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All Journal Harmonia: Journal of Research and Education Prosiding Seminar Nasional Darmajaya
Indriyanto -
Dance Department of Semarang State University
Arts Education

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The Analysis of Topeng Sinok Dance in Brebes Regency Sintho Rukmi, Dinar Ayu; -, Indriyanto
Harmonia: Journal of Arts Research and Education Vol 15, No 1 (2015): (EBSCO, DOAJ & DOI Indexed, June 2015)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v15i1.3693

Abstract

Topeng Sinok dance is the characteristic art of Brebes regency. This dance tells about the typical women in Brebes who are hard-working. Beauty, flexibility, and elegance do not reduce their love for nature and farming. This dance is a combination of Cirebon, Banyumas, and Surakarta style. The dance is basically aiming at showing that women from the border areas of Central and West Java are not spoiled, whiny, and lazy. Topeng Sinok dance is performed beautifully, elegant, and swift. This paper purposes to uncover the meaning behind Topeng Sinok dance movement. This study implements qualitative method that uses qualitative descriptive approach. The data collection process was conducted by using observation, documentation, and interview techniques. Further, the data were analysed by using dance data analysis by following the steps of (1) identifying and describing components; (2) understanding; (3) interpreting; and (4) evaluating. The data were then validated by using triangulation.
PENGARUH TARI JAWA PADA TARI BALADEWAN BANYUMASAN -, Indriyanto
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.2071

Abstract

Tradisi besar akan mempengaruhi tradisi kecil. Tari Jawa sebagai tradisi besar berpengaruh pada tari Baladewan Banyumasan sebagai tari tradisional kerakyatan dan sebagai tradisi kecil.   Pengaruh tari Jawa pada tari Baladewan dapat ditelaah melalui gerak tarinya.  Norma dasar menari pada tari Baladewan mempunyai kesamaan dengan norma dasar menari pada tari Jawa yaitu sikap kaki mendak, pupu mlumah, kaki malang, dada ndegég, perut ngempis dan pantat ditarik ke belakang.  Kategori tari Baladewan mirip dengan kategori tari Putera Gagah pada tari Jawa.  Pengaruh tari Jawa pada gerak tari Baladewan terdapat pada unsur-unsur gerak kepala, tangan, badan, dan kaki yang membentuk ragam-ragam gerak tari Baladewan. Unsur-unsur gerak tersebut mempunyai banyak kesamaan dengan unsur-unsur gerak pada tari Jawa. A big tradition will infl uence a small one. Javanese dance as the big tradition had some infl uence on Banyumas Baladewan dance as a traditional folk dance and the small tradition. The infl uence of Javanese dance on Baladewan dance could be identifi ed in its dance movement. The basic norms of dance in Baladewan dance have some affi nities with those of Javanese dance, namely kaki mendak (descending feet), pupu mlumah (lying thigh), kaki malang (crossed-legged), dada ndegeg (throwing out chest), perut ngempis (shriveling belly), and buttock pulled backward. The category of Baladewan dance resembles the one of Putera Gagah (sturdy son) dance in Javanese dance. The infl uence of Javanese dance on Baladewan dance movement is discernible in the movements of head, hands, body, and feet that shape the diverse moves of Baladewan dance. The moves have many affi nities to the ones in Javanese dance.
IDENTIFIKASI TINGKAT KERUSAKAN TEGAKAN HUTAN DI AREAL KPPH TALANGMULYA -, Indriyanto; Tsani, Machya K.; Bintoro, Afif; -, Duryat; -, Surnayanti
Prosiding Seminar Nasional Darmajaya Vol 1 (2017): SEMNAS IIB DARMAJAYA
Publisher : Prosiding Seminar Nasional Darmajaya

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Permasalahanberkaitandengantanaman yang dibudidayakan olehpetanianggota KPPH Talangmulyadi areal garapannyadalamkawasanTahura Wan Abdul Rachmanadalahadanyakerusakanpadaberbagai organ tanaman.Olehkarenaitu, penelitianinidilakukandengantujuanuntukmengetahuijenis-jeniskerusakan, persentasekejadian (keluasan) kerusakan, dantingkatkerusakantegakanhutan di areal garapanpetanitersebut.  Penelitian dilakukan pada bulan Juli sampai September 2016.  Pengambilandata menggunakan teknik sampling dengan intensitas sampling 1%.Plot sampel berbentuk segi empat dengan ukuran 20m x 20 m yang tersebar secara sistematik berjumlah 13 buah plot sampel.Hasilpenelitianiniadalahteridentifikasi 31 jeniskerusakan yang terdiriatas 11 jeniskerusakanpadabatang, 8 jeniskerusakanpadacabang, 9 jeniskerusakanpadadaun, 2 jeniskerusakanpadabuah, dan 1 jeniskerusakanpadaakar.Kemudian, persentasekejadianserangansebesar 54,8% dantingkatkerusakantegakantermasukkategorisangatringandengannilaipersentasekerusakansebesar 14,0%.  Akan tetapi, sebaranlokasikejadiankerusakantersebar di seluruh area studi.Berdasarkanhasilpenelitiantersebutdapatdisimpulkanbahwategakanhutan di areal garapanpetani KPPHTalangmulyaterkategoritidaksehatdengantingkatkerusakandan/atautingkatseranganhamadanpenyakittermasuksangatringan.   Kata kunci: identifikasi, kerusakan, tegakan, hutan
PENGARUH TARI JAWA PADA TARI BALADEWAN BANYUMASAN -, Indriyanto
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.2071

