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All Journal SELONDING Pendas : Jurnah Ilmiah Pendidikan Dasar Ideas: Jurnal Pendidikan, Sosial dan Budaya Jurnal Sibermas (Sinergi Pemberdayaan Masyarakat)
Rahmawati Ohi
Universitas Negeri Gorontalo
Arts Humanities Education Engineering Medicine & Pharmacology Public Health Social Sciences Other

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POLOPALO: TINJAUAN ETNO ORGANOLOGI AKUSTIK Rahmawati Ohi
SELONDING Vol 16, No 2 (2020): SEPTEMBER 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sl.v16i2.5059

Abstract

Nilai Organologi Akustik Polopalo Rahmawati Ohi
SELONDING Vol 15, No 1 (2019): Maret 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (202.628 KB) | DOI: 10.24821/selonding.v15i1.3111

Abstract

Values are meanings, messages either implicitly-exemplified in the form of ideas or theories that work in community activities, one of the material objects that describe the phenomenon is a traditional musical instrument. Speaking of traditional musical instruments, there is one that is valuable, namely Polopalo. Polopalo is a percussion instrument, a Gorontalo icon with a unique organology that is similar to a crocodile's mouth and produces a distinctive acoustic sound character. The unique and interesting aspect of Polopalo's acoustic organology makes its value function continue to experience development and transformation in the activities of society and the world of science.Nattiez about the meaning process at three levels: decomposition of acoustic components, historical or cultural background and physio-acoustic response and supported by the Alperson-Bordieu theory so that the research method uses quantitative-qualitative.The results showed that the value of Polopalo's acoustic organology is the embodiment of the character and philosophy of the Gorontalo people in everyday life where the existence of the sign is represented by the unique sound frequency and interval
Pemberdayaan Seni Budaya Bagi Masyarakat untuk Menuju Pembangunan SDGs yang Berkualitas La Ode Karlan; Nurlia Djafar; Rahmawati Ohi
Jurnal Sibermas (Sinergi Pemberdayaan Masyarakat) Vol 11, No 4 (2022): Jurnal Sibermas (Sinergi Bersama Masyarakat)
Publisher : Univeristas Negeri Gorontalo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37905/sibermas.v11i4.12349

Abstract

Pemberdayaan masyarakat merupakan salah satu upaya yang dilakukan untuk memfasilitasi, dan memediasi agar terjadi sebuah perubahan dalam konteks sosial, budaya masyarakat. Terkait pemberdayaan masyarakat dalam konteks kebudayaan tentu bertujuan untuk pelestarian kebudayaan daerah sebagai identitas masyarakat yang merupakan salah satu subjek pembangunan seperti pengembangan seni tradisi. Salah satu strategi pencapaian program KKNT desa membangun yakni pengembangan dan penerapan inovasi dan teknologi yang berguna secara langsung pada masyarakat untuk meningkatkan ekonomi dan penanganan sosial, budaya dan kesehatan sebagai penerapan program desa membangun dalam pencapaian SDGs, dan dari delapan tipologi desa dalam pencapaian SDGs tersebut termasuk diantaranya desa tanggap budaya. Perlu dipahami juga bahwa budaya menjadi salah satu unsur yang penting di dalam membangun desa, sebab kebudayaan menjadi penciri atau identitas suatu bangsa. Partisipasi masyarakat adalah syarat mutlak dalam perumusan rencana dan upaya pemajuan kebudayaan nasional, yang terwujud dalam empat langkah strategis yakni: pelindungan, pengembangan, pemanfaatan, dan pembinaan, sehingga konsep pengembangan yang ditawarkan dalam hal ini adalah membantu upaya pembangunan desa dibidang kebudayaan yang lebih difokuskan pada seni budaya daerah. Berdasarkan hal di atas, maka pemberdayaan seni budaya melalui kelompok dan sanggar-sanggar atau komunitas yang ada di daerah sangatah penting untuk dikembangkan sebagai wujud dari bentuk pelestarian seni budaya. di daerah, sebagai tindakan konkrit dari keberlanjutan program kegiatan pemberdayaan seni budaya di dalam pembangunan SDGs yang berkualitas khususnya dibidang kebudayaan. Pada kegiatan ini dilaksanakan melalui metode pelatihan secara rutin setiap hari diluar jam pelajaran sekolah yakni pelatihan tari Tidi Lo O’Ayabu dan Pelatihan memainkan alat musik Tradisi Gorontalo (Polopalo dan Marwas).Pada kegiatan ini telah dilaksanakan secara terprogram dan telah berhasil dilaksanakan dimana setiap kelompok telah membentuk kelopok baru ditengah masyarakat sehingga keberlanjutan program ini telah terwujud.
Ekologi Polopalo dalam Lihuta lo Polopalo di Bone Bolango Rahmawati Ohi
SELONDING Vol 19, No 1 (2023): : Maret 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sl.v19i1.9293

