Pub Date : 2024-07-05DOI: 10.15294/harmonia.v24i1.42383
Eka Titi Andaryani, Udi Utomo
Songs, regarded as a form of musical expression, consistently mirror societal culture. This research aims to unveil and analyze the song tegalan, which serves as a portrayal of Tegal’s cultural identity. The research employs a qualitative descriptive methodology. Data collection for this study involved scrutinizing tegalan songs, particularly their lyrical content, with the purpose of comprehending the themes depicting the unique identity of the Tegal community. In addition to observation, the researcher conducted in-depth interviews with three notable tegalan song artists. A literature review was also undertaken to corroborate the research findings. The collected data was then distilled to extract information pertinent to the research theme, which was subsequently presented based on the interpretation of Tegal’s cultural identity and then conclusively analyzed. The research findings indicate that within the lyrics of tegalan songs, four cultural identities are discernible: (1) the utilization of colloquial Javanese infused with the “ngapak” dialect; (2) the characteristic of spontaneous and sincere communication reflective of the Tegal community’s culture; (3) the identity of coastal communities, which tend to exhibit straightforwardness; and (4) the diverse range of typical Tegal delicacies such as “sega ponggol”, tea with palm sugar (“teh poci gula batu”), among others. Based on these findings, it can be inferred that tegalan songs, in terms of their lyrical content, epitomize the linguistic culture of the Tegal community in both structure and communicative patterns. Moreover, in terms of messaging, these songs convey insights into the identity and distinctive attributes of the Tegal community..
{"title":"Tegalan Song: An Expression of Musical Culture Identity of the Coastal Communities of Northern Coast of Java","authors":"Eka Titi Andaryani, Udi Utomo","doi":"10.15294/harmonia.v24i1.42383","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.42383","url":null,"abstract":"Songs, regarded as a form of musical expression, consistently mirror societal culture. This research aims to unveil and analyze the song tegalan, which serves as a portrayal of Tegal’s cultural identity. The research employs a qualitative descriptive methodology. Data collection for this study involved scrutinizing tegalan songs, particularly their lyrical content, with the purpose of comprehending the themes depicting the unique identity of the Tegal community. In addition to observation, the researcher conducted in-depth interviews with three notable tegalan song artists. A literature review was also undertaken to corroborate the research findings. The collected data was then distilled to extract information pertinent to the research theme, which was subsequently presented based on the interpretation of Tegal’s cultural identity and then conclusively analyzed. The research findings indicate that within the lyrics of tegalan songs, four cultural identities are discernible: (1) the utilization of colloquial Javanese infused with the “ngapak” dialect; (2) the characteristic of spontaneous and sincere communication reflective of the Tegal community’s culture; (3) the identity of coastal communities, which tend to exhibit straightforwardness; and (4) the diverse range of typical Tegal delicacies such as “sega ponggol”, tea with palm sugar (“teh poci gula batu”), among others. Based on these findings, it can be inferred that tegalan songs, in terms of their lyrical content, epitomize the linguistic culture of the Tegal community in both structure and communicative patterns. Moreover, in terms of messaging, these songs convey insights into the identity and distinctive attributes of the Tegal community..","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141674847","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.47436
Nguyen Dinh Lam
The funeral music of the Vietnamese people in the Northern Delta represents unique type of traditional musical heritage practiced and passed down by many generations of Vietnamese people to this day. Vietnamese people often say: “Sống dầu đèn, chết kèn trống” (If you live with lamp oil, die with trumpets and drums) - meaning that the sound of drums and trumpets at the funeral of the dead is like fire and oil in human life. However, this unique artistic heritage is facing a risk of change, as many traditional qualities in this type of music are gradually hybridizing and disappearing. The main research method of this study is qualitative research, focusing on in-depth interviews with elite artisans - elderly people with good memories and the ability to excel in practicing funeral music. In-depth interviews are done with artisans in families who have practiced and taught funeral music for generations. Research results show that the funeral music of Vietnamese people in the Northern Delta has changed quite a lot compared to tradition; Modern compositions songs are gradually being practiced in the Vietnamese funeral space here. The main reason is that the local cultural heritage management and preservation policy, for many years, was not given much attention. At the same time, pragmatic economic factors resulting from these artisans practicing this heritage in the face of the impact of the new economic context of society - are also the central cause of this transformation. The need to preserve this precious heritage in the cultural and social life of contemporary Vietnamese people is also an issue discussed in this study.
