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All Journal Socia : Jurnal Ilmu-Ilmu Sosial Jurnal Imajinasi JOGED Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Indonesian Journal of Conservation Jurnal Penelitian Pendidikan Dinamika Catharsis The Journal of Educational Development Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni EDUKATIF : JURNAL ILMU PENDIDIKAN Jurnal Seni Tari Kumawula: Jurnal Pengabdian Kepada Masyarakat Jurnal Eduscience (JES) GETER : Jurnal Seni Drama, Tari dan Musik Varia Humanika Journal La Sociale Jurnal Puruhita International journal of education and learning Eduvest - Journal of Universal Studies Prosiding Seminar Nasional Pascasarjana Proceeding of International Conference on Science, Education, and Technology Catharsis Jurnal Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan Jurnal Pendidikan Progresif Imajinasi: Jurnal Seni Jurnal Bina Desa (JSM) Jurnal Seni Musik Harmonia: Journal of Arts Research and Education
Muhammad Jazuli
Unknown Affiliation
Religion Aerospace Engineering Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Mathematics Neuroscience Social Sciences Other

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The Symbolical Interaction of Inter Dance Performers in Hak-Hakan performance in The Ritual Ceremony in Kaliyoso, Tegalombo, Kalikajar, Wonosobo Handayani, Setyati Dyah; Jazuli, Muhammad; Utomo, Udi
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.16958

Abstract

Hak-hakan is a traditional art included as the part of Hak-Hakan ritual in Kaliyoso Village, Tegalombo, Kalikajar, Wonosobo. Hak-hakan reflects the history of the establishment of Kaliyoso Village from the opening of the area, creating water channel (wangan), until the creation of Kaliyoso Village. This research aimes to describe Hak-hakan as the interaction media between societies as well as the meaning of Hak-Hakan in ritual ceremony. This research was a qualitative research. The technique of collecting data was using observation, interview, and document. The techniques of analyzing data were data reduction, data presentation, and conclusion. The result of the research showed that Hak-hakan became the media of interaction in the rituals through; First, the interaction of the society to their ancestors from the offerings during the preparation and the execution of the performance; and Second, is the interaction between art performers which happens between leaders and dancers and between dancers through symbols of Hak-hakan, including movement, male dancers, and dialogue. The movements of this art are nglamak tumeka pelusan, mangkat babat babat, ngratakke lamak, pasang gebal, tayuban. Dialogue is executed in the form of talks to each other initiated by the shout of the leader (pelandang) then continued with questions and answer and invitation through discussion for working together to open the area. The meaning of Hak-hakan is contained in the symbol of the offerings, movements, male dancers, and dictions.
The Artistic Response of Bustaman Village Society to Dance Performance in Tengok Bustaman Tradition Adi Prasetyo, Alfian Eko Widodo; Cahyono, Agus; Jazuli, Muhammad
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.20528

Abstract

Tengok Bustaman Tradition is a kind of art tradition in Bustaman village held once a year with various show performances, one of them is dance. The tradition of Tengok Bustaman is pioneered by Hysteria community where the aim is to address the city's issues with art as one of its approaches to build an artistic response in Bustaman society. Hysteria is a community that engages in city-sensitive research and with art as its approach. The formulation of the problem in this research is to explain the form of dance performances in Tengok Bustaman tradition, the function of dance performance in Tengok Bustaman tradition and artistic response in Bustaman village. This study uses a qualitative method. This research is studied through interdisciplinary approach named Performance Studies and Sociology of Art. The data collection techniques used are observation, interviews, document studies, and recording techniques. The validation technique uses source triangulation. The data analysis procedures include data reduction, data presentation, and conclusions. The results show that the form of performances in Tengok Bustaman tradition is a dance performance. Dance performance in Bustaman village includes several processes such as pre-performance, performance and after performance. The function of dance performance in Bustaman Village is as the cause of educational media, entertainment media, and communication media and as a commercial media. The existence of dance performance in Tengok Bustaman tradition produces several artistic responses, among others are visual response, auditive response and environmental response. The dance performance in Tengok Bustaman tradition is able to provide changes and development of the village for the better future.
ANIMATED FILMS AS CREATIVITY STIMULUS MEDIA TO DRAW ILLUSTRATIONS FOR CLASS III B STUDENTS OF SEMESTA BILINGUAL ELEMENTARY SCHOOL sari, Yofita; Jazuli, Muhammad; Syakir, Syakir
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i1.31080

