Pub Date : 2023-06-12DOI: 10.24114/gondang.v7i1.45978
Urfan Saniylabdhawega Ridhwan, R. Milyartini, Diah Latifah
The violin is proven to be able to build the positive character of a nation. Venezuela's experience with its program, El Sistema, where the violin instrument is learned by the wider community, has had a positive impact in terms of social and economic aspects, including a sense of empathy, cooperation, self-confidence and can help increase awareness of national identity. In Indonesia, the violin is known as a western classical musical instrument. This assumption is supported by the rise of violin course institutions that use eurocentric teaching materials. Learning from Venezuela's experience, an effort is needed to develop violin teaching materials that offer material related to Indonesian National songs, as an effort to build national character. As a first step, a review of beginner level violin books with high credibility will be carried out. The purpose of this study is to determine the characteristics of beginner level violin teaching materials. The research method used is analytical descriptive. This process is expected to produce the basics that need to be considered in the process of developing teaching materials, especially teaching materials for violin musical instruments. The researcher hopes to be able to inspire researchers who are developing music teaching materials through a content analysis process carried out by researchers to produce teaching materials with international standards.
{"title":"Study of The Violin Book for The Development of Beginner Level Violin Teaching Materials Based on National Song","authors":"Urfan Saniylabdhawega Ridhwan, R. Milyartini, Diah Latifah","doi":"10.24114/gondang.v7i1.45978","DOIUrl":"https://doi.org/10.24114/gondang.v7i1.45978","url":null,"abstract":"The violin is proven to be able to build the positive character of a nation. Venezuela's experience with its program, El Sistema, where the violin instrument is learned by the wider community, has had a positive impact in terms of social and economic aspects, including a sense of empathy, cooperation, self-confidence and can help increase awareness of national identity. In Indonesia, the violin is known as a western classical musical instrument. This assumption is supported by the rise of violin course institutions that use eurocentric teaching materials. Learning from Venezuela's experience, an effort is needed to develop violin teaching materials that offer material related to Indonesian National songs, as an effort to build national character. As a first step, a review of beginner level violin books with high credibility will be carried out. The purpose of this study is to determine the characteristics of beginner level violin teaching materials. The research method used is analytical descriptive. This process is expected to produce the basics that need to be considered in the process of developing teaching materials, especially teaching materials for violin musical instruments. The researcher hopes to be able to inspire researchers who are developing music teaching materials through a content analysis process carried out by researchers to produce teaching materials with international standards.","PeriodicalId":32578,"journal":{"name":"Gondang Jurnal Seni dan Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44038853","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 : 2023-06-11DOI: 10.24114/gondang.v7i1.47582
E. Haryanto, M. Mujiyono, N. S. Prameswari
The art of teak wood carving was one of the leading export commodities, especially wood carvings with flora and fauna motifs. Javanese culture and Hindu mythology influenced the flora and fauna motifs, so they had their meanings. This research aimed to develop carvings of flora and fauna motifs inspired by classic batik motifs using wood media. The results showed that the media used was teak wood with a finishing process without painting to produce a natural color. It was adjusted to its function and use in creating teak wood carvings. Wood carving did not only function to be enjoyed for its aesthetic value but as a decorative and sacred medium where each motif influences one's beliefs when creating artwork. In addition, teak wood carvings were used as symbols of a culture, and the designed motifs often contained the meaning of teachings to humans in carrying out life. Based on the economic aspect, the teak woodcarving industry strategically improved the community's income, especially for craftsmen in tourism centers. By making woodcarving crafts with flora and fauna motifs, it hoped that woodcarving crafts would not only use as decorative objects, but it used as an educational media for fine art, history, and Javanese culture, which were full of meaning to the broader community so that they could increase knowledge and encourage people to behave following the concept of cosmology.
