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All Journal Al Qalam: Jurnal Ilmiah Keagamaan dan Kemasyarakatan Jurnal Seni Tari International Journal of Social Science, Education, Communication and Economics Siwayang Journal: Publikasi Ilmiah Bidang Pariwisata, Kebudayaan, dan Antropologi Journal of Dance and Dance Education Studies Publikasi Ilmiah Bidang Pengabdian Kepada Masyarakat (SIKEMAS) International Journal of Performing Arts (IJPA)
Nursilah Nursilah
Universitas Negeri Jakarta
Religion Arts Humanities Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences

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Manajemen Event Choreonite Vol. 9: Time To Bloom Di Masa Pandemi Covid- 19 Tafarannisa, Melaprilya Anggun; Nursilah, Nursilah; Haerudin, Deden
Jurnal Seni Tari Vol 10 No 2 (2021): Vol 10 No 2 (2021)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v10i2.50272

Abstract

Dance Jakarta Selatan dengan fokus tari modern dan kontemporer yang diadakan di masapandemi Covid-19. Penelitian dilakukan untuk mengetahui Proses Manajemen Event sertapenerapan 4 Pilar Kesuksesan Jangka Panjang Manajemen Event. Penelitian dilakukanmenggunakan metode kualitatif deskriptif dengan pendekatan studi kasus agar mendapat data yangempirik, rinci, dan mendalam mengenai potret kondisi event Choreonite Vol. 9: Time To Bloom.Penelitian menunjukkan bahwa proses manajemen event Choreonite Vol. 9: Time To Bloom sanggar tariGigi Art of Dance dijalani dengan baik melalui 5 tahap, yaitu Researching, Designing, Planning,Coordinating dan Evaluating, serta memenuhi penerapan 4 Pilar Kesuksesan Jangka PanjangManajemen Event, yakni dari segi Time, Finance, Technology, dan Human Resource Skills. EventChoreonite Vol. 9: Time to Bloom sanggar tari Gigi Art of Dance menjadi inovasi baru dan menjadipendorong bagi semua orang untuk tetap memaksimalkan potensi serta meningkatkan kemampuanmereka dalam menghadapi tantangan untuk mengadakan event seni pertunjukan yaitu seni tari,khususnya di masa pandemi Covid-19 yang masih terjadi hingga tahun 2021.
Rumyang Cirebon Mask Dance with Palimanan Style as a Door of Liminality Based on Victor Turner's Theory Perspective Nursilah Nursilah; Eza Kusuma Putri
International Journal of Social Science, Education, Communication and Economics (SINOMICS JOURNAL) Vol. 1 No. 2 (2022): June
Publisher : LAFADZ JAYA Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54443/sj.v1i2.21

Abstract

This research aims to describe and analyze the Palimanan Style Rumyang Mask Dance using the Theory of Liminality based on the thoughts of Victor Turner. This study uses the Qualitative Content Analysis method because the results of this study are in the form of described sentences. The object of this research is the Palimanan Style Rumyang Mask Dance. The cornerstone of the theory used in this study is Victor Turner's Theory of Liminality in analyzing the Palimanan Style Cirebon Rumyang Mask Dance. Data collection using interviews, observations, document studies and library studies. Data collection uses data triangulation techniques. The results obtained in this study are data descriptions, namely data on the presentation form of The Cirebon Palimanan Style Rumyang Mask Dance including: motion, makeup, fashion, accompaniment music, property and floor design. Palimanan Style Rumyang Mask Dance Data is interpreted based on Victor Turner's theory of Liminality with 3 cycles, namely the Pre liminal stage when the dancer has not danced the rumyang mask, the Liminal stage when the dancer pulls the Mask rumyang Cirebon Palimanan Style, and the last stage is Post Liminal after the dancer pulls the Mask Rumyang Cirebon Palimanan Style. Based on the results and discussions, it can be concluded in the Mask Dance of Rumyang Cirebon Palimanan Style There are 3 cycles of Liminality Theory. and the last stage is Post Liminal after the dancer pulls the Mask Rumyang Cirebon Palimanan Style. Based on the results and discussions, it can be concluded in the Mask Dance of Rumyang Cirebon Palimanan Style There are 3 cycles of Liminality Theory. and the last stage is Post Liminal after the dancer pulls the Mask Rumyang Cirebon Palimanan Style. Based on the results and discussions, it can be concluded in the Mask Dance of Rumyang Cirebon Palimanan Style There are 3 cycles of Liminality Theory.
Wayang KALENG DANCE AT THE DAYA SORA ETNIKA SANGGAR, BOGOR CITY IN THE FORM OF DANCE PRESENTATION Alfira Hadiatiningrum; Deden Haerudin; Nursilah Nursilah
Journal of Dance and Dance Education Studies Vol 2, No 1 (2022): March
Publisher : Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (525.576 KB)

