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All Journal Gorga : Jurnal Seni Rupa Harmonia: Journal of Research and Education JADECS (Journal of Art, Design, Art Education and Culture Studies) Catharsis Jurnal Pendidikan dan Penciptaan Seni Journal of Language, Literature, and Arts (JoLLA) Gayatri : Jurnal Pengabdian Seni dan Budaya
Pristiati, Tutut
Universitas Negeri Malang
Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Library & Information Science Social Sciences Other

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The Study of Performance Art “Kethuk Roso” by Fenny Rochbeind Pristiati, Tutut; Sunarto, Sunarto; Wadiyo, Wadiyo
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24240

Abstract

Performance art”Kethuk Roso” is a form of spontaneity of body action as a media of expression that presents the stretching of the spirituality of the artist to knock the sense of audience to interpret the morality. This study aims to describe the visual form and characteristics of performance “Kethuk Roso” by Fenny Rochbeind. This research used qualitative method with interdisciplinary approach. The source of the data used primary and secondary data through observation, interview, and documentary techniques. The validaty data technique used source of triangulation and the analysis technique data is done with performance art theory by RoseLee Goldberg. The result shows that performance art of “Kethuk Roso” is a multidisciplinary in the form of non-profit art genre that primarily focuses on the body as a media expression that directly conveys a dialogical message between the performer and the audience in the form of action communication. The researcher expects that through appreciation of performance art “Kethuk Roso” is important to be known by the public especially for art educators to understand, appreciate, and apply the contemporary art form which gives new color and meaning in art and to support the development of basic competence in art education. The research findings that Kethuk Roso performance art is able to knock everybody's sense of responding to cases of physical violence. Performance art Kethuk Roso proves its manifestation as a contemporary art shows the actual and factual events which gives new colors and meaning.
The Study of Performance Art “Kethuk Roso” by Fenny Rochbeind Pristiati, Tutut; Sunarto, Sunarto; Wadiyo, Wadiyo
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24240

Abstract

Performance art”Kethuk Roso” is a form of spontaneity of body action as a media of expression that presents the stretching of the spirituality of the artist to knock the sense of audience to interpret the morality. This study aims to describe the visual form and characteristics of performance “Kethuk Roso” by Fenny Rochbeind. This research used qualitative method with interdisciplinary approach. The source of the data used primary and secondary data through observation, interview, and documentary techniques. The validaty data technique used source of triangulation and the analysis technique data is done with performance art theory by RoseLee Goldberg. The result shows that performance art of “Kethuk Roso” is a multidisciplinary in the form of non-profit art genre that primarily focuses on the body as a media expression that directly conveys a dialogical message between the performer and the audience in the form of action communication. The researcher expects that through appreciation of performance art “Kethuk Roso” is important to be known by the public especially for art educators to understand, appreciate, and apply the contemporary art form which gives new color and meaning in art and to support the development of basic competence in art education. The research findings that Kethuk Roso performance art is able to knock everybody's sense of responding to cases of physical violence. Performance art Kethuk Roso proves its manifestation as a contemporary art shows the actual and factual events which gives new colors and meaning.
Pendekatan Scientific Learning pada Materi Teknik Bernyanyi Lagu Daerah Buen pada Siswa Kelas VIII di Penajam Paser Utara Anisa Millenia Fadhila; Wida Rahayuningtyas; Tutut Pristiati
JoLLA: Journal of Language, Literature, and Arts Vol. 3 No. 6 (2023)
Publisher : Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um064v3i62023p899=911

