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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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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

Abstract

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.
Aesthetics of Prajuritan Dance in Semarang Regency Jazuli, Muhammad
Harmonia: Journal of Arts Research and Education Vol 15, No 1 (2015): June 2015
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.v15i1.3692

Abstract

The scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. The focus of this research is the aesthetics of Prajuritan dance in Semarang  regency. The aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of Semarang regency. Dances choreography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. Cultural value systems include communicating stories, expressed symbols, function and meaning of Prajuritan dance for its supporting community. The stories were derived from the heroic tale of Prince Sambernyawa (KGPAA, king Mangkunegara I in Mangkunagaran royal palace, Surakarta) when he rebelled against the arbitrary Dutch colonialists, with his famous spell, “tiji tibeh (mukti siji mukti kabeh – being prosperous for one and all)” and Three Dharma of soldiers, namely “rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani, which means having sense of belonging, protection, and awareness to bravely do whatever to defend  his nation and country. Therefore, Prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation.    
Kajian Representasi dan Nilai Kepahlawanan pada Karya Tari Turak Dewa Purwaningsari, Dewi; Jazuli, Muhammad; Sugiarto, Eko
EDUKATIF : JURNAL ILMU PENDIDIKAN Vol 6, No 6 (2024): December
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/edukatif.v6i6.7805

Abstract

Tari Turak Dewa merupakan karya tari yang bertemakan kepahlawanan dalam mengusir penjajah, dengan turak atau bambu sebagai senjata. Tujuan dari penulisan ini yaitu untuk mengetahui representasi dan nilai kepahlawanan yang terdapat dalam tari Turak Dewa. Metode penelitian yang digunakan yaitu dengan deskriptif kualitatif. Hasil dari penelitian ini yaitu tari Turak Dewa memiliki nilai historis dalam gerak yaitu kombinasi gerakan cepat dan lambat menggambarkan semangat dan energi kehidupan, kemudian properti bambu yang digunakan diartikan cerminan ketahanan dan fokus dalam mencapai tujuan, dan kostum terfokus pada baju kurung berwarna merah melambangkan kesopanan dan keberanian. Sedangkan nilai kepahlawanan yang terkandung di dalam karya tari Turak Dewa tersebut yaitu 1) nilai keberanian, 2) nilai persatuan, 3) nilai rela berkorban, 4) nilai patriotisme, dan 5) nilai religius. Disimpulkan bahwa representasi dan nilai kepahlawanan yang terdapat dalam tari Turak Dewa dapat memberikan pengaruh baik, yaitu untuk menghargai perjuangan pahlawan dan lebih mengenal akan budaya sendiri meskipun era modern terus berdatangan dan menghantam budaya lokal. 
MANAJEMEN PRODUKSI PERTUNJUKAN TARI SANGGAR PANGREKSA BUDAYA KOTA SEMARANG Pebrianti, Sestri Indah; Jazuli, Muhammad; Bisri, Moh. Hasan; Salma, Alya Happy
Joged Vol 23, No 2 (2024): OKTOBER 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v23i2.14159

Abstract

RINGKASANSanggar Pangreksa Budaya merupakan sanggar yang berada di Kecamatan Gunungpati Kota Semarang dan berdiri sejak tahun 2016. Sejak awal berdirinya sampai saat ini telah memberikan kontribusi pada pelestarian seni tari. Sanggar Pangreksa Budaya mendapat kepercayaan masyarakat dalam memproduksi tari yang di tampilkan di berbagai kegiatan kesenian. Di balik berkembangnya sebuah sanggar bergantung pada cara manajemen yang diterapkan, maka dari itu penelitian ini bertujuan untuk mengetahui manajemen produksi tari Sanggar Pangreksa Budaya. Metode penelitian yang digunakan yaitu kualitatif, dengan pendekatan studi kasus. Teknik pengumpulan data menggunakan teknik observasi, wawancara dan dokumentasi. Teknik analisis data melalui reduksi data, penyajian data, dan penarikan kesimpulan. Teknik keabsahan data menggunakan triangulasi sumber. Hasil penelitian menunjukkan bahwa Sanggar Pangreksa Budaya merupakan sanggar yang menggunakan manajemen keluarga dengan menerapkan sistem manajemen dengan baik yang meliputi; perencanaan, pengorganisasian, pergerakan, dan pengawasan. Sanggar Pangreksa Budaya dalam memproduksi tari sesuai dengan permintaan masyarakat (konsumen). Manajemen produksi dilakukan melalui beberapa tahapan yaitu terdiri dari pembentukan tim produksi kemudian proses produksi menggunakan proses observasi, eksplorasi, improvisasi dan komposisi. Sanggar Pangreksa Budaya memproduksi tari yang dipertunjukkan dalam kegiatan rutin Minggu Kliwon, Kirab Budaya, pembukaan dari berbagai acara, dan sajian perlombaan yang digarap melalui proses produksi yang telah dibentuk.ABSTRACTPangreksa Budaya Dance Production Management in the District Gunungpati, Semarang City. Sanggar Pangreksa Budaya is a studio located in Gunungpati Sub-district, Semarang City and was established in 2016. The beginning of its establishment until now has contributed to the preservation of dance art. Sanggar Pangreksa Budaya has gained the trust of the community in producing dances that are performed in various arts activities. Behind the development of a studio depends on the management applied, therefore this research aims to find out the dance production management of Sanggar Pangreksa Budaya. The research method used is qualitative, with a case study approach. Data collection techniques used observation, interview and documentation techniques. Data analysis techniques through data reduction, data presentation, and conclusion drawing. Data validity techniques using source triangulation. The results showed that Sanggar Pangreksa Budaya is a studio that uses family management by implementing a good management system which includes; planning, organizing, moving, and supervising. Sanggar Pangreksa Budaya produces dance according to the demand of the community (consumers). Production management is carried out through several stages, namely consisting of the formation of a production team then the production process using the process of observation, exploration, improvisation and composition. Sanggar Pangreksa Budaya produces dances that are performed in the routine activities of Sunday Kliwon, Kirab Budaya, the opening of various events, and the presentation of the race that is worked on through the production process that has been formed consisting of the formation of the prod team formed
REVIVING KETOPRAK: THE ROLE OF THE YOGYAKARTA YOUTH SINEPRAK COMMUNITY IN CULTURAL PRESERVATION Dwi Nisa' Amanatillah; Muhammad Jazuli; Malarsih malarsih
Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan Vol 24 No 01 (2024): Jurnal Dinamika Penelitian
Publisher : LP2M UIN Sayyid Ali Rahmatullah Tulungagung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21274/dinamika.2024.24.01.35-52