Abstract

The main problem in this research is how to dance wayang cans at the Daya Sora Ethnic Studio, Bogor City in the form of dance presentations. This study aims to determine and describe how the wayang dance is presented at the Daya Sora Ethnic Studio. This study uses a descriptive research methodology with a qualitative approach. Data collection techniques used are the results of observations, interviews, literature studies and document studies. By using data analysis, namely data reduction, data presentation, and drawing conclusions. The result of this research is that the wayang can dance is an art originating from the city of Bogor. Wayang Kaleng dance is a new type of dance creation which in its performance uses zinc as a substitute for gunungan and used cans as a medium for expressing puppets. This dance is like a puppet dance in general, but the form of presentation is packaged differently from its original form. The conclusion is that the creation of the canned wayang dance is the utilization of waste cans into useful items with a touch of creative art into a new type of puppet that can be played in various situations and various stories. The stories presented are very flexible, simple light stories, from stories for children to stories for teenagers, even parents, and anyone can create the desired story according to the theme and mission of the story to be conveyed, the function of wayang cans is more or less the same. Among them are entertainment, education, and social functions. The conclusion is that the creation of the canned wayang dance is the utilization of waste cans into useful items with a touch of creative art into a new type of puppet that can be played in various situations and various stories. The stories presented are very flexible, simple light stories, from stories for children to stories for teenagers, even parents, and anyone can create the desired story according to the theme and mission of the story to be conveyed, the function of wayang cans is more or less the same. Among them are entertainment, education, and social functions. The conclusion is that the creation of the canned wayang dance is the utilization of waste cans into useful items with a touch of creative art into a new type of puppet that can be played in various situations and various stories. The stories presented are very flexible, simple light stories, from stories for children to stories for teenagers, even parents, and anyone can create the desired story according to the theme and mission of the story to be conveyed, the function of wayang cans is more or less the same. Among them are entertainment, education, and social functions. The stories presented are very flexible, simple light stories, from stories for children to stories for teenagers, even parents, and anyone can create the desired story according to the theme and mission of the story to be conveyed, the function of wayang cans is more or less the same. Among them are entertainment, education, and social functions. The stories presented are very flexible, simple light stories, from stories for children to stories for teenagers, even parents, and anyone can create the desired story according to the theme and mission of the story to be conveyed, the function of wayang cans is more or less the same. Among them are entertainment, education, and social functions.
IMPROVING DANCE LEARNING MOTIVATION WITH THE APPLICATION OF AUDIO VISUAL LEARNING MEDIA ONLINE (CAR in Class VII-A SMP N 2 in Simanindo Samosir, 2022) Youmi Ayu Prima Sihaloho; Elindra Yetti; Nursilah Nursilah
Journal of Dance and Dance Education Studies Vol 2, No 2 (2022): October
Publisher : Universitas Pendidikan Indonesia

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

Abstract

Learning motivation is an urge to move, direct, and maintain a person's behavior to act and do something when learning to achieve learning goals. The purpose of this study is to 1). Describe the process of applying audio-visual media to increase motivation to learn dance in class VII-A at SMP N 2 Simanindo, Samosir online. 2). Increasing the motivation to learn dance in class VII-A at SMP N 2 Simanindo, Samosir through online audio-visual media. This research uses classroom action research method using Kurt Lewin's action research design. Data collection techniques in this study were in the form of questionnaires and interviews using qualitative and quantitative descriptive data analysis techniques. The study was conducted on 18 students of class VII A at one of the junior high schools in Samosir. The results of the study there is an increase in student motivation to learn. This can be seen in the data obtained. In the pre-cycle, the percentage of student learning motivation was 43.19%, in the first cycle the percentage of student learning motivation was 53.44% in the aspect of student willingness and student interest in learning and in the second cycle the percentage of learning motivation was 70.00% student activity, responsibility and student achievement in understanding the material. The existence of further research that researchers want to continue is to create more varied learning with varied learning media so that the learning received by students is more interesting.
The Impact of a City’s Brand on Creative Worker’s Choice of Residence Nursilah Nursilah; Reza Yonatan Hanata; Merrysa Christina; Rd. Nia Kania Kurniawati; Leo Nardo Setia Budi Djojo
Al Qalam: Jurnal Ilmiah Keagamaan dan Kemasyarakatan Vol. 17, No 1 : Al Qalam (Januari 2023)
Publisher : Sekolah Tinggi Ilmu Al-Qur'an (STIQ) Amuntai Kalimantan Selatan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35931/aq.v17i1.1791

