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Transparansi dan Partisipasi Masyarakat dalam Mengawal Dana Desa Menuju Masyarakat Desa Sejahtera MARYONO, Maryono; BAGANA, Batara Daniel; SANTOSA, Agus Budi
Akuntansi dan Humaniora: Jurnal Pengabdian Masyarakat Vol. 2 No. 3 (2023): Akuntansi dan Humaniora: Jurnal Pengabdian Masyarakat (Oktober – Januari 2024)
Publisher : Indonesia Strategic Sustainability

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.38142/ahjpm.v2i3.874

Abstract

Pengabdian masyarakat ini mengambil judul bantuan pengelolaan dana desa di desa Jimbung kecamatan Kali Kotes kabupaten Klaten. Mengingat kita masih berada dalam masa pandemi Covid 19, maka pelaksanaan pengabdian masyarakat ini dilakukan secara online melalui komunikasi telepon. Pada tahun 2021 di Indonesia masih diberlakukan Pembatasan Kegiatan Masyarakat sehingga pengabdian masyarakat ini dilaksakan secara daring (tidak tatap muka) melalui sarana telpon atau panggilan video. Tim Pengabdian meminta salinan dokumen yang berhubungan dengan pengelolaan dana desa yang meliputi antara lain: 1) Dokumen rapat pengelolaan dana desa, 2) Dokumen anggaran belanja dana desa, 3) Dokumen kegiatan, 4) Dokumen pendukung bukti pengeluaran dana desa. Tujuan pendampingan dalam pengelolaan dana desa dimaksudkan agar dana desa benar-benar dapat dikelola secara efektif dalam rangka meningkatkan kesejahteraan masyarakat Desa Jimbung Kecamatan Kali Kotes Kabupaten Klaten. Kesimpulan yang didapat dalam kegiatan ini adalah dana desa di desa Jimbung dikelola dengan baik dengan melibatkan seluruh pemangku kepentingan dan terbuka sehingga tujuan masyarakat desa sejahtera dapat tercapai.
TARI SEBAGAI MEDIA KOMUNIKASI AKTUAL SENIMAN DI MASYARAKAT Maryono, Maryono
Acintya Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i2.4665

Abstract

ABSTRAKTujuan penelitian ini adalah untuk mengungkap tari sebagai media komunikasi yang paling aktual bagi seniman. Beragam jenis garap tari tradisi yang bersumber tarian istana Surakarta salah satu wahana bagi seniman untuk mampu berkomunikasi dengan masyarakat. Kehadiran tari sebagai ungkapan ekspresi jiwa manusia merupakan media komunikasi seorang seniman (koreografer) terhadap penghayat. Sebagai media komunikasi, tari mempunyai muatan-muatan pesan dari koreografer yang hendak dikomunikasikan dengan masyarakat penonton atau penghayat. Metode dalam penelitian ini bersifat kualitatif dengan teknik pengumpulan data: studi pustaka, studi lapangan dan partisipan penuh yang terlibat langsung sebagai seniman. Teori yang digunakan sebagai dasar analisisnya adalah teori komunikasi menurut Cangara bahwa dalam peristiwa komunikasi terdapat unsur-unsur yang utama: sumber/ komunikator, media, pesan, penerima, lingkungan, efek dan umpan balik. Hasil penelitian bahwa aktualisasi seniman dalam masyarakat merupakan perwujudan fungsionalisasinya dari subsistem kebudayaan yakni untuk menjalin dan menjaga keseimbangan dari kebutuhan hidup akan rasa estetik dan pemenuhan kebutuhan yang berhubungan dengan beragam tuntutan sosial. Tari sebagai media komunikasi yang aktual bagi seniman di masyarakat rupanya sangat tepat, mengingat seniman dalam hal ini koreografer menyiratkan pesan-pesan yang berupa moral, spiritual, dan hiburan sebagai sumbangan dan pemenuhan kebutuhan hidup masyarakat yang bersifat immateriil. Kata kunci: seniman, tari, masyarakat.
Distribution and changes in mangrove area using satellite imagery of Landsat 8 OLI TIRS Yunita, Nurul Fatimah; Usman, Muhammad; Merdekawati, Dewi; Maryono, Maryono; Januardy, Uray; Kristiandi, Kiki
JURNAL MINA SAINS Vol. 10 No. 1 (2024): Jurnal Mina Sains
Publisher : Universitas Djuanda

