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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
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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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MAKNA NYANYIAN MA’ZANI BAGI MASYARAKAT PETANI DI DESA RURUKAN KOTA TOMOHON Pandaleke, Stefanny Mersiany; Jazuli, Muhammad
Catharsis Vol 5 No 1 (2016)
Publisher : Universitas Negeri Semarang

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Abstract

Fenomena berkesenian masyarakat petani di desa Rurukan menjadi hal unik yang jarang ditemui di daerah lain. Ma’zani sebagai kegiatan bernyanyi masyarakat petani masih digunakan dalam aktivitas hidup sehari-hari, khususnya dalam kegiatan bertani. Dipercaya melalui interaksi masyarakat petani dengan menggunakan nyanyian Ma’zani dapat menyuburkan tanaman dan mendatangkan hasil panen yang baik. Penelitian ini bertujuan untuk menganalisis dan memahami makna nyanyian Ma’zani bagi masyarakat petani di desa Rurukan. Metode yang digunakan kualitatif dengan pendekatan sosiologi. Teknik pengumpulan data meliputi observasi, wawancara dan studi dokumen. Teknik keabsahan data menggunakan teknik triangulasi dan teknik analisis data yang digunakan mengikuti langkah analisis model interaktif. Hasil penelitian menunjukkan bahwa makna nyanyian Ma’zani bagi masyarakat petani di desa Rurukan terbentuk melalui proses interaksi sosial masyarakat dan disempurnakan dalam penggunaan Ma’zani sehari-hari. Masyarakat petani memaknai nyanyian Ma’zani sebagai nyanyian yang menghubungkan manusia dengan Tuhan dan manusia dengan sesama.
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.
Nilai-nilai Piil Pesenggiri pada Tari Melinting di Desa Wana Lampung Timur Juwita, Dwi Tiya; Cahyono, Agus; Jazuli, Muhammad
Catharsis Vol 6 No 1 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17035

Abstract

Tari Melinting merupakan tari tradisional Lampung.ciri khas kebudayaan Lampung Timur yang sampai saat ini masih terus dilestarikan oleh masyarakat setempat. Penelitian ini bertujuan untuk menemukan implementasi nilai-nilai Piil Pesenggiri pada tari Melinting. Penelitian ini menggunakan pendekatan interdisiplin dengan melibatkan disiplin ilmu Antropologi Seni dan Sosiologi Seni. Metode yang digunakan adalah metode kualitatif. Teknik pengumpulan data terdiri dari observasi, wawancara, dan studi dokumen. Teknik keabsahan data menggunakan teknik triangulasi. Teknik analisis data dilakukan dengan cara mereduksi data, penyajian data, dan menarik kesimpulan. Hasil penelitian menunjukkan bahwa, nilai-nilai Piil Pesenggiri yang diimplementasikan pada tari Melinting tertuang ke dalam piil, nemui nyimah, nengah nyappur, bajuluk beadek, dan sakai sambaian. Nilai-nilai tersebut antara lain, nilai religius, harga diri, kerja keras, sopan santun, toleransi, komunikatif, intelektual, kebersamaan, kesamaan, menghargai alam, prestise, tanggung jawab, tolong menolong, adil, dan bijaksana. Melinting dance is a hallmark of East Lampung culture that today, still continues to be preserved by it local community. This thesis aims to discover the symbolic meaning and the Piil Pesenggiri values inside of Melinting dance. The research uses an interdisciplinary approach involving Anthropology and Sociology of Art dicipline of science. The method used is a qualitative method. Data collection techniques consist of observation, interview and document study. Data authenticity technique used triangulation techniques. Data analysis technique is conducted by reducing the data, presenting the data, and drawing conclusions. The researching results shows that, the values of Piil Pesenggiri implemented on Melinting dance implied inside the piil, nemui nyimah, nengah nyappur, bajuluk beadek, and sakai sambaian. Those values are the religiouness, dignity, hard work, good manners, tolerance, communicative, intellectual, togetherness, equality, respect for nature, prestige, responsibility, helping each other, fair, and wise.
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.
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.
Oral Tradition as a Medium of Inheriting Dramatari Wayang Topeng in Padepokan Seni Topeng Asmarabangun, Malang, Indonesia Rahayuningtyas, Wida; Jazuli, Muhammad
The Journal of Educational Development Vol 6 No 3 (2018): October 2018
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v6i3.24285

Abstract

Masked performance depicting various characters in Panji stories from Java is called Mask Puppet Dance-Drama (Dramatari Wayang Topeng or DWT for short). Panji stories consist of a collection of stories from the Kediri Kingdom themed heroism and love with Panji Asmarabangun and Dewi Sekartaji as the main characters. As the nation's cultural successor, many younger generations have not known the DWT performance. This can threaten the preservation of DWT as one of the nation's cultural heritages to be preserved. This study aimed to examine the process of the DWT inheritance in Asmarabangun Mask Art Gallery (Padepokan Seni Topeng Asmarabangun) through oral tradition. This research was based on the theory of social construction in which a process of meaning done by each individual to himself consists of the process of externalization, internalization, and objectivization. This study used a qualitative method. Data were obtained through observation, interviews, and documentary studies. The data were analyzed using Milles & Huberman's theory of data reduction, presentation and verification. The result of data analysis shows that oral tradition in DWT inheritance process occurs institutionally which requires a process of meaning making by every individual to himself which consists of externalization, internalization and objectivization process. In the process, people can learn about the material either directly or indirectly. People get information and interact to achieve certain goals. The tradition is inherited through the process of seeing, listening, and doing.
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