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Incorporating the Spirit of Sandur into Grafito Akhudiat's Work:
A Review of Contemporary Music Ratna Mestikasari Putri 1.
Koko Hari Pramono 2.
Oky Dwi Wicahyo 3 1 Sekolah Tinggi Kesenian Wilwatikta Surabaya, 1 Email ratnamestikasariputri@gmail.
2 Sekolah Tinggi Kesenian Wilwatikta Surabaya, 2 Email kokosakeizme@gmail.
3 Sekolah Tinggi Kesenian Wilwatikta Surabaya Email: okybodjonegoro@gmail.
ABSTRACT
DOI: 10.
20111/terob.
*Correspondensi: Ratna Mestikasari Putri1 Modern theatre is a pioneer that has shaped and impacted the performing arts.
Currently, educational 1Email: ratnamestikasariputri@gmail.
resources at both school and college levels frequently include content pertaining to modern theatre, contributing to the accessibility of information and Received:10-04-2025 expertise regarding this subject across numerous Accepted:14-04-2025 educational tiers.
Within the robust and profound Published:16-04-2025 discourse surrounding contemporary theatrical materials, one finds the Sedhet Srepet studio in Bojonegoro, which distinctively integrates modern theatre with traditional theatre, specifically Sandur.
Notably, while the Sedhet Srepet studio creates new Terob Journal is licensed under a Creative theatre, it fundamentally employs a classic theatrical Commons Attribution-ShareAlike 4.
Therefore, the researcher chose the International License performance piece titled Grafito for an in-depth Copyright: A 2025 by the authors.
examination concerning modern accompanying The analysis of music arises from the researcher's preliminary assumption that the musical accompaniment enhances the significance of the Grafito performance within the Sandur approach.
Each musical scene encapsulates the atmosphere and effectively supports the actor's role.
As a result, this study will employ a qualitative research methodology for analysis.
Keywords: Sandur.
Grafito.
Contemporary Music
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INTRODUCTION
Theatre art is a discipline that Typically.
Sandur art is presented in an embodies significant values about open space or field with a circular societal phenomena and issues.
This audience arrangement, facilitating a arises from the fundamental essence of performance that fosters proximity to Sandur representation of each component performers to engage directly with the The narrative or drama of A screenplay authored by a Sandur features a unique agricultural screenwriter will convey an event motif, encompassing the processes of through narrative.
This represents the fundamental aspect of a storyteller Participated in a theatrical game who imparts philosophical values to including characters known as wayang children, specifically Pethak.
Balong.
This study centres on the Tangsil, and Cawik.
The evolution of script "Grafito" by Akhudiat, which is Sandur has seen alterations in its remarkable and addresses compelling narrative or topic.
This results from the generations, as it narrates a love tale narratives to address evolving societal This script originated from challenges, thereby rendering Sandur the concepts and notions of the late art more adaptable and acceptable Akhudiat, a maestro of theatrical art throughout society and among the from East Java.
In addition to being a current generation.
The notion is that theatre artist, he is recognized as a Sandur performances can be enhanced lecturer in the Theatre Arts Study through the creation of new texts in Program at Wilwatikta Surabaya Arts Indonesian.
College, and throughout his life, he traditional theatrical formats.
The frequently garnered accolades at both essence of Sandur art can either impart provincial and national levels.
Sandur its inherent strength or generate a is a regional traditional theatre in unique hue for a modern theatrical Bojonegoro that integrates several production, so establishing a form of TEROB VOLUME 15 NOMOR 2 APRIL 2025 performance originates from their own Traditional studio and community, specifically theatre groups can indeed engage with Sandur Sedhet Srepet, directed by Oky Dwi Wicahyono from Bojonegoro.
East Java.
The live performance themes of love, life, urban experiences, captivates the audience, fostering spirituality, and religion.
Similar to the interest and enthusiasm for the graffiti Graffito script of Akhudiat, which display due to the creativity and narrates the tale of Limbo and Ayesha innovation of the music presented.
in pursuit of a penghulu to obtain Employing They adhere to distinct instruments derived from everyday religious convictions.
This script is things, such as benches, chairs.
Kentongan, percussion instruments, companies within the modern musical drama genre, with several performers individuals, creates harmonised tones that are aesthetically pleasing to the complemented by vibrant musical The offerings to the general The Sandur Sedhet audience, artists, art enthusiasts, and Srepet group attempts to include the art activists include modern music.
essence of Sandur throughout their The musical compositions utilised in The term 'spirit' in etymology the performances of Sanggar Sandur can be understood as that which Sedhet Srepet are modern music, pertinent to graffiti works.
(Language Development and Fostering Agency.
Atmaja .
3: .
explains that In developing the Graffito modern art is the product of creativity script.
Sandur Sedhet Srepet aims to and the outcome of artists' diligent use magical and sacred Sandur aspects efforts to assert their right to coexist to enliven the Graffito work.
Despite its seemingly simple or minimalist According to Suka Harjana .
appearance, the Graffito script by 252-.
, contemporary music does Sandur Sedhet Srepet not denote anything specific but rather suggests a "present" time or something The music ensemble for the Grafito modern that is not confined to a TEROB VOLUME 15 NOMOR 2 APRIL 2025 particular temporal framework.
The subjective meanings, concepts, and fundamental traits of modern music, symbols underlying communicative investigation of discourse patterns The necessity for innovation as a response to the past deemed useless and behaviouristic quantitative approach.
