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All Journal Jurnal BELAINDIKA (Pembelajaran dan Inovasi Pendidikan) Magelaran: Jurnal Pendidikan Seni Cinematology Journal Anthology of Film and Television Studies Jomantara International Journal of Art and Culture
Melsya Firtikasari
Universitas Nusa Putra
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Ibu Soed’s “Hai Becak” Lyrics and Tone Analysis (An Ethnomusicology Research) Melsya Firtikasari
JOMANTARA Vol 2 No 2 (2022): Vol. 2 No. 2 July 2022
Publisher : Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1045.572 KB) | DOI: 10.23969/jijac.v2i2.5419

Abstract

The background of the writing of this journal is to find out whether the lyrics and songs of Hai Becak from the work of SARIDJAH NIUNG BINTANG SOEDIBJO (IBU SOED) are in accordance with the criteria for the voices of children aged 4-6 years as seen from the structure of the song, melody and range of children's voices. In this research, the writer uses descriptive analysis method by collecting qualitative data by using appropriate research instrument. The various data are classified, validated, and interpreted. The result of this research is that, after the author has researched more deeply, the song by SARIDJAH NIUNG BINTANG SOEDIBJO (IBU SOED) can make a contribution, in every poem he creates a lot of education that can be given to children, be it education. divinity and social education, as well as for the psychological and musical development of children. When viewed from the form of poetry and melody, the song by SARIDJAH NIUNG BINTANG SOEDIBJO (IBU SOED) is suitable to be sung by the voice criteria of children aged 4-6 years.
Makna dan Nilai Kidung Banyu Pitu pada Upacara Selamatan Memitu di Desa Kedokan Agung Kecamatan Kedokan Bunder Kabupaten Indramayu Melsya Firtikasari
Jurnal BELAINDIKA (Pembelajaran dan Inovasi Pendidikan) Vol 4 No 1 (2022): Jurnal Belaindika
Publisher : Nusa Putra University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52005/belaindika.v4i1.89

Abstract

The jurnal discusses about the procedures of performing Kidung Banyu Pitu in the ceremony of Memitu. Kidung Banyu Pitu is one of the traditional arts of the District of Kedokan village, Kedokan Bunder, Indramayu which is sung by a poet. Kidung Banyu Pitu is related to the ceremonial ritual held in every Memitu. Kidung Banyu Pitu is usually done only by one person chanting poet. The chant is not only a plain one, but also is associated with the monotheism sentences. Kidung Banyu Pitu is contained in the Book of Kitab Mustika Rancang; the reflections of the sentence of the Creed (Syahadat). In presenting Kidung Banyu Pitu, the writer found that the forms contain meaningful symbols for the supporters. the meaning of the symbols is very interesting to be observed considering the development of the Indonesian culture, which is leading to the modern society, bringing the changes toward the symbolic culture. Nowadays, the perspective and the attitude of the society tend to begin to shift into a more rational aspects. The society seems to hasitate towards the hidden sacred meanings within the symbols. The writer believes that the form and the meaning of the symbols in Kidung Banyu Pitu in the ceremony of Memitu may reflect the pattern of life of the society in the community where the arts thrive. In other words, the arts of the song in the ceremony of Memitu will be able to describe the daily behaviour of the supporters of the community
Pentingnya Multikultural dalam Lembaga Pendidikan Melsya Firtikasari; Dinda Andiana
Jurnal BELAINDIKA (Pembelajaran dan Inovasi Pendidikan) Vol 5 No 2 (2023): Jurnal BELAINDIKA
Publisher : Nusa Putra University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52005/belaindika.v5i2.117

Abstract

Multicultural education is a process of cultivating ways of life that respect, be sincere, and be tolerant of cultural diversity that lives in the midst of a plural society. Multiculturalism in principle is building oneself, the nation and the state without feeling as a burden and obstacle, but based on the bonds of unity, oneness and togetherness as well as mutual respect, respect, tolerance and cooperation in building an Indonesia that is advanced, safe, peaceful, peaceful, harmonious and prosperous. The importance of multicultural education in Indonesia is as an alternative means of conflict resolution, students are expected not to leave their cultural roots, and multicultural education is very relevant to use for the existing democracy as it is now. Multiculturalism in education that is developed has relevance to the Indonesian context, namely having the motto Bhinneka Tunggal Ika. This motto can accommodate proportionally, normatively and democratically for the Indonesian nation. Multicultural education is a very strategic and important issue to discuss because a nation is born from multiculturalism, so that the management of multicultural education or cultural diversity is a driving force for the development and goodness of a nation.
THE FUNCTION OF REAK ARTS FOR CHILDREN TODAY IN CIBOLERANG VILLAGE, CINUNUK VILLAGE, CILEUNYI, BANDUNG DISTRICT Andiana, Dinda; Firtikasari, Melsya
Cinematology: Journal Anthology of Film and Television Studies Vol 3, No 3 (2023): October
Publisher : Program Studi Film dan Televisi, Fakultas Pendidikan Seni dan Desain, Universitas Pendidik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/ftv-upi.v3i1.55788

