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All Journal Harmonia: Journal of Research and Education Imajinasi Lembaran Ilmu Kependidikan Rekayasa: Jurnal Penerapan Teknologi dan Pembelajaran Mimbar Sekolah Dasar MUDRA Jurnal Seni Budaya Jurnal Obsesi: Jurnal Pendidikan Anak Usia Dini Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Jurnal Seni Tari Varia Humanika Sibatik Journal : Jurnal Ilmiah Bidang Sosial, Ekonomi, Budaya, Teknologi, Dan Pendidikan Gesture: Jurnal Seni Tari Ranah Research : Journal of Multidisciplinary Research and Development Jurnal Seni Tari
Eny Kusumastuti
Seni Drama Tari Dan Musik, Universitas Negeri Semarang
Religion Arts Humanities Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Economics, Econometrics & Finance Education Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Transportation Other

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PEMBELAJARAN SENI TARI MENGGUNAKAN PENDEKATAN APRESIASI DAN KREASI Malarsih, Malarsih; Kusumastuti, Eny
Rekayasa : Jurnal Penerapan Teknologi dan Pembelajaran Vol 11, No 1 (2013): Juli 2013
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/rekayasa.v11i1.10335

Abstract

Permasalahan yang diangkat dalam kegiatan pengabdian kepada masyarakat ini adalah, para guru Sekolah Menegah Pertama kabupaten Semarang belum memberikan pelajaran seni budaya tari menggunakan pendekatan apresiasi dan kreasi untuk menuju tercapainya pendidikan yang diinginkan di sekolah umum. Tujuan dari pengabdian kepada masyarakat ini adalah ingin mengenalkan bagaimana menerapkan metode pembelajaran seni budaya tari menggunakan pendekatan apresiasi dan kreasi itu. Kegiatan dilaksanakan melalui pendidikan dan pelatihan pembelajaran seni budaya tari menggunakan pendekatan apresiasi dan kreasi. Metode pembelajaran dilaksanakan menggunakan ceramah, tanya jawab, demonstrasi, latihan, dan drill. Hasil kegiatan pengabdian kepada masyarakat dapat dikemukakan, dapat dipahaminya pembelajaran pendidikan seni budaya tari oleh para guru menggunakan pendekatan apresiasi dan kreasi. Langkah pembelajaran apresiasi melalui empat tahapan utama, yakni pengenalan awal atau deskripsi, pemahaman, interpretasi atau penghayatan, dan evaluasi atau penilaian. Langkah kreativitas telah dipahami sebagai pengembangan apresiasi dalam bentuk karya tari. Prosesnya berangkat dari adanya ide, memunculkan konsep, penuangan ide dan konsep dalam bentuk gerak, meramu gerak dalam bentuk tarian utuh, dan terwujudnya produk karya tari baru.
Strategi Penanaman Literasi Budaya dan Kreativitas bagi Anak Usia Dini melalui Pembelajaran Tari Hartono Hartono; Eny Kusumastuti; Ratih Ayu Pratiwinindya; Anggun Widya Lestar
Jurnal Obsesi : Jurnal Pendidikan Anak Usia Dini Vol 6, No 6 (2022)
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/obsesi.v6i6.2894

Abstract

Penanaman literasi budaya dan kreativitas melalui pembelajaran tari untuk lebih mencintai kebudayaannya sendiri bagi anak usia dini. Untuk itu, tujuan artikel ini, menjelaskan proses penanaman literasi tari dan kreativitas melalui pembelajaran tari pada anak usia dini. Motede penelitian ini kualitatif, pengumpulan data yang dilakukan dengan observasi, wawancara, dan dokumentasi. Analisis dilakukan selama proses pengumpulan data dengan menarik kesimpulan dari fokus penelitian. Hasil yang ditemukan proses penananaman literasi tari melalui pembelajaran tari, anak menjadi lebih memahami berbagai gerak dan lagu-lagu daerah, menghargai berupa melakukan gerak dan menyanyikan lagu daerah lain, melakukan analisis terutama berkaitan dengan teknik, secara tidak disadari bagi anak telah menerapkan pengetahuan tentang kebudayaan dalam kehidupannya. Hasil penelitian berkaitan dengan kreativitas, bagi anak usia dini menjadi terampil dan lancar dalam menari, luwes, pengekspresian, dan keterampilan merinci urutan gerak, serta kemampuan berimajinasi
Pola Interaksi Simbolik Dan Pewarisan Kesenian Jaran Kepang Semarangan Berbasis Agil Di Era Disrupsi Eny Kusumastuti Kusumastuti; Indriyanto -; Kusrina Widjajantie
Mudra Jurnal Seni Budaya Vol 35 No 3 (2020): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v35i3.883