{"title":"Jagad Raya: Representation of Flora and Fauna in Wooden Craft From A Cosmological Perspective","authors":"E. Haryanto, M. Mujiyono, N. S. Prameswari","doi":"10.24114/gondang.v7i1.47582","DOIUrl":"https://doi.org/10.24114/gondang.v7i1.47582","url":null,"abstract":"The art of teak wood carving was one of the leading export commodities, especially wood carvings with flora and fauna motifs. Javanese culture and Hindu mythology influenced the flora and fauna motifs, so they had their meanings. This research aimed to develop carvings of flora and fauna motifs inspired by classic batik motifs using wood media. The results showed that the media used was teak wood with a finishing process without painting to produce a natural color. It was adjusted to its function and use in creating teak wood carvings. Wood carving did not only function to be enjoyed for its aesthetic value but as a decorative and sacred medium where each motif influences one's beliefs when creating artwork. In addition, teak wood carvings were used as symbols of a culture, and the designed motifs often contained the meaning of teachings to humans in carrying out life. Based on the economic aspect, the teak woodcarving industry strategically improved the community's income, especially for craftsmen in tourism centers. By making woodcarving crafts with flora and fauna motifs, it hoped that woodcarving crafts would not only use as decorative objects, but it used as an educational media for fine art, history, and Javanese culture, which were full of meaning to the broader community so that they could increase knowledge and encourage people to behave following the concept of cosmology.","PeriodicalId":32578,"journal":{"name":"Gondang Jurnal Seni dan Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43769300","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 : 2023-06-10DOI: 10.24114/gondang.v7i1.44613
Nurul Firdhausa, Ayo Sunaryo, Ria Sabaria
The development of the times has always made the younger generation face modern art. Many of them also focus on continuing, preserving and developing the arts that were born in the community, so that they become meaningful arts. In the end, the art can function as a means of identity that strengthens human dignity and society. Genye art born in Purwakarta Regency, West Java, is still maintained, preserved and developed by artists and local communities. The creative process carried out departs from the previous form of presentation of the Genye Art performance by paying attention to aspects of choreography, makeup, clothing and property. The purpose of this research is to describe the creative process of dance with the development of Genye artistry in terms of choreography, makeup, clothing, and property. This research method uses descriptive analysis method with a qualitative approach. Data was collected by means of observation, interviews and documentation studies in the form of performance photos, photos of the development process and videos of Genye art that have been developed. The results showed that genye art underwent changes and development in terms of choreography which continued to change and develop, makeup and property from 2010 to 2023 at this time, which made this genye art continue to develop and be preserved to become the most prominent art in Purwakarta Regency. This research can provide motivation to artists and the community so that they can continue to maintain, maintain, preserve and develop the arts that were born and grow in their area, namely the arts that characterize the Purwakarta Regency, namely "Genye Art".
{"title":"The Creative Process of Dance in Genye Art in Purwakarta District","authors":"Nurul Firdhausa, Ayo Sunaryo, Ria Sabaria","doi":"10.24114/gondang.v7i1.44613","DOIUrl":"https://doi.org/10.24114/gondang.v7i1.44613","url":null,"abstract":"The development of the times has always made the younger generation face modern art. Many of them also focus on continuing, preserving and developing the arts that were born in the community, so that they become meaningful arts. In the end, the art can function as a means of identity that strengthens human dignity and society. Genye art born in Purwakarta Regency, West Java, is still maintained, preserved and developed by artists and local communities. The creative process carried out departs from the previous form of presentation of the Genye Art performance by paying attention to aspects of choreography, makeup, clothing and property. The purpose of this research is to describe the creative process of dance with the development of Genye artistry in terms of choreography, makeup, clothing, and property. This research method uses descriptive analysis method with a qualitative approach. Data was collected by means of observation, interviews and documentation studies in the form of performance photos, photos of the development process and videos of Genye art that have been developed. The results showed that genye art underwent changes and development in terms of choreography which continued to change and develop, makeup and property from 2010 to 2023 at this time, which made this genye art continue to develop and be preserved to become the most prominent art in Purwakarta Regency. This research can provide motivation to artists and the community so that they can continue to maintain, maintain, preserve and develop the arts that were born and grow in their area, namely the arts that characterize the Purwakarta Regency, namely \"Genye Art\". ","PeriodicalId":32578,"journal":{"name":"Gondang Jurnal Seni dan Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47401887","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 : 2023-06-09DOI: 10.24114/gondang.v7i1.44852
Redja Hikmat Gumelar, A. Budiman, Tatang Taryana
Dance learning in schools is synonymous with learning movements that have a gentle character. This condition is one of the things that causes men's interest in learning dance to be very weak. Moreover, the tendency of students' interest in learning dance today has been influenced by modern culture such as the existence of modern dance that has developed in society, especially among the younger generation today. When teachers provide traditional dance material, the majority of students consider it too old-fashioned to learn at school. The purpose of this study was to increase male students' interest in learning dance in extracurricular activities by using the peer tutor method. This research uses the Classroom Action Research method with a quantitative approach to find a solution to the problem of weak male students' interest in learning dance in extracurricular dance activities. Data collection techniques were carried out by observation, interviews and questionnaire instruments through google form. Data analysis was carried out by conducting a Paired Sample T Test to see differences in pretest and posttest results. The findings of this study indicate that the peer tutor learning method is able to increase male students' interest through the Lenyepan dance material provided by the teacher in extracurricular dance activities. From the four stages of learning carried out, the results look very significant, the improvement that continues to occur in each phase makes the results of this study show a positive increase. So it can be concluded that the peer tutor learning method is very suitable for attracting male students' interest in dance learning. Judging from the increase in male students' interest in learning dance.
