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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 International Journal of Pedagogy and Teacher Education Jurnal Kewirausahaan dan Bisnis 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 Inovasi Kurikulum Gesture: Jurnal Seni Tari Journal of Dance and Dance Education Studies Journal of Innovation and Research in Primary Education Paradigma: Jurnal Kajian Budaya Panggung
Tati Narawati
Universitas Pendidikan Indonesia
Religion Arts Humanities Economics, Econometrics & Finance Education Engineering Health Professions Languange, Linguistic, Communication & Media Library & Information Science Mathematics Public Health Social Sciences Other

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Exploring the interplay of psychoacoustic parameters and microphone selection in soundscape recording: a comprehensive review and practical guide Satya, Royys Bagja Rizky; Sukmayadi, Yudi; Narawati, Tati
Gelar: Jurnal Seni Budaya Vol. 22 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v22i1.5833

Abstract

This research explores the intricate relationship between psychoacoustic parameters and microphone selection for soundscape recording, drawing inspiration from foundational concepts introduced by Schafer and Cage. Motivated by the need to comprehend the influence of psychoacoustic dimensions—specifically frequency, sound intensity, and time—on the choice of microphones for capturing auditory environments, the study adopts Liu and Kang's systematic literature review method. This approach entails a comprehensive analysis of diverse sources to identify knowledge gaps and establish a robust theoretical foundation. The primary aim is to offer practical guidance to professionals and researchers in the field of soundscape recording. Findings underscore the efficacy of a cardioid condenser stereo microphone that aligns with the analyzed psychoacoustic parameters. This study not only contributes to advancing practices in soundscape recording but also deepens our understanding of the intricate dynamics between soundscape, psychoacoustics, and sound recording devices. By recognizing the significance of Liu and Kang's methodology, the research serves as a foundation for future experimental designs and field testing. Acknowledging Liu and Kang's contributions, the study highlights the pivotal role of their systematic literature review method in shaping the research landscape, underscoring the importance of methodological rigor in advancing our understanding of complex auditory phenomena. This research provides a comprehensive overview of the nuanced relationship between psychoacoustic parameters and microphone selection for soundscape recording, contributing to the broader discourse in the field of auditory research. The implications of this research extend to the field of sound environment recording and psychoacoustics, providing a deeper understanding, improving recording quality, developing practical guidelines, encouraging recording technology innovation, and contributing to the field of psychoacoustics.
The Heroism Value in Totokng Dance at The Nurutni’ Ceremony Dayak Salako Community in West Kalimantan Slamet, Deni; Tati Narawati; Agus Budiman
Mudra Jurnal Seni Budaya Vol 40 No 4 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v40i4.2950

Abstract

This study aims to explore and analyse the heroism values embodied in the Totokng dance, a traditional ritual performed as part of the Nurutni’ ceremony by the Dayak Salako community in West Kalimantan. These values play a crucial role in shaping collective character and preserving cultural identity amid the pressures of globalisation and the ongoing crisis in character Education. The research is driven by the limited academic attention given to the dimension of heroism within the cultural expressions of the Dayak people, particularly in the context of rice harvest rituals. Adopting a qualitative method with an ethnographic approach, the study collected data through participant observation, semi-structured interviews, documentation, and literature review. Informants were purposively selected based on their direct involvement in the tradition. The findings reveal that the Totokng dance conveys heroism values such as courage, sacrifice, solidarity, responsibility, and loyalty. These values are expressed through symbolic movements, the social roles of the dancers, and the spatial design of the performance, all of which are rooted in spiritual and historical relationships. Rather than functioning solely as an aesthetic performance, the dance serves as a medium for transmitting values and as a tool for character Education grounded in local wisdom. These findings reaffirm the importance of preserving intangible cultural heritage as a key component of sustainable development and multicultural Education in Indonesia.
Movement Analysis Of Bedincak Gymnastics Based On Traditional Dance Of Bangka Belitung Srilestari, Widia; Narawati, Tati; Sukmayadi, Yudi
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.v8i1.56549