Abstract

Tradisi besar akan mempengaruhi tradisi kecil. Tari Jawa sebagai tradisi besar berpengaruh pada tari Baladewan Banyumasan sebagai tari tradisional kerakyatan dan sebagai tradisi kecil.   Pengaruh tari Jawa pada tari Baladewan dapat ditelaah melalui gerak tarinya.  Norma dasar menari pada tari Baladewan mempunyai kesamaan dengan norma dasar menari pada tari Jawa yaitu sikap kaki mendak, pupu mlumah, kaki malang, dada ndegég, perut ngempis dan pantat ditarik ke belakang.  Kategori tari Baladewan mirip dengan kategori tari Putera Gagah pada tari Jawa.  Pengaruh tari Jawa pada gerak tari Baladewan terdapat pada unsur-unsur gerak kepala, tangan, badan, dan kaki yang membentuk ragam-ragam gerak tari Baladewan. Unsur-unsur gerak tersebut mempunyai banyak kesamaan dengan unsur-unsur gerak pada tari Jawa. A big tradition will infl uence a small one. Javanese dance as the big tradition had some infl uence on Banyumas Baladewan dance as a traditional folk dance and the small tradition. The infl uence of Javanese dance on Baladewan dance could be identifi ed in its dance movement. The basic norms of dance in Baladewan dance have some affi nities with those of Javanese dance, namely kaki mendak (descending feet), pupu mlumah (lying thigh), kaki malang (crossed-legged), dada ndegeg (throwing out chest), perut ngempis (shriveling belly), and buttock pulled backward. The category of Baladewan dance resembles the one of Putera Gagah (sturdy son) dance in Javanese dance. The infl uence of Javanese dance on Baladewan dance movement is discernible in the movements of head, hands, body, and feet that shape the diverse moves of Baladewan dance. The moves have many affi nities to the ones in Javanese dance.
The Analysis of Topeng Sinok Dance in Brebes Regency Sintho Rukmi, Dinar Ayu; -, Indriyanto
Harmonia: Journal of Arts Research and Education Vol 15, No 1 (2015): June 2015
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v15i1.3693

Abstract

Topeng Sinok dance is the characteristic art of Brebes regency. This dance tells about the typical women in Brebes who are hard-working. Beauty, flexibility, and elegance do not reduce their love for nature and farming. This dance is a combination of Cirebon, Banyumas, and Surakarta style. The dance is basically aiming at showing that women from the border areas of Central and West Java are not spoiled, whiny, and lazy. Topeng Sinok dance is performed beautifully, elegant, and swift. This paper purposes to uncover the meaning behind Topeng Sinok dance movement. This study implements qualitative method that uses qualitative descriptive approach. The data collection process was conducted by using observation, documentation, and interview techniques. Further, the data were analysed by using dance data analysis by following the steps of (1) identifying and describing components; (2) understanding; (3) interpreting; and (4) evaluating. The data were then validated by using triangulation.
The Analysis of Topeng Sinok Dance in Brebes Regency Sintho Rukmi, Dinar Ayu; -, Indriyanto
Harmonia: Journal of Arts Research and Education Vol 15, No 1 (2015): June 2015
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v15i1.3693

Abstract

Topeng Sinok dance is the characteristic art of Brebes regency. This dance tells about the typical women in Brebes who are hard-working. Beauty, flexibility, and elegance do not reduce their love for nature and farming. This dance is a combination of Cirebon, Banyumas, and Surakarta style. The dance is basically aiming at showing that women from the border areas of Central and West Java are not spoiled, whiny, and lazy. Topeng Sinok dance is performed beautifully, elegant, and swift. This paper purposes to uncover the meaning behind Topeng Sinok dance movement. This study implements qualitative method that uses qualitative descriptive approach. The data collection process was conducted by using observation, documentation, and interview techniques. Further, the data were analysed by using dance data analysis by following the steps of (1) identifying and describing components; (2) understanding; (3) interpreting; and (4) evaluating. The data were then validated by using triangulation.
Co-Authors Afif Bintoro Dinar Ayu Sintho Rukmi, Dinar Ayu Duryat - Surnayanti Surnayanti Tsani, Machya K.