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STUDI KEBERADAAN MINERALISASI URANIUM DI DAERAH BIAK NUMFOR, PROVINSI PAPUA BARAT Suharji, Suharji; Subiantoro, Lilik; Syaeful, Heri; Widana, Kurnia Setiawan; Prabowo, Hery
Eksplorium Buletin Pusat Teknologi Bahan Galian Nuklir Vol 35, No 2 (2014): November 2014
Publisher : Pusat Teknologi Bahan Galian Nuklir - BATAN

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Penelitian ini dilakukan berdasarkan adanya temuan indikasi mineral radioaktif berupa anomali laju dosis radiasi bernilai relatif tinggi. Hipotesis yang mendasari keberadaan laju dosis radiasi tinggi adalah pengendapan uranium yang berasal dari batuan basal Formasi Auwea, pengkayaan uranium yang berasal dari batugamping pada tanah permukaan, dan pengendapan uranium yang berasal dari penggunaan pupuk pertanian. Penelitian yang Â dilakukan bertujuan untuk mendapatkan kesimpulan dari beberapa hipotesis tersebut. Metode penelitian yang diterapkan adalah pemetaan geologi, pengukuran radiometri, kadar uranium (U), thorium (Th), dan potassium (K) di lapangan dengan menggunakan RS 125 untuk mengetahui kadar unsur secara insitu, pengukuran radiometri pupuk tanaman, pengambilan contoh, dan analisis kadar unsur di laboratorium. Berdasarkan hasil analisis dan evaluasi data survei diketahui bahwa di daerah sekitar Maryendi, Darmapis, dan Denafi, terindikasi adanya zona anomali uranium (U) yang dicirikan oleh keberadaan tanah berwarna coklat tua â coklat kemerahan, dengan nilai dosis radiasi 1,9 sampai 4.032,3 nSv/jam dan kadar uranium (U) berkisar antara 20,27 â 325 ppm eU. Berdasarkan hasil analisis batuan sumber uranium, disimpulkan batugamping merupakan batuan sumber uranium di lokasi penelitian. Hasil pengamatan lapangan terhadap pupuk dan batuan basal Formasi Auwea tidak ditemukan anomali yang dapat mengindikasikan material/batuan tersebut bertindak sebagai sumber uranium. Kata kunci: anomali, radioaktivitas, uranium, Biak, Papua

The Symbolic Meaning of the Wireng Dance Choreography at the Kasunanan Surakarta Palace Jazuli, Muhammad; Suharji, Suharji; Pebrianti, Sestri Indah
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.37181

The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier’s theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography.

KREATIVITAS LOEDIRO PANTJOKO DALAM TARI REWANDA WIRAKA KRIDO Oktaviantari, Hervina; Suharji, Suharji
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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The research entitled "Rewanda Wiraka Krido Dance by Loediro Pantjoko" examines two problems raised in the research, namely (1) what is the form of the Rewanda Wiraka Krido dance by Loediro Pantjoko; and (2) how creative Loediro Pantjoko is in the Rewanda Wiraka Krido Dance. Two problems were studied using Y. Sumandiyo Hadi's theory of choreography and then to reveal creativity using Srihadi's concept. Choreography theory is a framework of thought used to analyze, interpret and create dance works. By using this theory, you can reveal the meaning contained in a dance, understand the creative process of its creator, and evaluate its aesthetic and artistic qualities. This research uses qualitative methods, the data collection stage is produced through observation, interviews, literature study and document study.The research results obtained show that choreographically the Rewanda Wiraka Krido Dance is a group of monkeys that live and thrive in the wilderness. The Rewanda Wiraka Krido dance uses developmental movement motifs from the Surakarta Style Traditional Dance combined with acrobatic movements. The addition of female dancers is a new breakthrough so that they can be accepted throughout society. Creativity is created based on sensitivity to the environment, life experience and imagination, so that he succeeded in presenting Rewanda Wiraka Krido's choreography with totality. Java has a wealth of traditional dances with various themes and meanings. The word "Wira" in Javanese is often associated with courage and heroism, while "Krido" can be interpreted as a game or performance. This combination of words may indicate a dance that tells a heroic story.

