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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 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

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The Inheritance Pattern of Wayang Orang Art in Padhepokan Tjipta Boedajatutup Ngisor Lereng Merapi Suparti, Suparti; Triyanto, Triyanto; Cahyono, Agus
Catharsis Vol 6 No 2 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i2.19285

Abstract

The purpose of the research is to, the inheritance pattern of Tjipta Boedaya’s Wayang Orang. The method of the research was qualitative method by using the approach of interdicipline which utilized etnochoreology study, anthropology, and sociology. The inheritance pattern of Tjipta Boedaya’s Wayang Orang. The location of the reasearch was at Padhepokan Tjipta Boedaya, dusun tutup ngisor. The technique of the data collection was using observations, interviews, and study dokumen, the technique of data validation was using triangulation, member check, and making thick description. The technique of the theory data analysis was using the concept which has been arraanged before and throughed four analysis stages which were data collection, reduction, presentation, and verification. The result of the research inheritance pattern of Wayang Orang divided into two paths, they were family path and environment path. Inheritance which been inherited including stories, themes, movements, cosmetics,and accompaniment. Inheritance pattern through family and environtment became the key of the establishment of Tjipta Boedaya’ Wayang Orang.
The Artistic Response of Bustaman Village Society to Dance Performance in Tengok Bustaman Tradition Adi Prasetyo, Alfian Eko Widodo; Cahyono, Agus; Jazuli, Muhammad
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.20528

Abstract

Tengok Bustaman Tradition is a kind of art tradition in Bustaman village held once a year with various show performances, one of them is dance. The tradition of Tengok Bustaman is pioneered by Hysteria community where the aim is to address the city's issues with art as one of its approaches to build an artistic response in Bustaman society. Hysteria is a community that engages in city-sensitive research and with art as its approach. The formulation of the problem in this research is to explain the form of dance performances in Tengok Bustaman tradition, the function of dance performance in Tengok Bustaman tradition and artistic response in Bustaman village. This study uses a qualitative method. This research is studied through interdisciplinary approach named Performance Studies and Sociology of Art. The data collection techniques used are observation, interviews, document studies, and recording techniques. The validation technique uses source triangulation. The data analysis procedures include data reduction, data presentation, and conclusions. The results show that the form of performances in Tengok Bustaman tradition is a dance performance. Dance performance in Bustaman village includes several processes such as pre-performance, performance and after performance. The function of dance performance in Bustaman Village is as the cause of educational media, entertainment media, and communication media and as a commercial media. The existence of dance performance in Tengok Bustaman tradition produces several artistic responses, among others are visual response, auditive response and environmental response. The dance performance in Tengok Bustaman tradition is able to provide changes and development of the village for the better future.
Forms of Show Kuda Lumping Ronggo Budoyo in The Village of Lematang Jaya, Lahat, South Sumatera Anggraini, Erna; Cahyono, Agus
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.21886

Abstract

Kuda Lumping is a popular Javanese art, Kuda Lumping is also called Jaran Kepang or Jathilan. Kuda Lumping is a traditional Javanese dance showing a group of warriors riding on horses which the horses are made of buffalo leather that has been dried or made from plait work of bamboo which is then given a motif or ornament and designed like a horse. This study aims to analyze how and understand the form of art performances Kuda Lumping in Lematang Jaya Village, Merapi Timur, Lahat. Theoretically, the research uses interdisciplinary ethnocoreology approach, art sociology, art psychology, and aesthetics. The research methodology uses qualitative research by describing and interpreting the findings in the field. The study used case study design. Data collection techniques used interviews, observations and document studies. Data validity technique used is source triangulation while data analyst technique is done by reducing data, presenting data and drawing conclusion. The results showed that Ronggo Budoyo's lumping horse performance was divided into three phases first before the show consisting of preparation of motion and music practice, dancers dance, property and offerings / offerings. Both times the show opens with a small Pegon dance, followed by Blind dance, a teenage Pegon dance, Kucingan and ends with an adult Pegon dance. The last phase is after the show is the activity to restore the awareness of dancers by the handler and cleans up the dance music and dance equipment.
Sining Dance and Central Aceh Tourism Yanti, Meipur; Cahyono, Agus; Syakir, Syakir
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.25749

