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All Journal Harmonia: Journal of Research and Education Catharsis Jurnal Sitakara Jurnal Talenta Sipil MUMTAZ : Jurnal Pendidikan Agama Islam
M. Jazuli
Universitas Negeri Semarang, Kampus Sekaran Gunungpati, Semarang
Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Education Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Other

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KRITIK TARI : SEBUAH KEMISKINAN  (Dance Critic: A Proverty) Jazuli, M.
Harmonia: Journal of Arts Research and Education Vol 4, No 2 (2003)
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.v4i2.709

Abstract

Suatu penulisan dan informasi tari sering terbentur pada kesulitan­kesulitan tertentu sehingga tak sampai kepada khalayak luas. Tentunya hal itu sebenarnya tak perlu terjadi seandainya resensi dan kritik tari hidup subur seiring dengan perkembangan pemikiran seni yang mampu membuka wawasan baru, serta seimbang dengan lahirnya karya­karya tari baru. Unutk itu sudah waktunya kritik menjadi suatu kebutuhan yang urgen guna meningkatkan apresiasi dan kepuasan penciptaan karya tari. Barangkali dapat dikatakan bahwa “tiadanya kritik, maka nilai­nilai dan kualitas sebuah karya tak dapat dikenali dan dipahami; tiadanya kritik berarti salah satu informasi budaya tak sampai”. Namun demikian, melakukan kritik terhadap tari tidaklah mudah, karena dibutuhkan kedewasaan dan kearifan dari pengkritiknya. Sebuah kritik seni (tari) harus mempertahankan aktivitas­aktivitasnya yang memancarkan kejelasan dan kekuatan pamor disiplin ilmu yang mendukung kritiknya. Isi kritik harus proporsional dan mampu menyertakan posisinya (stage of the art) diantara jenis karya tari yang menjadi objek kritik.Kata Kunci : ktirik tari, kritikus
METODE DAN TEKNIK PENGAJARAN TARI (Method and Technique of Dance Learning) Jazuli, M.
Harmonia: Journal of Arts Research and Education Vol 3, No 2 (2002)
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.v3i2.689

Abstract

Tiada metode yang paling baik dan paling unggul, melainkan hanya orang mampu menggunakan metode secara tepat. Suatu metode pengajaran sangat erat kaitamya dengan faktor-faktor lain dalam proses belajar- mengajar, terutama tujuan yang hendak  dicapainya. Penggunaan metode juga sering melibatkan teknik-teknik tertentu. Oleh karena itu, pemanfaatan terhadap metode dan teknik pengajaran seni tari sangat bergantung kepada ketepatan memilih dan kemampuan untuk menggunakannya. Penggunaan metode maupun teknik pengajaran tari harus tetap mengacu kepada kepentingan pendidikan seni secara menyeluruh, yaitu sebagai wahana untuk menumbuhkan dan mengembangkan daya kreatif. ekspresif, imajinatif, keterampilan dan apresiatif agar siswa memiliki nilai dan sikap yang mampu untuk membangun dirinya sendiri serta menjunjung tinggi nilai-nilai budi pekerti luhur budaya bangsa. Kata Kunci: Metode dan teknik pengajaran
MODEL PEWARISAN KOMPETENSI DALANG Jazuli, M.
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.v11i1.2072