Abstract

Ketika COVID-19 melanda, pembelajaran tidak bisa dilakukan dengan baik oleh guru maupun siswa. Dampaknya, proses pelaksanaan pembelajaran menjadi kurang maksimal sehingga berpengaruh pada hasil pembelajaran siswa. Tujuan penelitian ini untuk menganalisis tahap perencanaan, tahap pelaksanaan, tahap penilaian serta kendala guru dalam pembelajaran teknik bernyanyi lagu daerah Buen menggunakan pendekatan saintifik. Metode penelitian yang digunakan adalah metode kuali-tatif berbentuk deskriptif. Pengumpulan data melalui wawancara, observasi, dan dokumentasi. Analisis data menggunakan reduksi data, penyajian data dan penarikan kesimpulan. Subjek di dalam penelitian ini adalah guru seni budaya kelas VIII-1 dan peserta didik kelas VIII-1 SMPN 5 Penajam Paser Utara. Validasi keabsahan hasil penelitian ini menggunakan triangulasi sumber dan triangulasi metode. Hasil dari penelitian ini menunjukan bahwa, (1) tahap perencanaan, lima kegiatan pokok scientific learning dilakukan berdasarkan langkah-langkah sintaks Problem Based Learning; (2) tahap pelaksanaan, lima kegiatan pokok scientific learning terlihat dalam kegiatan pembelajaran dan dilak-sanakan sebanyak tiga kali pertemuan; (3) pada tahap penilaian atau evaluasi pembelajaran, ter-dapat penilaian dari segi pengetahuan, keterampilan juga sikap; dan (4) kendalanya yaitu kurang-nya waktu pembelajaran dan pemahaman peserta didik terhadap lagu daerah Buen. Kata Kunci: pendekatan saintifik; lagu daerah; pembelajaran teknik bernyanyi A Scientific Learning Approach to the Singing Material of Buen Regional Song for Grade VIII Students' at Penajam Paser Utara When COVID-19 hit, learning could not be done properly by teachers and students. As a result, the learning implementation process becomes less than optimal, affecting student learning outcomes. This study aims to analyze the planning, implementation, assessment, and teacher constraints in learning Buen regional song singing techniques using a scientific approach. The research method used is a qualitative method in descriptive form. Data collection through interviews, observation, and documentation. Data analysis uses data reduction, data presentation and conclusions. The subjects in this study were cultural arts teachers of grade VIII-1 and students of grade VIII-1 SMPN 5 Penajam Paser Utara. Validate the validity of this study’s results using source and method triangulation. The results of this study show that (1) planning stage, five main activities of scientific learning are carried out based on the syntax steps of Problem-Based Learning; (2) implementation stage, five main activities of scientific learning are seen in learning activities and carried out as many as three meetings; (3) at the stage of assessment or evaluation of learning, there is an assessment in terms of knowledge, skills as well as attitudes; and (4) the obstacle is the lack of learning time and students' understanding of Buen folk songs. Keyword: scientific approach; folk songs; learning singing techniques
DAMPAK RELASI KUASA PADA FENOMENA FESTIVAL RANDAI DI SUMATERA BARAT Yurina Gusanti; Tutut Pristiati; Fitri Rahmah
Gorga : Jurnal Seni Rupa Vol 12, No 1 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i1.37944

