Pub Date : 2018-05-08DOI: 10.15294/catharsis.v7i1.23078
E. Wahyuni, H. Hartono
Kaloka Art Studio is a place to learn art, especially dance. Kaloka Art Studio is a studio that traditioning Slendang Pemalang Dance which become the pride of Pemalang Regency society. The problem in this study are (1) how is the embodiment of Slendang Dance is a depiction of regional identity and (2) how is the role of Kaloka Art Studio in traditioning Slendang Dance as the regional identity. The objective of this study is to asses the embodiment of Slendang dance and analyze the role of Kaloka Art Studio in traditioning the Slendang Pemalang Dance. This study uses qualitative approachment. The data collection techniques including observation, interview and documentation. Data analysis are using data reduction, data serving and conclusion. The result of this research is the manifestation of Slendang Pemalang Dance as regional identity. The role of Kaloka Art Studio in traditioning Slendang dance has been done through training and dance performances. Training Studio as a model of non-formal learning. The conclusion of this research are (1)the embodiment of Slendang Pemalang Dance according tonthe dance element which is wiraga, wirama , wirasa and costume according to the characteristic of the Pemalang society; (2) the role of Kaloka Art Studio in traditioning the dance through socialization, training and performance of the dance.
卡洛卡艺术工作室是一个学习艺术，尤其是舞蹈的地方。Kaloka艺术工作室是一个传统的Slendang Pemalang舞蹈工作室，成为Pemalang Regency社会的骄傲。本研究的问题是:(1)Slendang Dance的体现如何是对地域认同的描绘;(2)Kaloka Art Studio在Slendang Dance作为地域认同的传统中扮演了怎样的角色。本研究的目的是评估Slendang舞蹈的体现，并分析Kaloka艺术工作室在传统Slendang Pemalang舞蹈中的作用。本研究采用定性方法。数据收集技术包括观察、访谈和记录。数据分析包括数据简化、数据服务和结论。这一研究的结果是Slendang Pemalang舞蹈作为地域认同的表现。Kaloka艺术工作室在传统Slendang舞蹈中的作用是通过培训和舞蹈表演来完成的。培训工作室作为一种非正式学习模式。本研究的结论是:(1)根据槟榔垄社会的特点，以wiraga、wirama、wirasa、服饰为舞蹈元素，对Slendang槟榔垄舞蹈进行体现;(2)卡洛卡艺术工作室通过舞蹈的社会化、训练和表演，在传统舞蹈中的作用。
{"title":"The Role of Kaloka Art Studio in Traditioning Slendang Pemalang Dance as The Region Identity in Pemalang District","authors":"E. Wahyuni, H. Hartono","doi":"10.15294/catharsis.v7i1.23078","DOIUrl":"https://doi.org/10.15294/catharsis.v7i1.23078","url":null,"abstract":"Kaloka Art Studio is a place to learn art, especially dance. Kaloka Art Studio is a studio that traditioning Slendang Pemalang Dance which become the pride of Pemalang Regency society. The problem in this study are (1) how is the embodiment of Slendang Dance is a depiction of regional identity and (2) how is the role of Kaloka Art Studio in traditioning Slendang Dance as the regional identity. The objective of this study is to asses the embodiment of Slendang dance and analyze the role of Kaloka Art Studio in traditioning the Slendang Pemalang Dance. This study uses qualitative approachment. The data collection techniques including observation, interview and documentation. Data analysis are using data reduction, data serving and conclusion. The result of this research is the manifestation of Slendang Pemalang Dance as regional identity. The role of Kaloka Art Studio in traditioning Slendang dance has been done through training and dance performances. Training Studio as a model of non-formal learning. The conclusion of this research are (1)the embodiment of Slendang Pemalang Dance according tonthe dance element which is wiraga, wirama , wirasa and costume according to the characteristic of the Pemalang society; (2) the role of Kaloka Art Studio in traditioning the dance through socialization, training and performance of the dance.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"54-61"},"PeriodicalIF":0.0,"publicationDate":"2018-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43157160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-04-30DOI: 10.15294/CATHARSIS.V7I1.20044
Luciana Intan Prihatini, Sri Iswidayati, H. Hartono
Adaninggarelaswara dance is a classical dance which got influence of Chinese ethnic. The dancers’ movements called gesture meaningful with normative value of Javanese woman as well as still relevant in Javanese woman lives today. The research aims to describe Adaninggar-Kelaswara dance performance, identify women’s representation in Adaninggar-Kelaswara dance movement and also to communicate the pragmatic message to women through Adaninggar-Kelaswara dance movement. The method of this study used qualitative method and interpretative semiotics approach. The source of data used primary and secunder data through the techniques of data were observation, interview, and documentary. The technique of authorized data was the use of source triangulation and the techniques of analyzing data using Barthes cultural semiotic. The conclusion of the dance movement in cultural semiotics indicate that Adaninggar-Kelaswara dance movement relating to the way of live and Javanese woman’s personality values. This finding is hoped to become the referential for the further research on Adaninggar-Kelaswara dance with other methods in order to explore the cultural values of Java, especially concerning to women representation.