Abstract

Sining dance is the parent of dances in Gayo. Sining dance is one of traditional dances that supports the development of tourism in Central Aceh. The purpose of this research is to analyze the Sining dance and its role of tourism in Central Aceh. The research method was qualitative descriptive and used ethnographic approach.The data collection was used techniques of observation, deep interview, and document study. Data validation was done with data triangulation, source triangulation, and method triangulation while the the analysis used data reduction, data presentation, and verification/conclusion drawing. The results show that the performance of Sining dance plyas a role as cultural attraction, Sining dance also becomes one of tourism attraction through documenter video, Sining dance in one of presentation in a show, and Sining dance is a means of entertainment. The occurence of Sining dance in tourism influences the economic benefit of Central Aceh community and automatically it can preserved Sining dance itself. This research is useful as a vehicle for developing studies on traditional art problems, and is useful as an empirical input for relevant government agencies.
The Change of Forms and the Value of the Dance performance of Barongan Risang Guntur Seto Guntaris, Endik; Cahyono, Agus; Utomo, Udi
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.27898

Abstract

Barongan Risang Guntur Seto dance is one of dances that has experienced a changing of form from spontaneous to organized performance since 2016. The management and the change done by Barongan Risang Guntur Seto artists have altered the simple values of traditional performing art to be a glamorous values or it is called gebyarby Blora people. The purpose of this research is to analyze and to describe the change of form and value of Barongan Risang Guntur Seto dance.Theoretically, this research used qualitative method with interdisciplinary approach of science, they are ethnochoreology and Arts Sociology. The technique of data collection was done by observation, interview and document study. The data validity checking used source triangulation. The data analysis was done by data reduction, data presentation, and conclusion. The results show that the chane of form and value of Barongan Risang Guntur Seto dance performance involves movement, music, property, stage, and lighting. The suggestion for artists of Barongan Risang Guntur Seto dance is to always active in renewing the dance in accordance to the era and to always be consistent in emphasizing the simplicity and family values as an identity of Blora people.
The Value of Srikandi Mustakaweni Act in Wayang Wong Bocah Tjipta Boedaja Residence Magelang Amsari, Uli; Cahyono, Agus; Hartono, Hartono
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.28462

Abstract

Wayang Wong Bocah in Tjipta Boedaja Residence is one of the performing arts filled with value and relevant to be inculcated for children. Wayang Wong Bocah is performed by children. The purpose of this research is to analyze and describe the inculcation of value through Wayang Wong Bocah performance with Srikandi Mustakaweni act. Qualitative method with ethno-choreology and arts education approaches were used in this research. The data were collected through observation, interview, and documentary study. The data were validated using investigators triangulation technique, and analyzed by discribing, discreening, interpreting, and evaluating. The result shows that inculcation of value for children can be done through plot and model performed by children. Plot helps them to learn about good or bad, while model helps them distinguish an exemplary behavior as shown by Srikandi who was responsible, and not exemplary behavior as shown by Mustakaweni who was dishonest. The values that appear in the story such as honesty, responsibility, curiosity, patriotism, peacefulness, and hard-work. It is concluded that those values can be the guidelines about good or bad for children. Those values are expected to be implemented in daily basis.
The Creativity Of Bedhaya Tunggal Jiwa Dance Creation In Grebeg Besar Ceremony In Demak Regency Setyaningrum, Ikha Sulis; Cahyono, Agus; Triyanto, Triyanto
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.29294

Abstract

Bedhaya Tunggal Jiwa dance presents in the Islamic dimension and gives a new nuance to a ceremony in Demak regency. This dance has different package from Bedaya dance in Kraton because it is adjusted to area and Demak society. The purpose of this research is to analyse how the the creativity of the creation of Bedhaya Tunggal Jiwa dance in Demak Regency. The method used was qualitative with ethnochoreology, Anthropology of Arts, and Sociology of Arts. The research data was collected by the technique of observation, interview, and document study. The technique of data validity used source triangulation. The data analysis technique that was used data reduction, data presentation and conclusion was done by describing the dance, understanding the the performance components, and doing interpretation. The results of the research were that the creator made a work through some steps, they are exploration, improvisation, evaluation, composition, and supported by creative factors, such as environment, facilities, skills, identity, originality, and appreciation.
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.
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 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