Abstract

The plethora of emerging technology or the rapid development of civilization will require for readiness of the human resources which are more creative in every aspect. Hence creative environmental conditions and the availability of opportunities to carry out various creative activities for children need to be utilized to develop their culture of creativity. This study aims to analyze the creativity of students as a result of utilizing animated films in drawing illustrations. This is a qualitative research with controlled observation. The research location is in the Semesta Bilingual Elementary School with the third grade students as the subjects. Data collection techniques used are observation, interview, documentation, and test which are validated by using data triangulation. Data analysis techniques are carried out qualitatively and quantitatively by using aesthetic and creativity theories. The results of the study show that based on aesthetic aspects on controlled observation 1, most of the students (50%) got the score 75-80 of fair category; while on the controlled observation 2, most of the students (43.75%) got a score range 81-85 of good category. Meanwhile, based on the creativity aspect of the 16 students of Class III B, five students (31.25%) choose the S-01 scene, two students (12.5%) chosse the S-02 scene, four students (25%) choose the S-03 scene, three students (18.75%) choose the S-04 scene, and two students (12.5%) choose the S-05 scene as a reference to draw the illustration of Finding Nemo. The creativity analysis shows that students start by taking the references from the scenes, developing ideas in creating the works by adding fish figures and other objects, as well as beautifying the background with gradation coloring technique. The final results obtained indicate an improvement in students’ creativity. Animated films can attract students' attention, optimize students' ability, and stimulate students' creativity in creating works. This study is expected to be able to develop the students’ potential to think and be creative in facing the rapid development of technology.
Dramatic Structure in Teuku Umar Theater Show in Meulaboh City, West Aceh Regency Radhiah, Aisyatur; Jazuli, Muhammad; Wadyio, Wadyio
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31285

Abstract

Mappadendang traditional ceremony is a traditional ceremony that is held every year by Bugis society as an expression of gratitude for the abundance of the results of the crop. This traditional ceremony is usually combined with the Padendang dance, which is a traditional dance of the Bugis people, especially in Abbanuangnge Village, Soppeng Regency. It is derived from the word "Pa" which means the actor, "dendang" which means rhythm. Besides as a series of Mappadendang traditional ceremonies, this dance also functions as entertainment. The uniqueness of this dance lies in its attractive movements using properties called as rice pestle (stick). Besides that, it was supported by the sound of the collapsed pestle carried out by the mothers and accompanied by drum instruments. The purpose of this study is to analyze the aesthetics of Padendang dance at Mappadendang traditional ceremony of the Bugis society in Soppeng Regency. The method used in this study is a qualitative method. Data collection techniques are observation, interview and document study. The data validity technique uses triangulation techniques and data analysis techniques that follow the stages of interactive model analysis. The results of the Padendang dance research are three parts of the movement: the beginning of the movement, mappakaraja, the main part of the movement, Sere Padendang, the harvest and the final part mappatabe’ movement. The aesthetic findings of Padendang dance there are three aesthetic elements that exist in the Padendang dance, namely the shape / form of motion of the Padendang dance, the quality / content / message conveyed in the Padendang dance, and the performance / talent or skill possessed by the dancers.
The Study of Presentational and Discursive Symbol of Gawi Dance in Tenda Village, Ende Regency Tina Mati, Reneldis; Jazuli, Muhammad; Utomo, Udi
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31427