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30997/jmss.v10i1.10565

Abstract

Abstract This research aims to observe the distribution and changes in the area of mangrove vegetation in Jawai District, Sambas Regency, West Kalimantan Province. This sub-district is part of the administrative area of Sambas Regency and is one of 6 sub-districts that have coastal regions. The data used in this research is Landsat 8 satellite imagery, recording data from 2016 and 2022. The results of the data analysis show that of the total of 13 villages, only one village did not find mangrove vegetation in its area, namely Dungun Laut Village. Based on the analysis of the distribution of mangrove vegetation in 12 villages, there are two villages, namely Mutus Darussalam and Sarang Burung Danau, which show a decrease in the area of mangrove vegetation cover. Both experienced a reduction in the area of 0.184 ha and 42,081 ha, respectively. During 2016 and 2022, the lowest mangrove vegetation area was in Sentebang Village, 2,768 ha and 19,112 ha. The highest area of mangrove vegetation is increasing in Sarang Burung Kolam Village, with an area of 188,889 ha (2016) and 212,335 ha (2022). These findings show the importance of conservation in protecting the mangrove ecosystem in this area.  
Penerapan Model Pembelajaran Berbasis Projek untuk Meningkatkan Keaktifan Belajar Siswa pada Materi IPAS Khairani, Mutiara; Maryono, Maryono; Pamela, Issaura Sherly
Jurnal Pendidikan dan Pembelajaran Indonesia (JPPI) Vol. 4 No. 4 (2024): Jurnal Pendidikan dan Pembelajaran Indonesia (JPPI), 2024 (4)
Publisher : Yayasan Pendidikan Bima Berilmu

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53299/jppi.v4i4.814

Abstract

Penelitian ini berfokus pada evaluasi dan penyelesaian masalah selama proses pembelajaran karena model pembelajaran berbasis proyek (PjBL) membantu siswa mengerjakan proyek dan menyelesaikan masalah. Tujuannya adalah untuk meningkatkan keterlibatan siswa dalam materi Ilmu Pengetahuan Alam dan Sosial (IPAS) di kelas V SDN 209/IV yang memiliki tingkat sensitivity rendah. Karena metode yang monoton dan dominasi guru dalam menjelaskan materi, observasi awal menunjukkan bahwa siswa kurang terlibat dalam pembelajaran. Penelitian ini menggunakan metode penelitian tindakan kelas (PTK) yang dilakukan selama dua siklus yang setiap siklusnya memiliki alur mulai dari persiapan, pelaksanaan, pengamatan, dan refleksi. Studi ini dilakukan pada seluruh siswa kelas V SDN 209/IV Jambi, yang berjumlah 26 siswa. Studi ini dilakukan dalam dua siklus dan termasuk 26 siswa. Hasil analisis data menunjukkan bahwa model pembelajaran berbasis proyek (PjBL) berhasil meningkatkan aktivitas belajar siswa pada mata pelajaran IPAS. Siswa di kelas V SDN 209/IV Penyengat Rendah melihat hasil yang positif dari model ini. Beberapa tahapan implementasi model PjBL adalah menentukan pertanyaan dasar, merancang perencanaan proyek, menyusun jadwal, dan memonitor pembelajaran. Hasilnya menunjukkan bahwa siswa menjadi lebih aktif dalam kegiatan pembelajaran, menjawab pertanyaan, mendengarkan apa yang dikatakan guru, menyimpulkan hasil kerja, dan meningkatkan keberanian, rasa percaya diri, dan keinginan untuk belajar. Peningkatan ini terlihat pada setiap pertemuan selama siklus I dan II secara bertahap yang sebelumnya keaktifan siswa dari hanya 45% pada pra-tindakan menjadi 53,5% pada siklus I pertemuan 1 meningkat di pertemuan 2 sebanyak 69%. Kemudian dilanjutkan siklus II pertemuan 1 meningkat mencapai 78% dan 82,19% pada pertemuan 2.
ANALISIS ESTETIS TARI DRIASMARA Dwiyasmono, Dwiyasmono; Maryono, Maryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 12 No. 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v12i2.505

Abstract

The dance Driasmara is a pasihan dance in traditional Surakarta style and a developmentof previous pasihan dances, including Karonsih, Lambangsih, Endah, and Enggar-enggar. Thisdance has a variety of moods for creating dramatic effect through its treatment of the movements,vocal melody, dance steps, levels, and musical accompaniment, so that it is interesting to analyzeits aesthetical formation. In order to discover the aesthetical formation of the dance Driasmara,tools for aesthetical analysis are required, including the concepts of wiraga, wirama, wirasa, andhasta sawanda as well as the concept of dramatic design. It is hoped that this study will bebeneficial for the development of the life of the arts, in particular aspects of aesthetical analysis.
ESTETIKA TARI KUKILO GAYA SURAKARTA GUBAHAN S. MARIDI Resi, Laras Ambika; Maryono, Maryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 13 No. 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v13i1.533

