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All Journal Harmonia: Journal of Research and Education International Journal of Performing Arts (IJPA) Jurnal Pendidikan Tari
Rahmida Setiawati
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Arts Humanities Education

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RITUAL DAN HIBURAN DALAM TARI TOPENG (Ritual and Entertainment on Mask Dance) Setiawati, Rahmida
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.v4i2.707

Abstract

Tari maupun topeng bukan hanya mempunyai fungsi ritual, melainkan juga fungsi hiburan. Keduanya saling kait­mengkait dalam satu kontinum untuk memenuhi sebagian dari kehidupan manusia, terutama kebutuhan berekspresi. Eksistensi tari topeng dilatarbelakangi oleh peristiwa yang bersifat ritual, tetapi karena sering digunakan dalam acara­acara yang bersifat hiburan maka ia menjadi tari hiburan. Ketika itu tari merupakan suatu bagian dari kegiatan maanusia yang erat kaitannya dengan magi, musi, agama, kesusastraan, maka tari ebrfungsi ritual. Demikian pula halnya dengan topeng, yang pada masa lalu menjadi alat yang sangat penting dalam hubungannya dengan komunikasi dengan roh­roh maupun Tuhan, maka dia berfungsi ritual. Namun ketika keduanya dikemas menjadi seni tontonan, maka keduanya berfungsi hiburan. Perbedaan dari kedua fungsi tersebut sesungguhnya terletak pada konteks peristiwanya.Kata kunci : Ritual, hiburan, dan tari topeng
Kompetensi sebagai Basis Pendidikan Seni (Competency as a Basic of Arts Education)Kompetensi sebagai Basis Pendidikan Seni (Competency as a Basic of Arts Education) Setiawati, Rahmida
Harmonia: Journal of Arts Research and Education Vol 7, No 3 (2006)
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.v7i3.735

Abstract

Kebijakan pendidikan nasional selama ini cenderung mengedepankan pendidikan sains danteknologi sehingga pendidikan seni tampak terpinggirkan. Dampak dari kebijakan semacam itu diantaranya adalah muncul krisis moral, budaya, dan mudah timbul kekerasa. Dalam konteks inilahpendidikan seni yang berdimensi moral menjadi sebuah alternatif yang dapat membantu orang gunamencerdaskan emosional dan intelektual, menghargai pluralitas budaya dan alam semesta,menumbuhkan daya imajinasi, motivasi dan harmonisasi dalam menyiasati atau menanggapi setiapfenomena sosial budaya yang muncul ke permukaan. Pengembangan tujuan pendidikan senihendaknya mendasarkan nilai-nilai, gagasan peserta didik, dan pola-pola hidup kreatif melaluilatihan-latihan. Oleh karena itu, kompetensi dasar yang penting dikembangkan melalui pendidikanseni adalah kemampuan yang mampu menjebatani dan mendukung tercapainya tujuan pendidikansecara umum. Dari sinilah guru seni dituntut mampu memenuhi persyaratan, di antaranya adalah:berwawasan luas, terampil, dan bertanggungjawab terhadap profesinya; menguasai bidang ilmu(seni) dan dapat mengembangkan materi ajar; mamahami maturitas dan perkembangan peserta didikdalam belajar seni; menguasai teori dan praktik dalam kerangka pembelajaran seni; mampumerancang dan mengelola pembelajaran seni.Kata kunci: pendidikan seni, kompetensi dasar
Kompetensi sebagai Basis Pendidikan Seni (Competency as a Basic of Arts Education)Kompetensi sebagai Basis Pendidikan Seni (Competency as a Basic of Arts Education) Setiawati, Rahmida
Harmonia: Journal of Arts Research and Education Vol 7, No 3 (2006)
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.v7i3.735