Abstract

West Java has folk art that has various functions and forms, such as Reak art in Ciborelang Village, Cinunuk Village, Cileunyi District, Bandung Regency. The Reak art has changed its function from ritual, entertainment, to games. Children and adult men in Ciborelang Village, Cinunuk Village, play Reak at certain events, especially for children, Reak art is used as a game. The problem of this research is: What is the function of Reak art being played by children today? This study uses a qualitative approach with descriptive analysis method. Data collection was carried out by means of observation, interviews, and documentation studies and literature studies. The results were analyzed to answer the problems raised in this study. This study concluded that the Reak art played by children functions as a game to fill their free time after coming home from school or on holidays. The number of players is between 10 or 15 children aged around 10-15 years. The form of the show is carried out by helaran or procession using musical instruments, such as: drum, badublag, brung, tilingtit, tong and vocals (cheers). The clothes use everyday clothes, such as: t-shirts (long or short sleeves) and pants (long or short). Reak players wear a large mask property called a barokan made of wood that resembles a crocodile's mouth and can be moved open and closed, the body is covered by a burlap sack. The dance moves are carried out spontaneously with the feet stepping alternately, the body slightly lowered and the arms opened wide similar to the movement of the pencak, the head turns left and right. The Reak show gives meaning to children to express, be creative, work together, respect each other, and learn to organize.
Ronggeng Jamaras Di Kampung Babakan Suka Mulya Desa Cinunuk Kecamatan Cileunyi Kabupaten Bandung Andiana, Dinda; Viranie Dwi Monikawatie; Melsya Firtikasari
Magelaran: Jurnal Pendidikan Seni Vol. 8 No. 1 (2025): Magelaran: Jurnal Pendidikan Seni
Publisher : Prodi Pendidikan Sendratasik FKIP UMTAS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35568/magelaran.v8i1.6342

Abstract

Kampung Babakan Suka Mulya Desa Cinunuk Kecamatan Cileunyi Kabupaten Bandung, memiliki beberapa pertunjukan tari yang erat kaitannya dengan kebutuhan ritual, khususnya yang berkaitan dengan kesuburan pertanian. Kesenian yang berkaitan untuk kepentingan ritual tersebut salah satunya adalah Ronggeng Jamaras. Kesenian Ronggeng Jamaras pada awalnya dipertunjukan sebagai upacara ritual dalam upacara yang berhubungan dengan pertanian. Berkembangnya zaman juga mempengaruhi kebetuhan pertunjukan tersebut sehingga beralih fungsi menjadi sarana hiburan. Kesenian Ronggeng jamaras juga dipertunjukan di acara-acara pernikahan maupun khitanan. Selain itu Ronggeng Jamaras juga dipertunjukan dengan cara ngaben (nutup jalan) di beranda maupun lahan kosong. Mereka mendapatkan imbalan secara sukarela dari para pamogoran. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif analisis. Pengumpulan data dilakukan dengan cara observasi, wawancara, dan studi dokumentasi serta studi pustaka. Hasil dari penelitian ini di analisis untuk menjawab masalah yang diajukan dalam penelitian ini. Ronggeng Jamaras dimainkan  oleh 7 orang, yang terdiri dari 6 orang nayaga dan 1 orang Ronggeng. Adapun alat musik yang digunakan adalah kacapi, rebab, kendang, goong, kecrek, dan ketuk. Busana yang digunakan Ronggeng cukup sederhana yaitu menggunakan kebaya, apok, dan sinjang. Rias yang digunakan adalah rias cantik. Sedangkan para nayaga menggunakan baju kampret, iket dan celana pangsi. Rias yang digunakan nayaga adalah rias seadanya atau sehari-hari.
Co-Authors Dinda Andiana Viranie Dwi Monikawatie