Abstract

Penelitian ini bertujuan untuk mendeskripsikan model pembelajaran (pewarisan) kompetensi dalang. Untuk mengetahui model pembelajaran digunakan pendekatan pembelajaran tidak langsung dari Roger yaitu non-directive interview. Untuk mengetahui persyaratan dalang yang kompeten itu digunakan pendekatan strukturasionistik. Setting penelitian adalah jagat pedalangan, sedangkan lokasi penelitian bersifat situasional yakni bergantung dimana dan kapan siswa belajar mendalang. Hasil penelitian menemukan tiga model pembelajaran dalang. Pertama, model pembelajaran dalang di Sekolah dengan sistem dan aturan yang ketat, seperti  kurikulum, jadwal belajar, memiliki standar kompetensi dan standar kelulusan. Kedua, model pembelajaran dalang di Luar Sekolah, yaitu lembaga kursus. Ketiga,  model pembelajaran dalang di Luar Sekolah yang berbentuk Sanggar Seni. This study aims to describe the learning model (inheritance) of dalang competence. Efforts to overcome  the problems of  the study used qualitative research paradigms. To determine the learningmodel it was used an indirect approach of  Roger namely a non-directive interview. To fi nd out the requirements for competent dalang it was used structurasionistic approach. Setting of  the reseach is  world of puppetry, while research sites are situational, ie, depends where and when students learn a performer. The reseach founded three dalang learning models. First, the dalang learning model school system and the strict rules, such as a curriculum, a schedule of learning, competency standars and graduation standards.  Second, learning models are in out of school (non-formal school),for instance in the course  institution. Third, the dalang learning model in out of school (non-formal school) named  art studios.
KRITIK TARI : SEBUAH KEMISKINAN  (Dance Critic: A Proverty) Jazuli, M.
Harmonia: Journal of Arts Research and Education Vol 4, No 2 (2003)
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.v4i2.709

Abstract

Suatu penulisan dan informasi tari sering terbentur pada kesulitan­kesulitan tertentu sehingga tak sampai kepada khalayak luas. Tentunya hal itu sebenarnya tak perlu terjadi seandainya resensi dan kritik tari hidup subur seiring dengan perkembangan pemikiran seni yang mampu membuka wawasan baru, serta seimbang dengan lahirnya karya­karya tari baru. Unutk itu sudah waktunya kritik menjadi suatu kebutuhan yang urgen guna meningkatkan apresiasi dan kepuasan penciptaan karya tari. Barangkali dapat dikatakan bahwa “tiadanya kritik, maka nilai­nilai dan kualitas sebuah karya tak dapat dikenali dan dipahami; tiadanya kritik berarti salah satu informasi budaya tak sampai”. Namun demikian, melakukan kritik terhadap tari tidaklah mudah, karena dibutuhkan kedewasaan dan kearifan dari pengkritiknya. Sebuah kritik seni (tari) harus mempertahankan aktivitas­aktivitasnya yang memancarkan kejelasan dan kekuatan pamor disiplin ilmu yang mendukung kritiknya. Isi kritik harus proporsional dan mampu menyertakan posisinya (stage of the art) diantara jenis karya tari yang menjadi objek kritik.Kata Kunci : ktirik tari, kritikus
METODE DAN TEKNIK PENGAJARAN TARI (Method and Technique of Dance Learning) Jazuli, M.
Harmonia: Journal of Arts Research and Education Vol 3, No 2 (2002)
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.v3i2.689

Abstract

Tiada metode yang paling baik dan paling unggul, melainkan hanya orang mampu menggunakan metode secara tepat. Suatu metode pengajaran sangat erat kaitamya dengan faktor-faktor lain dalam proses belajar- mengajar, terutama tujuan yang hendak  dicapainya. Penggunaan metode juga sering melibatkan teknik-teknik tertentu. Oleh karena itu, pemanfaatan terhadap metode dan teknik pengajaran seni tari sangat bergantung kepada ketepatan memilih dan kemampuan untuk menggunakannya. Penggunaan metode maupun teknik pengajaran tari harus tetap mengacu kepada kepentingan pendidikan seni secara menyeluruh, yaitu sebagai wahana untuk menumbuhkan dan mengembangkan daya kreatif. ekspresif, imajinatif, keterampilan dan apresiatif agar siswa memiliki nilai dan sikap yang mampu untuk membangun dirinya sendiri serta menjunjung tinggi nilai-nilai budi pekerti luhur budaya bangsa. Kata Kunci: Metode dan teknik pengajaran
MODEL PEWARISAN KOMPETENSI DALANG Jazuli, M.
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.v11i1.2072