Abstract

This research aims to uncover the aesthetic meaning of the Kukila dance through anaesthetical review in order to discover and describe: (1) the form of the Surakarta style Kukiladance which includes its theme, dancers, movements, make-up, costumes, music, and dance formation;(2) an explanation of the concept which symbolizes the form of the dance and the responseof the audience; and (3) an explanation of the aesthetic meaning of the Surakarta style Kukiladance. The form of the research is qualitative descriptive. The research uses a holistic approachwhich places the form of the dance or its sensation as the objective factor, the concept or idea whichsymbolizes as the genetic factor, and the response or emotion of the audience as the affective factorin an interactive communicative study. The research places each factor in an equal position as adata source and in the activity of the analysis.The theories used for researching the Kukila dance are: (1) Theories of Aesthetics; (2) Theoriesof Performing Arts; (3) Theories of Symbolism; and (4) Theories of Communication. Themethods used by the writer for collecting the data include: a library study, direct and indirect observation, and interviews with a number of informants. The conclusions drawn, based on theform, symbols, and emotions of the audience, are that aesthetically, the Kukila dance depicts afriendship between two kinds of birds which are agile, lively, and vivacious in character, while itfunctions as entertainment and can be interpreted as having content which is meaningful forcharacter building. In its implementation, the form of the Kukila dance is expressed through theperformance of presentative and representative movements which are agile, lively, and vivacious,and supported by make-up and costumes resembling the appearance of a bird, as well as dynamicmusic, creating a sense of harmony in a high quality work of art. The Kukila dance is essentiallya popular dance which is often learned by children in elementary school and junior high school.Keywords: Kukila dance, aesthetic, and character building.
KONEKSITAS TARI DAN MUSIK PADA TARI KELANA GAYA SURAKARTA Maryono, Maryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4030

Abstract

Klana Dance Surakarta style there are at least three main versions that can be traced, namely Kelana dance version S. Ngaliman, version of S.Maridi, and Version Sunarno Purwo Lelono. The three versions of Kelana dance in the groove do not have a prominent difference, but there are quite strong differences and very principles, especially in pacak and wiled sustainability that I observed from 1979 to the 2010s. The connection of dance and music in Surakarta Style Kelana dance shows the existence of a blend and harmony formed from the role of music to dance that serves as a pointer of content, illustration/nglambari, membungkus/mungkus, and nyawiji so as to form a Kelana dance Surakarta Style that is dashing, sigrak, spirit, firm and authoritative. The basic principle that each element in Kelana dance is a visual form that is artistic has shown coherence between elements and total connection so that it can function as a means of expression of the artist steadily.Keywords: music and Kelana dance
HOLISTIK TARI SINGO JOWO LASKAR KARYA UMI USWAHTUN KHASANAH Amintamah, Novia Nur Nurul; Maryono, Maryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 21 No. 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i1.4440

Abstract

Penelitian ini bertujuan untuk mengungkap makna yang terkandung pada Tari Singo Jowo Laskar Yudho Karya Umi Uswahtun Khasanah. Makna tari dapat diungkap dengan melihat tiga permasalahan meliputi: (1) Bagaimana Genetik Tari Singo Jowo Laskar Karya Umi Uswahtun Khasanah, (2) Bagaimana Objektif Tari Singo Jowo Laskar Yudho Karya Umi Uswahtun Khasanah, (3) Bagaimana Afektif Tari Singo Jowo Laskar Yudho Karya Umi Uswahtun Khasanah. Penelitian ini dikaji dengan pendekatan Kritik Seni Holistik yang menempatkan tiga faktor yaitu genetik, objektif, dan afektif merupakan satu kesatuan sebagai sumber terjadinya aliran makna. Penelitian yang dilakukan bersifat kualitatif dengan tehnik pengumpulan data meliputi wawancara, observasi, mengkaji dokumen arsip, dan perekaman. Hasil temuan penelitian berdasarkan analisis faktor genetik, objektif, dan afektif Tari Singo Jowo Laskar Yudho Karya Umi Uswahtun Khasanah dapat mengungkap makna bahwa karya tersebut berfungsi sebagai hiburan dan mengangkat nilai-nilai historis kedaerahan, nilai semangat perjuangan, nilai patriotisme dan nasionalisme yang berguna bagi generasi muda dan masyarakat.
PERSPEKTIF HOLISTIK TARI MERADAI GARAPAN SEKOLAH MENENGAH KEJURUAN NEGERI 5 KOTA BENGKULU Lara Sati, Ane Gempita; Maryono, Maryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i2.5593

