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All Journal Humaniora Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Ringkang Jurnal Seni Tari dan Pendidikan Seni Tari JPsd ( Jurnal Pendidikan Sekolah Dasar ) Indonesian Journal of Early Childhood Education Studies MUDRA Jurnal Seni Budaya Panggung Jurnal Obsesi: Jurnal Pendidikan Anak Usia Dini Gondang: Jurnal Seni dan Budaya Jurnal Administrasi Pendidikan Indonesia Paedagoria : Jurnal Kajian, Penelitian dan Pengembangan Kependidikan Cakrawala Dini : Jurnal Pendidikan Anak Usia Dini Gelar : Jurnal Seni Budaya International Conference on Languages and Arts Journal of Humanities and Social Studies Journal of Education, Humaniora and Social Sciences (JEHSS) Tunas Siliwangi : Jurnal Program Studi Pendidikan Guru PAUD STKIP Siliwangi Bandung Jurnal Paedagogy Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Didaktika: Jurnal Kependidikan Jurnal Pendidikan dan Teknologi Indonesia IJORER : International Journal of Recent Educational Research ARRUS Journal of Social Sciences and Humanities Gesture: Jurnal Seni Tari Journal of Dance and Dance Education Studies Journal of Innovation and Research in Primary Education Paradigma: Jurnal Kajian Budaya Panggung Jurnal Abmas Inovasi Kurikulum
Tati Narawati
Universitas Pendidikan Indonesia
Religion Arts Humanities Economics, Econometrics & Finance Education Engineering Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Public Health Social Sciences Other

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Bubuka Lawang Dance in Nyiar Lumar as a Media for Cultural Communication in Ciamis Intandiani, Annastasya Nur; Musunah, Juju; Narawati, Tati
Gondang: Jurnal Seni dan Budaya Vol. 8 No. 1 (2024): GONDANG: JURNAL SENI DAN BUDAYA, JUNE 2024
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v8i1.56571

Abstract

Dance performance is not merely a sequence of artistically arranged movements. Instead, a dance performance serves as a cultural communication medium between the creator and the audience. In the presentation of dance, expressed through each movement, there is meaning that goes beyond the physical aspects alone. Whether through harmonious movement or the selection of specific themes, a dance performance acts as a window that opens the audience's view into the world of emotions, values, and stories intended by the creator. The Bubuka Lawang Dance during Nyiar Lumar in Kawali, Ciamis Regency, West Java, showcases a community that continues to preserve and uphold its culture through Nyiar Lumar activities held every two years. Since 1998, Nyiar Lumar has been organized with the aim of building social solidarity through artistic activities in public spaces. This article aims to describe the research findings on the presentation of the Bubuka Lawang Dance during Nyiar Lumar in Kawali, Ciamis Regency. The research method employed is descriptive with a qualitative approach. The results reveal three stages in Nyiar Lumar: ngawalan (Opening ceremony), lalampahan (Journey), and magelaran (Performance). Additionally, there is a distinctive dance always featured during Nyiar Lumar titled "Tari Bubuka Lawang," with a different concept each year. Nyiar Lumar is closely related to the historical event of the Bubat War, which serves as the theme for Nyiar Lumar. The stage concept utilized is an outdoor stage with lighting relying on torches and candles. The movements are categorized into locomotion, pure movement, and symbolic gestures. Nyiar Lumar has become a biennial event to commemorate the history of West Java, Indonesia.
Tari Geboy Kembang Buruan di Sanggar Cantika Kabupaten Bandung Rahayu, Sesi Febi; Narawati, Tati; Badaruddin, Saian
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.66655

Abstract

This study aims to describe and analyze the Geboy Kembang Buruan dance in order to reveal the uniqueness and cultural identity embedded within it. Using a qualitative paradigm with an ethnochoreological approach and descriptive-analytical method, data were collected through observation, interviews, literature review, and documentation. The analysis was conducted using triangulation techniques to obtain a comprehensive understanding of the dance, not only from its aesthetic aspects but also its embedded character values.The results show that textually, this dance consists of nine movement variations, dominated by four gesture movements, four locomotor movements, and three pure movements. Contextually, the dance reflects character traits such as joy and cheerfulness. Geboy Kembang Buruan is categorized as a new creation of Jaipongan dance, representing the emotional and physical journey of a young girl during puberty, with themes of growth, transformation, and the search for identity.This research is expected to enrich the documentation of traditional West Javanese dance arts and contribute to cultural preservation through education, art festivals, and academic studies in the fields of dance and culture.
Kajian Etnokoreologi Tari Krincing Jagat di Sanggar Seni Way Talatah Subang Maryani, Dian; Narawati, Tati; Badaruddin, Saian
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.69562

