Article Per Year (5 Year)
p-Index From 2021 - 2026
5.647
P-Index
This Author published in this journals
All Journal Jurnal JSIKA Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Catharsis JURNAL KEPEMIMPINAN DAN PENGURUSAN SEKOLAH JOIV : International Journal on Informatics Visualization Jurnal Penelitian Pertanian Tanaman Pangan AL-ATHFAL : JURNAL PENDIDIKAN ANAK Indonesian Journal of Cardiology Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora (KAGANGA) Journal of Education Technology Gelar : Jurnal Seni Budaya JISIP: Jurnal Ilmu Sosial dan Pendidikan Jurnal Seni Tari Jurnal Eduscience (JES) International Journal of Visual and Performing Arts Jurnal Kajian Ilmiah Jurnal Sistem Informasi Universitas Dinamika Jurnal Gramaswara: Jurnal Pengabdian kepada Masyarakat Indonesian Research Journal on Education Bharasumba Jurnal Multidispliner KONSELOR Profesi Pendidikan Dasar Proceeding Of International Conference On Education, Society And Humanity Jurnal Seni Tari Harmonia: Journal of Arts Research and Education
Agus Cahyono
Department Sendratasik, Semarang State University, Indonesia Sekaran Campus Gunungpati, Semarang 50229, Central Java, Indonesia
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Chemistry Computer Science & IT Economics, Econometrics & Finance Education Energy Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Medicine & Pharmacology Physics Public Health Social Sciences Transportation Other

Published : 88 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 41 Documents
Search
Journal : Catharsis

 1   2   3   4   5 
The Process of Inheritace Ayu Mask Dance in Tanon Backwoods Purwati, Anik; Malarsih, Malarsih; Cahyono, Agus
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.30311

Abstract

This study aims to analyze the process of inheritance in Hamlet Tanon, especially the Mask Dance Ayu as a result of culture. This study uses the approach of cultural sociology. The data collection is done in three ways: observation, interview and documentation. The validity of the data using triangulation techniques and reviews of informants, with interactive data analysis. The results of the research that Inheritance Mask Dance Ayu in the Hamlet Tanon using nyantrik with imitation technique, where children make the observation that the input process the recorded memories cognitively, this observation phase brtujuan children can undergo a preliminary understanding of the concept of motion. Lumaksono come to the show arena, Sembahan ( Atur Sugeng), Atur Pambagyo, Minang (Silat), Pemuda Tanon , Olah Rogo And Lumaksono Muncur Beksan; and internalization directly in training and is intended for children pementasan.tahap can directly practice all memorized and dance with the correct technique; as well as the evaluation process is usually done by the parents of dancers nyantrik Mask Dance Ayu by providing intelligent feedback on their performances. The position of children who Nyantrik dancers behind the core, so that the apprentice dancer can make direct observation. Cultural Inheritance Process It needs an understanding and cooperation between the personal, the environment.
Kamase-Mase Value In The Pa’bitte Passapu Dance Performance of Kajang Ethnic Group of Bulukumba Regency, South Sulawesi Astuti, Andi Arie; Hartono, Hartono; Cahyono, Agus
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31391

Abstract

The Pa’bitte Passapu dance is one of the artistic heritages of the Kajangethnic group which is not well known yet by other people. The Kajangethnic group is anethnic group which is obedient to the content of pasang or a message called tallasa kamase-mase or simple life. Based on this background, the researcher focuses the research on the performance process and the kamase-mase value on the Passapu Pa’bitte dance performance. This study aims to analyze and describe the performance process and the kamase-mase value on the Passapu Pa’bitte dance. The method used in this study is qualitative with an interdisciplinary approach. Data collection techniques used are observation, interview, and document study. The validity technique used is triangulation, and the data analysis is done by reducing data, presenting data and drawing conclusions to obtain research data. The results of the study performance that the kamase-mase value in the Pa'bittePassapu dance performance still follows the rules in pasang (message), namely tallasa kamase-mase (simple life) contained in the clothing of dancers and musicians, the property of dancers and musicians, and the performance process the dance itself. The implication of this Pa’bitte Passapu Dance research for the Kajangethnic group is to preserve the Pa’bitte Passapu dance as an entertainment dance that still holds the rules that apply to the Kajang ethnic group.
Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri Zakiyati, Nur Muaffah; Cahyono, Agus; Syakir, Syakir
Catharsis Vol 9 No 1 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i1.39033