Abstract

Jaran Kepang Semarangan merupakan salah satu kesenian tradisional kerakyatan yang ada di wilayah Kabupaten Semarang. Pola interaksi simbolik dan pewarisan pertunjukan Jaran Kepang memiliki keunikan tersendiri dalam menghadapi berbagai tantangan di era disrupsi ini. Penelitian ini mengkaji 1) Pola interaksi simbolik dalam pertunjukan Kesenian Jaran Kepang Semarangan di era disrupsi, 2) Pola pewarisan Kesenian Jaran Kepang Semarangan di era disrupsi. Tujuan penelitian mendiskripsikan dan menarik sebuah konsep atau teori terkait dengan pola interaksi simbolik dan pewarisan Kesenian Jaran Kepang Semarangan di era disrupsi. Lokasi penelitian di Paguyuban Langen Budi Sedyo Utomo Dusun Sombron Desa Tlompakan Kecamatan Bawen Kabupaten Semarang. Metode penelitian kualitatif dengan pendekatan etnokoreologi dan sosiologi. Teknik pengumpulan data meliputi observasi, wawancara dan dokumentasi. Keabsahan data menggunakan kriteria dependabilitas dan konfirmabilitas dengan teknik triangulasi sumber, teori dan teknik. Analisis data melalui tahapan pengumpulan data, reduksi data, penyajian data dan simpulan data. Teori yang digunakan untuk menganalisis interaksi simbolik yakni milik Herbert Mead. Temuan penelitian meliputi 1) pola interaksi simbolik antara penari dengan penari, penari dengan pemusik, penari dengan penonton, pemusik dengan penonton dan penonton dengan penonton dan 2) pola pewarisan Kesenian Jaran Kepang Semarangan di era disrupsi mengacu skema AGIL yaitu adaptasi, pencapaian tujuan, integrasi dan latensi. Pertama, dalam proses adaptasi, pola-pola kesenian Jaran Kepang Semarangan beradaptasi dengan perkembangan jaman di era modern seperti sekarang ini dengan melihat kebutuhan masyarakat. Kedua, dalam proses pencapaian tujuan, kelompok kesenian Jaran Kepang Semarangan harus memiliki tujuan dalam pelestarian di era modern. Ketiga, dalam proses integrasi, kesenian Jaran Kepang Semarangan dapat mengintegrasikan kelompok masyarakat pelaku, pendukung dan penikmat secara tidak langsung. Keempat, dalam proses latensi, kelompok Kesenian Jaran Kepang Semarangan tetap menjaga dan melestarikan kesenian Jaran Kepang Semarangan di era modern.
PENINGKATAN KECERDASAN EMOSIONAL (EMOTIONAL QUOTION) ANAK USIA DINI MELALUI PENDIDIKAN SENI TARI Kusumastuti, Eny
Lembaran Ilmu Kependidikan Vol 38, No 2 (2009)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/lik.v38i2.481