Abstract

Krincing Jagat Dance is a new form of creative dance inspired by the traditional art of Sisingaan from Subang, West Java. This dance was created by Sigit Febrianto at Sanggar Waytalatah Subang as an effort to preserve local culture with an innovative touch to remain relevant amidst the development of the times. This study aims to describe the text and context of Krincing JagatDance through ethnochoreology studies. Textually, Krincing Jagat Dance combines elements of movement, music, and dance properties such as krincing (small bells) to form a dynamic and expressive dance composition. There are 22 movements that can be divided into 3 parts of movement composition, namely gesture, locomotor and pure movement. This study uses an Ethnochoreology approach which is used as a Grand theory, using a descriptive analysis method and using a qualitative paradigm. Data were obtained through direct observation at the Waytalatah Art Studio, interviews with the dance creators, and documentation of the Krincing JagatDance. The results of the study indicate that the Krincing JagatDance not only maintains the aesthetic values ​​of the Sisingaan tradition, but also brings a new spirit through freer and rhythmic choreography, without leaving behind local identity.
Citra Perempuan Sunda pada Tari Karawitan Istri Cantika, Anindyajati; Narawati, Tati; Badaruddin , Saian
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.69563

Abstract

This study aims to describe the image of Sundanese women as portrayed in the Tari Karawitan Istri (Women’s Karawitan Dance), a choreographic work by R. Sambas Wirakoesoemah in 1925. Tari Karawitan Istri is one of the classical Sundanese dances that has survived to this day, serving as a reflection of cultural values and the image of Sundanese women in its time. A qualitative research paradigm was employed using an ethnokoreological approach, applying stages such as dance structuralization, description, categorization, analysis, textual and contextual synthesis, and interpretation. Data were collected through observation, interviews, literature review, and documentation studies. Data analysis was conducted using triangulation to obtain a more accurate understanding of the dance. Textual findings reveal that the choreography of Tari Karawitan Istri consists of sixteen basic movement patterns, two locomotion movements, sixteen pure movements, and three gestures. The movements are characterized by lightness, slowness, and precision, which signify calmness, carefulness, and self control qualities that reflect the ideal character of Sundanese women as gentle and civilized figures. Contextually, this dance illustrates the image of Sundanese women during that era, who embodied refined behavior and upheld politeness as a core cultural value. The dance affirms that Sundanese women are not weak figures, but rather play a central role as educators and preservers of cultural values for future generations.
Ideologi Sosial Dalam Kesenian Tradisional Angklung Sered: Dari Alat Perjuangan Hingga Sebagai Sarana Hiburan Masyarakat Wakih, Agus Ahmad; Masunah, Juju; Narawati, Tati; Rakhmat, Cece
PANGGUNG Vol 33 No 2 (2023): Ideologi, Identitas, dan Kontekstualitas Seni Budaya Media
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v33i2.2586