{"title":"Increasing Male Students' Interest in Learning Dance with the Peer Tutor Method: An Action Research","authors":"Redja Hikmat Gumelar, A. Budiman, Tatang Taryana","doi":"10.24114/gondang.v7i1.44852","DOIUrl":"https://doi.org/10.24114/gondang.v7i1.44852","url":null,"abstract":"Dance learning in schools is synonymous with learning movements that have a gentle character. This condition is one of the things that causes men's interest in learning dance to be very weak. Moreover, the tendency of students' interest in learning dance today has been influenced by modern culture such as the existence of modern dance that has developed in society, especially among the younger generation today. When teachers provide traditional dance material, the majority of students consider it too old-fashioned to learn at school. The purpose of this study was to increase male students' interest in learning dance in extracurricular activities by using the peer tutor method. This research uses the Classroom Action Research method with a quantitative approach to find a solution to the problem of weak male students' interest in learning dance in extracurricular dance activities. Data collection techniques were carried out by observation, interviews and questionnaire instruments through google form. Data analysis was carried out by conducting a Paired Sample T Test to see differences in pretest and posttest results. The findings of this study indicate that the peer tutor learning method is able to increase male students' interest through the Lenyepan dance material provided by the teacher in extracurricular dance activities. From the four stages of learning carried out, the results look very significant, the improvement that continues to occur in each phase makes the results of this study show a positive increase. So it can be concluded that the peer tutor learning method is very suitable for attracting male students' interest in dance learning. Judging from the increase in male students' interest in learning dance.","PeriodicalId":32578,"journal":{"name":"Gondang Jurnal Seni dan Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43747719","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 : 2023-06-09DOI: 10.24114/gondang.v7i1.43805
V. E. Dewi
This research aims to find out significant differences in violin playing skills between students who were taught using an intermediate level violin textbook made by a team of lecturers and students who were not taught using an intermediate level violin textbook made by a team of lecturers in the Music Study Program, Universitas Negeri Surabaya. The research method used is a quantitative method with a quasi-experimental type. Research result is known that the violin playing skills between the experimental group and the control group differ significantly. This conclusion is proven by the mean score of the experimental group which is higher than the control group in the posttest activity. The mean posttest score in the experimental group was 88.45. Meanwhile, the mean posttest score in the control group was 82.65. Another thing is also shown by the results of the independent sample t-test in the experimental group and the control group during the posttest activity with a calculated t value of 6.104 and a t table value of 2.086. The calculated t value > t table value, so it can be said that the experimental group and the control group differ significantly. Therefore, there is an influence of the application of an intermediate level violin textbook made by a team of lecturers on violin playing skills in the Music Study Program, Universitas Negeri Surabaya. The increase in violin playing skills was more demonstrated in the experimental group than the control group. This argument is proven by the mean pretest score in the experimental group of 81.15, while the mean pretest score in the control group is 80.7. The mean posttest score for the experimental group was 88.45, while the mean posttest score for the control group was 82.65. The experimental group experienced an increase of 7.3. This is shown from the mean score of 81.15 at the pretest which increased to 88.45 at the posttest. Meanwhile, the control group also experienced an increase in the mean score of 1.95.