Abstract

Research of power relations over the festival phenomenon of randai west Sumatera this is research to find out the extent of the impact of power relations on the phenomenon of randai festival in western Sumatra. This research uses qualitative research methods in the form of descriptive analysis. Contains a discussion of traditional randai art in a traditional festival and its relationship with the goverment and the agency that organizes the activity. In this study also discusses the impact that resulted in the phenomenon of randai festival it self both positive and negative impact are generated in the activity. Such as the resulting impact on duration, motion, dendang or gurindam, as well as stories or kaba present in randai performances. The positive impact generated in these activities is none other than increasing the creativity of randai artists in West Sumatra and preserving regional culture and folk art. As for the negative impact, namely the shorter the duration of the show.Keywords: power relations, phenomenon, festival, randai. AbstrakPenelitian Dampak Relasi Kuasa pada Fenomena Festival randai Sumatera Barat ini merupakan penelitian untuk mengetahui sejauh mana dampak dari relasi kuasa terhadap Fenomena Festival randai di sumatera barat. Penelitian ini menggunakan metode penelitian kualitatif berbentuk deskriptif analisis. Penelitian ini juga membahas tentang dampak yang dihasilkan dari fenomena festival randai itu sendiri baik itu dampak positif dan juga dampak negatif yang dihasilkan dalam kegiatan tersebut. Seperti dampak yang dihasilkan terhadap durasi, gerak, dendang atau gurindam serta cerita atau kaba yang ada dalam pertunjukan randai. Dampak positif yang dihasilkan dalam kegiatan tersebut tidak lain meningkatkan kreatifitas seniman randai yang ada di Sumatera Barat dan melestarikan budaya serta kesenian rakyat daerah. Sedangkan untuk dampak negatif nya yaitu durasi pertunjukan yang semakin singkat.Kata kunci: relasi kuasa, fenomena, festival, randai. Authors:Yurina Gusanti : Universitas Negeri MalangTutut Pristiati : Universitas Negeri MalangFitri Rahmah : Institut Seni Indonesia YogyakartaReferences:Etneny H. (2018) “Dampak Relasi Kuasa pada Fenomena Festival Randai”. Hasil Wawancara Pribadi: 21 Juli 2018, Padangpanjang.Fakhrizal, H. (2000). Randai Panglimo Gaga Awal Teater Minangkabau Modern. Yogyakarta: UGM.Foucault, M. (1990) The History of Sexuality:An Introduction, Vol.1. New York: Vintage Books.Gramsci, A. (1981). Class, Culture, and Hegemony, dalam Tony Bennett, Graham Martin, Collin Mercer, and Janet Woolacott (Eds). Culture, Ideology, and Social Process. Batsford: The Open University Press.Kamahi, U. (2017), Teori Kekuasaan Michael Facoult : Tantangan Bagi Sosiologi Politik. Jurnal Al-Khitabah, 3(1).Setiawan, I. (2016). Budaya dan Kuasa: Pandangan Cultural Studies.http://matatimoer.or.id/2016/04/06/budaya-dan-kuasa-pandangan-cultural-studies/ (diakses tanggal 12 april 2018).Sugiyono, S. (2008). Metode Penelitian Kuantitatif Kualitatif dan R &D. Bandung: Alfabeta.Zulkifli, Z. (1993). Randai sebagai Teater Rakyat Minangkabau di Sumatera Barat dalam Dimensi Sosial Budaya. Yogyakarta: UGM.Zulkifli, Z. (2018) “Dampak Relasi Kuasa pada Fenomena Festival Randai”.Hasil Wawancara Pribadi: 15 Juli 2018, Padangpanjang.
Bentuk Musik pada Lagu Pilu Membiru Karya Kunto Aji Bazur, Rizkyatul; Hidajat, Robby; Pristiati, Tutut
Journal of Language Literature and Arts Vol. 3 No. 12 (2023)
Publisher : Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um064v3i122023p1772-1785