TARI TAYUB SEBAGAI SARANA UPACARA RITUAL DI DESA WONOSOCO KECAMATAN UNDAAN KUDUS Suharji, Suharji
Acintya Vol. 6 No. 1 (2014)
Publisher : Institut Seni Indoensia Surakarta

Wonosoco village, district of Undaan, Kudus has a unique tradition called ritual after planting paddyby farmers. This ritual is arranged by a group of three farmers to expel paddyâ€™s pest symbolicallyespecially rat. This research aims to: a) describe ritual ceremony which uses tayub dance as its toolsin Wonosoco, b) describe factors that support ritual of tayub performance, c) write down a journalarticle. For that reasons, this research uses inductive descriptive analytical method with qualitativedata. There are some steps in research writing included data sampling based on field study, observationof tayub performance, interview with guest speaker and informant. For data processing, it usesserial triangulation system such as data reduction, data reformation or data display, and conclusion.This research also uses dance sociological method (as a science that concerns with correlation amongsociety, dance, and its artist).The findings of this research show that dance performance has major meaning in terms of gratitudeand demand to God for giving people bless, being restraint from trouble, granting for all prays, andall of soul as villageâ€™s guardian feel happy so increase interest for working hard and reach success.Tayub dance performance that has taken place during four years has been ritual, association, andfriendship tools and has given an entertainment to make life balance.Keywords: dance, tayub, ritual ceremony.

KREATIVITAS LOEDIRO PANTJOKO DALAM TARI REWANDA WIRAKA KRIDO Oktaviantari, Hervina; Suharji, Suharji
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i2.5896

The research entitled "Rewanda Wiraka Krido Dance by Loediro Pantjoko" examines two problems raised in the research, namely (1) what is the form of the Rewanda Wiraka Krido dance by Loediro Pantjoko; and (2) how creative Loediro Pantjoko is in the Rewanda Wiraka Krido Dance. Two problems were studied using Y. Sumandiyo Hadi's theory of choreography and then to reveal creativity using Srihadi's concept. Choreography theory is a framework of thought used to analyze, interpret and create dance works. By using this theory, you can reveal the meaning contained in a dance, understand the creative process of its creator, and evaluate its aesthetic and artistic qualities. This research uses qualitative methods, the data collection stage is produced through observation, interviews, literature study and document study.The research results obtained show that choreographically the Rewanda Wiraka Krido Dance is a group of monkeys that live and thrive in the wilderness. The Rewanda Wiraka Krido dance uses developmental movement motifs from the Surakarta Style Traditional Dance combined with acrobatic movements. The addition of female dancers is a new breakthrough so that they can be accepted throughout society. Creativity is created based on sensitivity to the environment, life experience and imagination, so that he succeeded in presenting Rewanda Wiraka Krido's choreography with totality. Java has a wealth of traditional dances with various themes and meanings. The word "Wira" in Javanese is often associated with courage and heroism, while "Krido" can be interpreted as a game or performance. This combination of words may indicate a dance that tells a heroic story.

Sekartaji Mask Ballet in Surakarta Darmasti, Darmasti; Prihantoro, Eko Wahyu; Suharji, Suharji; Setyastuti, Budi
Gelar: Jurnal Seni Budaya Vol. 19 No. 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i2.3514