{"title":"The Effect of Application Middle Level Violin Textbooks on Violin Playing Skills in the Music Study Program, Faculty of Languages and Arts, Universitas Negeri Surabaya","authors":"V. E. Dewi","doi":"10.24114/gondang.v7i1.43805","DOIUrl":"https://doi.org/10.24114/gondang.v7i1.43805","url":null,"abstract":"This research aims to find out significant differences in violin playing skills between students who were taught using an intermediate level violin textbook made by a team of lecturers and students who were not taught using an intermediate level violin textbook made by a team of lecturers in the Music Study Program, Universitas Negeri Surabaya. The research method used is a quantitative method with a quasi-experimental type. Research result is known that the violin playing skills between the experimental group and the control group differ significantly. This conclusion is proven by the mean score of the experimental group which is higher than the control group in the posttest activity. The mean posttest score in the experimental group was 88.45. Meanwhile, the mean posttest score in the control group was 82.65. Another thing is also shown by the results of the independent sample t-test in the experimental group and the control group during the posttest activity with a calculated t value of 6.104 and a t table value of 2.086. The calculated t value > t table value, so it can be said that the experimental group and the control group differ significantly. Therefore, there is an influence of the application of an intermediate level violin textbook made by a team of lecturers on violin playing skills in the Music Study Program, Universitas Negeri Surabaya. The increase in violin playing skills was more demonstrated in the experimental group than the control group. This argument is proven by the mean pretest score in the experimental group of 81.15, while the mean pretest score in the control group is 80.7. The mean posttest score for the experimental group was 88.45, while the mean posttest score for the control group was 82.65. The experimental group experienced an increase of 7.3. This is shown from the mean score of 81.15 at the pretest which increased to 88.45 at the posttest. Meanwhile, the control group also experienced an increase in the mean score of 1.95.","PeriodicalId":32578,"journal":{"name":"Gondang Jurnal Seni dan Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45782082","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 : 2023-06-08DOI: 10.24114/gondang.v7i1.44362
Sandi Jembar Wijaya, J. Masunah, Reni Haerani
Hearing problems in deaf children make it difficult for them to absorb verbal information while learning, but their learning modalities can be optimized. In the dance learning process at SLB Tunas Kasih 1 Bogor, the teacher stimulates deaf children to create their own dance moves through metaphorical activities based on the surrounding environment by optimizing visual and tactile learning modalities. The purpose of this article is to describe learning dance through metaphorical activities for deaf children at SLB Tunas Kasih 1 Bogor. This study uses a qualitative approach with descriptive analysis method. The data sources for this research were teachers and deaf children at SLB Tunas Kasih 1. Data collection used observation, interviews and documentation studies. Data analysis was carried out by means of triangulation. The results of this study indicate that through metaphorical activities, children can maximize their visual and tactile abilities in obtaining information in dance lessons so that learning can match the abilities of deaf children. Metaphoric activities also foster imaginative ideas, making it easier for them to explore dance movements resulting from their ideas. Through this metaphoric activity the teacher can easily foster the creativity of deaf children in creating dance movements, so that deaf children can optimize their creative abilities for dance moves.