Abstract

The problem of this research is how Senam Bedincak can be an alternative recreational sport for the people of Bangka Belitung. The purpose of this study is to describe and analyze the choreographic and musical structure of Bedincak Gymnastics in Bedindak Gymnastics so that it becomes an alternative recreational sport for the people of Bangka Belitung. The method used is descriptive analysis with a qualitative approach. Bedincak Gymnastics is a community sport that adopts traditional Bangka Belitung dance movements such as Kedidi Dance, Dincak Dambus Dance and Measles Dance. The purpose of Bedincak Gymnastics is to improve the overall health and fitness of the community as well as to introduce and preserve Bangka Belitung culture to the community. Bedincak Gymnastics consists of 7 movement structures, namely opening movement, pattern 1 movement, pattern string movement, bedincak basic movement, pattern 2 movement, pattern 3 movement and closing movement.
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
Empowering junior high school dance education: a multimedia literacy-based competency approach for prospective teachers Barnas, Beben; Masunah, Juju; Narawati, Tati; Riyana, Cepi
Gelar: Jurnal Seni Budaya Vol. 23 No. 2 (2025)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v23i2.7755

Abstract

This study develops interactive thematic dance teaching materials integrating multimedia literacy through a competency-based approach, addressing theoretical gaps in technology integration within arts education. The research adapts Majumdar's multimedia literacy model into a six-stage pedagogical framework for kinesthetic learning, empirically validating pre-service teachers' capacity as content creators. Using Research and Development with the Thiagarajan 4D model, 27 pre-service teachers designed interactive materials validated by three experts and field-tested with 30 junior high school students. Expert validation rated materials as "Suitable" (M=4.00/5.00). Regression analysis confirmed multimedia literacy awareness significantly predicted product creation ability (β=0.505, p=0.007). Field implementation showed high effectiveness: attractiveness 98.3%, learning skills 96.1%, and all indicators >88%. This framework advances arts education by demonstrating that disciplinary authenticity and technological innovation coexist synergistically, preserving aesthetic values while enhancing digital competencies for 21st-century learning.
DAW-Based Beatmaking Creative Process: Literature Review with Guilford Indicators Rahmawati, Uci; Budiman, Agus; Narawati, Tati
Jurnal Paedagogy Vol. 13 No. 1 (2026): January
Publisher : Universitas Pendidikan Mandalika

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33394/jp.v13i1.19058

Abstract

This study aims to map rhythmic creativity in Digital Audio Workstation (DAW)–based beatmaking using Guilford’s indicators of creativity—fluency, flexibility, originality, and elaboration—as the primary analytical framework. In higher education in music arts, these indicators are employed as an analytical lens to examine how rhythmic ideas are generated, varied, refined, and expanded during the DAW-based beatmaking process. The study adopted a directed literature review method with thematic synthesis, analyzing 40 open-access sources published between 2017 and 2025 and retrieved through database searches (e.g., DOAJ and Google Scholar) and manual reference list screening. All included sources were peer-reviewed and assigned Digital Object Identifiers (DOIs). The literature was organized into thematic clusters, including DAW pedagogy, beatmaking practices, divergent thinking and musical creativity, digital collaboration, and critiques of technology and artificial intelligence in music production. Rhythmic elements—such as patterns, grooves, accents, subdivisions, swing, microtiming, transitions, arrangement, and energy automation—were subsequently mapped onto the four creativity indicators. The findings indicate that DAWs strongly facilitate rapid idea prototyping and iterative refinement, making fluency and elaboration the most prominent creativity indicators. In contrast, flexibility and originality appear to be more contingent on task design, learners’ willingness to shift compositional strategies, negotiation with genre conventions, and the broader collaborative and technological ecosystem, including templates, presets, and AI-assisted tools. This study provides a conceptual mapping framework and illustrative assessment directions to assist lecturers in interpreting DAW project artifacts as evidence of rhythmic creative processes. In the context of music arts higher education, the proposed mapping offers a reference for designing DAW-based composition tasks and developing more consistent and transparent assessment criteria for rhythmic creativity across the four Guilford indicators. Future research is recommended to empirically test this framework through the analysis of student-produced DAW artifacts.
Co-Authors abdul ajis jatnika Ace Iwan Suryawan Ace Iwan Suryawan Ace Iwan Suryawan, Ace Iwan 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 Saraswati, Ayu Ridho Ayu Vinlandari Wahyudi Beben Barnas, Beben Cantika, Anindyajati Cepi Riyana, Cepi 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 Mariah, Yoyoh Siti 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 Rahmawati, Uci 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 Reda Julianti Anugrah Trianti Nugraheni uus karwati Wakih, Agus Ahmad Widi Eka Yulita Widia Srilestari Yudi Sukmayadi Zaenal Alimin