Pub Date : 2022-12-31DOI: 10.15294/harmonia.v22i2.37525
Aris Setiawan
This study aims to reveal the main reasons why wayang kulit (shadow puppets) and gamelan music were used again as tools of Islamic da’wah after the Wali Sanga era (Nine Saints). In Central Java (Banyumas, Solo, Demak, Pati), there has been a phenomenon of Islamic preaching and recitation performed by Kiai using wayang kulit and gamelan music. This study uses a phenomenological approach, which is to get an explanation of the apparent reality. This approach focuses on events that are seen as having an impact, polemic, and discourse on life. This study also uses a critical approach, looking critically at the phenomenon of -art- being researched to test how far the view that puts that wayang (and gamelan) is not by religious rules is accepted, rejected, and even opposed. The result shows that although da’wah using wayang and gamelan has sparked a lot of polemics, the use of wayang and gamelan music is considered more effective in spreading Islamic teachings to grassroots communities due to two factors. First, continuing the trace of tradition brought by the first Islamic missionaries in Java (Wali Sanga). Second, to make people aware, especially young santri (prospective preachers) or congregation today, realize that Islam is spread peacefully and without resistance through art.
本研究旨在揭示为什么在Wali Sanga时代(九圣)之后，wayang kulit(皮影)和gamelan音乐再次被用作伊斯兰达瓦的工具的主要原因。在中爪哇(Banyumas, Solo, Demak, Pati)，有一种由Kiai用wayang kulit和gamelan音乐进行伊斯兰布道和背诵的现象。本研究采用现象学的方法，对表象实在进行解释。这种方法关注的是那些被认为对生活有影响、有争议、有论述的事件。这项研究也使用了一种批判的方法，批判地看待被研究的“艺术”现象，以检验“wayang(和gamelan)不受宗教规则约束”的观点在多大程度上被接受、拒绝甚至反对。结果显示，虽然大华使用wayang和甘美兰音乐引发了许多争论，但由于两个因素，使用wayang和甘美兰音乐被认为更有效地向基层社区传播伊斯兰教义。首先，延续了第一批伊斯兰传教士在爪哇(Wali Sanga)带来的传统。第二，让人们意识到，特别是今天年轻的santri(未来的牧师)或会众意识到，伊斯兰教是通过艺术和平地、没有抵抗地传播的。
{"title":"Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for Contemporary Preaching Islam Religion in Central Java, Indonesia","authors":"Aris Setiawan","doi":"10.15294/harmonia.v22i2.37525","DOIUrl":"https://doi.org/10.15294/harmonia.v22i2.37525","url":null,"abstract":"This study aims to reveal the main reasons why wayang kulit (shadow puppets) and gamelan music were used again as tools of Islamic da’wah after the Wali Sanga era (Nine Saints). In Central Java (Banyumas, Solo, Demak, Pati), there has been a phenomenon of Islamic preaching and recitation performed by Kiai using wayang kulit and gamelan music. This study uses a phenomenological approach, which is to get an explanation of the apparent reality. This approach focuses on events that are seen as having an impact, polemic, and discourse on life. This study also uses a critical approach, looking critically at the phenomenon of -art- being researched to test how far the view that puts that wayang (and gamelan) is not by religious rules is accepted, rejected, and even opposed. The result shows that although da’wah using wayang and gamelan has sparked a lot of polemics, the use of wayang and gamelan music is considered more effective in spreading Islamic teachings to grassroots communities due to two factors. First, continuing the trace of tradition brought by the first Islamic missionaries in Java (Wali Sanga). Second, to make people aware, especially young santri (prospective preachers) or congregation today, realize that Islam is spread peacefully and without resistance through art.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86560659","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 : 2022-12-31DOI: 10.15294/harmonia.v22i2.37619
Richard Junior Kapoyos, S. Suharto, S. Syakir
This research aimed to see the phenomenon of the bia music of the Minahasa tribe that needed to be carefully observed in considering Bia Music then until now was shifting and changing due to the society’s lack of awareness towards Bia Music. This traditional music was very concerning due to the decreasing quantity and quality of the players. The objectives of this research were to analyze: (1) the traditional music heritage and preserving tradition across generations and (2) the educational process in traditional musical performances. The research applied a qualitative method with data collecting techniques by interview, observation, and literature review. Data validation technique based on credibility criteria, using data triangulation. Data analysis techniques consisted of collection, data presentation, data reduction, and data verification. The results of the study show that the younger generation realizes that bia music has become distinctive music that belongs to the community. This music has become part of the social life of the people in Batu village, North Minahasa, so that the educational process in society occurs naturally as a model of inheritance that occurs continuously in society.