{"title":"Dance Learning for Deaf Children Through Metaphoric Activities","authors":"Sandi Jembar Wijaya, J. Masunah, Reni Haerani","doi":"10.24114/gondang.v7i1.44362","DOIUrl":"https://doi.org/10.24114/gondang.v7i1.44362","url":null,"abstract":"Hearing problems in deaf children make it difficult for them to absorb verbal information while learning, but their learning modalities can be optimized. In the dance learning process at SLB Tunas Kasih 1 Bogor, the teacher stimulates deaf children to create their own dance moves through metaphorical activities based on the surrounding environment by optimizing visual and tactile learning modalities. The purpose of this article is to describe learning dance through metaphorical activities for deaf children at SLB Tunas Kasih 1 Bogor. This study uses a qualitative approach with descriptive analysis method. The data sources for this research were teachers and deaf children at SLB Tunas Kasih 1. Data collection used observation, interviews and documentation studies. Data analysis was carried out by means of triangulation. The results of this study indicate that through metaphorical activities, children can maximize their visual and tactile abilities in obtaining information in dance lessons so that learning can match the abilities of deaf children. Metaphoric activities also foster imaginative ideas, making it easier for them to explore dance movements resulting from their ideas. Through this metaphoric activity the teacher can easily foster the creativity of deaf children in creating dance movements, so that deaf children can optimize their creative abilities for dance moves.","PeriodicalId":32578,"journal":{"name":"Gondang Jurnal Seni dan Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45249960","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 : 2023-06-07DOI: 10.24114/gondang.v7i1.44950
Triana Pramadanti, M. Malarsih, H. Hartono
Gegesik-style Klana mask dance is one of the styles that have survived to the present day. The importance of maintaining and preserving the Gegesik-style Klana mask dance, which is comprised of dance elements presented in the form of a dance perfomance, is understood by a few people who have studied its dance elements. By comprehending the elements contained therein, the Gegesik style of the masked Klana dance will maintain its authenticity without altering a single aspect of the Gegesik style masked Klana dance's standard. Gegesik-style Klana mask dance has excellent appeal for ceremonial events, welcoming guests, and filling in events organized by government and non-government organizations. This study used qualitative research and an ethnochoreological methodology as a scalpel to investigate the textual components of dance. The Gegesik style Klana mask dance has eight text components: movement, dancers, make-up, clothing, floor patterns, music, property, and place of performance. Collecting data was done with observation, interviews, and document analysis. After conducting research, the researcher discovered that the form of perfomance of the Gegesik-style masked Klana dance consists of eight interrelated components that cannot be changed without altering its authenticity. Consequently, the Gegesik-style Cirebon masked Klana dance contains elements that cannot be easily altered, as well as meanings and values implicit in every movement, music, costume, and another component. Keywords: Gegesik Style Klana Mask Dance, Dance Perfomance, Ethnochoreology.
{"title":"Perfomance of the Gegesik Style Cirebon Mask Kalana Dance in the Context of Coastal Culture as a Source of Local Wisdom","authors":"Triana Pramadanti, M. Malarsih, H. Hartono","doi":"10.24114/gondang.v7i1.44950","DOIUrl":"https://doi.org/10.24114/gondang.v7i1.44950","url":null,"abstract":"Gegesik-style Klana mask dance is one of the styles that have survived to the present day. The importance of maintaining and preserving the Gegesik-style Klana mask dance, which is comprised of dance elements presented in the form of a dance perfomance, is understood by a few people who have studied its dance elements. By comprehending the elements contained therein, the Gegesik style of the masked Klana dance will maintain its authenticity without altering a single aspect of the Gegesik style masked Klana dance's standard. Gegesik-style Klana mask dance has excellent appeal for ceremonial events, welcoming guests, and filling in events organized by government and non-government organizations. This study used qualitative research and an ethnochoreological methodology as a scalpel to investigate the textual components of dance. The Gegesik style Klana mask dance has eight text components: movement, dancers, make-up, clothing, floor patterns, music, property, and place of performance. Collecting data was done with observation, interviews, and document analysis. After conducting research, the researcher discovered that the form of perfomance of the Gegesik-style masked Klana dance consists of eight interrelated components that cannot be changed without altering its authenticity. Consequently, the Gegesik-style Cirebon masked Klana dance contains elements that cannot be easily altered, as well as meanings and values implicit in every movement, music, costume, and another component. Keywords: Gegesik Style Klana Mask Dance, Dance Perfomance, Ethnochoreology.","PeriodicalId":32578,"journal":{"name":"Gondang Jurnal Seni dan Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48652889","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 : 2023-06-05DOI: 10.24114/gondang.v7i1.47595
Glenie Latuni, J. Rattu, Ambrose Loho, Sam J. R. Saroinsong, Marlyn Windewani
This research examines the construction of Kolintang through the symbol of the number Three in the socio-cultural life system of the Minahasa people, whose embodiment in Kolintang music. A qualitative method through a historical approach in social and anthropological writing is used in this research. The data sourcewas obtained from field observations for approximately three years in Lembean Village, namely Nine taranak or Minamerot.Interviews and recordings do well; researchers are also active in direct observation. The research found that the number one is a transcendent and intangible symbol, the God of the Minahasa people Empung, WailanWangko, EmpungRenga-Rengan, God is Glorious, God is Great. The number one does not appear in the form of kolintang but is unifying. The number three is seen in the three forms of the Minahasa grandmothers Karema, Lumimuut, and Toar; also in the three Minahasa leaders, Tunduan/Tonaas, Wadian/Walian, and Teterusan. It is seen in the three first descendants of Minahasa, namely the Tombulu, Toutewoh, and Tounsawang sub-ethnicity. This symbolisation can be seen in the construction of Kolintang instruments using three wooden sticks (Teken) singing Tatembaken, the use of three-wood Kolintang in Waleposan, and traditional modes/scales such as (1 - 2 - 3) as well as the use of three wood in modern Kolintang Music Accompaniment called Wooden Kolintang Music Ensemble (AMKK). In conclusion, the construction of Kolintang music is a form of symbolisation of the Unification of the number three in the social and cultural life of the Minahasa people.