Abstract

The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.
A Revitalization of Tandhakan Wedok Dance in Jatiguwi Village, Sumberpucung District, Malang Regency Prima, Empiri Tahya; Cahyono, Agus; Jazuli, Muhammad
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.39850

Abstract

Tandhakan Wedok Dance grows and develops in the Jatiguwi Village environment. This dance has already existed since 1930 and it does not know who its creator. However, the Tandhakan Wedok Dance was inactive in 1932-1990. Around 1990 the Tandhakan Wedok Dance was just remade by Mbah Madyo and Mbah Chatam. The purpose of this study is to describe, analyze, and interpret narratively about a revitalization of Tandhakan Wedok Dance by using an anthropological dance approach. This study is focused on the Tandhakan Wedok Dance, including the revitalization of the Tandhakan Wedok Dance with the research location of Jatiguwi Village, Sumberpucung District, Malang Regency. The techniques used for the data collection in this study are observation, interviews, and documentation. The results of the research are as follows: the stages of the revitalization process which consists of reformulating new views, communication, organization, adaptation, cultural transformation, and routines. The Tandhakan Wedok Dance presentation consists of movement, music accompaniment, make-up and clothing, and floor patterns. The Tandhakan Wedhok Dance movements are divided into elements of motion which are divided into four, consisting of elements of the head, hands, body, and feet. The motion motives consist of 25 motives of motion. The motion phases are divided into 20 phrases. Sentences of motion/ types of movements of the Tandhakan Wedok Dance namely stationary motion, various motor movements, and various connecting motion. Paragraphs or motion groups have three groups, namely gawang forward, core, gawang backward. 15 musical instruments used in the Tandhakan Wedok Dance. The makeup used is beautiful makeup and for fashion, namely cundhuk penthul, sunggar, jasmine flower, suweng, necklace, long cloth for dodotan, belt, sampur/ shawl, and jarik. There are nine floor patterns of the Tandhakan Wedhok dance.
Musical Creativity and Character Education Values in Performing Arts Activities at SMA Negeri 1 Kedungwuni Afwa, Mughny El.; Utomo, Udi; Cahyono, Agus
Catharsis Vol 10 No 1 (2021)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v10i1.44810

Abstract

This study aims to analyze the process of students' musical creativity and the value of character education through performing arts activities at SMA Negeri 1 Kedungwuni. This study uses a qualitative method. The data were collected by using observation, interview, and document study techniques. The data analysis procedures used data reduction, data presentation, and data verification. The validity of the data used is triangulation, data sources, and theory. The results showed that the process of musical creativity in performing arts activities at SMA Negeri 1 Kedungwuni was carried out in 4 stages. In the first stage, namely preparation, students chose songs and determined what musical arrangements that matched to the theme determined by the teacher. In the second stage, namely incubation, students determined the solution to the problem of music, drama, and dance collaboration arrangements to the teacher through discussion. In the third stage, students determined the musical instruments used, arranged arrangements, and practiced. The last stage was verification of the work of musical creativity which was carried out through the pre-general rehearsal and general rehearsal. Character education values that were formed during the preparation process and performing arts activities are: (1) the value of discipline, (2) the value of creative, (3) the value of cooperation, and (4) the value of responsibility.
Barong ket Dance in Ubud Bali: The Enculturation Process for the Implicated Young Generation to the Existence of Traditional Dance Arista Pratama, Pande Putu Yogi; Cahyono, Agus; Jazuli, Jazuli
Catharsis Vol 10 No 1 (2021)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v10i1.46923

Abstract

Adat Ubud Village as one of the villages in Ubud District, Gianyar Regency, Bali Province, historically it has been known as the center of natural and cultural tourism in Bali. Particularly in the development of cultural tourism, it has become a source of the village income as well as between generations in community members. The cultural tourism in this matter is in the form of barong ket dance performances that are performed in various characters and staged at various stages spread across the area of Ubud. This study aims to examine the problem of how the process of cultivating the barong ket dance to the younger generation in preserving and developing traditional arts so that it becomes a source of income that has economic value. The strategy used in analyzing and examining this research problem uses an enculturation approach. The research results show that; 1) The enculturation of the Barong ket dance that has developed in Ubud was carried out by inheriting a dance style that has been created by its elders. 2) style that has been inherited then developed again through the process of enculturation to young generations. 3) the result of the consistent enculturation process could have implications for the existence of the art of barong ket dance as well as an attraction for tourists who were visiting to Ubud area.
Implementation of Humanist Concept in Music Learning at Qaryah Thayyibah Learning Community Salatiga Taqi, Ahmad Yazid; Utomo, Udi; Cahyono, Agus
Catharsis Vol 10 No 1 (2021)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v10i1.47511