Abstract

ABSTRACT For 350 years, Indonesia was under the rule of foreign countries before gaining independence in 1945. This colonization had a significant impact on the social, cultural, economic, and political aspects of Indonesian society. The people expressed their resistance through traditional performing arts, such as angklung sered in Balandongan, Tasikmalaya, West Java. This art form served as a tool of struggle against the colonizers. The objective of this research is to discover the values of social ideology embedded in angklung sered within the community of Balandongan. The research methodology employed semiotic analysis, focusing on the text and context of the angklung sered performances. Text analysis emphasizes the musical instrument used in the performance, while contextual analysis examines the artistic function of angklung sered before and after independence. The research data was obtained through interviews and documentary studies. The findings reveal that angklung sered served as a symbol of resistance before independence, while after independence, the emphasis shifted towards the aesthetics of the performance. Angklung sered also became a social ideology for the community, reflected in its meanings and symbols, serving as the foundation of their beliefs in everyday life. Keywords: Social Ideology, Culture, Traditional Art, Angklung Sered, Traditional Performing Arts ABSTRAK Selama 350 tahun, Indonesia dikuasai oleh negara-negara asing sebelum merdeka pada tahun 1945. Penjajahan ini berdampak besar pada sosial, budaya, ekonomi, dan politik bangsa Indonesia. Masyarakat menunjukkan perlawanan melalui seni pertunjukan tradisional seperti angklung sered di Balandongan, Tasikmalaya, Jawa Barat. Seni ini dijadikan sebagai alat perjuangan melawan penjajah. Penelitian ini bertujuan menemukan nilai-nilai ideologi sosial masyarakat dalam angklung sered di Balandongan. Metode penelitian menggunakan analisis semiotika, fokus pada teks dan konteks pertunjukan angklung sered. Analisis teks berfokus pada alat musik angklung yang digunakan, sedangkan analisis konteks memeriksa fungsi kesenian ini sebelum dan setelah kemerdekaan. Data penelitian diperoleh melalui wawancara dan studi dokumentasi. Hasil penelitian menunjukkan angklung sered sebelum kemerdekaan menjadi simbol perjuangan, sementara setelahnya lebih menekankan estetika pertunjukan. Angklung sered juga menjadi ideologi sosial masyarakat, tercermin dalam makna dan simbolnya yang menjadi dasar keyakinan dalam kehidupan sehari-hari. Kata kunci: Ideologi Sosial, Budaya, Kesenian Tradisional, Angklung Sered, Seni Pertunjukan Tradisional
Implementasi Teknologi Pendidikan Digital Melalui Aplikasi Quizwhizzer Sebagai Media Pembelajaran Seni Budaya Annisa Nurkhadijah; Tati Narawati
Didaktika: Jurnal Kependidikan Vol. 14 No. 3 Agustus (2025): Didaktika Jurnal Kependidikan
Publisher : South Sulawesi Education Development (SSED)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58230/27454312.2206

Abstract

Perkembangan teknologi digital mendorong guru untuk berinovasi dalam menghadirkan media pembelajaran yang lebih menarik dan interaktif. Pada praktiknya, pembelajaran Seni Budaya di sekolah masih banyak menggunakan metode ceramah dan media konvensional sehingga kurang mampu menumbuhkan keterlibatan siswa secara optimal. Penelitian ini bertujuan mengeksplorasi implementasi aplikasi QuizWhizzer sebagai media pembelajaran digital dalam mata pelajaran Seni Budaya, khususnya materi tari tradisional, di kelas X.4 SMA Angkasa Lanud Sulaiman. Penelitian menggunakan pendekatan kualitatif deskriptif dengan teknik pengumpulan data melalui observasi, wawancara, dan dokumentasi. Validasi dilakukan dengan triangulasi teknik dan sumber, sedangkan analisis data dilakukan secara deskriptif. Hasil penelitian menunjukkan bahwa pemanfaatan QuizWhizzer mampu menciptakan suasana belajar yang lebih aktif, komunikatif, dan menyenangkan. Siswa terlibat dalam diskusi kelompok, berkompetisi melalui permainan ular tangga digital, serta lebih mudah memahami materi berkat umpan balik langsung dari aplikasi. Guru memperoleh kemudahan dalam evaluasi karena hasil belajar siswa tampil otomatis, baik berupa skor maupun peringkat. Hambatan yang muncul meliputi keterbatasan jaringan internet, keterlambatan siswa mengakses aplikasi, serta keterampilan guru dalam mengoperasikan teknologi. Penelitian ini menyimpulkan bahwa QuizWhizzer efektif digunakan sebagai media pembelajaran digital yang mendukung keterlibatan siswa sekaligus mempermudah evaluasi guru. Aplikasi ini layak dijadikan alternatif inovasi pembelajaran Seni Budaya, meskipun penggunaannya tetap perlu ditunjang kesiapan infrastruktur dan literasi teknologi pendidik.
Pengaruh Pembelajaran Tari Terhadap Interpersonal Siswa dengan Stimulus Budaya Lokal Devita Juniawan; Tati Narawati
Didaktika: Jurnal Kependidikan Vol. 14 No. 3 Agustus (2025): Didaktika Jurnal Kependidikan
Publisher : South Sulawesi Education Development (SSED)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58230/27454312.2207