{"title":"Changes in Funeral Music Practices of Vietnamese People in the Northern Delta, Vietnam","authors":"Nguyen Dinh Lam","doi":"10.15294/harmonia.v24i1.47436","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.47436","url":null,"abstract":"The funeral music of the Vietnamese people in the Northern Delta represents unique type of traditional musical heritage practiced and passed down by many generations of Vietnamese people to this day. Vietnamese people often say: “Sống dầu đèn, chết kèn trống” (If you live with lamp oil, die with trumpets and drums) - meaning that the sound of drums and trumpets at the funeral of the dead is like fire and oil in human life. However, this unique artistic heritage is facing a risk of change, as many traditional qualities in this type of music are gradually hybridizing and disappearing. The main research method of this study is qualitative research, focusing on in-depth interviews with elite artisans - elderly people with good memories and the ability to excel in practicing funeral music. In-depth interviews are done with artisans in families who have practiced and taught funeral music for generations. Research results show that the funeral music of Vietnamese people in the Northern Delta has changed quite a lot compared to tradition; Modern compositions songs are gradually being practiced in the Vietnamese funeral space here. The main reason is that the local cultural heritage management and preservation policy, for many years, was not given much attention. At the same time, pragmatic economic factors resulting from these artisans practicing this heritage in the face of the impact of the new economic context of society - are also the central cause of this transformation. The need to preserve this precious heritage in the cultural and social life of contemporary Vietnamese people is also an issue discussed in this study.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"38 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141837589","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.43479
Nurafiqah Diyanah Azmi, Sang Woo Ha
This case study focuses on Play-based Learning with game elements as a new dance teaching tool for young children. The research objective is to verify that the majority of games used by teachers in Malaysian preschools are based on guided play, which includes adults’ guidance and mentoring on a play, and that each game is designed to improve students’ cognitive and psychomotor development, social abilities, and academic skills. Researchers also emphasize that Play-based Learning with game elements can be used as a new teaching method of dance for young children who cannot follow teaching contents. To achieve these objectives, researchers discuss how games are used as a teaching method by two different preschools, investigate how these games are suitable for all students aged 4 to 6 years old, and examine the effect of games as teaching tools in Music and Movement classes. Utilizing the qualitative methodology, researchers interviewed teachers to investigate how teachers incorporate games in Music and Movement classes. Researchers conducted participant observation in Music and Movement classes to identify whether or not the use of games in this case study belongs to free play or guided play. Researchers also gathered information through secondary written sources. The findings suggest that games as a teaching method in Music and Movement classes greatly emphasize students learning how to dance, where games create more excitement for the children and not worry too much about techniques. Games used by Malaysian preschools can be great examples and guidelines for teachers to incorporate games as a teaching method for preschool students aged 4 to 6 years old.
{"title":"Play-Based Learning With Games as a Dance Teaching Tool","authors":"Nurafiqah Diyanah Azmi, Sang Woo Ha","doi":"10.15294/harmonia.v24i1.43479","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.43479","url":null,"abstract":"This case study focuses on Play-based Learning with game elements as a new dance teaching tool for young children. The research objective is to verify that the majority of games used by teachers in Malaysian preschools are based on guided play, which includes adults’ guidance and mentoring on a play, and that each game is designed to improve students’ cognitive and psychomotor development, social abilities, and academic skills. Researchers also emphasize that Play-based Learning with game elements can be used as a new teaching method of dance for young children who cannot follow teaching contents. To achieve these objectives, researchers discuss how games are used as a teaching method by two different preschools, investigate how these games are suitable for all students aged 4 to 6 years old, and examine the effect of games as teaching tools in Music and Movement classes. Utilizing the qualitative methodology, researchers interviewed teachers to investigate how teachers incorporate games in Music and Movement classes. Researchers conducted participant observation in Music and Movement classes to identify whether or not the use of games in this case study belongs to free play or guided play. Researchers also gathered information through secondary written sources. The findings suggest that games as a teaching method in Music and Movement classes greatly emphasize students learning how to dance, where games create more excitement for the children and not worry too much about techniques. Games used by Malaysian preschools can be great examples and guidelines for teachers to incorporate games as a teaching method for preschool students aged 4 to 6 years old.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141674229","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.39447
Afifah Asriati, AS Hardy Shafii, Yuliasma Yuliasma, I. Putra, Desfiarni Desfiarni
This article aims to expose the revitalization of Siriah Gadang cultural values in Galombang dance performed in Guguak village, Pariangan, Tanah Datar Regency, West Sumatra. Siriah Gadang is almost extinct because it is very rarely used. It is a cultural object with the same function as Carano, which is currently used for Galombang dance performances. To achieve this goal, qualitative research was used through observation, documentation, in-depth interviews, and Focus Group Discussion (FGD) techniques. The data obtained were analyzed using the Miles and Haberman model. It was found that the cultural values in Siriah Gadang are customary values, ethical values, social values, religious values, and leadership values reflected in the philosophy of the Minangkabau people “adaik basandi syarak, syarak basandi Kitabullah.”