Abstract

Gawi dance is a popular traditional dance in Ende Regency that has existed since the days of the Melehur and was inherited from generation to generation. Gawi dance is used in every traditional ceremony as an expression of gratitude and others as entertainment. The uniqueness of this dance lies in its shape resembling a snake circle (spiral), the rhythmic sound of the dancer's feet, and supported by musical accompaniment in the form of poetry from a solis without using text, properties such as machetes, tufted sticks tied to a horse's tail. The purpose of this study was to analyze the presentational and discursive symbols of the Gawi dance in the village of Tenda Regency in Ende. Qualitative research methods Interpretive with an interdisciplinary approach. Data collection techniques were observation, interview and document study. The data validity technique used source triangulation techniques. The data analysis technique used the theory of Susan K.Langer symbols with the stages of interactive model analysis. The results of the study suggested that Gawi dance has dance elements, namely motion, space and time, and supporting elements, namely accompaniment, clothing, makeup and property. The presentational symbol of Gawi dance could be seen in motion, space, accompaniment, clothing, makeup and property. The discursive symbol of Gawi dance was in the form of meanings such as religious meaning, unity, gender equality. The make-up of the Gawi dance means: valor and courage, beauty and neatness. The fashion of the Gawi dance has meaning: one's position, authority and pride. The implication of this research is that people can find out about the arts in the local area and increase the art treasury in Ende Regency.
Revitalization Strategy of Laweut Dance Through Art Education in Indonesian Institute of Art and Culture, Aceh Agustiina, Inna; Jazuli, Muhammad; Malarsih, Malarsih
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31780

Abstract

The existence of Laweut Dance is currently threatened to be extinct, even though Laweut Dance has many values ​​that are very beneficial for the community. This study examines the strategy of revitalizing Laweut Dance conducted by the Indonesian Institute of Art and Culture (ISBI). The method used in this study is qualitative. Data collection techniques are using observation, interview, and document study. The data validity technique uses triangulation and interactive data analysis technique. The results of this study are three strategies of Laweut Dance revitalization carried out by ISBI, namely, reconstruction, reformation, and refunctionalization. Reconstruction involves learning activities of Laweut Dance, which is made into Laweut Dance as learning material. Reformation included renewing the place, time, costumes and movements in the Laweut Dance performance, the renewal is carried out in accordance with the times and needs. Refunctionalization includes the renewal of the Laweut Dance function, which used to be Laweut Dance as an entertainment with the theme about the spirit of warfare, then a theme renewal, with the theme about the spirit of education. The implication of this study is that Laweut Dance can be used as a media and learning resource both formal and informal.
Pendampingan Penulisan Karya Ilmiah bagi Guru Sekolah Menengah Pertama di Kabupaten Semarang Jazuli, Muhammad; Bisri, Muhammad Hasan; Paranti, Lesa
Varia Humanika Vol 1 No 1 (2020)
Publisher : Fakultas Bahasa dan Seni, Universitas Negeri Semarang

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Abstract

Untuk menunjang pengembangan profesi, guru dituntut dapat melakukan kegiatan di antaranya berupa membuat karya tulis/karya ilmiah di bidang pendidikan, menemukan teknologi di bidang pendidikan, membuat alat pelajaran/alat peraga atau alat bimbingan, menciptakan karya tulis ilmiah dan mengikuti kegiatan pengembangan kurikulum dan bidang keilmuannya. Pengembangan profesi juga berkaitan dengan kesejahteraan guru, baik dalam peningkatan kompetensi bidang keilmuan, pangkat/jabatan maupun peningkatan ekonomi pendapatan. Tujuan kegiatan pendampingan dan atau pelatihan penulisan karya ilmiah bagi para guru ini lebih difokuskan pada penulisan buku, terutama untuk kenaikan pangkat serta memenuhi harapan Direktorat Guru dan Tenaga Kependidikan (GTK) Kemdikbud yaitu program Satu Guru Satu Buku disingkat SAGUSABU. Untuk itulah para guru perlu meningkatkan pemahaman dan kompetensinya tentang penulisan buku beserta kemanfaatanya, terutama buku mata pelajaran yang menjadi tanggung jawabnya.
JEMEK SUPARDI: BERPOLITIK MELALUI KARYA PANTOMIM sabri, indar; Jazuli, Muhammad; Sumaryanto, Totok; Abdillah, Autar
GETER Vol 2, No 1 (2019)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v2n1.p46-54