Abstract

Bentuk musik merupakan susunan unsur musik dalam sebuah komposisi yang terdiri dari motif, tema, dan frase. Bentuk Musik menurut jumlah kalimat dibedakan menjadi tiga jenis, yaitu bentuk musik satu bagian, bentuk musik dua bagian dan bentuk musik tiga bagian. Penelitian ini bertujuan untuk mendeskripsikan bentuk musik pada lagu “Pilu Membiru” karya Kunto Aji. Penelitian ini menggunakan metode penelitian deskriptif kualitatif. Data dalam penelitian diperoleh dengan cara observasi, wawancara, dan dokumentasi dengan uji keabsahan data menggunakan triangulasi. Hasil penelitian ini menunjukkan bahwa lagu “Pilu Membiru” karya Kunto Aji mempunyai bentuk musik dengan tiga bagian kompleks. Pada bagian A kompleks terdapat terdapat 2 tema pokok dan 1 tema transisi. Pada bagian B kompleks terdapat 2 tema pokok dengan tema baru yang dimainkan secara repetitif. Bagian C kompleks merupakan pengulangan dari bagian A kompleks dan dimainkan dengan dinamika yang naik untuk memberi penegasan pada bagian lagu tersebut. Bentuk musik dengan tiga bagian kompleks pada lagu “Pilu Membiru” dapat ditulis dengan bentuk musik Ak (A, AI, B, BI, C ) – Bk (AII, D, D, D, D, D, D) –  Ck (B, BI, C). Kata kunci: bentuk musik; lagu pilu membiru; Kunto Aji Pilu Membiru Musical Form by Kunto Aji Musical form is the composition of music in a composition of motifs, themes, and phrases. Musical forms according to the number of sentences is divided into three types, namely one-part musical form, two-part musical form, and three-part musical form. This study aims to describe the musical form of the song "Pilu Membiru" by Kunto Aji. This research uses a qualitative descriptive research method. The data in the research were obtained using observation, interviews, and documentation by testing the validity of the data using triangulation. The results of this research indicate that the song "Pilu Membiru" by Kunto Aji has a complex three-part musical form. In the A complex section, there are 2 main themes and 1 transition theme. In part B complex there are 2 main themes with new themes that are played over and over again. Part C complex is a series of parts A complex and is played with increased dynamics to emphasize the part of the song. The complex three-part form of the song "Pilu Membiru" can be written in the musical form Ak (A, AI, B, BI, C ) - Bk (AII, D, D, D, D, D, D) - Ck (B, BI, C). Keywords: musical form, pilu membiru song, Kunto Aji
Strategi Pembelajaran Biola di Citra School of Music Mintorejo, Daniel; Pristiati, Tutut
Journal of Language Literature and Arts Vol. 4 No. 8 (2024)
Publisher : Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um064v4i82024p822-832

Abstract

Perkembangan terjadi akibat adanya pemikiran baru oleh generasi muda yang berjiwa seni tanpa mengubah tradisi yang sudah ada. Festival Nasional Reyog Ponorogo mengalami perkembangan setiap tahunnya, mencakup gerak, penari, tata rias, busana, properti tari, tata lampu, sistem suara, dan tempat pertunjukan. Penelitian ini difokuskan untuk mendeskripsikan perkembangan Festival Nasional Reyog Ponorogo secara sistematis, faktual, akurat, dan sesuai fakta. Penulisan penelitian ini menggunakan metode kualitatif dengan hasil berupa deskriptif kualitatif. Data penelitian diperoleh melalui observasi, wawancara, dan dokumentasi langsung dengan narasumber, yaitu: Marji (seniman reyog dan komposer), Afif Kurniawan (koreografer), Rizal Pahlevi (koreografer muda), Ikke Fislela M.J. (penari), dan Mila Pranesti (penari). Hasil penelitian meliputi: 1) sejarah Reyog Ponorogo; 2) perkembangan Festival Nasional Reyog Ponorogo; 3) Festival Nasional Reyog Ponorogo tahun 2016-2019 periode pertama (sebelum COVID-19); 4) Festival Nasional Reyog Ponorogo tahun 2020-2021 periode kedua (masa COVID-19); 5) Festival Nasional Reyog Ponorogo tahun 2022 periode ketiga (sesudah COVID-19); dan 6) faktor yang mempengaruhi perkembangan kemasan pertunjukan. Saran untuk penelitian selanjutnya adalah mendeskripsikan secara lebih mendalam dan rinci, agar dapat memperkaya referensi bacaan bagi peneliti di masa depan.
Tari Remo Putri pada Ludruk Lerok Anyar Karya Marsam Hidayat Hadiantika, Reza Adinda; Hidajat, Robby; Pristiati, Tutut
Journal of Language Literature and Arts Vol. 3 No. 5 (2023)
Publisher : Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um064v3i52023p630-646

