arena.Matchmaking the concept of habitus and the hybridity is the mediation in solving theexistence process of dangdut. The ethnography is the method of art research and historythat have been employed in interpreting the existing phenomena. The finding of thisstudy contends dangdut, as the hybrid music, that cannot refer to only one style. The habitus plays as the most important point, in particular in the urban area. In certain arenas, thehabitus mingles and forms the new habitus and etc. The habitus as an element in the hybridity doesnot only merely aim at the globalization, but also at the localization.
Ragam Hias “Sepak Bola” pada Pakaian Batik: Antara Komodifikasi dan Estetika Raditya, Michael H.B.
Journal of Visual Art and Design Vol 7, No 2 (2016)
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (160.538 KB) | DOI: 10.5614/j.vad.2016.7.2.5

Abstract

Nowadays batik is going through a massive development in its existence. On the one hand its position has become stronger, but on the other hand its character is changing. About two years ago, a batik football pattern gained popularity and was adopted as a commodity by batik artisans. The football pattern had positive and negative effects on batik. Issues of aesthetics and commodification emerged as a result of this development. Moreover, it put the essence and character of batik itself into question. In this research, the batik football pattern was investigated in relation to the essence of batik and the way it has been affected. The essence of batik was particularly analyzed from the perspective of its aesthetics and commodification, with the aim to find out how they were influenced by the football pattern. The conclusion of the research was that the batik football pattern has put more emphasis on the commodification of batik in stead of its aesthetics. This analysis shows how batik specifically and art in general are influenced by society.
Dangdut Koplo: Memahami Perkembangan hingga Pelarangan Raditya, Michael H.B.
Studi Budaya Nusantara Vol 1, No 1 (2017)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (334.909 KB) | DOI: 10.21776/ub.sbn.2017.oo1.01.02

Abstract

Dangdut Koplo kini telah menjadi produk massal, yang terus terkomodifikasi oleh industri musik tanah air. Terlahir di pesisir pantai utara pulau Jawa –Pantura–, Dangdut Koplo telah berkembang sejak Dangdut televisi mengemuka. Hingga pada tahun 2003, fenomena Inul merebak, dan menggantikan posisi bintang Dangdut yang tenar saat itu, seperti: Rhoma Irama. Namun Rhoma Irama tidak menerimanya, pelbagai cara mencekal Inul dan Dangdut Koplo dilakukan. Bertolak dari ihwal tersebut, tidak dapat dipungkiri bahwasanya Dangdut Koplo berkembang karena pelarangan. Pelbagai usaha pelarangan dari Rhoma Irama dan kolega, hingga kalangan yang mengatasnamakan agama turut mempersoalkan Inul dan musiknya, Koplo. Namun kuasa komodifikasi berkerja, Inul dan banyak penyanyi Pantura berjaya. Pada tahun 2016, pelarangan kembali terjadi. Giliran KPI ambil bagian mencekal tigabelas lagu Dangdut Koplo. Bertolak dari ihwal tersebut, maka artikel ini akan membahas perkembangan dan pelarangan yang telah terjadi. Alih-alih diposisikan untuk mendukung kubu yang saling berkonfrontasi, artikel ini lebih diarahkan sebagai artikulasi atas makna yang terkandung dari Dangdut Koplo itu sendiri. Hasil dari artikel ini adalah sebuah tawaran alternatif dalam menyikapi pelarangan di kedua belah pihak. ABSTRACTNowadays, Dangdut Koplo has become a mass product, which commodified by industry music of Indonesia. Was born in the northern coast of Java -Pantura-, Dangdut Koplo has develop since Dangdut Television become popular. In 2003, Inul phenomenon was replacing Dangdut star whose fame at the time, such as: Rhoma Irama. But Rhoma and colleagues didn't accept that, and try to ban Inul and Dangdut Koplo in Dangdut Industry.  It is undeniable that Dangdut Koplo developed by ban process. Rhoma Irama and Many Groups who has a corelation with religion tried to ban Dangdut Koplo, and Inul. But the commodification's power worked, Inul and singers from Pantura more popular. In 2016, KPI do the ban Dangdut Koplo. Thirteen songs Dangdut Koplo blocked. Regarding from these thing, this article will discuss about existance of Dangdut Koplo, about developing and barriers. And this article isn't support group who confronted each other, this article who i wrote it, is trying to articulate about essence that contained on Dangdut Koplo. The result of this article is an alternative point of view's to face the problem in holistic way.