{"title":"Bia Music: Traditional Music Heritage and Preserving Tradition Across Generations","authors":"Richard Junior Kapoyos, S. Suharto, S. Syakir","doi":"10.15294/harmonia.v22i2.37619","DOIUrl":"https://doi.org/10.15294/harmonia.v22i2.37619","url":null,"abstract":"This research aimed to see the phenomenon of the bia music of the Minahasa tribe that needed to be carefully observed in considering Bia Music then until now was shifting and changing due to the society’s lack of awareness towards Bia Music. This traditional music was very concerning due to the decreasing quantity and quality of the players. The objectives of this research were to analyze: (1) the traditional music heritage and preserving tradition across generations and (2) the educational process in traditional musical performances. The research applied a qualitative method with data collecting techniques by interview, observation, and literature review. Data validation technique based on credibility criteria, using data triangulation. Data analysis techniques consisted of collection, data presentation, data reduction, and data verification. The results of the study show that the younger generation realizes that bia music has become distinctive music that belongs to the community. This music has become part of the social life of the people in Batu village, North Minahasa, so that the educational process in society occurs naturally as a model of inheritance that occurs continuously in society.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88415391","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 : 2022-12-31DOI: 10.15294/harmonia.v22i2.38636
B. Riyanto, N. Alimin, Endri Sintiana Murni
The focuses of this research are the visual style reconstruction of cigarette advertisements published in magazines during the colonial era of the Dutch East Indies and the expressions of lifestyle recorded in them. This study examines the visualization and visual style of cigarette advertisements published in magazines in Indonesia from 1925 to 2000. This study also aims to reconstruct the lifestyle in the visual representation of cigarette advertisements as a reflection of the process of social change in Indonesian society during the colonial to the post-colonial period (1925 - 2000). This research employed descriptive analytical methodology, with the main theory of the social history of Art and David Chaney’s lifestyle theory. The visual style of Oriental Modern Eclecticism captures the Indies’ hybrid lifestyle expression, namely: a pseudo-modernity lifestyle as a result of the integration among the colonized communities which were spread across the Dutch East Indies (1925-1942). The cigarette advertisements of that era presented an imaginary world that depicted the harmonious social interactions of various social layers which is contrary to the social reality of the segregated colonial life.
{"title":"Lifestyle Ambiguity: The Visuals of Cigarette Advertisements in the Dutch East Indes Era","authors":"B. Riyanto, N. Alimin, Endri Sintiana Murni","doi":"10.15294/harmonia.v22i2.38636","DOIUrl":"https://doi.org/10.15294/harmonia.v22i2.38636","url":null,"abstract":"The focuses of this research are the visual style reconstruction of cigarette advertisements published in magazines during the colonial era of the Dutch East Indies and the expressions of lifestyle recorded in them. This study examines the visualization and visual style of cigarette advertisements published in magazines in Indonesia from 1925 to 2000. This study also aims to reconstruct the lifestyle in the visual representation of cigarette advertisements as a reflection of the process of social change in Indonesian society during the colonial to the post-colonial period (1925 - 2000). This research employed descriptive analytical methodology, with the main theory of the social history of Art and David Chaney’s lifestyle theory. The visual style of Oriental Modern Eclecticism captures the Indies’ hybrid lifestyle expression, namely: a pseudo-modernity lifestyle as a result of the integration among the colonized communities which were spread across the Dutch East Indies (1925-1942). The cigarette advertisements of that era presented an imaginary world that depicted the harmonious social interactions of various social layers which is contrary to the social reality of the segregated colonial life.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75187799","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 : 2022-12-31DOI: 10.15294/harmonia.v22i2.36753
Elmi Novita, Santosa Soewarlan, Nyoman Sukerna
This study aimed to explore manortors as a medium for building solidarity and identity for the Mandailing community in Rokan Hulu Regency, Riau Province. The research method was carried out through observation of manortor performances in Menaming, Bangun Purba, and Khaiti Villages as Mandailing ethnic dominions in Rokan Hulu. The observation focused on the movement aspect of the manortor. In-depth interviews were conducted to reinforce the data obtained through the observation of the manortor and to explore how aspects of the movement in the manortor build solidarity and identity. The results showed that manortor is a dance that embodies kinship relationships with dalihan na tolu. The form of movement, standing position, and order of performance should be in line with the norms of kinship. The group members dance together with movements representing kinship relationships and strengthening kinship relationships, building solidarity and a strong self-identity.English translation.