Abstract

Penelitian yang dibuat ini memiliki tujuan untuk mengetahui apakah dengan mengenalkan kehidupan sosial masyarakat Kampung Adat Cireundeu pada pembelajaran tari dapat berpengaruh terhadap kecerdasan interpersonal siswa. Jenis penelitian yang digunakan adalah penelitian pre-experimental dengan desain one grup pretest-posttest, pengambilan sampel dilakukan dengan teknik sampling purposive. Sampel merupakan 10 siswa anggota ekstrakurikuler tari di SMPN 9 Cimahi. Teknik pengumpulan data melalui observasi,angket dan dokumentasi. Teknik analisis data dengan SPSS 25 untuk uji validitas, uji normalitas dan uji paired sample t test. Hasil menunjukan nilai sig (2-tailed) bernilai 0,002 < 0,05 sehingga dapat ditarik kesimpulan “Ha diterima dan Ho ditolak”, yang artinya melalui pembelajaran tari di ekstrakurikuler tari dengan mengenal kehidupan sosial masyarakat
Building Character Values Through Cooperative Learning in Choir Activities: Evidence from Longitudinal Action Research Dhea Elvionita Surya; Tati Narawati; Agus Budiman
Journal of Innovation and Research in Primary Education Vol. 5 No. 1 (2026)
Publisher : Papanda Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56916/jirpe.v5i1.3115

Abstract

Choir activities in higher education predominantly emphasize technical musical aspects while overlooking their potential as comprehensive character education platforms. This study addresses the knowledge gap regarding specific mechanisms through which structured collaborative learning transforms character values in university choir contexts. This two-year qualitative action research employed Cooperative Learning interventions in student choir activities at IAKN Palangka Raya, Indonesia. Seven focal students exhibiting problematic behaviors were selected from 30 choir members. Data were collected through participatory observation, in-depth interviews, and documentation across two intervention cycles, then analyzed using qualitative descriptive methods with triangulation for validity. The systematic implementation of Cooperative Learning through small group practice, peer teaching, leadership rotation, and structured reflection successfully transformed student character values. Focal students progressed from chronic tardiness, minimal engagement, and individualistic attitudes to demonstrating sustained discipline (95%+ attendance), personal responsibility, cooperative commitment, and empathetic awareness. Musical competence improved concurrently, culminating in competitive achievements at city, provincial, and national levels. A novel finding revealed that character development temporally preceded musical improvement by 3-4 weeks, suggesting character values function as foundational infrastructure enabling optimal artistic learning. Cooperative Learning effectively cultivates multidimensional character development alongside musical competence in higher education choir settings. The findings position structured collaborative pedagogy as essential for realizing choir activities' full potential as holistic character education spaces.
Lokakarya pendidikan seni tari berbasis apresiasi seni tradisi dan kontemporer bagi guru-guru seni tari se-Jawa Barat Tati Narawati
Jurnal Abmas Vol. 3 No. 1 (2003): Jurnal Abmas
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/abmas.v3i1.64

Abstract

Pada kurikulum baru yaitu Kurikulum Berbasis Kompetensi (KBK) yang direncanakan berlaku tahun 2004, materi seni daerah setempat dan Nusantara mendapat porsi yang cukup banyak. Tujuan yang terkait dengan pokok bahasan seni daerah setempat dan seni daerah lain adalah: "Siswa dapat berekspresi dan berapresiasi musik, tari, dan teater daerah setempat dan daerah lain, serta mengenal sejarah dan estetikanya." Untuk mencapai tujuan tersebut, para guru sering mendapat kesulitan. Kendala utama di antaranya adalah sebagai berikut: Pertama, ketiadaan bahan ajar. Buku yang ada biasanya bersifat teoretis saja sehingga mudah dihafal dan hanya diuji pada akhir semester. Kedua, kemampuan guru yang terbatas. Kemampuan guru dalam mengolah seni daerah setempat dan Nusantara sebagai bahan pelajaran seni dirasakan masih kurang, sehingga materi yang diberikan kepada siswa cenderung tidak mengalami perubahan. Ketiga, latar belakang pendidikan. Kurangnya ketersediaan guru pendidikan seni yang memiliki latar belakang pendidikan seni yang sesuai. Mengingat persoalan tersebut, dirasakan sangat perlu diadakan lokakarya pendidikan seni berbasis apresiasi. Dalam hal ini, tari tradisi (setempat) dan tari kontemporer (daerah lain) dijadikan sebagai menu utama. Prinsip learning by seeing, learning by thinking, dan learning by doing adalah langkah kerja tim untuk mencapai tujuan, yaitu menghasilkan para guru yang memiliki kompetensi apresiasi terhadap seni tari tradisi dan kontemporer.
Internalization of Gapura Pancawaluya Values through Community Based Creative Dance Learning in Angklung Sered Balandongan Rivaldi Indra Hapidzin; Trianti Nugraheni; Tati Narawati; Agus Ahmad Wakih
ARRUS Journal of Social Sciences and Humanities Vol. 6 No. 2 (2026)
Publisher : PT ARRUS Intelektual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35877/soshum4642