{"title":"Javanese Women’s Reprenstation in Adaninggar – Kelaswara Dance","authors":"Luciana Intan Prihatini, Sri Iswidayati, H. Hartono","doi":"10.15294/CATHARSIS.V7I1.20044","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I1.20044","url":null,"abstract":"Adaninggarelaswara dance is a classical dance which got influence of Chinese ethnic. The dancers’ movements called gesture meaningful with normative value of Javanese woman as well as still relevant in Javanese woman lives today. The research aims to describe Adaninggar-Kelaswara dance performance, identify women’s representation in Adaninggar-Kelaswara dance movement and also to communicate the pragmatic message to women through Adaninggar-Kelaswara dance movement. The method of this study used qualitative method and interpretative semiotics approach. The source of data used primary and secunder data through the techniques of data were observation, interview, and documentary. The technique of authorized data was the use of source triangulation and the techniques of analyzing data using Barthes cultural semiotic. The conclusion of the dance movement in cultural semiotics indicate that Adaninggar-Kelaswara dance movement relating to the way of live and Javanese woman’s personality values. This finding is hoped to become the referential for the further research on Adaninggar-Kelaswara dance with other methods in order to explore the cultural values of Java, especially concerning to women representation.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"43-53"},"PeriodicalIF":0.0,"publicationDate":"2018-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41471289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-04-26DOI: 10.15294/CATHARSIS.V7I1.22167
Harriska Harriska, T. Florentinus
Senggayung music classified as an idiophone musical instrument that is made of bamboo. Senggayung music only exist in Ketapang District, unique music that is not owned by other regions. This study aims to analyze the form of Senggayung music and identify the cultural identity of the Gerai Village community through Senggayung music. The approach used is an interdisciplinary approach involving ethnomusicology and anthropology disciplines. Technique of collecting data with observation, interview, and study of documentation. Data validity techniques use credibility with data triangulation techniques. Data analysis by means of data collection, data reduction, data presentation, and verification or withdrawal of conclusions. The results of this study show, When viewed from the organology, Senggayung belong to idiophone musical instruments made of bamboo. Senggayung is a music that reflects the cultural identity of the village community of Ketapang regency. Senggayung used in the process of community ceremony, before starting the elders read the Spells to raoh ancestors participate in the ceremony process. Senggayung taught to the young generation by the elders for Senggayung remain sustainable and not extinct. Some of the factors that make up the cultural identity are (1) belief, (2) language, (3) behavior pattern which is reflected in Senggayung is a cultural identity.