Abstract

Technological developments have led to the transfer of occupants from one place to another on the grounds of finding a better place to live. Both at the state and city level, try to attract people to be able to live in their area. One of the steps used to be able to attract this community is to use branding. This research will be carried out to look at the implications of city branding for people’s choices in choosing a place to live, especially creative workers. This research will be carried out using a qualitative approach. This research data comes from the research results and previous studies that still have similarities with this research. The results of this study indicate that branding a city as a smart city considerably influences creative workers in determining their place of residence. This is because the existence of a smart city through its dimensions helps creative workers in their daily life and work.
CULTURAL APPROACH THROUGH TRADITIONAL DANCE IN INDONESIAN LANGUAGE LEARNING FOR FOREIGN SPEAKERS: PEDAGOGICAL INNOVATION IN THE GLOBAL BIPA PROGRAM: CULTURAL APPROACH THROUGH TRADITIONAL DANCE IN INDONESIAN LANGUAGE LEARNING FOR FOREIGN SPEAKERS: PEDAGOGICAL INNOVATION IN THE GLOBAL BIPA PROGRAM Nuraida, Ida; Nursilah, Nursilah; Ayodele, Osiyemi Olusegun
International Journal of Performing Arts (IJPA) Vol. 4 No. 1 (2025): June
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v4i1.246

Abstract

This study aims to explore the effectiveness of cultural approaches through the integration oftraditional dance in the teaching of Indonesian as a Foreign Language (BIPA) at Hebei ForeignStudies University (HISU), China. The primary focus is on the use of Jathilan (a traditional Javanesedance) and Betawi dance as instructional media to foster cultural awareness and enhance languageskills among international learners. This qualitative case study involved data collection throughdirect observation of both online and offline learning sessions, as well as in-depth interviews withBIPA instructors and participants actively involved in the dance-based learning process. Thefindings indicate that the incorporation of traditional dance significantly boosts learners’motivation, deepens their understanding of Indonesian culture, and creates an inclusive andparticipatory classroom environment. Active involvement in dance practice also strengthensstudents’ emotional and cognitive engagement in language learning. A key element in the success ofthis program is the collaboration between Universitas Negeri Jakarta (UNJ) and HISU through aninternational community service initiative. The study concludes that performing arts-based culturalapproaches offer an innovative pedagogical strategy for BIPA instruction and serve as an effectivetool for Indonesia’s cultural diplomacy on the global stage.
CRITICAL, CREATIVE, DIFFERENT AND FREE THINKING IN ARTS AND SCIENCE EDUCATION ABOUT ARTS: CRITICAL, CREATIVE, DIFFERENT AND FREE THINKING IN ARTS AND SCIENCE EDUCATION ABOUT ARTS Ekosiwi, Embun Kenyowati; Nursilah, Nursilah
International Journal of Performing Arts (IJPA) Vol. 3 No. 1 (2024): June
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v3i1.248

Abstract

This article explores the intricate relationship between critical thinking, creativity, difference, andintellectual freedom within the context of art education and the philosophy of art. Through aphilosophical-aesthetic approach grounded in critical reflection, this study discusses howquestioning, opposing, and challenging norms can function as both methods of critical inquiry andexpressions of creativity. It emphasizes that creativity is not confined to unconscious inspiration orchildlike spontaneity, but emerges through disciplined thought, lived experiences, and reflectiveengagement with cultural traditions. The paper highlights the role of tacit knowledge in traditionaldance, where creative acts are embedded in embodied practices and collective memory.Furthermore, it examines how dance serves as a metaphor for freedom, offering possibilities forartistic resistance and renewal beyond conventional boundaries. Art education, in this framework,is not merely the transfer of artistic skills, but a transformative space where critical consciousnessand imaginative capacities are cultivated. With the integration of the principles of difference,plurality, and independence of mind, educators and learners are encouraged to transcend binarythought structures and hierarchical traditions. The findings of this research affirm that fosteringcritical and creative thinking is essential to producing innovative and socially meaningful artisticpractices
BRIDGING THE THEORY-PRACTICE GAP IN ART EDUCATION: A STRUCTURED PEDAGOGICAL MODEL FOR CRITICAL AND CREATIVE APPLICATION: BRIDGING THE THEORY-PRACTICE GAP IN ART EDUCATION: A STRUCTURED PEDAGOGICAL MODEL FOR CRITICAL AND CREATIVE APPLICATION Alfarisi, Salman; Nursilah, Nursilah
International Journal of Performing Arts (IJPA) Vol. 4 No. 1 (2025): June
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v4i1.249