Abstract

This research uses a case study approach to explore the role of the Sineprak community in preserving and developing the ketoprak performing arts in the modern era. The main focus of this research is on the intensive training process of actors and directors, which includes technical aspects and deepens the script and interprets the role. The COVID-19 pandemic forced Sineprak to switch to digital platforms, especially YouTube, which has attracted thousands of followers. However, after Bondan Nusantara's death, the frequency of performances decreased significantly. The community-based education process at Sineprak contains Javanese cultural values such as courtesy, etiquette and cooperation, which help shape the character of the younger generation. Innovations in the presentation of modern ketoprak, including combining elements of other performing arts and modern technology, have succeeded in attracting the interest of today's audiences. Documentation and publication via social media play an important role in expanding audience reach.
Kesenian Tari Piring Gelas Kabupaten Musi Rawas dalam Konteks Perubahan Sosial Budaya Wike, Wike; Jazuli, Muhammad; Lanjari, Restu
SOCIA: Jurnal Ilmu-Ilmu Sosial Vol 20, No 1 (2023): Socia: Jurnal Ilmu-Ilmu Sosial
Publisher : Yogyakarta State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/socia.v20i1.63067

Abstract

Kesenian tari Piring Gelas adalah kesenian tradisi yang ada di Kabupaten Musi Rawas yang mana telah memiliki perubahan-perubahan yang terjadi baik teks, konteks serta perubahan sosial budaya. Tujuan penelitian ini untuk menemukan dan menganalisis perubahan sosial budaya kesenian tari Piring Gelas dengan beberapa faktor perubahan social budaya. Penelitian ini menggunakan metode jenis data kualitatif dengan melakukan pendekatan Sosiologi untuk menganalias perubahan sosial budaya kesenian tari Piring Gelas dengan beberapa faktor perubahan sosial budaya. Hasil penelitian bahwa kesenian tari Piring Gelas mengalami perubahan social budaya dengan faktor-faktor yang mempengaruhi perubahan sosial budaya yaitu ada faktor dalam masyarakat meliputi bertambah dan berkurangnya penduduk,adanya penemuan baru dan adanya konflik. Sedangkan faktor dari luar meliputi, terjadinya sebab-sebab yang berasal dari lingkungan alam fisik  yanga da disekitar manusia, peperangan dan pengaruh kebudayaan masyarakat lain. Hal inilah yang menyebabkan kesenian tari Piring Gelas Kabupaten Musi Rawas mengalami perubahan. 
Pelatihan Pengelolaan Media Sosial sebagai Upaya Penguatan Cultural Destionation Branding Desa Wisata Menari Tanon Kabupaten Semarang Lesa Paranti; Muhammad Jazuli; Nadia Sigi Prameswari; Joko Wiyoso; Alif Farkhatunnisa; Ani Nur Auliyatun Latifah
Jurnal Bina Desa Vol. 6 No. 3 (2024): Vol 6 No 3 (2024)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jurnalbinadesa.v6i3.12832