{"title":"Senggayung Music in Gerai Village, Ketapang Regency: The Study of The Form and Cultural Identity","authors":"Harriska Harriska, T. Florentinus","doi":"10.15294/CATHARSIS.V7I1.22167","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I1.22167","url":null,"abstract":"Senggayung music classified as an idiophone musical instrument that is made of bamboo. Senggayung music only exist in Ketapang District, unique music that is not owned by other regions. This study aims to analyze the form of Senggayung music and identify the cultural identity of the Gerai Village community through Senggayung music. The approach used is an interdisciplinary approach involving ethnomusicology and anthropology disciplines. Technique of collecting data with observation, interview, and study of documentation. Data validity techniques use credibility with data triangulation techniques. Data analysis by means of data collection, data reduction, data presentation, and verification or withdrawal of conclusions. The results of this study show, When viewed from the organology, Senggayung belong to idiophone musical instruments made of bamboo. Senggayung is a music that reflects the cultural identity of the village community of Ketapang regency. Senggayung used in the process of community ceremony, before starting the elders read the Spells to raoh ancestors participate in the ceremony process. Senggayung taught to the young generation by the elders for Senggayung remain sustainable and not extinct. Some of the factors that make up the cultural identity are (1) belief, (2) language, (3) behavior pattern which is reflected in Senggayung is a cultural identity.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"34-42"},"PeriodicalIF":0.0,"publicationDate":"2018-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42807319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-04-03DOI: 10.15294/catharsis.v7i1.21952
Dody Candra Harwanto, S. Sunarto
Kentrung art is a folk theater art that tells a story in the form of prose and interspersed by pantun, an Indonesian unique form of prose. It is played by sung, and uses musical instrument called “Terbang” or Rebana. This research aims to analyze the shape and structure of Kentrung art in Ngasem Village District Batealit Jepara regency. The method used in this research is qualitative descriptive with interpretative case study research design. The research data was collected by observation technique, interview, and documentation study. It is also using triangulation techniques of sources and data to maintain its validity. Meanwhile, the data analysis technique is done through the process of reduction, presentation, and withdrawal of conclusion (verification). The results of this study indicate that, Kentrung musical form consists of two elements, namely elements of time and melody. The time element of Kentrung art employs Allegreto tempo which means fast or between the speed limit of 104-112 steps per minute; the meter uses 4/4, meaning there are four or four minutes of beats on each bar; and rhythmic patterns are divided into two types (senggakan and sautan) which generally use the value of half-tap, and on the big fly using the pattern of rhythm singkup. Most melodies use a half-tap note with the highest tone of G# 5 (la), and the lowest tone is F# 4 (sol). Meanwhile, the musical structure of Kentrung consists of two sentences or periods namely repeated A B.
{"title":"Form and Structure of Kentrung Art in Ngasem Village Batealit District Jepara Regency","authors":"Dody Candra Harwanto, S. Sunarto","doi":"10.15294/catharsis.v7i1.21952","DOIUrl":"https://doi.org/10.15294/catharsis.v7i1.21952","url":null,"abstract":"Kentrung art is a folk theater art that tells a story in the form of prose and interspersed by pantun, an Indonesian unique form of prose. It is played by sung, and uses musical instrument called “Terbang” or Rebana. This research aims to analyze the shape and structure of Kentrung art in Ngasem Village District Batealit Jepara regency. The method used in this research is qualitative descriptive with interpretative case study research design. The research data was collected by observation technique, interview, and documentation study. It is also using triangulation techniques of sources and data to maintain its validity. Meanwhile, the data analysis technique is done through the process of reduction, presentation, and withdrawal of conclusion (verification). The results of this study indicate that, Kentrung musical form consists of two elements, namely elements of time and melody. The time element of Kentrung art employs Allegreto tempo which means fast or between the speed limit of 104-112 steps per minute; the meter uses 4/4, meaning there are four or four minutes of beats on each bar; and rhythmic patterns are divided into two types (senggakan and sautan) which generally use the value of half-tap, and on the big fly using the pattern of rhythm singkup. Most melodies use a half-tap note with the highest tone of G# 5 (la), and the lowest tone is F# 4 (sol). Meanwhile, the musical structure of Kentrung consists of two sentences or periods namely repeated A B.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"23-33"},"PeriodicalIF":0.0,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46458474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-04-03DOI: 10.15294/catharsis.v7i1.21886
E. Anggraini, Agus Cahyono
Kuda Lumping is a popular Javanese art, Kuda Lumping is also called Jaran Kepang or Jathilan. Kuda Lumping is a traditional Javanese dance showing a group of warriors riding on horses which the horses are made of buffalo leather that has been dried or made from plait work of bamboo which is then given a motif or ornament and designed like a horse. This study aims to analyze how and understand the form of art performances Kuda Lumping in Lematang Jaya Village, Merapi Timur, Lahat. Theoretically, the research uses interdisciplinary ethnocoreology approach, art sociology, art psychology, and aesthetics. The research methodology uses qualitative research by describing and interpreting the findings in the field. The study used case study design. Data collection techniques used interviews, observations and document studies. Data validity technique used is source triangulation while data analyst technique is done by reducing data, presenting data and drawing conclusion. The results showed that Ronggo Budoyo's lumping horse performance was divided into three phases first before the show consisting of preparation of motion and music practice, dancers dance, property and offerings / offerings. Both times the show opens with a small Pegon dance, followed by Blind dance, a teenage Pegon dance, Kucingan and ends with an adult Pegon dance. The last phase is after the show is the activity to restore the awareness of dancers by the handler and cleans up the dance music and dance equipment.