Abstract

Bengkulu is one of the provinces located on the island of Sumatra with its capital city being Bengkulu City. Bengkulu City has a very famous ceremonial tradition, namely the Tabot ritual tradition which is held every year on the 1st to the 10th of Muharram. The Tabot ritual is often used as an entertainment event in the form of creative dance or new works created by local artists in Bengkulu City. One of them is the Meradai dance which is a work of State Vocational High School 5 of Bengkulu City in 2017. This study aims to reveal the meaning contained in the Meradai dance created by State Vocational High School 5 of Bengkulu City. The meaning of the dance is revealed by revealing three problems including: the genetic concept, the form of purpose, and the audience's response to the Meradai dance created by State Vocational High School 5 of Bengkulu City. This study uses a holistic art criticism approach that places three factors, namely genetic, objective, and affective, which are a unity as a source of the flow of meaning. This study is qualitative with data collection techniques including interviews, observations, and literature studies. The results of the discussion based on genetic factors, objectives, and affective aspects of the Meradai dance created by State Vocational High School 5, Bengkulu City are used for competitions, entertainment and learning materials, and contain values ​​of fighting spirit, mutual cooperation, and cultural history values.
BENTUK KOMPONEN NONVERBAL KARYA TARI ELEGI Purwanta, Eunike Meta; Maryono, Maryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.5607

Abstract

The research on “Bentuk Komponen Nonverbal Karya Tari Elegi” explores the elements contained in dance. This dance is a depiction of a romantic relationship that leads to things that are considered toxic. This paper aims to reveal the meaning of the nonverbal component forms of Elegi dance by interpreting the compound relationships between its elements. Several elements are discussed, namely: theme, movement, facial expressions (polatan), make-up, clothing, floor patterns and music as accompaniment. For problem solving, use verbal and nonverbal concepts from Maryono in the Book Analisa Tari. The research methodology is qualitative with data collection techniques: literature study, observation and interviews. All data that has been collected, classified, processed and analyzed using the triangulation method. The data that has been collected is then compared between one data and other data. This study found that the compound relationship of the nonverbal component elements of the Elegi dance is a dance work presented by two female dancers based on elements of traditional Surakarta style dance which was developed with the theme of romance. The struggle for love that is presented is about a love relationship that failed due to the denial of love and the woman fell into a state of hatred, resentment and anger, but in her downturn a new awareness was born, she got up and moved on to continue living by arranging her entire life so that it was meaningful for herself and others.
Co-Authors 07.05.52.0041 Aswatul Khasanah 08.05.52.0017 Easy Natalia, 08.05.52.0017 08.05.52.0148 Ninda Triana 08.05.52.0179 Fuad Hasan 08.0552.0028 Zumroatun Akyuni 0835030714 Masroka Priyo Utomo 0835030718 Unik Wiyarsini 0835030726 Ambar Mulyani 09.05.52.0040 Bhaskoro Adhi Nugroho 09.05.52.0114 Rizky Nur Saputra 09.05.52.0140 Kurnianto Nur Utomo 09.05.52.0173 Nur Inayah 10.05.52.0021 Yuni Puji Astutik 10.05.52.0051 Yogi Agustio Sayogo, 10.05.52.0051 10.05.52.0064 Andi Utomo 10.05.52.0082 Ade Imamul Muwachidin 10.05.52.0138 Eny Widayani 10.05.52.0139 Tukirah 10.05.52.0160 Dhanis Harsetiadi 10.05.52.0207 Galih Raharjo 11.05.52.0209 Nemia Kulamega Abugau, 11.05.52.0209 11.05.62.0001 Andryana Riajayanti 12.05.52.0038 Dewi Wahyu Lestari, 12.05.52.0038 12.05.52.0045 Rahma Syawari Mustika, 12.05.52.0045 12.05.52.0116 Dwi Nofiana, 12.05.52.0116 12.05.52.0165 Endrix Wibowo, 12.05.52.0165 12.05.52.0184 Wahyuning Astuti, 12.05.52.0184 Aan Kurniawan Achmad Badjuri Addiani, Intan Cahya Aditya, Dina Mei Eka Aditya, Dina Mei Eka Adiyanti, Yosua Ayu Afiani, Nur Afif Irwan Septiandy, 15.05.52.0006 Afrina, Rina Agam, Beryaldi Agus Budi Santosa Agus Haryanto Agus Prastiono, 12.05.52.0079 Agus Prastiono, 12.05.52.0079 Agzistasari, Anggun Ahlan Ghanim Ahmad Arifi, Ahmad Ahmad Syarif Aiman, Ghiyats Ajeng Laliddya N, 12.05.52.0105 Ajeng Laliddya N, 12.05.52.0105 Akhlis Rizza, Muhammad Akkapin , Suppaphorn Al Fath , Ayatullah Muhammadin Albino Da Cruz Dos Santos, 12.05.52.0051 Albino Da Cruz Dos Santos, 12.05.52.0051 Alfiana, Rinta Ali Ma’sum, Muhammad Alibasjah I Soedjarno Alvi Rosyidi Amalia Nur Anifah Amie Kusumawardhani, Amie Amintamah, Novia Nur Nurul Amiruddin Amiruddin anasril, anasril ANISAK KURNIASIH Apriyanto, Rahmat Ardhianto Adhi Nugroho, Ardhianto Adhi Ari Bowo, Dedi Aria Wirawan Artika, W. 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