{"title":"Siriah Gadang Cultural Values in Galombang Dance in Pariangan, West Sumatra","authors":"Afifah Asriati, AS Hardy Shafii, Yuliasma Yuliasma, I. Putra, Desfiarni Desfiarni","doi":"10.15294/harmonia.v24i1.39447","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.39447","url":null,"abstract":"This article aims to expose the revitalization of Siriah Gadang cultural values in Galombang dance performed in Guguak village, Pariangan, Tanah Datar Regency, West Sumatra. Siriah Gadang is almost extinct because it is very rarely used. It is a cultural object with the same function as Carano, which is currently used for Galombang dance performances. To achieve this goal, qualitative research was used through observation, documentation, in-depth interviews, and Focus Group Discussion (FGD) techniques. The data obtained were analyzed using the Miles and Haberman model. It was found that the cultural values in Siriah Gadang are customary values, ethical values, social values, religious values, and leadership values reflected in the philosophy of the Minangkabau people “adaik basandi syarak, syarak basandi Kitabullah.”","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141675006","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}
High requirements for specialists, specifically in the field of Design, who can quickly respond to modern socio-economic conditions and work effectively in a market economy necessitate a substantial upgrade of the professional education system for training costume designers. This study aimed to substantiate and implement the methodology for developing professional competencies of future costume designers in higher education institutions in Kazakhstan. The methodological approach of this experimental study was based on the development of a methodology for developing the professional competencies of the future costume designer and readiness components: motivational, cognitive-activity, creative, and reflective. The content of the basic terms “professional competence” and “designer’s professional competence” was determined; their signs and features were covered, and and a methodology for developing professional competencies of the future costume designer in the design system was developed and implemented. In the conducted experimental study at the ascertaining stage of the experiment at Makhambet Utemisov West Kazakhstan University, methodological tools were developed to increase the readiness of the future costume designer to develop professional competencies in the design system. After conducting an experimental study, promising areas for improving the methodology for the readiness of a future costume designer to develop professional competencies in the design system in higher educational institutions of Kazakhstan were formed. The practical value of the study lies in training a specialist who can implement scientific ideas and developments in the field of fashion design in Kazakhstan.
{"title":"Development of Professional Competencies of The Future Costume Designer in the Design System","authors":"Elvira Faizulina, Aliya Yessengaliyeva, Venera Jumagaliyeva","doi":"10.15294/harmonia.v24i1.50298","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.50298","url":null,"abstract":"High requirements for specialists, specifically in the field of Design, who can quickly respond to modern socio-economic conditions and work effectively in a market economy necessitate a substantial upgrade of the professional education system for training costume designers. This study aimed to substantiate and implement the methodology for developing professional competencies of future costume designers in higher education institutions in Kazakhstan. The methodological approach of this experimental study was based on the development of a methodology for developing the professional competencies of the future costume designer and readiness components: motivational, cognitive-activity, creative, and reflective. The content of the basic terms “professional competence” and “designer’s professional competence” was determined; their signs and features were covered, and and a methodology for developing professional competencies of the future costume designer in the design system was developed and implemented. In the conducted experimental study at the ascertaining stage of the experiment at Makhambet Utemisov West Kazakhstan University, methodological tools were developed to increase the readiness of the future costume designer to develop professional competencies in the design system. After conducting an experimental study, promising areas for improving the methodology for the readiness of a future costume designer to develop professional competencies in the design system in higher educational institutions of Kazakhstan were formed. The practical value of the study lies in training a specialist who can implement scientific ideas and developments in the field of fashion design in Kazakhstan.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141675300","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.42152
Hanping Feng, S. Shahir
“Space,” as a fundamental conceptual term, has been frequently and widely applied within various disciplines, such as sociology, architecture, philosophy, math, art, and so forth. In pictorial art, the term “space” is often used as a lens to understand specific concepts or artworks. This study aims to explain and describe pictorial spatial construction in paintings by applying various approaches. However, in the field of formalist analysis over the past century, except for a few formalist critics who have engaged with pictorial space, few have attempted to use creative methodologies to systematically analyze how pictorial space is constructed in the painting, particularly in works by contemporary painters. Therefore, to fill in this lacuna in the research, this study utilizes new formal analytical methods to analyze and explain spatial construction in paintings. In terms of the method of analysis, this study analyzes a sample of Western contemporary paintings and utilizes the approaches of the overlap of the abstract and the figurative, parallel narratives existing in multiple spaces, and the juxtaposition of different material dimensions, respectively, to rethink the method of spatial construction in the painting. The result concludes that paintings are an essential research object within visual art. The construction of image space is rich and includes multiple layers of meaning. The overlapping of abstract space (sensibility) and figurative space (rationality), as well as the coexistence of this contradictory system, enables artists to discover more possibilities when creating works and effectively enrich visual effects and textures in their paintings.