Abstract

Kebijakan pendidikan nasional selama ini cenderung mengedepankan pendidikan sains danteknologi sehingga pendidikan seni tampak terpinggirkan. Dampak dari kebijakan semacam itu diantaranya adalah muncul krisis moral, budaya, dan mudah timbul kekerasa. Dalam konteks inilahpendidikan seni yang berdimensi moral menjadi sebuah alternatif yang dapat membantu orang gunamencerdaskan emosional dan intelektual, menghargai pluralitas budaya dan alam semesta,menumbuhkan daya imajinasi, motivasi dan harmonisasi dalam menyiasati atau menanggapi setiapfenomena sosial budaya yang muncul ke permukaan. Pengembangan tujuan pendidikan senihendaknya mendasarkan nilai-nilai, gagasan peserta didik, dan pola-pola hidup kreatif melaluilatihan-latihan. Oleh karena itu, kompetensi dasar yang penting dikembangkan melalui pendidikanseni adalah kemampuan yang mampu menjebatani dan mendukung tercapainya tujuan pendidikansecara umum. Dari sinilah guru seni dituntut mampu memenuhi persyaratan, di antaranya adalah:berwawasan luas, terampil, dan bertanggungjawab terhadap profesinya; menguasai bidang ilmu(seni) dan dapat mengembangkan materi ajar; mamahami maturitas dan perkembangan peserta didikdalam belajar seni; menguasai teori dan praktik dalam kerangka pembelajaran seni; mampumerancang dan mengelola pembelajaran seni.Kata kunci: pendidikan seni, kompetensi dasar
RITUAL DAN HIBURAN DALAM TARI TOPENG (Ritual and Entertainment on Mask Dance) Setiawati, Rahmida
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.v4i2.707

Abstract

Tari maupun topeng bukan hanya mempunyai fungsi ritual, melainkan juga fungsi hiburan. Keduanya saling kait­mengkait dalam satu kontinum untuk memenuhi sebagian dari kehidupan manusia, terutama kebutuhan berekspresi. Eksistensi tari topeng dilatarbelakangi oleh peristiwa yang bersifat ritual, tetapi karena sering digunakan dalam acara­acara yang bersifat hiburan maka ia menjadi tari hiburan. Ketika itu tari merupakan suatu bagian dari kegiatan maanusia yang erat kaitannya dengan magi, musi, agama, kesusastraan, maka tari ebrfungsi ritual. Demikian pula halnya dengan topeng, yang pada masa lalu menjadi alat yang sangat penting dalam hubungannya dengan komunikasi dengan roh­roh maupun Tuhan, maka dia berfungsi ritual. Namun ketika keduanya dikemas menjadi seni tontonan, maka keduanya berfungsi hiburan. Perbedaan dari kedua fungsi tersebut sesungguhnya terletak pada konteks peristiwanya.Kata kunci : Ritual, hiburan, dan tari topeng
Pembelajaran Praktek Tari melalui Daring (dalam Jaringan) pada Masa Pandemi Covid-19 Natasha Sudirman; Dinny Devi Triana; Rahmida Setiawati
Jurnal Pendidikan Tari Vol 3 No 2 (2023): Karya Tari dalam Pengembangan Pendidikan Tari
Publisher : LPPM UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.325

Abstract

This study aims to find out how to learn Balinese dance practices through online learning. The method used in this research is descriptive qualitative. Data collection techniques are carried out by means of observation, interviews, and documentation. The results of this study are learning Balinese dance practices during the Covid-19 pandemic in the Dance Education Study Program, Faculty of Languages and Arts, Jakarta State University using the teacher centered learning method. The special Balinese dance learning methods used by lecturers are moguru ear, moguru mata/mate, moguru nuutin, moguru crew, and moguru me silehkrame. The learning media used are WhatsApp groups, zoom meetings, and Google Drive. As for the factors that hinder the process of learning Balinese dance practices, the most common are signal problems and limited quotas. Apart from that, there were also several obstacles experienced by students, such as devices that did not support online learning, and many students found it difficult to analyze movement techniques through online learning. The evaluation was carried out in the Balinese dance course, namely students were asked to make dance videos and make videos of motion techniques in the Leggong dance, the assessment made emphasized the process rather than the final result.
EXPLORATION IN BODY EXERCISE COURSE AS A SOURCE OF INSPIRATION FOR MOTION IN THE CREATION OF DANCE WORKS (CHOREOGRAPHY) Romi Nursyam; Setiawati, Rahmida
International Journal of Performing Arts (IJPA) Vol. 2 No. 2 (2023): DECEMBER
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v2i1.136