{"title":"Forms of Show Kuda Lumping Ronggo Budoyo in The Village of Lematang Jaya, Lahat, South Sumatera","authors":"E. Anggraini, Agus Cahyono","doi":"10.15294/catharsis.v7i1.21886","DOIUrl":"https://doi.org/10.15294/catharsis.v7i1.21886","url":null,"abstract":"Kuda Lumping is a popular Javanese art, Kuda Lumping is also called Jaran Kepang or Jathilan. Kuda Lumping is a traditional Javanese dance showing a group of warriors riding on horses which the horses are made of buffalo leather that has been dried or made from plait work of bamboo which is then given a motif or ornament and designed like a horse. This study aims to analyze how and understand the form of art performances Kuda Lumping in Lematang Jaya Village, Merapi Timur, Lahat. Theoretically, the research uses interdisciplinary ethnocoreology approach, art sociology, art psychology, and aesthetics. The research methodology uses qualitative research by describing and interpreting the findings in the field. The study used case study design. Data collection techniques used interviews, observations and document studies. Data validity technique used is source triangulation while data analyst technique is done by reducing data, presenting data and drawing conclusion. The results showed that Ronggo Budoyo's lumping horse performance was divided into three phases first before the show consisting of preparation of motion and music practice, dancers dance, property and offerings / offerings. Both times the show opens with a small Pegon dance, followed by Blind dance, a teenage Pegon dance, Kucingan and ends with an adult Pegon dance. The last phase is after the show is the activity to restore the awareness of dancers by the handler and cleans up the dance music and dance equipment.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"11-22"},"PeriodicalIF":0.0,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46949641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-04-02DOI: 10.15294/CATHARSIS.V7I1.20528
Alfian Eko Prasetyo, Agus Cahyono, M. Jazuli
Tengok Bustaman Tradition is a kind of art tradition in Bustaman village held once a year with various show performances, one of them is dance. The tradition of Tengok Bustaman is pioneered by Hysteria community where the aim is to address the city's issues with art as one of its approaches to build an artistic response in Bustaman society. Hysteria is a community that engages in city-sensitive research and with art as its approach. The formulation of the problem in this research is to explain the form of dance performances in Tengok Bustaman tradition, the function of dance performance in Tengok Bustaman tradition and artistic response in Bustaman village. This study uses a qualitative method. This research is studied through interdisciplinary approach named Performance Studies and Sociology of Art. The data collection techniques used are observation, interviews, document studies, and recording techniques. The validation technique uses source triangulation. The data analysis procedures include data reduction, data presentation, and conclusions. The results show that the form of performances in Tengok Bustaman tradition is a dance performance. Dance performance in Bustaman village includes several processes such as pre-performance, performance and after performance. The function of dance performance in Bustaman Village is as the cause of educational media, entertainment media, and communication media and as a commercial media. The existence of dance performance in Tengok Bustaman tradition produces several artistic responses, among others are visual response, auditive response and environmental response. The dance performance in Tengok Bustaman tradition is able to provide changes and development of the village for the better future.