Abstract

Polopalo merupakan instrumen musik endemik dari Gorontalo yang saat ini keberadaannya dapat ditemukan dalam Lihuta lo Polopalo. Sebagai salah satu alat musik endemik, perkembangan fungsional Polopalo memberikan dampak terhadap ekologi seni dalam aktifitas masyarakat seperti dalam lihuta lo polopalo mempunyai peranan yang sangat penting berhubungan dengan kontinuitas, transmisi ekonomi budaya, contoh adanya wujud nyata simbiosis polopalo pada komponen ekologi yang ada disekitarnya mulai dari infrastruktur lingkungan, tingkat pendapatan sampai transfer ilmu pengetahuan lintas generasi. Besarnya impact yang dihasilkan Polopalo dalam lihuta lo Polopalo terhadap sistem ekologi merupakan sebuah refleksi sistem kemandirian fenomena yang menarik sehingga fokus penelitian adalah mengenai ekologi polopalo dalam lihuta lo polopalo. Upaya memberikan refleksi gambaran mengenai Polopalo dalam lihuta LoPolopalo maka metode penelitian yang digunakan adalah narasi, dimanapengumpulan data dilakukan melalui wawancara, yang didalamnya terdapat observasi lanjutan sedangkan analisis data mempergunakan interaksi budaya sehingga mampu memberikan gambaran mengenai sebuah sistem Hasil penelitian menunjukan bahwa kemunculan Polopalo dalam lihuta lo polopalo merupakan alternatif dalam upaya pelestarian yang ternyata memberikan kemandirian terhadap sistem ekologi yang ada seperti pertumbuhan infrastruktur, kemandirian ekonomi masyarakat dan kesinambungan budaya.
Transformasi Polopalo sebagai Media Hiburan Masyarakat Gorontalo di Lihuta Lo Polopalo Rahmawati Ohi; Ary Nugraha Wijayanto
Ideas: Jurnal Pendidikan, Sosial dan Budaya Vol 9 No 3 (2023): Ideas: Pendidikan, Sosial, dan Budaya (Agustus)
Publisher : Ideas Publishing

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32884/ideas.v9i3.1389

Abstract

Transformation polopalo as an entertainment medium, especially in the case of lihuta lo polopalo experiences a use-value remodeling conflict. The existence of conflict results in the degradation of functions and preservation. Base on the conflict so the purpose of this study is to describe the transformation of polopalo as an entertainment medium for the people of Gorontalo in the context of lihuta lo polopalo. The research method uses case study ethnography. The results of the study show that the Transformation of polopalo has an impact on the chronobiology relations of its manifest-latency function on aspects of entertainment, such as physical, aesthetic, economic, social and cultural values.
NILAI ESTETIS TIDI LO BITU’O (STUDI KASUS DI SANGGAR TUMULA GORONTALO) Nazly Friena S. Pakaya; Riana Diah Sitharesmi; Rahmawati Ohi; Nurlia Djafar; Mimy Astuty Pulukadang
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.31132

Abstract

This study was conducted due to the beauty of one of Gorontalo’s traditional art forms. The type of art referred to is tidi, meaning “dance.” Among the eight types of tidi in Gorontalo, Tidi Lo Bitu’o stands out as particularly captivating. This study addresses two main problems: identifying the components of Tidi Lo Bitu’o and examining how its structure conveys aesthetic value. The study employed a qualitative case study approach, focusing on analyzing the dance performances of the Tumula Studio dancers, using Janet Adshead’s theoretical framework as presented in Riana Diah Sitharesmi’s book, alongside A.A.M. Djelantik’s theory of aesthetics. The study aims to describe Tidi Lo Bitu’o’s components and interpret the aesthetic values embodied within its structure. The findings reveal that the components of Tidi Lo Bitu’o include movements, dancers, visual set elements (stage setting, lighting, costumes, facial makeup, hair styling, and props), and aural elements in the form of accompanying music, featuring lyrics sung in the Gorontalo language accompanied by rebana and koloko’o instruments. Regarding aesthetic values based on A.A.M. Djelantik’s framework, three key aspects were identified: unity, demonstrated through the relationship among movements, dancers, visual set, and aural elements; emphasis, found in the opening sequence through the music, dancers with salenthangi props, and the core section where the bitu’o prop is actively used along with the music; and balance or harmony, observed through the blending elements of Tidi Lo Bitu’o and the relationship between the two props used, salenthangi and senthangi.
ANALISIS STRUKTUR GERAK TIDI LO TONGGALO DI KECAMATAN TAPA PROVINSI GORONTALO Nur Aprilia Ismail; Riana Diah Sitharesmi; Rahmawati Ohi; Trubus Semiaji; Nurlia Djafar
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.31182