Abstract

Humanist education is related to Ki Hajar Dewantara who is referred to as the Father of education. It prioritizes the humanitarian aspect by maximizing the potential of individuals, it is free, open and unbound. Qaryah Thayyibah Learning Community (KBQT) is a learning community that uses the learning method of student freedom in determining interest.This study was conducted to analyze and describe the application of humanist education concepts to music learning in the Qoryah Thayyibah Learning Community.The method used was a qualitative analytical method. Data collection techniques were carried out by observation techniques, interviews and document studies. Data analysis techniques were carried out with learning theory and humanist educational concepts.The results of the research on the application of humanist education concepts in music education in KBQT were conducted in terms of students as curriculum makers, discussion model learning, Gelar Karya (GK), and Final Project.This research can expand the reader's perspective on the importance of the learning process in KBQT, as it teaches the compactness among students, students and mentors, and sense of responsibility of students to determine their plans, and to be worked on.
Function Changes on Brendung Art Performance in Sarwodadi Community Pemalang Regency: Between Preservation and Development Nirwanto, Bagus; Cahyono, Agus; Utomo, Udi
Catharsis Vol 10 No 1 (2021)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v10i1.48192

Abstract

The purpose of this study is to analyze the shift of function in the context of art preservation and development on Brendung art perfomance in Sarwodadi community, Pemalang Regency. The research method used qualitative data and the research used a case study design. This research used both primary and secondary data sources and the data collection techniques used observation, interview, and document studies. The data analysis technique used interactive data analysis. Brendung is an art in Sarwodadi community, Pemalang and it is part of a performance, which shows a Brendung doll dance under the influence of spirits. The form of its performances have some changes in terms of a form of preservation effort, but it does not abandon the tradition or typical parts of Brendung art. Some preservation efforts of Brendung Art are done in order to maintain the existence of Brendung art itself so that it can still exist and is accepted by the society. The changes in the art are there but they do not abandon the old tradition. The shift of Brendung art performance in Sarwodadi community is as the effort so that the art will survive and does not disappear by the development of the era. It changes but it does not abandon the old tradition or the typical parts of Brendung art. Some preservation efforts of Brendung Art are done in order to maintain the existence of Brendung art itself so that it can still exist and is accepted by the society. The changes in the art are there but they do not abandon the old tradition. Brendung art was initially an art performance that functioned as a means of ritual and related to society and their belief, however, as the time goes by, it changes into an entertainment platform and aesthetic presence for its community.
Enculturation of Senjang Performance At Putri Sak Ayu Studio Musi Banyuasin Regency, South Sumatera Candra, Ronald; Cahyono, Agus; Widodo, Widodo
Catharsis Vol 10 No 1 (2021)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v10i1.48706

Abstract

Senjang is a performing art that still exists and is widely used as an extracurricular teaching material in several educational institutions, both formal and non-formal in Musi Banyuasin Regency, South Sumatra. The existence of Senjang enculturation process has not yet been implemented in accordance with the scientific disciplines possessed by several professional and competent coaches in the field of Senjang. This demanded the students to be able to search for several rehearsal sources of Senjang by themselves using social media such as Youtube as the reference. The phenomenon above is interesting to study and analyze, because it relates to the students’ output produced in order to inherite Senjang art which has become the cultural identity of the community in Musi Banyuasin Regency, South Sumatra itself. The objective of this research was to describe and analyze the enculturation of Senjang performance at Putri Sak Ayu Studio, Musi Banyuasin Regency, South Sumatra. This study used a qualitative method. The research data were obtained from observation, interviews, and documentation studies. The results showed that the coach at Putri Sak Ayu Studio is a senior Senjang artist who has professional competence in training Senjang art. In addition, the enculturation of Senjang performance at Putri Sak Ayu Studio is taught through three stages: (1) The Warm-up Stage (Breathing and Vocal Exercise), (2) The Core Exercise (includes the learning materials of Senjang verses properly and correctly), and (3) The Assignment Stage
Traditional Art in Building Cultural Identity: A Case Study on a Cultural Degree Event Astuti, Yuli Tri; Cahyono, Agus; Sugiarto, Eko
Catharsis Vol 10 No 2 (2021)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v10i2.51638