Abstract

Penelitian ini mengkaji tentang Tari Remo Putri yang membuka pertunjukan Ludruk Lerok Anyar. Tari Remo Putri karya Marsam ini memiliki karakter dan keunikan melalui gerak tarinya. Akan tetapi, sangat banyak penonton yang tidak mengetahui hal tersebut sehingga tari ini kurang mendapatkan apresiasi dari masyarakat. Tujuan penelitian ini adalah untuk mendeskripsikan struktur koreografi Tari Remo Putri pada Ludruk Lerok Anyar karya Marsam Hidayat. Metode penelitian yang digunakan adalah metode kualitatif dengan teknik pengumpulan data menggunakan teknik observasi, wawan-cara, dan dokumentasi. Data tersebut diolah dan divalidasi sehingga mendapatkan data lapangan yang valid. Hasil penelitian ini meliputi (1) asal-usul Tari Remo Putri pada Ludruk Lerok Anyar karya Marsam Hidayat; (2) terdapat 19 ragam gerak dalam tari ini; (3) terdapat motif gerak yang terdiri dari motif dinamis, statis, dan tata urutan gerak; (4) notasi iringan tari; (5) terdapat 2 macam properti; (6) terdapat 9 bagian tata busana; dan (7) tata rias tari ini menggunakan karakter tata rias cantik. Kata kunci: Ludruk, pertunjukan, struktur koreografi, Tari Remo Remo Putri Dance in Lerok Anyar Ludruk By Marsam Hidayat This research examines the Remo Putri Dance which opens the Ludruk Lerok Anyar show. The Remo Putri dance by Marsam has character and uniqueness through its dance moves. However, there are very many audiences who do not know this, so this dance does not get appreciation from the public. The purpose of this study was to describe the choreographic structure of the Remo Putri Dance on Ludruk Lerok Anyar by Marsam Hidayat. The research method was processed qualitatively and obtained through several stages of data collection techniques, namely observation, interviews, and documentation. The data is processed and validated so as to obtain valid field data that can assist the continuation of the research. The results of this study include (1) the origins of the Remo Putri Dance from Marsam Hidayat's Ludruk Lerok Anyar; (2) there are 19 variations of motion in this dance; (3) there are motion motifs consisting of dynamic, static, and sequencing movements; (4) notation of dance accompaniment; (5) there are 2 kinds of properties; (6) there are 9 parts of fashion; and (7) this dance makeup uses beautiful makeup characters. Keywords: Ludruk, performance, choreographic structure, Remo dance
Peran Fotografi dalam Seni Tari: Komunikasi, Informasi, dan Ekspresi Artistik Sarjono, Sarjono; Pristiati, Tutut; Hartono, Hartono
Jurnal Pendidikan dan Penciptaan Seni Vol 4, No 1 (2024): Jurnal Pendidikan dan Penciptaan Seni - Mei
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jipsi.v4i1.412

Abstract

Fotografi menawarkan keleluasaan dan kebebasan yang mampu melahirkan berbagai bentuk visual untuk menyajikan ekspresi, termasuk dalam gerakan seni tari. Media fotografi memungkinkan segala bentuk visual yang monumental, ekspresif, dan unik diabadikan dalam sekejap mata. Kehadiran fotografi dalam perkembangan seni tari tidak sekedar berfungsi sebagai penyimpan data (dokumentasi), tetapi juga berperan sebagai media komunikasi dan sarana informasi. Penelitian ini bertujuan mengeksplorasi peran fotografi dalam seni tari, mengidentifikasi bagaimana fotografi dapat meningkatkan komunikasi dan informasi terkait seni tari, serta memahami kontribusi fotografi pada dokumentasi dan ekspresi artistik dalam seni tari. Metode yang digunakan meliputi studi literatur dan analisis visual. Studi literatur mengumpulkan informasi teoritis tentang peran fotografi dalam seni tari, sementara analisis visual mengkaji karya-karya fotografi yang berfokus pada gerakan seni tari untuk memahami bagaimana elemen-elemen visual menyampaikan ekspresi dan informasi. Hasil penelitian menunjukkan bahwa fotografi tidak hanya berfungsi sebagai alat dokumentasi tetapi juga sebagai medium komunikasi yang efektif. Fotografi mampu menangkap dan menyampaikan gerakan, ekspresi, dan keunikan tari dengan cara yang dapat diakses oleh audiens yang lebih luas, berkontribusi pada pelestarian seni tari, dan memperkaya pemahaman serta apresiasi masyarakat terhadap seni tari.
PILU MEMBIRU MUSICAL FORM ANALYSIS BY KUNTO AJI Bazir, Rizkyatul; Hidayat, Robby; Pristiati, Tutut
JADECS (Journal of Art, Design, Art Education & Cultural Studies) Vol 7, No 2 (2022)
Publisher : Jurusan Seni dan Desain, Fakultas Sastra, Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um037v7i22022p205-217