{"title":"An Analysis of Spatial Construction in Pictorial Art from the Perspective of Formalism","authors":"Hanping Feng, S. Shahir","doi":"10.15294/harmonia.v24i1.42152","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.42152","url":null,"abstract":"“Space,” as a fundamental conceptual term, has been frequently and widely applied within various disciplines, such as sociology, architecture, philosophy, math, art, and so forth. In pictorial art, the term “space” is often used as a lens to understand specific concepts or artworks. This study aims to explain and describe pictorial spatial construction in paintings by applying various approaches. However, in the field of formalist analysis over the past century, except for a few formalist critics who have engaged with pictorial space, few have attempted to use creative methodologies to systematically analyze how pictorial space is constructed in the painting, particularly in works by contemporary painters. Therefore, to fill in this lacuna in the research, this study utilizes new formal analytical methods to analyze and explain spatial construction in paintings. In terms of the method of analysis, this study analyzes a sample of Western contemporary paintings and utilizes the approaches of the overlap of the abstract and the figurative, parallel narratives existing in multiple spaces, and the juxtaposition of different material dimensions, respectively, to rethink the method of spatial construction in the painting. The result concludes that paintings are an essential research object within visual art. The construction of image space is rich and includes multiple layers of meaning. The overlapping of abstract space (sensibility) and figurative space (rationality), as well as the coexistence of this contradictory system, enables artists to discover more possibilities when creating works and effectively enrich visual effects and textures in their paintings.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141675031","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.44083
Syaiful Amin, S. Sariyatun, G. Gunarhadi, Hieronymus Purwanta
This study aims to analyze the results of exploring stambul comedy as part of Indies art in early 20th-century Semarang as an effort to implement meaningful learning about colonialism for students. This research was conducted using a qualitative framework with a case study approach. Data were collected through interviews, observations, and document studies. The data analysis for this research referred to Yin’s two patterns: pattern matching and explanation building. The results showed that the narrative of Stambul comedy in early 20th-century Semarang is relevant for developing students’ knowledge about colonialism in a more contextual manner. Findings indicate that students’ initial understanding of colonialism was still not contextual and tended to be theoretical, with colonialism merely understood as a process of occupation and domination by one nation over another. After exploring material on the development of Indies art through contextual teaching and learning, students were able to think critically and collaboratively. A constructivist process could trigger acceptance and rejection of colonialism: discovering, elaborating, and determining the meaning of learning. Moreover, students’ new knowledge could be factually constructed, influenced by factors such as reading preferences, collaborative abilities, and critical examination of texts provided by the teacher and further explored by the students.