Abstract

Brebes Regency is located at the west end of Central Java, directly adjacent to Cirebon Regency, West Java Province. In general, the people in Brebes, which is known as the city of Bawang, besides being famous for its agricultural products and also very famous for its salted eggs. Brebes Regency besides being famous for its agricultural and livestock products, Brebes Regency also has various kinds of culture that developed in the Brebes people, including the arts that still exist and are still being preserved by the people of Brebes Regency namely, Burok art, Kuntulan art, Sintren art, mask art dance and lumping horses art and digul art. The art is strived for a conservation to make it easier to build a cultural identity. This study aims to determine the cultural identity built in the conservation of traditional arts in Brebes Regency through cultural degrees. The approach used to examine and explore the problem in this research is using anthropological and sociological approaches. Because they can be used to determine the process of Cultural Degree held by Brebes Regency based on the reflection of cultural values ​​for people who have human creations or historical events that have functions and people needs.
Co-Authors A, Heryanto AA Sudharmawan, AA Adi Prasetyo, Alfian Eko Widodo Adi, Brian Trinanda Kusuma Afwa, Mughny El. Agus Utomo Akhmad Rizqon Khamami Amsari, Uli Andri Pranolo ANGGRAINI, ERNA Arbi, Bahtiar Ardin Ardin, Ardin ARIF HIDAJAD Arista Pratama, Pande Putu Yogi Arisyanto, Prasena Arisyanto, Prasena Ary, Deasylina da Astari, Andi Tenri Juli Astuti , Yuli Tri Astuti, Andi Arie Astuti, Yuli Tri Atikoh, Alisahatun Bin Saearani, Muhammad Fazli Taib Bintang Hanggoro Putro Candra, Ronald Dewi, Asfarah Karina Dewi, Ikasari Minali Djuli Djatiprambudi Dwi Tiya Juwita Efrizal Eko Raharjo Eko Sugiarto Eny Kusumastuti Esti Verulitasari, Esti Evadila Evadila Fahruddin, Ari Irfan Fallah, Saiful Guntaris, Endik Hadinata, Vanda Hamyana Hapsari, Priska Diyan Hartono Hartono Hartono, Rudi HERA, TRENY Hosaini, Hosaini I Wayan Adnyana Ibnan Syarif, M Ida Zulaeha Ikha Sulis Setyaningrum Imran, Fitrya Ali Imran, Fitrya Ali Iryanti, Veronica Eny Jazuli, Jazuli Jazuli, Muhamad Julitasari, Putri Ajeng Wulan Kurniati, Fatia Kusumaningtyas, Chandra Dewi Lestari , Wahyu M Jazuli M. Jazuli Malarsih Malarsih Malarsih, M Muhammad Fazli Taib Bin Saearani, Muhammad Fazli Muhammad Jazuli Murtiyoso, Onang Nadia Sigi Prameswari Nike Suryani nirwanto, bagus Notosutanto Arhon Dhony, Nugroho Nur Sahid Opta Septiana, Opta Oriana Tio Parahita Nainggolan Pahlawi, Lukman Ahmad Imron Pantjawati Sudarmaningtyas Pratama, Pande Putu Yogi Arista Prima, Empiri Tahya Rahmi, Ainu Rohman, Fadlur Saputra, Dani Nur Saragih, Febi Ariani Setyaningrum, Gus Miyana Nela Solly Aryza Sudarsono SUHARTO Suharto Suharto Sularso Sularso, Sularso Sumasno Hadi Sunarto Sunarto Suparti Suparti suryaningrum, Feradilla anggun Suwardi Suwardi Syah Sinaga, Fajry Sub'haan Syahrul Syah Sinaga syakir syakir Syarif, M. Ibnan Taqi, Ahmad Yazid Teguh Teguh Tjetjep Rohendi Rohidi, Tjetjep Rohendi Totok Sumaryanto, Totok Udi Utomo Vivine Nurcahyawati Wadiyo Wadiyo Wahyu Lestari Wandah Wibawanto Widodo Widodo Yanti, Meipur Zairani, Ero Siska Zakiyati, Nur Muaffah