{"title":"The Artistic Response of Bustaman Village Society to Dance Performance in Tengok Bustaman Tradition","authors":"Alfian Eko Prasetyo, Agus Cahyono, M. Jazuli","doi":"10.15294/CATHARSIS.V7I1.20528","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V7I1.20528","url":null,"abstract":"Tengok Bustaman Tradition is a kind of art tradition in Bustaman village held once a year with various show performances, one of them is dance. The tradition of Tengok Bustaman is pioneered by Hysteria community where the aim is to address the city's issues with art as one of its approaches to build an artistic response in Bustaman society. Hysteria is a community that engages in city-sensitive research and with art as its approach. The formulation of the problem in this research is to explain the form of dance performances in Tengok Bustaman tradition, the function of dance performance in Tengok Bustaman tradition and artistic response in Bustaman village. This study uses a qualitative method. This research is studied through interdisciplinary approach named Performance Studies and Sociology of Art. The data collection techniques used are observation, interviews, document studies, and recording techniques. The validation technique uses source triangulation. The data analysis procedures include data reduction, data presentation, and conclusions. The results show that the form of performances in Tengok Bustaman tradition is a dance performance. Dance performance in Bustaman village includes several processes such as pre-performance, performance and after performance. The function of dance performance in Bustaman Village is as the cause of educational media, entertainment media, and communication media and as a commercial media. The existence of dance performance in Tengok Bustaman tradition produces several artistic responses, among others are visual response, auditive response and environmental response. The dance performance in Tengok Bustaman tradition is able to provide changes and development of the village for the better future.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"7 1","pages":"1-10"},"PeriodicalIF":0.0,"publicationDate":"2018-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48795000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-11-18DOI: 10.15294/CATHARSIS.V6I2.19293
S. Suherman, T. Triyanto, S. Sunarto
This research aims to study the embodiment sculpture Tau Tau in Toraja as a work of art, the urgency in Rambu Solo’ rituals, the myth, and the character’s value contained in it. The approach used is descriptive qualitative which lead to ethnographic, with techniques of observation, interviews, and document study in collecting data. The results obtained in this study indicate that, First, the sculpture of Tau Tau in Toraja is a primitive which is monumental style, with an aesthetic that is mythic-religious. Second, the sculpture of Tau Tau is important in the Rambu Solo’ ritual for the nobility because it is one determinant of excellence ceremony. Third, the sculptures represent the Tau Tau from the myths that live in the minds of religious-arkhais communities Torajans, like the myth of Eran di Langi’, the myth of the birth of Datu' Laukku and Puang Adang, myths about Daeta-Daeta and myths about the end of human life. Fourth, the sculpture of Tau Tau contains character values, such as the attitude of respect, responsibility, wisdom, love and compassion, hard work, integrity, and a sense of gratitude. Based on the research results, put forward the suggestion that, First, the Department of Education and Culture need to incorporate sculpture Tau Tau into the learning materials in schools. Second, artists need to introduce more in sculpture Tau Tau through the studies. Third, citizens of Toraja societies which needs to have a high awareness of the importance of maintaining and preserving the sculpture Tau Tau as cultural products that few of their ancestors.