{"title":"Stambul Comedy Exploration in Early 20th-Century Semarang: Meaningful Teaching about Colonialism","authors":"Syaiful Amin, S. Sariyatun, G. Gunarhadi, Hieronymus Purwanta","doi":"10.15294/harmonia.v24i1.44083","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.44083","url":null,"abstract":"This study aims to analyze the results of exploring stambul comedy as part of Indies art in early 20th-century Semarang as an effort to implement meaningful learning about colonialism for students. This research was conducted using a qualitative framework with a case study approach. Data were collected through interviews, observations, and document studies. The data analysis for this research referred to Yin’s two patterns: pattern matching and explanation building. The results showed that the narrative of Stambul comedy in early 20th-century Semarang is relevant for developing students’ knowledge about colonialism in a more contextual manner. Findings indicate that students’ initial understanding of colonialism was still not contextual and tended to be theoretical, with colonialism merely understood as a process of occupation and domination by one nation over another. After exploring material on the development of Indies art through contextual teaching and learning, students were able to think critically and collaboratively. A constructivist process could trigger acceptance and rejection of colonialism: discovering, elaborating, and determining the meaning of learning. Moreover, students’ new knowledge could be factually constructed, influenced by factors such as reading preferences, collaborative abilities, and critical examination of texts provided by the teacher and further explored by the students.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 46","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141675131","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.46462
Amihan Bonifacio Ramolete, S. A. Tiatco
This article aims to explore how the staging of Papet Pasyon, a children’s play by Amelia Lapeña-Bonifacio, a Philippine National Artist, impart and continues to communicate to the local younger audience an understanding of culture and an appreciation of the art of puppetry. This is then followed by the conceptualization of the actual staging of the play vis-à-vis her vision of a children’s theatre. Afterward, Papet Pasyon is asserted as a pedagogy for younger audiences. Results of the study show (1) how the pre-show conversation prepares the audience for the performance and how it provides an understanding of Filipino cultural traditions and an appreciation of the art of puppetry; (2) how the performance serves as a venue for experiential learning; (3) how the art of puppetry challenges one’s imagination in manipulating the puppet (in the case of the puppeteer) and in creating meanings from what they hear and see onstage (in the case of the audience); (4) cooperation and integration are made evident by the interactions between the puppet and the puppeteer and the puppet and puppeteer with the audience; and (5) that although puppetry is foreign to the audience, they have expressed appreciation of the art form by repeatedly watching the performance through the years.
{"title":"Awakening Philippine Cultural Consciousness in the Youth through Amelia Lapeña-Bonifacio’s Papet Pasyon","authors":"Amihan Bonifacio Ramolete, S. A. Tiatco","doi":"10.15294/harmonia.v24i1.46462","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.46462","url":null,"abstract":"This article aims to explore how the staging of Papet Pasyon, a children’s play by Amelia Lapeña-Bonifacio, a Philippine National Artist, impart and continues to communicate to the local younger audience an understanding of culture and an appreciation of the art of puppetry. This is then followed by the conceptualization of the actual staging of the play vis-à-vis her vision of a children’s theatre. Afterward, Papet Pasyon is asserted as a pedagogy for younger audiences. Results of the study show (1) how the pre-show conversation prepares the audience for the performance and how it provides an understanding of Filipino cultural traditions and an appreciation of the art of puppetry; (2) how the performance serves as a venue for experiential learning; (3) how the art of puppetry challenges one’s imagination in manipulating the puppet (in the case of the puppeteer) and in creating meanings from what they hear and see onstage (in the case of the audience); (4) cooperation and integration are made evident by the interactions between the puppet and the puppeteer and the puppet and puppeteer with the audience; and (5) that although puppetry is foreign to the audience, they have expressed appreciation of the art form by repeatedly watching the performance through the years.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141676404","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.43311
Dwi Cahyadi, S. Ismail, Roslina Mohammad, Mohd Yusof Md Daud, Muh Irwan
One of the crucial factors in Indonesia’s National Industrial Development Master Plan 2015 - 2035 is enhancing human resources skills and creativity in producing wood/rattan handicrafts. Aesthetic factors are the main requirements for these products due to their cultural and artistic value. In determining the direction of the innovations, it is necessary to understand the product’s development, especially in this regard. Therefore, this study aimed to assess the aesthetic factors used in developing rattan bag handicraft products using the Systematic Literature Review (SLR) approach, guided by Preferred Reporting Items for Systematic Review and Meta-Analysis (PRISMA). The SLR was conducted based on the journal and proceedings obtained through the Science Direct, Google Scholar, and Springer databases. The contribution of this study was to find aesthetic factors considered for the development of bag product innovation. The results showed that six aesthetic factors were applied in developing rattan bag products: materials, motifs, ethnic/culture, shapes, patterns, and colors.