{"title":"Manortor as a Solidarity and Identity Building Media of Mandailing Ethnic Group in Rokan Hulu, Riau Province","authors":"Elmi Novita, Santosa Soewarlan, Nyoman Sukerna","doi":"10.15294/harmonia.v22i2.36753","DOIUrl":"https://doi.org/10.15294/harmonia.v22i2.36753","url":null,"abstract":"This study aimed to explore manortors as a medium for building solidarity and identity for the Mandailing community in Rokan Hulu Regency, Riau Province. The research method was carried out through observation of manortor performances in Menaming, Bangun Purba, and Khaiti Villages as Mandailing ethnic dominions in Rokan Hulu. The observation focused on the movement aspect of the manortor. In-depth interviews were conducted to reinforce the data obtained through the observation of the manortor and to explore how aspects of the movement in the manortor build solidarity and identity. The results showed that manortor is a dance that embodies kinship relationships with dalihan na tolu. The form of movement, standing position, and order of performance should be in line with the norms of kinship. The group members dance together with movements representing kinship relationships and strengthening kinship relationships, building solidarity and a strong self-identity.English translation. ","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"63 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84540933","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 : 2022-12-31DOI: 10.15294/harmonia.v22i2.37140
Yanti Heriyawati, Afri Wita
This paper aims to show appreciation of maritime artworks. There is much global literature on art appreciation but only a few foci on maritime art appreciation. Filling the vacancy requires the study of how the community or public values maritime artworks in the context of the coastal community’s literacy. This article presents the results of maritime art appreciation through Focus Group Discussion (FGD). The participants included academicians, government officials, artists, creators, community, kiyai, and students. The maritime artworks appreciated were “Segara Garam’ and “Tasbih Pesisir” as natural and virtual artworks. Respondents’ insight, knowledge, and experience showed varied perceptions. Respondents with maritime culture backgrounds were quite expressive in expressing the importance of the coastal community’s local wisdom values, while respondents without maritime culture backgrounds paid more attention to artistic and aesthetic aspects instead of to meaning. Appreciation experience showed the importance of perception of maritime art in actualizing local genius. Maritime art appreciation was performed to improve people’s awareness of strengthening maritime culture literacy. Sociocultural differences influenced how they appreciated and produced maritime culture knowledge maritime culture. Respondents’ cognition and affective abilities show varied interpretations, perceptions, and definitions of art values.