Abstract

Education with a dimension of EO (Emotional Quotions) can be found in theconcept of dance education. This article is the result research that examine how theimplementation process, and improvement of emotional intelligence of youngchildren through learning the art of dance by using a qualitative approach. Data iscollected through focused interviews, participant observation, and studydocumentation. The data is analyzed by reducing, clarifyng, describing, concluding,and interpreting all the information. The data is then examinated it's confirmabilityand dependability. The result showed the implementation process of dance educationin early childhood dependent on it's teaching and learning process, which includes:objectives, teaching material, teaching methods and learning activities, facilities andinfrastructure, evaluation, social and cultural conditions. The improvement ofemotional intelligence of young children through learning the art dance can be seenthrough: (1) a sense of pridfe, (2) has a brave nature, (3) able to control emotions, (4)able to hone refinement, (5) be able to nuture a sense of responsibility, (6) able tonuture a sense of self, (7) easy to interact with others, (8) has a good performance, (9)are able to develop imagination, and (10) becomes a creative child.Kata Kunci: pendidikan seni tari, kecerdasan emosional, dan anak usia dini
Pelatihan Tari Jaran Kepang Semarangan Berbasis Teknologi Kepada Generasi Milenial Kusumastuti, Eny; Putro, Bintang Hanggoro; Indriyanto, Indriyanto; Cahyono, Indrawan Nur
Varia Humanika Vol 4 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/vh.v4i1.69127

Abstract

Remaja milenial atau yang biasa disebut dengan generasi milenial adalah remaja yang hidup di tengah perkembangan jaman yang serba modern. Di tengah gempuran teknologi dan masuknya revolusi industri, tari Jaran Kepang dapat dimanfaatkan sebagai modal sosial dan ekonomi bagi masyarakat untuk membangun karakter masyarakat tersebut dari gempuran teknologi dalam era industri 4.0. Generasi milenial dapat belajar kesenian tradisional kerakyatan melalui kemajuan teknologi. Salah satu paguyuban, yang selalu konsisten dalam pelestarian tari Jaran Kepang adalah Langen Budi Sedyo Utomo yang terletak di Dusun Sombron, Desa Tlompakan, Kecamatan Tuntang Kabupaten Semarang. Artikel ini bertujuan untuk memaparkan program pengabdian kepada masyarakat yang dilaksanakan penulis dalam 1) meningkatkan pengetahuan dan keterampilan gerak dasar tari anggota paguyuban, 2) pembuatan video tutorial pembelajaran tari Jaran Kepang yang bisa digunakan sumber belajar secara mandiri oleh anggota paguyuban, 3) penyediaan pelatih tari dan iringan yang memiliki kompetensi di bidang tari dan iringan. Pelaksanaan Program pengabdian kepada masyarakat diikuti oleh 30 orang peserta, melalui tahapan penyuluhan materi pengetahuan dan pelatihan gerak dasar tari Jaran Kepang. Materi penyuluhan pengetahuan gerak dasar tari meliputi wiraga, wirama dan wirasa, yang diberikan dengan metode ceramah, tanya jawab, sedangkan materi pelatihan gerak tari dilakukan dengan metode demonstrasi. Tahapan pelaksanaan penyuluhan dan pelatihan diawali dengan pemberian video tutorial Tari Jaran Kepang yang sudah disiapkan oleh pengabdi. Peserta terlebih dahulu melihat dan mempelajari video tersebut secara mandiri, selanjutnya berlatih bersama dengan tim pengabdi sesuai waktu yang sudah ditentukan. Hasil penyuluhan dan pelatihan diukur menggunakan evaluasi proses dengan cara memperhatikan dan menilai setiap tahapan progres yang dicapai peserta. Penilaian akhir dilakukan dengan mempergelarkan tari Jaran Kepang secara bersama-sama. Kriteria Program pengabdian kepada masyarakat adalah 1) jumlah peserta penyuluhan dan pelatihan memenuhi kuota yang tersedia, 2) peserta diwajibkan mengikuti setiap tahapan penyuluhan dan pelatihan sampai selesai, 3) peserta penyuluhan dan pelatihan mampu mempergelarkan tari Jaran Kepang dalam sebuah pertunjukan.
Community-Based Art Education as a Cultural Transfer Strategy in the Jaran Kepang Art Performance of Semarang Regency Kusumastuti, Eny; Rohidi, Tjetjep Rohendi; Hartono, Hartono; Cahyono, Agus
Harmonia: Journal of Arts Research and Education Vol 21, No 1 (2021): June 2021
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.v21i1.30181