{"title":"Embodiment, Myth, and Characters’ Value Sculpture of Tau Tau at Toraja in South Sulawesi","authors":"S. Suherman, T. Triyanto, S. Sunarto","doi":"10.15294/CATHARSIS.V6I2.19293","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V6I2.19293","url":null,"abstract":"This research aims to study the embodiment sculpture Tau Tau in Toraja as a work of art, the urgency in Rambu Solo’ rituals, the myth, and the character’s value contained in it. The approach used is descriptive qualitative which lead to ethnographic, with techniques of observation, interviews, and document study in collecting data. The results obtained in this study indicate that, First, the sculpture of Tau Tau in Toraja is a primitive which is monumental style, with an aesthetic that is mythic-religious. Second, the sculpture of Tau Tau is important in the Rambu Solo’ ritual for the nobility because it is one determinant of excellence ceremony. Third, the sculptures represent the Tau Tau from the myths that live in the minds of religious-arkhais communities Torajans, like the myth of Eran di Langi’, the myth of the birth of Datu' Laukku and Puang Adang, myths about Daeta-Daeta and myths about the end of human life. Fourth, the sculpture of Tau Tau contains character values, such as the attitude of respect, responsibility, wisdom, love and compassion, hard work, integrity, and a sense of gratitude. Based on the research results, put forward the suggestion that, First, the Department of Education and Culture need to incorporate sculpture Tau Tau into the learning materials in schools. Second, artists need to introduce more in sculpture Tau Tau through the studies. Third, citizens of Toraja societies which needs to have a high awareness of the importance of maintaining and preserving the sculpture Tau Tau as cultural products that few of their ancestors.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"6 1","pages":"161-173"},"PeriodicalIF":0.0,"publicationDate":"2017-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48862352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-11-18DOI: 10.15294/catharsis.v6i2.19288
Eryaya Nirbaya, H. Hartono, Udi Utomo
Gandes Luwes traditional dance studio plays important roles in conserving traditional arts, especially tembang dolanan (traditional game song) as the musical art made based on the growth level of children. Beside used as a song, Tembang Dolanan also contains moral values or wisdoms as well as be enhanced with the creativity from the creator studio in its structure and rhythm pattern. This research reviewed or analyzed the forms and creativity of Tembang Dolanan. This research used qualitative approach by understanding and describing the phenomenon of creative backsound music as to fulfill the needs of the market or the society to support the development of Tembang Dolanan.
{"title":"Creativity of Gandes Luwes Traditional Arts Studio From Parenggan Village, Pati in Developing Tembang Dolanan Performance","authors":"Eryaya Nirbaya, H. Hartono, Udi Utomo","doi":"10.15294/catharsis.v6i2.19288","DOIUrl":"https://doi.org/10.15294/catharsis.v6i2.19288","url":null,"abstract":"Gandes Luwes traditional dance studio plays important roles in conserving traditional arts, especially tembang dolanan (traditional game song) as the musical art made based on the growth level of children. Beside used as a song, Tembang Dolanan also contains moral values or wisdoms as well as be enhanced with the creativity from the creator studio in its structure and rhythm pattern. This research reviewed or analyzed the forms and creativity of Tembang Dolanan. This research used qualitative approach by understanding and describing the phenomenon of creative backsound music as to fulfill the needs of the market or the society to support the development of Tembang Dolanan.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"6 1","pages":"139-143"},"PeriodicalIF":0.0,"publicationDate":"2017-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43892430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-11-18DOI: 10.15294/CATHARSIS.V6I2.19284
Fan Naa Na Muhammad, T. Rohidi, H. Hartono
Indonesia’s education system directs that the curriculum of every education level should insert local wisdom education, especially in arts subject. Every area in Indonesia has various performing arts. One of the arts in Kendal is Barongan dance which is able to be used as the learning source. This research aims to analyse the extracurricular learning process with local wisdom materials in SMA PGRI 1 Kendal. This research was a qualitative research. The technique of data collection consists of observation, interview, and documentation. The technique of data analysis used data reduction, data delivery, and data verification. The result of the research showed that the learning consisted of three stages, the beginning, main materials, and closing. The steps were in line to Gagne’s theory of learning phases motivation, introduction, acquisition, performance, and feedback. The beginning consisted of motivation and performance. The main part included the knowledge and the performance. Meanwhile, the closing dealt with the performance and feedback. The learning process also involved interaction. The learning of extracurricular in SMA PGRI 1 Kendal used local wisdom of Barongan with materials focusing on developing the arts. The formation of the dance consisted of lampah seblak, sembahan, jengkeng manggut,menthang tangan, and loncat jaran.