{"title":"An Aesthetic “Touch” for the Development of Rattan Bag Handicraft Products in Indonesia: A Systematic Literature Review","authors":"Dwi Cahyadi, S. Ismail, Roslina Mohammad, Mohd Yusof Md Daud, Muh Irwan","doi":"10.15294/harmonia.v24i1.43311","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.43311","url":null,"abstract":"One of the crucial factors in Indonesia’s National Industrial Development Master Plan 2015 - 2035 is enhancing human resources skills and creativity in producing wood/rattan handicrafts. Aesthetic factors are the main requirements for these products due to their cultural and artistic value. In determining the direction of the innovations, it is necessary to understand the product’s development, especially in this regard. Therefore, this study aimed to assess the aesthetic factors used in developing rattan bag handicraft products using the Systematic Literature Review (SLR) approach, guided by Preferred Reporting Items for Systematic Review and Meta-Analysis (PRISMA). The SLR was conducted based on the journal and proceedings obtained through the Science Direct, Google Scholar, and Springer databases. The contribution of this study was to find aesthetic factors considered for the development of bag product innovation. The results showed that six aesthetic factors were applied in developing rattan bag products: materials, motifs, ethnic/culture, shapes, patterns, and colors.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 15","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141675695","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 : 2024-07-05DOI: 10.15294/harmonia.v24i1.46744
Abdul Hamid Chan, Muhammad Fazli Taib Saearani, Salman Alfarisi
The main objective of this study is to examine the Islamic and Malay elements that are acculturated in the Dabus dance ritual of Perak, Malaysia. The focused group of this study is the Dabus of Tanjung Bidara village, estimated to have been established since the 1818s. However, throughout that time, the perception of the Malay community has not been strong yet, specifically regarding the ritual relationship of the Dabus dance with Islamic values. In fact, not infrequently, Dabus dance rituals are seen as contradicting the values of Islam itself. It is even seen over as skewed by some of the Malay community. However, in terms of history, meaning, practice, and ritual function, the Dabus dance itself cannot be separated from Islam. The study was designed as a field study. The data collected is qualitative and analysed critically using ritual theory, cultural symbols, and acculturation. Data was collected through interviews, field observations, and documents. Other data sources include a review of text, photos, videos, and relevant articles. The findings show that 1) the process of Malay-Islamic acculturation in Dabus dance rituals has been since the arrival of Dabus dance in the Malay peninsula and continues until now; 2) one of the most significant Islamic-Malay acculturation methods and strategies is the reinvention of the Dabus dance over time; 3) Islamic-Malay acculturation includes not only physical forms (forms, structures, and ritual elements) but also non-physical aspects (doa, zikir, selawat, berzanji, belief).
{"title":"The Acculturation of Malay-Islamic Elements in the Dabus Dance Ritual in the Malay Community of Perak, Malaysia","authors":"Abdul Hamid Chan, Muhammad Fazli Taib Saearani, Salman Alfarisi","doi":"10.15294/harmonia.v24i1.46744","DOIUrl":"https://doi.org/10.15294/harmonia.v24i1.46744","url":null,"abstract":"The main objective of this study is to examine the Islamic and Malay elements that are acculturated in the Dabus dance ritual of Perak, Malaysia. The focused group of this study is the Dabus of Tanjung Bidara village, estimated to have been established since the 1818s. However, throughout that time, the perception of the Malay community has not been strong yet, specifically regarding the ritual relationship of the Dabus dance with Islamic values. In fact, not infrequently, Dabus dance rituals are seen as contradicting the values of Islam itself. It is even seen over as skewed by some of the Malay community. However, in terms of history, meaning, practice, and ritual function, the Dabus dance itself cannot be separated from Islam. The study was designed as a field study. The data collected is qualitative and analysed critically using ritual theory, cultural symbols, and acculturation. Data was collected through interviews, field observations, and documents. Other data sources include a review of text, photos, videos, and relevant articles. The findings show that 1) the process of Malay-Islamic acculturation in Dabus dance rituals has been since the arrival of Dabus dance in the Malay peninsula and continues until now; 2) one of the most significant Islamic-Malay acculturation methods and strategies is the reinvention of the Dabus dance over time; 3) Islamic-Malay acculturation includes not only physical forms (forms, structures, and ritual elements) but also non-physical aspects (doa, zikir, selawat, berzanji, belief).","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 43","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141677285","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：