Abstract

Jaran Kepang Semarangan is a community based art product. It is a product that has existed in between generations. This research reviews community-based art education as a means to transfer the culture of Jaran Kepang performance. This research is qualitative research with an interdisciplinary approach of sociology to discuss community-based art education and anthropology to dig deeper into the system of knowledge, values, and beliefs within the performance of Jaran Kepang. The research includes a field study in Semarang Regency. The researchers collected the data through observation, interviews, and documentation. The researchers validated the data through triangulation of technique, sources, theory, and times. The data were analysed based on the theories of Janet Adshead along with Miles and Huberman. The research finds that 1) there is a change of community-based art education, including the system of knowledge, values, and beliefs; 2) the transfer of Jaran Kepang is similar to the theory of Cavalli-Sforza and Feldman under the scheme of AGIL (Adaptation, Goal-attainment, Integration, Latent-pattern-maintenance). There is a shift of inheritance system which is from vertical transmission (intergeneration of family) to horizontal transmission or planned regeneration via social media, training, and performance; 3) the development of Jaran Kepang Semarangan is categorized into five types, which are ritualistic ceremony; entertainment of people who hold events, such as marriage, circumcision, gratitude events; rayonan; and entertainment in tourist attraction, cultural festival, or dance competition.
PEMBELAJARAN RAGAM GERAK PERANGAN DALAM TARI RENGGAMATAYA PUTRI BERBASIS METODE IMITASI DAN DRILL: STUDI KASUS DI YAYASAN PAMULANGAN BEKSA SASMINTA MARDAWA YOGYAKARTA Prabandari, Dyah Ajeng; Kusumastuti, Eny
SIBATIK JOURNAL: Jurnal Ilmiah Bidang Sosial, Ekonomi, Budaya, Teknologi, Dan Pendidikan Vol. 4 No. 8 (2025)
Publisher : Penerbit Lafadz Jaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54443/sibatik.v4i8.3075

Abstract

This study discusses the learning process of various war movements in Renggamataya Putri Dance as applied at the Pamulangan Beksa Sasminta Mardawa Foundation in Yogyakarta. The main issue in this study is how the imitation and drill methods applied by teachers in delivering various war movements, material to adult female elementary school students, particularly in the context of classical Yogyakarta-style dance, which requires perseverance, precision, and mastery of advanced techniques. The objective of this study is to understand and describe the implementation of the learning process of War Movement Variations based on imitation and drill methods, as well as determining the effectiveness of these methods on the development of students' skills. This study employs qualitative research design with a case study approach, utilizing data collection techniques such as observation, interviews, and documentation. The results of the study indicate that the learning process using imitation and drill methods consistently improves students' ability to memorize movements, improve technique, and build a deep understanding of the variety of war movements. In each session, the teacher provides direct examples of movements, repeats them using counting or accompaniment, and corrects students' mistakes on an. The final evaluation showed that most students were able to perform the dance well based on the aspects of wiraga, wirama, and wirasa. The conclusion of this study is that the imitation and drill methods are effective in building the foundation of classical dance skills in elementary school students, especially in the gradual mastery of various war movements.
Representasi Bentuk Pertunjukan Tari Rondhek di Desa Banyumanis Kabupaten Jepara Kartika Anggraini, Chintya; Putri, Rimasari Pramesti; Kusumastuti, Eny
Ranah Research : Journal of Multidisciplinary Research and Development Vol. 7 No. 6 (2025): Ranah Research : Journal Of Multidisciplinary Research and Development
Publisher : Dinasti Research