Abstract

The potential and uniqueness of Menari Village as a tourist village in Semarang Regency needs to be introduced to the wider community. Based on the survey that was carried out, the community service found problems that needed to be resolved, including 1) Menari Tanon Village already has one social media (Instagram) but it has not been managed optimally; 2) lack of human resource capabilities in terms of understanding and skills in creating content that carries local cultural themes and social media management. The aims of this service include: 1) improving social media management; 2) increasing human resource capabilities and forming cadres. One solution offered to this problem is providing training on content and social media management. The approach used in this service activity is Participatory Rural Appraisal (PRA) which takes the form of a training and mentoring method. The stages carried out in this service include 1) FGD with Pokdarwis, 2) training and assistance in social media management. The training activity involved 17 participants who were the young generation of Tanon Hamlet. The results of the training indicate increased understanding and ability to create content as well as manage social media and create. After the training is related to techniques for creating content on social media with activity output in the form of creative content videos. Next, assistance is provided with social media management by forming a social media team and creating a posting schedule
Values of Character Education in the Sirih Pinang Symbol: A Cultural Value of Coastal Society Fitri Daryanti; Muhammad Jazuli; Totok Sumaryanto Florentinus; Hartono Hartono
Jurnal Pendidikan Progresif Vol 10, No 2 (2020): Jurnal Pendidikan Progresif
Publisher : FKIP Universitas Lampung

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

Abstract

Values of Character Education in the Sirih Pinang Symbol in the Nyambai Tradition of Saibatin Customary Community on the West Coast. Objective: This research aims to reveal the values of character education contained in the symbol of Sirih Pinang when the people of Lampung on the coast held a Nyambai tradition. Method: This research is a qualitative descriptive study, data collection techniques are conducted through observation, interviews, and documentation studies. Data analysis is done by reducing, display, drawing conclusions and verification. Findings: The results found that sirih pinang in a nyambai event used by the community as a symbol that regulates the behavior of the community. The use of sirih pinang in a nyambai event contains the values of character education that teaches about the value of unity, the value of respect, the value of togetherness, the value of friendship, mutual assistance and the value of tolerance that should be inherited to the young generation. Conclusion: Sirih Pinang in a nyambai event can be used as a guide line of knowledge for children in the conduct and behaviour in the daily life of both in the family, school, and in the community.Keywords: values, character education, sirih pinang, nyambai tradition, indigenous event.DOI: 10.23960/jpp.v10.i2.202013
Implementation Management of Guyup Rupa Exhibition 10 Semarang State University Sutarjo, Johan; Jazuli, Muhammad; Raharjo, Eko
Eduvest - Journal of Universal Studies Vol. 5 No. 5 (2025): Eduvest - Journal of Universal Studies
Publisher : Green Publisher Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59188/eduvest.v5i5.50094

Abstract

The management of the Guyup Rupa 10 Exhibition at Semarang State University faces challenges in organizing, implementing, and evaluating an art event that meets increasing expectations for quality and audience engagement. Despite its significance in fostering student creativity and public appreciation, structured studies on university-level exhibition management remain limited. This study aims to analyze the planning, execution, and evaluation of the Guyup Rupa 10 Exhibition while identifying supporting and inhibiting factors. Using a qualitative descriptive method, data were collected through literature studies and analyzed systematically. The results reveal that successful exhibition management relies on strong teamwork, institutional support, adequate facilities, effective promotion, and public involvement. Conversely, budget constraints, coordination issues, limited visitor participation, and insufficient resources hinder optimal implementation. The findings emphasize the importance of comprehensive project management strategies to enhance future exhibitions. This research provides practical insights for improving art exhibition management in academic contexts and contributes to the broader discourse on integrating educational, artistic, and community interests.
PROSES BELAJAR TARI TUO’SUMANGE KELOR DI SANGGAR SENI SULAWESI ART Zahra, Fatima Tuz; Jazuli, Muhammad; Raharjo, Eko
JURNAL IMAJINASI Vol 9, No 1 (2025): Januari-Juni
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/i.v9i1.66670

Abstract

The purpose of the study was to analyze the learning process at the Sulawesi Art Studio, to find out the learning process applied by the choreographer to one of the dance choreographies from the choreographer to the members of the studio. The learning process is part of Management, namely the function of implementation. The learning process according to Bandura explains the social learning process in four stages of the process, namely: the attention process, the retention process, the motor reproduction process, and the motivational process. The learning process in non-formal education that is directly related to the community, one of which is the Sulawesi Art Studio located in Bone Regency, South Sulawesi. The learning process at the Sulawesi Art Studio with Bandura's theory, goes through four stages. The Attention Phase, informs students about the concept of dance, division of tasks or organization in a choreography project. The second stage of storage in memory (pretention phase) participants or members of the studio prepare information that has been recorded and heard directly, both commands and division of tasks. The Reproduction Phase begins to divide work and the process of composing dance movements from the process of exploration, improvisation and formation of movement. The Motivation phase provides motivation to student members, developing artistic skills and maintaining traditional culture in South Sulawesi.
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