{"title":"Kolintang Symbolic Construction of The Union Odd Numbers (Three) in Socio-cultural Meaning of Minahasa Community","authors":"Glenie Latuni, J. Rattu, Ambrose Loho, Sam J. R. Saroinsong, Marlyn Windewani","doi":"10.24114/gondang.v7i1.47595","DOIUrl":"https://doi.org/10.24114/gondang.v7i1.47595","url":null,"abstract":"This research examines the construction of Kolintang through the symbol of the number Three in the socio-cultural life system of the Minahasa people, whose embodiment in Kolintang music. A qualitative method through a historical approach in social and anthropological writing is used in this research. The data sourcewas obtained from field observations for approximately three years in Lembean Village, namely Nine taranak or Minamerot.Interviews and recordings do well; researchers are also active in direct observation. The research found that the number one is a transcendent and intangible symbol, the God of the Minahasa people Empung, WailanWangko, EmpungRenga-Rengan, God is Glorious, God is Great. The number one does not appear in the form of kolintang but is unifying. The number three is seen in the three forms of the Minahasa grandmothers Karema, Lumimuut, and Toar; also in the three Minahasa leaders, Tunduan/Tonaas, Wadian/Walian, and Teterusan. It is seen in the three first descendants of Minahasa, namely the Tombulu, Toutewoh, and Tounsawang sub-ethnicity. This symbolisation can be seen in the construction of Kolintang instruments using three wooden sticks (Teken) singing Tatembaken, the use of three-wood Kolintang in Waleposan, and traditional modes/scales such as (1 - 2 - 3) as well as the use of three wood in modern Kolintang Music Accompaniment called Wooden Kolintang Music Ensemble (AMKK). In conclusion, the construction of Kolintang music is a form of symbolisation of the Unification of the number three in the social and cultural life of the Minahasa people.","PeriodicalId":32578,"journal":{"name":"Gondang Jurnal Seni dan Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43581276","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 : 2023-06-01DOI: 10.24114/gondang.v7i1.46826
Hengki Armez Hidayat, Syeilendra Syeilendra, Marzam Marzam, Uswatul Hakim
Education is one sector that plays an important role in building the nation and forming a complete human being. The impact of the pandemic condition makes the learning process at all levels of school to college feel very less enthusiastic. This is because the teaching and learning process which was initially carried out directly / face to face shifted to the learning and teaching process which was carried out through platforms that were integrated into internet-based networks (e-learning). The purpose of this study was to find and design a learning strategy for the Minangkabau Traditional Music Practice Course, FBS UNP Sendratasik Department. From the situation and conditions seen through the GAP analysis, several techniques/procedures must be passed so that the learning objectives can be achieved. The research method was carried out through several stages, including; 1) observation, 2) design of learning devices, 3) implementation of learning, and 4) tests, evaluations and revisions. This research is proven through stages; 1) learn the basic principles of the technology under study, 2) use the formulation of technology concepts; and 3) proof-of-concept of important functions and/or characteristics analytically and experimentally regarding learning strategies for Minangkabau Traditional Music Practice to achieve student competence.