{"title":"Extracurricular Learning of Dance with Local Wisdom Basis","authors":"Fan Naa Na Muhammad, T. Rohidi, H. Hartono","doi":"10.15294/CATHARSIS.V6I2.19284","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V6I2.19284","url":null,"abstract":"Indonesia’s education system directs that the curriculum of every education level should insert local wisdom education, especially in arts subject. Every area in Indonesia has various performing arts. One of the arts in Kendal is Barongan dance which is able to be used as the learning source. This research aims to analyse the extracurricular learning process with local wisdom materials in SMA PGRI 1 Kendal. This research was a qualitative research. The technique of data collection consists of observation, interview, and documentation. The technique of data analysis used data reduction, data delivery, and data verification. The result of the research showed that the learning consisted of three stages, the beginning, main materials, and closing. The steps were in line to Gagne’s theory of learning phases motivation, introduction, acquisition, performance, and feedback. The beginning consisted of motivation and performance. The main part included the knowledge and the performance. Meanwhile, the closing dealt with the performance and feedback. The learning process also involved interaction. The learning of extracurricular in SMA PGRI 1 Kendal used local wisdom of Barongan with materials focusing on developing the arts. The formation of the dance consisted of lampah seblak, sembahan, jengkeng manggut,menthang tangan, and loncat jaran.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"6 1","pages":"108-114"},"PeriodicalIF":0.0,"publicationDate":"2017-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44869055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-11-18DOI: 10.15294/CATHARSIS.V6I2.19282
Masayu Selly Sabillah, T. Triyanto, Udi Utomo
Tadut speech literature is a literary speech that developed in Besemah Pagaralam which is used as a medium for dissemination and learning of Islam in the recitation and death because his poems are able to remind people of Allah swt.. Problems reviewed ini this research, (1) How to show literature Tadut speech in the community culture of Besemah Pagaralam (2) What values of local wisdom are expressed in Tadut's literature, (3) How does the adaptation of the literary performers of Tadut's literary works defend the language of the Tadut literature his artistry in the social change of life of the people of Besemah Pagaralam. This research uses interdisciplinary approach that is the science of cultural anthropology, sociology and art education. The type of research method used is qualitative with case study design. Data is collected by observation techniques, interviews and document material collection. The results show, first, in the present day Tadut literature is shown in government events, race events, public events and even wedding ceremony. Second, the values of local wisdom expressed in Tadut literature are religious values, moral values, educational values, customs values. Third, adaptability done by Tadut literary artists through the mechanism of cultural collaboration is able to maintain its existence in social change.
{"title":"Adaptability of Performing Literature Speech Tadut Artist in Facing Social Change of Peoples' Life Besemah Pagaralam","authors":"Masayu Selly Sabillah, T. Triyanto, Udi Utomo","doi":"10.15294/CATHARSIS.V6I2.19282","DOIUrl":"https://doi.org/10.15294/CATHARSIS.V6I2.19282","url":null,"abstract":"Tadut speech literature is a literary speech that developed in Besemah Pagaralam which is used as a medium for dissemination and learning of Islam in the recitation and death because his poems are able to remind people of Allah swt.. Problems reviewed ini this research, (1) How to show literature Tadut speech in the community culture of Besemah Pagaralam (2) What values of local wisdom are expressed in Tadut's literature, (3) How does the adaptation of the literary performers of Tadut's literary works defend the language of the Tadut literature his artistry in the social change of life of the people of Besemah Pagaralam. This research uses interdisciplinary approach that is the science of cultural anthropology, sociology and art education. The type of research method used is qualitative with case study design. Data is collected by observation techniques, interviews and document material collection. The results show, first, in the present day Tadut literature is shown in government events, race events, public events and even wedding ceremony. Second, the values of local wisdom expressed in Tadut literature are religious values, moral values, educational values, customs values. Third, adaptability done by Tadut literary artists through the mechanism of cultural collaboration is able to maintain its existence in social change.","PeriodicalId":30818,"journal":{"name":"Catharsis","volume":"6 1","pages":"91-98"},"PeriodicalIF":0.0,"publicationDate":"2017-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46092971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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