Abstract

Penelitian ini bertujuan untuk mendeskripsikan model pembelajaran (pewarisan) kompetensi dalang. Untuk mengetahui model pembelajaran digunakan pendekatan pembelajaran tidak langsung dari Roger yaitu non-directive interview. Untuk mengetahui persyaratan dalang yang kompeten itu digunakan pendekatan strukturasionistik. Setting penelitian adalah jagat pedalangan, sedangkan lokasi penelitian bersifat situasional yakni bergantung dimana dan kapan siswa belajar mendalang. Hasil penelitian menemukan tiga model pembelajaran dalang. Pertama, model pembelajaran dalang di Sekolah dengan sistem dan aturan yang ketat, seperti  kurikulum, jadwal belajar, memiliki standar kompetensi dan standar kelulusan. Kedua, model pembelajaran dalang di Luar Sekolah, yaitu lembaga kursus. Ketiga,  model pembelajaran dalang di Luar Sekolah yang berbentuk Sanggar Seni. This study aims to describe the learning model (inheritance) of dalang competence. Efforts to overcome  the problems of  the study used qualitative research paradigms. To determine the learningmodel it was used an indirect approach of  Roger namely a non-directive interview. To fi nd out the requirements for competent dalang it was used structurasionistic approach. Setting of  the reseach is  world of puppetry, while research sites are situational, ie, depends where and when students learn a performer. The reseach founded three dalang learning models. First, the dalang learning model school system and the strict rules, such as a curriculum, a schedule of learning, competency standars and graduation standards.  Second, learning models are in out of school (non-formal school),for instance in the course  institution. Third, the dalang learning model in out of school (non-formal school) named  art studios.
The Aesthetics of Padendang Dance at Mappadendang Traditional Ceremony of Bugis Society in Soppeng Regency yayu, yusrianti yayu; Jazuli, M.; Sumaryanto Florentinus, Totok
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i1.31282

Abstract

Mappadendang traditional ceremony is a traditional ceremony that is held every year by Bugis society as an expression of gratitude for the abundance of the results of the crop. This traditional ceremony is usually combined with the Padendang dance, which is a traditional dance of the Bugis people, especially in Abbanuangnge Village, Soppeng Regency. It is derived from the word "Pa" which means the actor, "dendang" which means rhythm. Besides as a series of Mappadendang traditional ceremonies, this dance also functions as entertainment. The uniqueness of this dance lies in its attractive movements using properties called as rice pestle (stick). Besides that, it was supported by the sound of the collapsed pestle carried out by the mothers and accompanied by drum instruments. The purpose of this study is to analyze the aesthetics of Padendang dance at Mappadendang traditional ceremony of the Bugis society in Soppeng Regency. The method used in this study is a qualitative method. Data collection techniques are observation, interview and document study. The data validity technique uses triangulation techniques and data analysis techniques that follow the stages of interactive model analysis. The results of the Padendang dance research are three parts of the movement: the beginning of the movement, mappakaraja, the main part of the movement, Sere Padendang, the harvest and the final part mappatabe’ movement. The aesthetic findings of Padendang dance there are three aesthetic elements that exist in the Padendang dance, namely the shape / form of motion of the Padendang dance, the quality / content / message conveyed in the Padendang dance, and the performance / talent or skill possessed by the dancers.
The Aesthetics of Padendang Dance at Mappadendang Traditional Ceremony of Bugis Society in Soppeng Regency yayu, yusrianti yayu; Jazuli, M.; Sumaryanto Florentinus, Totok
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i1.31282