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.38035/rrj.v7i6.1745

Abstract

Folk art, particularly traditional dance, serves as a powerful reflection of local culture and plays a crucial role in preserving community values. The Rondhek Dance in Banyumanis Village, Jepara, is a testament to this, representing a vibrant folk art that remains well-preserved and carries profound historical, social, and aesthetic significance. This dance seamlessly blends movement elements from the Reog and Ledhek traditions, creating a dynamic choreography imbued with symbols of togetherness and mutual cooperation. This research aims to meticulously analyze the performance form of the Rondhek Dance. Employing a qualitative methodology with a choreological approach , data was gathered through observation, interviews with Mr. Kaolan (the dance creator and head of the studio) as well as the dancers, and documentation. The findings indicate that the Rondhek Dance features distinct performance characteristics. These include beautiful stage makeup that highlights the brave yet gentle female warrior character , red and yellow costumes symbolizing courage and cheerfulness , a musical accompaniment combining Javanese gamelan and drums with gending lancaran and meaningful lyrics , and simple floor patterns like circles and straight lines signifying unity. Ultimately, the Rondhek Dance functions not merely as entertainment, but also as a vital means of preserving tradition, the spirit of mutual cooperation, and the cultural identity of the Banyumanis community.
Performance Structure of Barongan Kademangan at the Barongan Kademangan Art Studio in Bonang Subdistrict Demak Regency Fachrunnisa, Amaril; Kusumastuti, Eny; Tani Utina, Usrek
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/ayp5r117

Abstract

This study aims to describe and analyze the structure of the Barongan Kademangan performance as presented by the Barongan Kademangan Art Studio in Bonang Subdistrict, Demak Regency. This research employs a descriptive-analytic method with a qualitative approach. Data collection techniques include observation, interviews, documentation, and literature study. The findings reveal that Barongan Kademangan is a form of folk art that integrates elements of dance, traditional music, and theatrical performance, with the barong figure serving as the central focus. The performance is composed of distinctive elements such as movement, musical accompaniment, costume and makeup, props, as well as floor patterns and staging. In addition to serving as entertainment, Barongan Kademangan functions as a medium of social communication that fosters community bonding, reinforces local cultural identity, and acts as a means of preserving traditional values. Thus, this art form plays a vital role in strengthening social cohesion and deserves ongoing support for its preservation.
Model Pembelajaran Project Based Learning dalam Menciptakan Karya Tari di Kelas X.TITL 2 SMK Negeri 2 Wonosobo Maharani, Syalaisha; Kusumastuti, Eny
Ranah Research : Journal of Multidisciplinary Research and Development Vol. 8 No. 1 (2025): Ranah Research : Journal Of Multidisciplinary Research and Development
Publisher : Dinasti Research

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.38035/rrj.v8i1.1827

Abstract

This study aims to describe the implementation of the Project-Based Learning (PjBL) model in the process of creating creative dance in class X.TITL 2 at SMK Negeri 2 Wonosobo. The research uses a descriptive qualitative method, with data collected through observation, interviews, and documentation. The results show that the learning process begins with a pre-instructional planning stage in the form of a teaching module designed according to school facilities and aligned with the Merdeka Curriculum. The application of the PjBL model successfully enhances students' active participation, creativity, and problem-solving skills through collaborative group work. Although the resulting dance works still require further development in terms of creativity, the learning process is effective. Project-based learning provides meaningful learning experiences and encourages students to be more independent and collaborative. Therefore, full support from the school and continuous development of the method by teachers are necessary to optimize learning outcomes.
Co-Authors -, Rosida Agus Cahyono Anggun Widya Lestar Bintang Hanggoro Putro Cahyaningrum, Anita Putri Cahyono, Indrawan Nur Dewi, Elza Monica Uswantari Efendi, Junarto Fachrunnisa, Amaril Gupita, Winduadi Hartono Hartono Hartono Hartono Indriyanto - Indriyanto, Indriyanto Kartika Anggraini, Chintya Khoiroh, Kholifatun Kurnianti Sudjono, Elisabeth Tri Maharani, Syalaisha Malarsih Malarsih Maro'atussofa, Chiga Muhammad Jazuli Nimah, Wieke Putri Ainun Oktoviany, Fillaily Prabandari, Dyah Ajeng Putri, Rimasari Pramesti Restu Lanjari Rochman, Muhammad Afifur Rosalina Susanti, Helmi Susanty, Pratiwi Esti Tani Utina, Usrek Tjetjep Rohendi Rohidi, Tjetjep Rohendi Wardani, Deantika Puspita widjajantie, kusrina Wijaya Mulya Catur Tunggal, Harist Harjanti