Abstract

Higher art education emphasizes theoretical mastery as a crucial foundation, yet many studentsstruggle to apply this knowledge in both criticism and creation. The persistent gap between 'knowing'and 'doing' remains a critical challenge in art pedagogy, often hindering learning outcomes. Thisarticle proposes a structured pedagogical model designed to bridge this divide. By synthesizingScaffolding Theory and Situated Learning Theory, the model presents a systematic four-stepframework: (1) theoretical deconstruction for deep comprehension, (2) methodological bridgingbetween theory and artistic objects, (3) dialogic operationalization through analytical frameworks,and (4) simulation and analytical design. This model is demonstrated through a case study applyingHomi K. Bhabha’s Cultural Hybridity Theory to Lenong Betawi, a traditional Indonesianperformance art. The proposed framework offers practical guidance for art educators to transformstudents’ passive theoretical knowledge into active analytical and creative competence. Itcontributes to the field of art pedagogy by integrating established educational theories into acoherent, actionable strategy for teaching theory application in art practice
CULTURAL PRESERVATION STRATEGY IN A MULTICULTURAL CITY: CASE STUDY OF REYOG PONOROGO IN JAKARTA: CULTURAL PRESERVATION STRATEGY IN A MULTICULTURAL CITY: CASE STUDY OF REYOG PONOROGO IN JAKARTA Nursilah, Nursilah
International Journal of Performing Arts (IJPA) Vol. 3 No. 2 (2024): December
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v3i2.257

Abstract

This study explores the strategies employed by the Ponorogo community in Jakarta to preserve ReyogPonorogo, an intangible cultural heritage, within a multicultural urban environment. The researchexamines the challenges and methods of cultural preservation faced by this community, highlightingthe role of community events, educational initiatives, and institutional support in maintainingcultural identity amidst globalization. Through a case study of Reyog Ponorogo in Jakarta, the paperinvestigates how traditional cultural expressions can coexist and adapt in a modern, diverse setting.It further explores the outcomes of these preservation efforts, focusing on the community’s ability toretain cultural authenticity while engaging with contemporary urban life. This research providesinsights into the broader implications of safeguarding intangible cultural heritage in rapidlyurbanizing, multicultural cities.
DANCE STUDIOS AS AGENTS OF CULTURAL SOCIALIZATION: A SOCIOLOGICAL STUDY OF DANCE EDUCATION IN INDONESIA: DANCE STUDIOS AS AGENTS OF CULTURAL SOCIALIZATION: A SOCIOLOGICAL STUDY OF DANCE EDUCATION IN INDONESIA Nursilah, Nursilah
International Journal of Performing Arts (IJPA) Vol. 3 No. 1 (2024): June
Publisher : Yayasan Pusat Cendekiawan Intelektual Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56107/ijpa.v3i1.259

Abstract

This study aims to analyze the role of dance studios as agents of cultural socialization in the contextof non-formal education in Indonesia. Based on the perspective of educational sociology, this studyexamines how dance studios function as spaces for the transmission of values, the formation ofartistic habitus, and cultural reproduction amidst the social dynamics of modern society. Theresearch approach used was qualitative with an ethnographic design. Data were obtained throughparticipant observation, in-depth interviews, and documentation at several traditional dance studiosin Indonesia. The analysis was conducted inductively by following the model of Miles and Huberman(1994) through the stages of data reduction, presentation, and verification. The results show thatdance studios have three main functions: (1) as non-formal educational institutions that transmitcultural and moral values; (2) as an arena for socialization that strengthens social solidarity throughcollective artistic activities; and (3) as a forum for the formation of artistic habitus and theaccumulation of cultural capital as proposed by Bourdieu (1986). The process of cultural inheritancethat takes place in the studio is generative and adaptive, enabling the reproduction of traditionalvalues in a modern context. These findings support Durkheim's (1912) view that education serves tomaintain the moral integration of society, while also broadening the understanding of arts educationas a process of socialization and cultural reproduction. This research emphasizes the importance ofstrengthening the role of studios as cultural institutions that contribute to the preservation of culturalheritage and the formation of cultural identity among the younger generation in Indonesia.
Co-Authors Agam Akbar Pahala Aidah, Hasna Alfira Hadiatiningrum Ayodele, Osiyemi Olusegun DEDEN HAERUDIN Ekosiwi, Embun Kenyowati Elindra Yetti Eza Kusuma Putri Ida Nuraida Leo Nardo Setia Budi Djojo List Salsabila, Nadia Merrysa Christina Pearl Sari, Kartika Ping, Xiao Raden Rudi Alhempi Rd. Nia Kania Kurniawati Reza Yonatan Hanata Salman Alfarisi Susi Andriani, Susi Tafarannisa, Melaprilya Anggun Youmi Ayu Prima Sihaloho