Abstract

Keterlibatan seniman di dunia politik sebagai legislatif sejak era reformasi di Republik Indonesia kian marak. Keberadaan seniman dianggap representatif sebagai salah satu perwakilan dari masyarakat oleh partai politik, keterlibatan seniman dalam dunia politik peraktis terkadang menimbulkan berbagai pertanyaan tentang kesenimannya itu sendiri. “Seni yang terlibat”dapat diartikan sebagai seni yang memiliki garis lurus yang tegas antara karya dan laku atau menciptakan  karya yang bertema politik, sedangkan kehidupan peraktis sehari-hari seniman justru apolitis. Jemek Supardi merupakan salah satu seniman yang banyak menciptakan karya-karya bertemakan politik namun tidak terjun dalam dunia politik praktis. Teknik pengumpulan data dengan studi pustaka, dokumen dan wawancara yang dipaparkan secara diskriptif. hasil yang didapat adalah sejak Indonesia memasuki era reformasi 1997 hingga saat ini, Jemek Supardi banyak menciptakan karya-karya yang bertemakan politik.Kata kunci : Jemek Supardi, Pantomim, Politik
A Revitalization of Tandhakan Wedok Dance in Jatiguwi Village, Sumberpucung District, Malang Regency Prima, Empiri Tahya; Cahyono, Agus; Jazuli, Muhammad
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.39850