Abstract

Community-based dance learning plays an important role in character education and the strengthening of cultural identity. This study aims to examine the pedagogical process, representations of cultural values, and the learning implications of Creative Dance in Angklung Sèrèd Balandongan within a community context. The research employed a qualitative case study approach grounded in ethnopedagogy and was conducted in Balandongan Village, Tasikmalaya, with data collected through participant observation, in-depth interviews, and documentation across different age groups. The findings indicate that the learning of Creative Dance in Angklung Sèrèd Balandongan functions as a socio-cultural learning ecosystem that integrates embodied experience, the symbolic meanings of dance properties, and local Sundanese values. Aesthetic transformation is reflected in the development of movement quality and expressive engagement among participants, while the internalization of the Gapura Pancawaluya values cageur, bageur, bener, pinter, singer, and pangger is realized through the symbolic interpretation of the umbrella, kolotok, and Hihid. These findings affirm that community-based creative dance pedagogy contributes significantly to character formation in education and to the sustainability of local culture.
Co-Authors abdul ajis jatnika Ace Iwan Suryawan Ace Iwan Suryawan Ace Iwan Suryawan, Ace Iwan Agus Ahmad Wakih Agus Ahmad Wakih Agus Budiman Agus Budiman Agus Dian Agus Supriatna Ali, Qifthi Amalia ramadhani Annastasya Nur Intandiani Annisa Nurkhadijah Ayo Sunaryo Ayu Ridho Saraswati, Ayu Ridho Ayu Vinlandari Wahyudi Cantika, Anindyajati Dedi Rosala Devita Juniawan Dhea Elvionita Surya Dinda Damayanti Sudrajat Dinda Satya Upaja Budi Fallen, Aryuda Fakhleri Fifiet Dwi Tresna Santana Fifiet Dwi Tresna Santana, Fifiet Dwi Tresna Fitri Kurniati Hapidzin, Rivaldi Indra Hardina, Meisi Hayani Wulandari Hayani Wulandari, Hayani heni julia adila Intandiani, Annastasya Nur Ismet Ruchimat Ismet Ruchimat, Ismet Juju Masunah Juju Musunah Kemala Dwina Putri Khori Nurfaida Agniawan Kokom Komalasari Lalan Erlani Lanang Riyadi Maryani, Dian Maulana, Marsel Ridky Metha Liantina Eka Putri mira Agianti mira agniati Mubiar Agustin Muqri, Al Musunah, Juju Mutiara Difa Fauziyah Noviyanti Maulani Nugraheni, Trianti Nurfalah, Asep Rizwan Nurjatisari, Trimulyani Nurulloh Ramdani oriza sathyfa pertama Peppy Irmaniar Rahman Puri, Tia Destiana Putri Lilis Dyani Putri Lilis Dyani Putri, Aisyah Rahma Putri, Febrianti Ersa Qifthi Ali R. M. Soedarsono R.M. Soedarsono - R.M. Soedarsono -, R.M. Soedarsono Rahayu, Sesi Febi Rakhmat, Cece Ramadhan, Alvin Pratama Ria Sabaria Riana Rosa Prastika Ridwan Simon Ridwan, Ridwan Rika Restela Rika Restela, Rika Rivaldi Indra Hapidzin Rizqi Maulana Rosi Rosmawati Saian Badaruddin Satya, Royys Bagja Rizky Sembiring, Piter Slamet, Deni Sofyan, Agung Muhamad Srilestari, Widia Sunaryo, Ayo Suwandi, Miranto Taram Abdul Roji Taryana, Tatang Timbul Haryono Timbul Haryono Tresnadi, Soni Tri Karyono Tri Lestari, Asti Tri Reda Julianti Anugrah Trianti Nugraheni Uci Rahmawati uus karwati Wakih, Agus Ahmad Widi Eka Yulita Widia Srilestari Yoyoh Siti Mariyah Yudi Sukmayadi Zaenal Alimin