Abstract

Musical form is the composition of music in a composition of motifs, themes, and phrases. Musical forms according to the number of sentences is divided into three types, namely one-part musical form, two-part musical form, and three-part musical form. This study aims to describe the musical form of the song "Pilu Membiru" by Kunto Aji. This research uses a qualitative descriptive research method. The data in the research were obtained using observation, interviews, and documentation by testing the validity of the data using triangulation. The results of this research indicate that the song "Pilu Membiru" by Kunto Aji has a complex three-part musical form. In the A complex section, there are 2 main themes and 1 transition theme. In part B complex there are 2 main themes with new themes that are played over and over again. Part C complex is a series of parts A complex and is played with increased dynamics to emphasize the part of the song. The complex three-part form of the song "Pilu Membiru" can be written in the musical form Ak (A, AI, B, BI, C ) - Bk (AII, D, D, D, D, D, D) - Ck (B, BI, C).The complex three-part form of the song "Pilu Membiru" can be written in the musical form Ak (A, AI, B, BI, C ) - Bk (AII, D, D, D, D, D, D) - Ck (B, BI, C).
Analysis of Movement and Music Characteristics of Performance Art in “Touching the Heart for a Broken Wing” Performance Rochbeind, Fenny; Pristiati, Tutut
Harmonia: Journal of Arts Research and Education Vol 22, No 1 (2022): June 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.v22i1.34858

Abstract

Research related to performance art in Indonesia has been carried out but has not been studied in-depth, and the topics are different from those analyzed by researchers. This study aims to describe the characteristics of motion and music and to know the relationship between the actions of the performer’s body in the performance. Qualitative methods were used in this study with an interdisciplinary approach. Data sources are obtained from performers and audiences, while data collection techniques are through observation, interviews, and documentation. Data analysis used RoseLee Goldberg’s performance art theory. These findings include 1) the characteristics of the performer’s body movements spontaneously visualizing gross and fine movements that are artistically related to music and other elements, and 2) the characteristics of music that spontaneously accompanies the performer’s body movements. The benefits of research on the performance art of “Touching the Heart for a Broken Wing” can be understood and appreciated by the public as a new form of art that provides new value to the art treasures in Indonesia.
Co-Authors Anisa Millenia Fadhila Bazir, Rizkyatul Bazur, Rizkyatul Cahyaningrum, Puspita Nur Fenny Rochbeind Fitri Rahmah Hadiantika, Reza Adinda Handayani, Silvy Hartono Hartono ika wahyu widyawati Isfa'lan, Widad Mintorejo, Daniel Nugraha, Didi Krisna Prasetyo, Yunanto Adi Robby Hidajat Robby Hidayat Rojihan, Liling Agustin Rully Aprilia Zandra Sarjono Sarjono, Sarjono Sumarwahyudi Sunarto Sunarto Suprihatin, Endang Wara Tri Wahyuningtyas, Tri Wadiyo Wadiyo Wida Rahayuningtyas Yurina Gusanti