ABSTRAKSendratari Topeng Sekartaji merupakan tari tradisi garapan baru yang diilhami oleh Serat Panji yang ditulis pada Jaman Jenggala Kediri abad XI-XII. Tujuan penelitian Sendratari Topeng Sekartaji adalah untuk menggali kreativitas tari di sekitar Surakarta serta menemukan bentuk dan elemen-elemen pendukungnya. Metode penelitian yang digunakan meliputi pengumpulan data dengan tekhnik observasi, wawancara dan dokumentasi. Pengolahan data dilakukan dengan tekhnik analisis bentuk dan struktur. Evaluasi validitas data dengan tekhnik trianggulasi. Penelitian menggunakan pendekatan antropologi seni yang beranggapan bahwa karya seni merupakan ekspresi karya seniman. Hasil penelitian menunjukan Sendratari Topeng Sekartaji merupakan karya tari kelompok bertema percintaan sebagai ungkapan kreativitas seni yang popular pada zaman akhir orde lama dan awal orde baru. Sendratari dalam kurun waktu, dipentaskan dengan berbagai variasi sesuai dengan pendukung, situasi dan kondisi serta waktu yang disediakan. Bentuk kreativitas seni dapat berupa frahmen, pethilan, tari tunggal dan yang paling utama adalah sendratari. Tata urutan sajian tergantung pada bentuk pertunjukanya. Gerak tari pada tokoh antagonis berupa gagahan gaya Surakarta, tokoh protagonis dengan alus luruh, sedang tari putri dengan putri luruh. Pada akhir pertunjukan selalu bermuara kepada keberhasilan hubungan cinta kasih. Kunci: sendratari, topeng, sekartaji, Surakarta.ABSTRACTThis research entitled “Sendratari Topeng Sekartaji” proposed exploring dance creativity in Surakarta and finding its formats and support elements. This research used data collection with techniques such as observation, interview and documentation as the research method. Data is processed by the technique of format and structure analysis. The technique of triangulation is used as a technique to evaluate data. This research used an art anthropological approach. It is assumed that an artwork is an expression of an artist’s work. Research results showed that Sendratari Topeng Sekartaji is a colossal dance with a romance theme. It was a representation of artwork that has been popularized since the end of the old order and early new order. During that time, sendratari has presented narratively, according to situation, condition and support elements. Art creativity manifested into fragment “pethilan”, single dance and especially “sendratari”. Its arrangement for presentation depends on its performance format. They have “gagahan” in Surakarta style for their dance moves, “alus luruh” and “putri lurah” for antagonist, protagonist, and female dance, irrespectively. The last performance always refers to romantic relationship successfully.Keywords:Sendratari Topeng; Sekartaji; Mask balet

Sapta Cipta Rasa Tunggal Offering Dance at the 51st Dies Natalis of ISI Surakarta suharji, Suharji; Soemaryatmi, Soemaryatmi; Darmasti, Darmasti; Efrida, Efrida; Sumargono, Sumargono; Sukirman, Sri Ningsih
Gelar: Jurnal Seni Budaya Vol. 20 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v20i2.4591

This research is a case study of the performance of the offering dance at the ISI Surakarta 51st Dies Natalis Ceremony (held on July 15th, 2015) by seven dancers. The seven dancers previously acted as leaders of the Senate procession, after the members of the senate sat in their seats, they danced to express the character of Bima so that it could be said that the dance was part of the ceremonial event. The sesaji dance is an expression of Bima's character, which in Javanese collective knowledge is a complex system of symbols. This phenomenon is approached through the constructivism paradigm, especially from the point of view of interpretivism where the methodological mission is to elaborate a reflective events. The research question posed is what constitutes a gift or alms in the Sapta Cipta Rasa Tunggal – title of that dance — as offering dance considering that offerings lexico-etymologically means giving alms or charity. Triangulative data as objects of observation are videos of dance performances via the YouTube platform, interviews with source persons, and library data. The conclusions drawn are: 1) this sesaji dance is a form of mnemonic (kinetic mnemonic) in the form of motion as a tool for reflective memory; 2) offering dance and imitation of the imaginary character in the kind of the Bima containing doxa – knowledge that does not need to be verified – that the ethical attitudes that humans should have are teteg, tatag, teguh, tanggon, and tanggap.

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