Abstract

The aim of the research is to find out about the exploratory process in body sports courses to produce movement in creating dance works and to find out other factors that influence exploration, such as imagination, intuition, and creativity. The research method used is based on the problem to be solved, beginning with a study of the choreography development of Dance Program students using qualitative descriptive methods. The results of research conducted at Universitas Negeri Jakarta (UNJ) with the object of dance art education program students. The exploration process in body exercise courses can be a source of inspiration for movement through imagination, intuition, and creativity so that students are able to create dance works with varied movements. It is expected to support the research results. So that it can be used as an appreciation of motion and music as student choreography learning. A form of exploration of motion, through imagination, intuition, and creativity as a reflection of the student's body in expressing motion. students gain the discovery of personal movements so that during the choreography learning process students can feel the freedom of learning fun creative movements. Furthermore, students find movements that are appropriate to wiraga, wirama, wirasa, and beautiful movements.  
RELIGIOUS VALUE IN THE TRAINING MATERIALS OF THE RAMPAK BEDUG DANCE AT SANGGAR HARUM SARI Tryas Putri, Novia; Setiawati, Rahmida; Hussain, Sajjad
International Journal of Performing Arts (IJPA) Vol. 1 No. 1 (2022): JUNE
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v1i1.14

Abstract

This study aims to describe the religious value of the Rampak Bedug Dance as a training material in the Sanggar Fragrant Sari. The object of this research is Rampak Bedug Dance. This research is focused on problems related to Religious Values in Rampak Bedug Dance. This study uses a descriptive research methodology through a qualitative approach. The subjects of this study were the manager of the Harum Sari studio, trainees and musicians. The data collection technique used is triangulation of data derived from observations, interviews, documentation and literature studies. The description of this research discusses dance movements, dance accompaniment, fashion, dance properties, and floor patterns. From the data that has been obtained, interpreted according to Koentjaraningrat's theory into 5 discussions, namely 1) religious emotions, 2) belief systems, 3) rites and ceremonies system, 4) rites and ceremonies equipment, 5) religious people. Based on the data obtained, it is concluded that the Rampak Bedug dance in Sanggar Harum Sari contains religious values which refer to the 5 religious components of Koentjaraningrat. The existence of religious values in the Rampak Bedug Dance is also based on the background of Pandeglang Regency which is part of the Banten province area which was formerly an Islamic kingdom on the island of Java. It can be concluded that the Rampak Bedug dance in Sanggar Harum Sari contains religious values which refer to the 5 religious components of Koentjaraningrat. The existence of religious values in the Rampak Bedug Dance is also based on the background of Pandeglang Regency which is part of the Banten province area which was formerly an Islamic kingdom on the island of Java. It can be concluded that the Rampak Bedug dance in Sanggar Harum Sari contains religious values which refer to the 5 religious components of Koentjaraningrat. The existence of religious values in the Rampak Bedug Dance is also based on the background of Pandeglang Regency which is part of the Banten province area which was formerly an Islamic kingdom on the island of Java.
THE DIRECT LEARNING MODEL (EXPLICIT INSTRUCTION) OF NANDAK GANJEN DANCE AT SANGGAR TARI ANYELIR SOUTH JAKARTA Rahmida Setiawati; Ikrimah Rahmadini
International Journal of Performing Arts (IJPA) Vol. 1 No. 2 (2022): DESEMBER
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v1i2.64

Abstract

The direct learning model or Explicit Instruction is a learning model that is carried out directly with the teacher as the giver of the material and the implementer of the learning. This learning model was adopted by Sanggar Anyelir in the Nandak Ganjen Dance training activity. This study aims to obtain data on the process of applying the direct learning model (Explicit Instruction) in the Nandak Ganjen Dance training at Sanggar Anyelir. This research uses descriptive qualitative methods to obtain empirical, clear and in-depth data on the portrait of Nandak Ganjen Dance training at Sanggar Anyelir. This research was conducted from July to September 2020 during the transition period from large-scale restrictions to normal conditions amid the Covid-19 pandemic. The results showed that Nandak Ganjen Dance training through a direct learning model (Explicit Instruction) at Sanggar Anyelir consists of five stages of learning, namely orientation, presentation, structured exercises, guided exercises and independent exercises. In addition, the provision of auditive stimulus in the form of games and motivational provision through dance videos that can encourage students to improve their dancing skills.T
Co-Authors Dinny Devi Triana Hussain, Sajjad Ikrimah Rahmadini Natasha Sudirman Romi Nursyam Tryas Putri, Novia