RESULTS AND DISCUSSIONS
METHODOLOGY
This A series of short scenes in the qualitative methodology.
This strategy Graffito work by Sandur Sedhet Srepet was chosen based on its compatibility Where there is one scene where implemented by the research team.
the main characters Limbo and The subject of this research is a Grafito Ayesha are in a situation facing an performance by the Sedhet Srepet Islamic leader or Pak Kyai, here it studio in Bojonegoro, conducted by is simply depicted with the Oky Wicahyo.
arrangement of the actor's body The choice of methods is a crucial gestures and the chanting of aspect of community service, as it will voices that symbolize the worship dictate subsequent actions in analysing of a Muslim.
Giving a strong issues or answers to demands that impression of the Islamic religion.
Dwi might address challenges faced by community groups as locations or (Pramono.
Hari.
Koko The employed is that of Norman K.
Denzin.
This strategy was selected based on the reasons outlined by Figure 1: Ayesha Brings Limbo to the Norman K.
Denzin and Yvonna S.
Penghulu (Pak Kya.
to Seek Blessings Lincoln.
Qualitative research within a (Source: Oky Dw.
critical paradigm aims to elucidate the TEROB VOLUME 15 NOMOR 2 APRIL 2025 The two main characters Limbo and Freeze Ayesha are pulling a cloth as a rope.
When a performer enters The scene symbolizes the bond of the frame and all acting stops, this love between the two of them who method is utilised in the middle of a still hold on to their respective faith and beliefs but cannot be released.
Brecht significant occasions.
To effectively communicate the scene's significance or facilitate audience conversation, the actor will essentially stand motionless, or "freeze the frame," in a specific (Heryanto.
The tableaux technique is used in every Figure 2: Scene of the tug of war between scene in Sandur Sedhet Srepet's Limbo and Ayesha's love rope (Source: Oky Grafito artwork as a way to switch Dw.
from one character to another and to There is a scene where the main introduce a new scene.
characters Limbo and Ayesha are in a situation where they are facing a priest.
Here it is simply depicted with the actor's body gestures which symbolize the worship of a Christian in church.
Figure 4: Frozen Scene in All Actors (Source: Oky Dw.
Coincidentally, graffiti performances that are connected to their musical illustrations necessitate composition.
Figure 3: Limbo Takes Ayesha to the Priest (Fathe.
to Seek Blessing (Source: Oky Dw.
Composition is a musical composition .
he "composition" "putting together"), which is a piece of TEROB VOLUME 15 NOMOR 2 APRIL 2025 The Meaning:
This is the song of the curved gadung music as its genre.
Modern music is the genre that is utilised since it has the The guava tree also smiled shyly at ability to naturally convey the soul.
The performance work is given live.
The gadhung flower bloomed with multiple rhythm, dynamics, and It seemed to be waving rhythm changes based on the mood of It's beautiful oh so beautiful, it turns the Graffiti performance piece's story out to be a clothing material idea to make it more inventive and This is the song of the curved gadhung In Brecht's theatre, songs reduce the "connectedness of scenes" and entice The the audience to watch the drama's incorporated the Sandur songs into each events and episodes.
Songs from Graffito script scene, such as the song Sandur's Sekar Gadung Anjor, which was sung by incorporated in Sandur Sedhet Srepet's work Graffito, which adds magical aspects and a sense of the strength of characters who appeared to be church congregations, in order to create an atmosphere that would entice viewers to keep watching the scene.
traditional theatre.
In actuality, though, the poetic connotations of the Sandur songs themselves have little to do with the scenarios in Sandur Sedhet Srepet's Graffito script.
For instance:
Sykar Gadung Anjor Iki tymbangany sykar gadhung anjor *jambu wit-witany mysym ngguyu Figure 5: Actor Singing a Song .
ource Oky Dw.
sykar gadhung rowy-rowy sajak awy awy say lo say lo.
Aosay lo bakale klambi
CONCLUSION
Iki tymbangany sykar gadhung anjor
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instrument is crucial to the atmosphere production of a musical piece that that is intended to be created in the performance of Memasukkan Ruh Incorporating the Spirit of Sandur in Sandur dalam Karya Grafito script by the Grafito Work, a script by Akhudiat Akhudiat by Oky Dwi and directed by Oky Dwi Wicahyo.
Wicahyo.
This Shedet Srepet studio, also calls for specifically created during periods of experimentation in the creation of confusion, doubt, and ups and downs artistic creations.
In order to create a harmonic piece that differs from the It is also closely related to song that the music arranger utilises as the process of the actor and actress's both a source of inspiration and data, romantic journey in the performance making the of Memasukkan Ruh Sandur dalam artwork was inspired and attempted to Karya Grafito script.
The purpose of mix with new tones, pace, and the percussion instrument in this piece is to create the sense of a depressed.
The music arranger used diatonic and bored, and frustrated person who seeks pentatonic scales to create a brief peace and quiet and wants to unwind.
composition using the base tone do = D while incorporating chords into the performance of Incorporating the Spirit of Sandur in the Grafito Work, a script by Akhudiat under the direction of Oky Dwi Wicahyo.
Four acoustic musical instruments, four traditional Javanese ethnic vocal with supporting vocals, and one modern pop classical vocal with ethnic background vocals were used to create this 57-bar piece.
Percussion is a modern rhythmic
musical instrument that is utilised in This TEROB VOLUME 15 NOMOR 2 APRIL 2025
REFERENCES