Abstract

Mappadendang traditional ceremony is a traditional ceremony that is held every year by Bugis society as an expression of gratitude for the abundance of the results of the crop. This traditional ceremony is usually combined with the Padendang dance, which is a traditional dance of the Bugis people, especially in Abbanuangnge Village, Soppeng Regency. It is derived from the word "Pa" which means the actor, "dendang" which means rhythm. Besides as a series of Mappadendang traditional ceremonies, this dance also functions as entertainment. The uniqueness of this dance lies in its attractive movements using properties called as rice pestle (stick). Besides that, it was supported by the sound of the collapsed pestle carried out by the mothers and accompanied by drum instruments. The purpose of this study is to analyze the aesthetics of Padendang dance at Mappadendang traditional ceremony of the Bugis society in Soppeng Regency. The method used in this study is a qualitative method. Data collection techniques are observation, interview and document study. The data validity technique uses triangulation techniques and data analysis techniques that follow the stages of interactive model analysis. The results of the Padendang dance research are three parts of the movement: the beginning of the movement, mappakaraja, the main part of the movement, Sere Padendang, the harvest and the final part mappatabe’ movement. The aesthetic findings of Padendang dance there are three aesthetic elements that exist in the Padendang dance, namely the shape / form of motion of the Padendang dance, the quality / content / message conveyed in the Padendang dance, and the performance / talent or skill possessed by the dancers.
Analisis Biaya dan Waktu pada Proyek Jembatan (Studi Kasus Proyek Pembangunan Jembatan Candisari Sambeng Kabupaten Lamongan) dengan Menggunakan Metode Earned Value Jazuli, M.; Dhana, Rio Rahma
Jurnal Talenta Sipil Vol 7, No 1 (2024): Februari
Publisher : Universitas Batanghari Jambi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33087/talentasipil.v7i1.376

Abstract

Project management has three main objectives when carrying out construction projects including cost, quality, and time. If a project can be completed with a predetermined level of quality or quality, then the project has been successfully managed. This research uses earned value method. That is a method of knowing costs based on the work that has been done. Thus we can find out whether the Candisari Sambeng bridge construction project in Lamongan Regency is faster or longer than the schedule that has been made. CV value has a negative value in the 15th period, namely -Rp 18,078,304 SV value there is a negative value until the 18th period with a value of -Rp 494,817,905 CPI value found in the 15th week period with a value of 0.995. The SPI value in the 18th period with a final SPI value of 0.903 estimated cost (EAC) is. IDR 5,166,992,802 estimated EAS time for the jembata replacement project of 21,320 weeks. If the performance is considered the same project, the cost required to complete the construction of the bridge is Rp 5,166,992,802 from the total project budget of Rp 5,346,534,000 so that it gets a profit of Rp 179,541,198, and the time needed to complete the construction work is 21,320 weeks from the specified time of 21 weeks so that the project implementation is delayed for 0,320 weeks.y.
Estetika Timur Dalam Teater Tradisional Kemidi Rudat Lombok F.M Marijo, M. Okta Dwi Sastra; Jazuli, M.; Mari’i, Mari’i
Jurnal Sitakara Vol. 8 No. 2 (2023): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v8i2.12829

Abstract

This study aims to determine eastern aesthetics in the traditional theater of Kemidi Rudat Lombok. The problem is focused on eastern aesthetic values ​​in Kemidi Rudat traditional theatrical performances as one of the arts that expresses aesthetic values ​​originating from cultural nobility. In order to address this problem, references to Soetarno's theory are used in a book on thoughts on eastern aesthetics which are more oriented to spirituality/spirits and moods. The data were collected through observation, interviews and documentation. This study uses a qualitative-descriptive approach using the semiotic analysis method of Tedeusz Kowzan theater. In summary and clearly this study shows that the eastern aesthetic values ​​of the Komidi Rudat theater include: 1) stoicism which is a reflection of the nature of human character which has the principle of maturity in thinking and acting, 2) adigang-adigung which is the antithesis of haughty nature and arrogance that should not be carried in humans. 3) item-putek which is the nature of human optimism in defending the truth and goodness (pute/white) and against bad and evil (item/black). 4) jiwe seli which is the nature of human concern in doing everything, that every work and problem can be solved together/cooperation. 5) sect which is human nature that has knowledge and a clear mind, and 6) manut which is human nature that obeys orders and rules. Keywords: Eastern Aesthetics, Traditional Theatre, Kimidi Rudat.
Co-Authors Agus Cahyono Eko Sugiarto F.M Marijo, M. Okta Dwi Sastra Fitriah, Laila Mari’i, Mari’i Nike Suryani Rahma Dhana, Rio Syarif, M. Ibnan Totok Sumaryanto Florentinus, Totok Sumaryanto Wadiyo Wadiyo yayu, yusrianti yayu