Abstract

Tandhakan Wedok Dance grows and develops in the Jatiguwi Village environment. This dance has already existed since 1930 and it does not know who its creator. However, the Tandhakan Wedok Dance was inactive in 1932-1990. Around 1990 the Tandhakan Wedok Dance was just remade by Mbah Madyo and Mbah Chatam. The purpose of this study is to describe, analyze, and interpret narratively about a revitalization of Tandhakan Wedok Dance by using an anthropological dance approach. This study is focused on the Tandhakan Wedok Dance, including the revitalization of the Tandhakan Wedok Dance with the research location of Jatiguwi Village, Sumberpucung District, Malang Regency. The techniques used for the data collection in this study are observation, interviews, and documentation. The results of the research are as follows: the stages of the revitalization process which consists of reformulating new views, communication, organization, adaptation, cultural transformation, and routines. The Tandhakan Wedok Dance presentation consists of movement, music accompaniment, make-up and clothing, and floor patterns. The Tandhakan Wedhok Dance movements are divided into elements of motion which are divided into four, consisting of elements of the head, hands, body, and feet. The motion motives consist of 25 motives of motion. The motion phases are divided into 20 phrases. Sentences of motion/ types of movements of the Tandhakan Wedok Dance namely stationary motion, various motor movements, and various connecting motion. Paragraphs or motion groups have three groups, namely gawang forward, core, gawang backward. 15 musical instruments used in the Tandhakan Wedok Dance. The makeup used is beautiful makeup and for fashion, namely cundhuk penthul, sunggar, jasmine flower, suweng, necklace, long cloth for dodotan, belt, sampur/ shawl, and jarik. There are nine floor patterns of the Tandhakan Wedhok dance.
KESENIAN SILAKUPANG GRUP SRIMPI: PROSES KREATIVITAS KARYA DAN PEMBELAJARAN DI KABUPATEN PEMALANG Dhien Hayati, Nur Lintang; Jazuli, Muhammad; Florentinus, Totok Sumaryanto
Catharsis Vol 5 No 1 (2016)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Silakupang merupakan sebuah inovasi atas hasil dari kreativitas seniman yang diwacanakan sebagai identitas kesenian daerah oleh Disbudpar Pemalang. Silakupang merupakan kolaborasi dari empat kesenian yaitu Sintren, Laes, Kuntulan dan Kuda Kepang. Pengamatan di lapangan menunjukan bahwa terdapat sebuah sanggar seni yang aktif berkreasi dalam mengembangkan kesenian Silakupang yaitu sanggar Srimpi. Masalah penelitian ini adalah kreativitas seperti apa yang terbentuk pada kesenian Silakupang? dan bagaimana proses pembelajaran kesenian Silakupang dalam grup Srimpi? Pendekatan yang dipakai dalam penelitian adalah interdisiplin yang melibatkan disiplin ilmu musikologi dan pendidikan. Kajian musikologi digunakan untuk mengkaji proses kreativitas pada kesenian Silakupang grup Srimpi, sedangkan disiplin ilmu pendidikan untuk melihat proses pembelajaran kesenian Silakupang di sanggar Srimpi. Jenis penelitian yang digunakan adalah kualitatif deskriptif dengan pemusatan pada metode riset lapangan. Lokasi penelitian di Kecamatan Ampelgading Pemalang. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dan studi dokumen. Teknik keabsahan data secara utama menggunakan triangulasi sumber. Teknik analisis data yang digunakan adalah analisis isi dan analisis data interaktif. Hasil penelitian menunjukkan, pertama, ditemukan kreativitas karya pada garapan grup Srimpi yang terletak pada musik pengiring pertunjukan, menciptakan lagu baru, dan penyajian yang menarik. Kedua, proses pembelajaran meliputi tujuan, materi, metode, media belajar dan evaluasi.
Co-Authors - Fajar, - - Wasino, - AA Sudharmawan, AA Adi Prasetyo, Alfian Eko Widodo Agus Cahyono Agus Cahyono Agustiina, Inna Alfa Kristanto Alif Farkhatunnisa Amanatillah, Dwi Nisa' Amir Sarifudin Ani Nur Auliyatun Latifah Arina Restian Autar Abdillah AUTAR ABDILLAH Autar Abdillah Ayu Wulandari Bisri, Muhammad Hasan Desnatia Munzilatul Qur'aniyah Djuli Djati Prambudi Djuli Djatiprambudi Dwi Nisa' Amanatillah Dwi Tiya Juwita Eko Raharjo Eko Sugiarto Eny Kusumastuti Firdaus, Zana Saevanti Fitriah, Laila Handayani, Setyati Dyah Hanshi, Bao Hartono & Wahyu Lestari Hartono Hartono Hartono Hartono Harum Sunya Iswara Hukmi Hukmi I Wayan Adnyana I Wayan Adnyana INDAR SABRI Indrasmara, Atmanurvita Prameswari Joko Wiyoso Khamdani, Muhammad Laila Fitriah Lesa Paranti Malarsih Malarsih Martino, Tio Misye Pattipeilohy Moh. Hasan Bisri Muh Ibnan Syarif Muh. Ibnan Syarif, Muh. Ibnan Nadia Sigi Prameswari Nafik Salafiyah Natonis, Rolfi Junyanto Is Nur Lintang Dhien Hayati, Nur Lintang Pande Putu Yogi Arista Pratama Pradipta, Nareswara Bima Pratama, Pande Putu Yogi Arista Prima, Empiri Tahya Puput Meinis Narselina Purwaningsari, Dewi Putri Yanuarita Sutikno Radhiah, Aisyatur Restu Lanjari Richard Junior Kapoyos Riyan Hidayatullah, Riyan Rossa, Crecenda Della Rusdarti - S. Suharto Salma, Alya Happy Sari, Yofita Sestri Indah Pebrianti Setyo Yanuarti Slamet MD Sofia Rachmawati Stefanny Mersiany Pandaleke Suharji Suharji Suharto Suharto Sularso Sularso, Sularso Sunarto Sunarto Sutarjo, Johan Syahrul Syah Sinaga Syakir - syakir syakir Tina Mati, Reneldis Tjetjep Rohendi Rohidi Totok Sumaryanto Totok Sumaryanto F Totok Sumaryanto Florentinus Totok Sumaryanto Florentinus, Totok Sumaryanto Totok Sumaryanto, Totok Udi Utomo Udi Utomo Wadiyo Wadiyo Wadyio, Wadyio Wandah Wibawanto Wardani, Deantika Puspita Wida Rahayuningtyas widjajantie, kusrina Widodo Widodo Widodo Widodo Widyaswara, Silvana Nada Wijaya, Shella Henry Wike, Wike Yuni Suprapto, Yuni Zahra, Fatima Tuz