{"title":"Minangkabau Traditional Music Practice Learning Strategies; Student Competency Achievement In The Impact Of Pandemic","authors":"Hengki Armez Hidayat, Syeilendra Syeilendra, Marzam Marzam, Uswatul Hakim","doi":"10.24114/gondang.v7i1.46826","DOIUrl":"https://doi.org/10.24114/gondang.v7i1.46826","url":null,"abstract":"Education is one sector that plays an important role in building the nation and forming a complete human being. The impact of the pandemic condition makes the learning process at all levels of school to college feel very less enthusiastic. This is because the teaching and learning process which was initially carried out directly / face to face shifted to the learning and teaching process which was carried out through platforms that were integrated into internet-based networks (e-learning). The purpose of this study was to find and design a learning strategy for the Minangkabau Traditional Music Practice Course, FBS UNP Sendratasik Department. From the situation and conditions seen through the GAP analysis, several techniques/procedures must be passed so that the learning objectives can be achieved. The research method was carried out through several stages, including; 1) observation, 2) design of learning devices, 3) implementation of learning, and 4) tests, evaluations and revisions. This research is proven through stages; 1) learn the basic principles of the technology under study, 2) use the formulation of technology concepts; and 3) proof-of-concept of important functions and/or characteristics analytically and experimentally regarding learning strategies for Minangkabau Traditional Music Practice to achieve student competence.","PeriodicalId":32578,"journal":{"name":"Gondang Jurnal Seni dan Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45970082","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}
Tujuan penelitian untuk menyadarkan masyarakat Indonesia agar lebih mencintai produk dalam negeri dengan mendukung industri kreatif di Indonesia serta menginspirasi masyarakat khususnya kaum muda agar dapat berfikir kreatif dan inovatif. Pemikiran ini akan menciptakan rasa empati untuk melestarikan budaya dengan berbagai inovasi untuk contoh ke generasi berikutnya. Metode Penelitian yang digunakan adalah metode penelitian kualitatif dengan mendeskripsikan data-data yang berasal dari sumber literatur, observasi, wawancara, dan dokumentasi untuk mendapatkan informasi tentang lurik dalam konteks tradisi dan inovasinya. Hasil yang dicapai dalam penelitian ini yaitu film dokumenter berjudul “Pesona Lurik Pedan, Kini Hingga Nanti” yang menceritakan tentang kain lurik Pedan dalam sejarah singkat, proses pembuatan lurik, corak lurik, kondisi lurik di masa pandemi dan inovasi yang menjadikan lurik dikenal hingga mancanegara. Diharapkan film dokumenter ini dapat lebih membangun kecintaan masyarakat terhadap produk lokal dan kaum muda dapat terinspirasi untuk melestarikan lurik Pedan dengan berbagai inovasi sehingga nantinya dapat menciptakan lapangan pekerjaan baru dan memajukan industri kreatif di Indonesia.
{"title":"Perancangan Film Dokumenter berjudul \"Pesona Lurik Pedan, Kini Hingga Nanti\"","authors":"Jihan Noerisman, T. Akbar","doi":"10.30998/vh.v5i3.8791","DOIUrl":"https://doi.org/10.30998/vh.v5i3.8791","url":null,"abstract":"Tujuan penelitian untuk menyadarkan masyarakat Indonesia agar lebih mencintai produk dalam negeri dengan mendukung industri kreatif di Indonesia serta menginspirasi masyarakat khususnya kaum muda agar dapat berfikir kreatif dan inovatif. Pemikiran ini akan menciptakan rasa empati untuk melestarikan budaya dengan berbagai inovasi untuk contoh ke generasi berikutnya. Metode Penelitian yang digunakan adalah metode penelitian kualitatif dengan mendeskripsikan data-data yang berasal dari sumber literatur, observasi, wawancara, dan dokumentasi untuk mendapatkan informasi tentang lurik dalam konteks tradisi dan inovasinya. Hasil yang dicapai dalam penelitian ini yaitu film dokumenter berjudul “Pesona Lurik Pedan, Kini Hingga Nanti” yang menceritakan tentang kain lurik Pedan dalam sejarah singkat, proses pembuatan lurik, corak lurik, kondisi lurik di masa pandemi dan inovasi yang menjadikan lurik dikenal hingga mancanegara. Diharapkan film dokumenter ini dapat lebih membangun kecintaan masyarakat terhadap produk lokal dan kaum muda dapat terinspirasi untuk melestarikan lurik Pedan dengan berbagai inovasi sehingga nantinya dapat menciptakan lapangan pekerjaan baru dan memajukan industri kreatif di Indonesia.","PeriodicalId":32578,"journal":{"name":"Gondang Jurnal Seni dan Budaya","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75531403","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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