{"title":"Exploring Maritime Art toward the Appreciation of Coastal Literacy","authors":"Yanti Heriyawati, Afri Wita","doi":"10.15294/harmonia.v22i2.37140","DOIUrl":"https://doi.org/10.15294/harmonia.v22i2.37140","url":null,"abstract":"This paper aims to show appreciation of maritime artworks. There is much global literature on art appreciation but only a few foci on maritime art appreciation. Filling the vacancy requires the study of how the community or public values maritime artworks in the context of the coastal community’s literacy. This article presents the results of maritime art appreciation through Focus Group Discussion (FGD). The participants included academicians, government officials, artists, creators, community, kiyai, and students. The maritime artworks appreciated were “Segara Garam’ and “Tasbih Pesisir” as natural and virtual artworks. Respondents’ insight, knowledge, and experience showed varied perceptions. Respondents with maritime culture backgrounds were quite expressive in expressing the importance of the coastal community’s local wisdom values, while respondents without maritime culture backgrounds paid more attention to artistic and aesthetic aspects instead of to meaning. Appreciation experience showed the importance of perception of maritime art in actualizing local genius. Maritime art appreciation was performed to improve people’s awareness of strengthening maritime culture literacy. Sociocultural differences influenced how they appreciated and produced maritime culture knowledge maritime culture. Respondents’ cognition and affective abilities show varied interpretations, perceptions, and definitions of art values.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76181207","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 : 2022-12-31DOI: 10.15294/harmonia.v22i2.40627
Suastiwi Triatmodjo, Ted Tsung-te Tsai, M. Burhan, H. B. Prasetya, Endah Budiarti
This study aims to understand the myth of the Goddess Mazu in Lasem City, Central Java. The research was conducted by observing the interior space at Cu An Kiong (CAK), the oldest temple in Lasem City. This study uses a verbal communication approach from Rapoport (1982) and a cultural approach from Koentjaraningrat (2015) to explore human relations with their environment and explain phenomena that exist in the research object. The research found that there is an exaltation space in this Mazu temple; this space is placed on the axis of space and time, it is to see the meaning of the space that has been built is practiced by the whole community, both the Chinese and the Javanese ethnicities, in a continuous flow of time from the first time the temple was built until now, as well as providing an interpretation of the phenomenon which are actually happened in Lasem. Based on the research, it can be concluded that the exaltation space shows the mythical practice of the Goddess Mazu by the local community, both Chinese and Javanese ethnicities. The mythology of Goddess Mazu, or Mak Co, is the protector of fishermen, sailorman, and common people in Lasem.
{"title":"Mythologization of The Goddess Mazu: Readings through Spacial Setting and Activity in the Interior of Cu An Kiong Temple","authors":"Suastiwi Triatmodjo, Ted Tsung-te Tsai, M. Burhan, H. B. Prasetya, Endah Budiarti","doi":"10.15294/harmonia.v22i2.40627","DOIUrl":"https://doi.org/10.15294/harmonia.v22i2.40627","url":null,"abstract":"This study aims to understand the myth of the Goddess Mazu in Lasem City, Central Java. The research was conducted by observing the interior space at Cu An Kiong (CAK), the oldest temple in Lasem City. This study uses a verbal communication approach from Rapoport (1982) and a cultural approach from Koentjaraningrat (2015) to explore human relations with their environment and explain phenomena that exist in the research object. The research found that there is an exaltation space in this Mazu temple; this space is placed on the axis of space and time, it is to see the meaning of the space that has been built is practiced by the whole community, both the Chinese and the Javanese ethnicities, in a continuous flow of time from the first time the temple was built until now, as well as providing an interpretation of the phenomenon which are actually happened in Lasem. Based on the research, it can be concluded that the exaltation space shows the mythical practice of the Goddess Mazu by the local community, both Chinese and Javanese ethnicities. The mythology of Goddess Mazu, or Mak Co, is the protector of fishermen, sailorman, and common people in Lasem. ","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82410266","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 : 2022-12-31DOI: 10.15294/harmonia.v22i2.36567
H. Hendriyana
The meaning of a term is supported by the cultural values of the supporting community, specifically the designer community, who recognize and have faith in the contained values. In a broader sense, the terms kriya and kerajinan are components of the craft-science field. Since 1968, the meaning of the terms kriya, kerajinan, and Craft has been a source of contention among stakeholder community groups in Indonesia. This article aims to convey a scientific understanding of adaptive crafts based on the global development of Indonesian indigenous crafts. This study employed a descriptive-analytical method and an ethnographic communication approach, focusing on sociolinguist studies that include diachronic and synchronic studies. Based on current and relevant theories, the research findings demonstrated the development of Indonesian indigenous crafts in a global context. In conclusion, the Hasta Cipta Preneurship (HCP) theoretical approach was used to identify the basic components: creative ideas, people, products, markets, venues, reproduction, humanists, and support. This HCP creative process extends the definition of new kriya as one of the academic competencies of two-dimensional and/or three-dimensional visual works that advance the conceptual intelligence of Laku Hidup Lestari (LHL-- Sustainable Lifestyles) and is oriented to the aspects of utility, significance, and aesthetics, with the goals and targets for achievement to the aspect of user needs, solutions, and innovation.