Abstract

Tidi Lo Tonggalo is one of several types of Tidi, where Tidi means “dance” and Tonggalo means “support”. Thus, Tidi Lo Tonggalo symbolizes how a woman acts as a pillar in the family, society, and religion, emphasizing that if she falters, so too will what she supports. Tidi Lo Tonggalo possesses a beautiful movement structure, rich with values and meanings. Analyzing its movement structure helps facilitate an accurate and clear interpretation of the dance. This qualitative descriptive study employs data collection through observation, interview, and documentation. The qualitative data analysis was continuous and iterative, involving data reduction, data display, and conclusion drawing or verification, representing the research’s success indicators. The study was conducted in Tapa Sub-district, Gorontalo Province. This dance is performed by five women and serves an entertainment function. The analysis findings of Tidi Lo Tonggalo’s movement structure are based on its compositional elements: vocabulary, spatial design, and dynamics. There are 32 movement vocabularies or poses in Tidi Lo Tonggalo, with transitional movements and repetitions on the right and left sides of the body in each sequence. The dance features nine spatial designs or floor patterns, some similar but incorporating different movements. Additionally, its dynamics are marked by changes in tempo in the musical accompaniment. Despite the tempo changes, the dancers maintain the softness of their movements throughout the performance.
BENTUK PENYAJIAN TARI REJANG RENTENG PADA PIODALAN DI PURA PADMASANA DESA LABONU KECAMATAN BASIDONDO KABUPATEN TOLITOLI Ni Komang Vica Sari; Trubus Semiaji; Riana Diah Sitharesmi; Rahmawati Ohi; Nurlia Djafar
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025 Build
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32553

Abstract

The Rejang Renteng Dance is a sacred dance performed by married women and is prohibited for children or unmarried women. Rejang Renteng is performed during the Piodalan ceremony at Pura Padmasana, Labonu Village, symbolizing a dance to guide the deities descending to Earth. This research aims to explain the presentation form of the Rejang Renteng Dance and the changes that have occurred in its presentation, which in turn influence the perfection of the Piodalan ceremony at Pura Padmasana, Labonu Village. This is particularly relevant because the Rejang Renteng Dance at Pura Padmasana Labonu Village shows slight variations in its textual aspects. The research employs a qualitative method. Data collection techniques include observation, interviews, and direct documentation of the dance presentation through videos, photographs, and recordings. The results indicate that the presentation form of the Rejang Renteng Dance at the Piodalan in Pura Padmasana, Labonu Village, can be observed through several aspects: the dance movements consist of three types of movements; the floor patterns consist of two types of patterns; the dancer’s makeup is simple, wearing white kebaya blouses and yellow kamen (traditional clothes). The property used is a yellow sash, and the accompanying music is Gong Kebyar. The number of dancers totals 14. The performance venue is located in the Jaba Mandala area of the temple.
PEMBELAJARAN MUSIK IRINGAN TARI KABELA MELALUI MODEL PEMBELAJARAN DIRECT INSTRUCTION DI KELAS XI IPA 1 SMA NEGERI 2 KOTAMOBAGU Muhammad Rafii Sardi; La Ode Karlan; Mimy A. Pulukadang; Rahmawati Ohi; Riana Diah Sitharesmi
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 03 (2025): Volume 10 No. 03 September 2025 Terbit
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i03.32963

Abstract

This study aims to analyze the effectiveness of applying the Direct Instruction learning model in teaching musical accompaniment for the Kabela dance at SMA Negeri 2 Kotamobagu. The focus of the research is to determine the extent to which this model can improve students’ skills in playing musical instruments for dance accompaniment and to identify the challenges encountered during the learning process. This research employed a qualitative approach using observation, interviews, and documentation methods. The subjects of the study were students involved in learning musical accompaniment for the dance at the school. The results showed that the implementation of the Direct Instruction model significantly helped students understand and play accompanying musical instruments, such as the flute, tambourine, and gong. Systematic learning through the stages of introduction, material presentation, guided practice, independent practice, and evaluation made it easier for students to understand the rhythm and tempo patterns of the Kabela dance accompaniment. The main challenges found in this study were students’ difficulties in synchronizing tempo in group performances and their lack of prior experience in playing traditional musical instruments. However, these challenges could be minimized through regular practice and intensive guidance from the teacher during the learning process. In conclusion, the study finds that the Direct Instruction learning model is effective in improving students’ skills in playing musical accompaniment for the Kabela dance. This model can serve as an alternative method in music education at schools to enhance students’ understanding and skills in a systematic and structured way.
Co-Authors Ary Nugraha Wijayanto, Ary Nugraha La Ode Karlan La Ode Karlan Mimy A. Pulukadang Mimy Astuty Pulukadang Muhammad Rafii Sardi Nazly Friena S. Pakaya Ni Komang Vica Sari Nur Aprilia Ismail Nurlia Djafar Nurlia Djafar Riana Diah Sitharesmi Trubus Semiaji