一个术语的意义受到支持社区的文化价值观的支持，特别是设计师社区，他们承认并相信所包含的价值观。在更广泛的意义上，术语kriya和kera济南是工艺科学领域的组成部分。自1968年以来，kriya、kerajinan和Craft这三个术语的含义一直是印度尼西亚利益相关者社区团体之间争论的根源。本文旨在以印尼本土工艺的全球发展为基础，传达对适应性工艺的科学认识。本研究采用描述分析方法和民族志传播方法，重点关注社会语言学家的研究，包括历时性和共时性研究。基于现有的相关理论，研究结果展示了印尼本土工艺在全球背景下的发展。最后，采用Hasta Cipta entrepreneurship (HCP)理论方法确定了创业的基本要素:创意、人员、产品、市场、场所、再生产、人文主义和支持。这个HCP的创作过程扩展了新克里亚的定义，将其作为二维和/或三维视觉作品的学术能力之一，推进了Laku Hidup Lestari (LHL—可持续生活方式)的概念智能，并以实用性、意义和美学为导向，以实现用户需求、解决方案和创新为目标。
{"title":"Meaning Differences in Indigenous Kriya and Crafts in Indonesia and Their Leverage on the Craft of Science Globally","authors":"H. Hendriyana","doi":"10.15294/harmonia.v22i2.36567","DOIUrl":"https://doi.org/10.15294/harmonia.v22i2.36567","url":null,"abstract":"The meaning of a term is supported by the cultural values of the supporting community, specifically the designer community, who recognize and have faith in the contained values. In a broader sense, the terms kriya and kerajinan are components of the craft-science field. Since 1968, the meaning of the terms kriya, kerajinan, and Craft has been a source of contention among stakeholder community groups in Indonesia. This article aims to convey a scientific understanding of adaptive crafts based on the global development of Indonesian indigenous crafts. This study employed a descriptive-analytical method and an ethnographic communication approach, focusing on sociolinguist studies that include diachronic and synchronic studies. Based on current and relevant theories, the research findings demonstrated the development of Indonesian indigenous crafts in a global context. In conclusion, the Hasta Cipta Preneurship (HCP) theoretical approach was used to identify the basic components: creative ideas, people, products, markets, venues, reproduction, humanists, and support. This HCP creative process extends the definition of new kriya as one of the academic competencies of two-dimensional and/or three-dimensional visual works that advance the conceptual intelligence of Laku Hidup Lestari (LHL-- Sustainable Lifestyles) and is oriented to the aspects of utility, significance, and aesthetics, with the goals and targets for achievement to the aspect of user needs, solutions, and innovation.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77361862","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 : 2022-12-31DOI: 10.15294/harmonia.v22i2.41585
Syahrul Syah Sinaga
Bhineka Tunggal Ika reflects national identity, which contains cultural diversity values in Indonesia. Issues of intolerance and globalization often found in Indonesia are the main reasons for instilling children’s character values about diversity through children’s trilingual songs. This study aims to create and develop children’s songs in three languages (trilingual), namely Indonesian, English, and Javanese, as an effort to strengthen children’s character about tolerance and diversity. This research is a type of research and development (RD) using the ASSURE model by combining qualitative and quantitative methods (mixed method). Data collection was carried out using the method of observation, interviews, and written input on the assessment sheet. Meanwhile, quantitative data is collected through questionnaires and assessment sheets in percentage values from experts and users. The results of the study show that the song “Harmony in Diversity” can be used as an educational medium in educating children to have a global outlook but still love the national language and preserve regional languages. This is because they have studied, expressed, and appreciated songs with trilingual meanings and lyrics. The children’s song “Harmoni dalam Keberagaman” is declared feasible and applicable for learning at the elementary school level. This is evidenced by the data validation results, which show that all indicators, namely song components, language, appearance, audiovisual media engineering, and implementation, get very feasible criteria, with an average score of 89.59%. The aspect that gets the highest score is the display aspect, with a score of 90.48%, and the aspect with the lowest percentage is the visual media design component and the song component, with a score of 87.5%..
bineka Tunggal Ika反映了国家认同，它包含了印度尼西亚文化多样性的价值观。印度尼西亚经常出现的不宽容和全球化问题是通过儿童三语歌曲灌输儿童关于多样性的性格价值观的主要原因。本研究旨在以印尼语、英语和爪哇语三种语言(三语)创作和发展儿歌，以加强儿童宽容和多样性的性格。本研究是一种采用定性与定量相结合(混合方法)的ASSURE模型的研究与开发(RD)。数据收集采用观察法、访谈法和在评估表上的书面输入法。同时，通过专家和用户的问卷调查和评估表，以百分比值收集定量数据。研究结果表明，“和而不同”这首歌可以作为一种教育媒介，教育孩子在拥有全球视野的同时，仍然热爱本民族语言，保留地方语言。这是因为他们研究、表达和欣赏具有三种语言含义和歌词的歌曲。儿歌“Harmoni dalam Keberagaman”被宣布为可行和适用于小学阶段的学习。数据验证结果也证明了这一点，歌曲成分、语言、外观、视听媒体工程、执行等指标都得到了非常可行的标准，平均得分为89.59%。得分最高的是展示部分，得分为90.48%，得分最低的是视觉媒体设计部分和歌曲部分，得分为87.5%。
{"title":"Children’s Trilingual Songs (Indonesian, English, and Javanese) as Media for Strengthening the Diversity Character of Elementary School Students","authors":"Syahrul Syah Sinaga","doi":"10.15294/harmonia.v22i2.41585","DOIUrl":"https://doi.org/10.15294/harmonia.v22i2.41585","url":null,"abstract":"Bhineka Tunggal Ika reflects national identity, which contains cultural diversity values in Indonesia. Issues of intolerance and globalization often found in Indonesia are the main reasons for instilling children’s character values about diversity through children’s trilingual songs. This study aims to create and develop children’s songs in three languages (trilingual), namely Indonesian, English, and Javanese, as an effort to strengthen children’s character about tolerance and diversity. This research is a type of research and development (RD) using the ASSURE model by combining qualitative and quantitative methods (mixed method). Data collection was carried out using the method of observation, interviews, and written input on the assessment sheet. Meanwhile, quantitative data is collected through questionnaires and assessment sheets in percentage values from experts and users. The results of the study show that the song “Harmony in Diversity” can be used as an educational medium in educating children to have a global outlook but still love the national language and preserve regional languages. This is because they have studied, expressed, and appreciated songs with trilingual meanings and lyrics. The children’s song “Harmoni dalam Keberagaman” is declared feasible and applicable for learning at the elementary school level. This is evidenced by the data validation results, which show that all indicators, namely song components, language, appearance, audiovisual media engineering, and implementation, get very feasible criteria, with an average score of 89.59%. The aspect that gets the highest score is the display aspect, with a score of 90.48%, and the aspect with the lowest percentage is the visual media design component and the song component, with a score of 87.5%.. ","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"177 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72535637","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 : 2022-12-31DOI: 10.15294/harmonia.v22i2.37181
M. Jazuli, Suharji Suharji, Sestri Indah Pebrianti
The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier’s theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography.
{"title":"The Symbolic Meaning of the Wireng Dance Choreography at the Kasunanan Surakarta Palace","authors":"M. Jazuli, Suharji Suharji, Sestri Indah Pebrianti","doi":"10.15294/harmonia.v22i2.37181","DOIUrl":"https://doi.org/10.15294/harmonia.v22i2.37181","url":null,"abstract":"The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier’s theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"47 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82229453","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 : 2022-12-31DOI: 10.15294/harmonia.v22i2.39209
Dhoni Zustiyantoro, Agus Nuryatin, Teguh Supriyanto, Mukh. Doyin
This study explores the performance of Ki Manteb Soedarsono’s Dewaruci and Bima characters in it. As a carangan play (contemporary), Dewaruci is the most popular play. The purpose of this study is to describe the elements of Dewaruci puppet performance and how the concept of kasampurnan in Javanese cultural psychology was initiated by Suryomentaram (1892-1962). This is qualitative research with a psychological approach using the method of reading, taking notes, and studying literature. The data in a form of performances and texts were collected from Dewaruci scripts and puppet videos on Kanal Seni Gelar YouTube channel. We combine Dewaruci script with the puppeteer Ki Manteb and other sources, in addition, to conduct a critical analysis to identify kasampurnan life concept that Bima does in this play from Suryomentaram’s perspective. The result of the study shows that the Dewaruci puppet show by Ki Manteb has the advantage of being flexible and able to adapt to the context and needs of the audience. The concept of kasampurnan in Dewaruci as a representation of Javanese culture can be explained from the perspective of Suryomentaram indigenous psychology. This finding contradicts previous psychological analyses in literature and art. Previous psychology research used the theory of Sigmund Freud, C. G. Jung, and Alfred Adler. However, we argue that the theory cannot always explain the cultural context because of cultural differences between theory and objects. Therefore, this research is relevant in the spirit of science decolonization to see humans in Javanese culture according to their context and culture.
本研究探讨了Ki Manteb Soedarsono在其中扮演的Dewaruci和Bima角色的表现。作为一部carangan戏剧(当代)，Dewaruci是最受欢迎的戏剧。本研究的目的是描述Dewaruci木偶表演的元素，以及爪哇文化心理学中kasampurnan的概念是如何由Suryomentaram(1892-1962)提出的。这是一种采用心理学方法的定性研究，使用阅读、记笔记和研究文学的方法。以表演和文字形式收集的数据来自Kanal Seni Gelar YouTube频道上的Dewaruci脚本和木偶视频。此外，我们将Dewaruci剧本与木偶师Ki Manteb和其他资料结合起来，进行批判性分析，从Suryomentaram的角度确定Bima在该剧中所做的kasampurnan生活概念。研究结果表明，Ki Manteb的Dewaruci木偶戏具有灵活的优势，能够适应观众的语境和需求。Dewaruci中kasampurnan作为爪哇文化代表的概念可以从Suryomentaram土著心理学的角度来解释。这一发现与先前在文学和艺术领域的心理学分析相矛盾。之前的心理学研究使用了西格蒙德·弗洛伊德、c·g·荣格和阿尔弗雷德·阿德勒的理论。然而，由于理论和对象之间的文化差异，理论并不总是能够解释文化语境。因此，这项研究与科学非殖民化精神有关，根据爪哇文化的背景和文化来看待爪哇文化中的人类。
{"title":"Luwes and Philosophical: Dewaruci Puppet Performance in Suryomentaram’s Kasampurnan Concept","authors":"Dhoni Zustiyantoro, Agus Nuryatin, Teguh Supriyanto, Mukh. Doyin","doi":"10.15294/harmonia.v22i2.39209","DOIUrl":"https://doi.org/10.15294/harmonia.v22i2.39209","url":null,"abstract":"This study explores the performance of Ki Manteb Soedarsono’s Dewaruci and Bima characters in it. As a carangan play (contemporary), Dewaruci is the most popular play. The purpose of this study is to describe the elements of Dewaruci puppet performance and how the concept of kasampurnan in Javanese cultural psychology was initiated by Suryomentaram (1892-1962). This is qualitative research with a psychological approach using the method of reading, taking notes, and studying literature. The data in a form of performances and texts were collected from Dewaruci scripts and puppet videos on Kanal Seni Gelar YouTube channel. We combine Dewaruci script with the puppeteer Ki Manteb and other sources, in addition, to conduct a critical analysis to identify kasampurnan life concept that Bima does in this play from Suryomentaram’s perspective. The result of the study shows that the Dewaruci puppet show by Ki Manteb has the advantage of being flexible and able to adapt to the context and needs of the audience. The concept of kasampurnan in Dewaruci as a representation of Javanese culture can be explained from the perspective of Suryomentaram indigenous psychology. This finding contradicts previous psychological analyses in literature and art. Previous psychology research used the theory of Sigmund Freud, C. G. Jung, and Alfred Adler. However, we argue that the theory cannot always explain the cultural context because of cultural differences between theory and objects. Therefore, this research is relevant in the spirit of science decolonization to see humans in Javanese culture according to their context and culture.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79887034","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：