Article Per Year (5 Year)
p-Index From 2020 - 2025
4.68
P-Index
This Author published in this journals
All Journal Imaji: Jurnal Seni dan Pendidikan Seni Jurnal Sendratasik JOGED Harmonia: Journal of Research and Education Indonesian Journal of Conservation Imajinasi Rekayasa: Jurnal Penerapan Teknologi dan Pembelajaran Dinamika Catharsis Gondang: Jurnal Seni dan Budaya Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Jurnal Sitakara Edumaspul: Jurnal Pendidikan Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni EDUKATIF : JURNAL ILMU PENDIDIKAN Jurnal Seni Tari Ideas: Jurnal Pendidikan, Sosial dan Budaya Jurnal SMART (Studi Masyarakat, Religi, dan Tradisi) Journal of Environment and Sustainability Education Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain Catharsis Jurnal Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan Jurnal Seni Tari
Malarsih Malarsih
Universitas Negeri Semarang
Religion Arts Humanities Chemistry Education Engineering Environmental Science Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Mathematics Physics Social Sciences Other

Published : 75 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 75 Documents
Search

 2   3   4   5   6 
The Meanings of Symbols of Priyambada Mustakaweni Dance merdekawati, Ika; Malarsih, Malarsih; Sunarto, Sunarto
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31790

Abstract

This Research Aimed At Expressing The Meaning Of Symbols Of Priyambada Mustakaweni Dance. It Is Used Qualitative Method. The Data Collecting Techniques Were Through Observation, In Depth Interview, And Documentation. The Data Validation Used Data Triangulation Technique And Informan Review. The Data Was Analyzed Through The Process Of Reduction, Presentation, And Data Verification. The Results Of The Research Are That The Performance Form Of Priyambada Mustakaweni Dance Consist Of Title, Theme, Number Of Dancers, Movements, Place, Accompaniment, Makeup And Costume, Property, And Lighting. The Meaning Of Priyambada Mustakaweni Dance Is Reflected Through The Movements Perang Tantang-Tantangan, Perang Keris And Perang Gendhewa. (1) Perang Tantang-Tantangan Has A Meaning Of A Brave Female Soldier And Ready To Fight For The Country, (2) Perang Keris, Has An Implied Meaning That A Soldier Ha A Strategy And Power To Defend His Country, (3)Perang Gendhewa Implies That A Soldier Should Be Trained And Is Always Alert From Enemy’s Attack. Kata kunci : Tari Priyambada Mustakaweni, Bentuk, Makna Simbol.
PEMBELAJARAN SENI TARI MENGGUNAKAN PENDEKATAN APRESIASI DAN KREASI Malarsih, Malarsih; Kusumastuti, Eny
Rekayasa : Jurnal Penerapan Teknologi dan Pembelajaran Vol 11, No 1 (2013): Juli 2013
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/rekayasa.v11i1.10335

Abstract

Permasalahan yang diangkat dalam kegiatan pengabdian kepada masyarakat ini adalah, para guru Sekolah Menegah Pertama kabupaten Semarang belum memberikan pelajaran seni budaya tari menggunakan pendekatan apresiasi dan kreasi untuk menuju tercapainya pendidikan yang diinginkan di sekolah umum. Tujuan dari pengabdian kepada masyarakat ini adalah ingin mengenalkan bagaimana menerapkan metode pembelajaran seni budaya tari menggunakan pendekatan apresiasi dan kreasi itu. Kegiatan dilaksanakan melalui pendidikan dan pelatihan pembelajaran seni budaya tari menggunakan pendekatan apresiasi dan kreasi. Metode pembelajaran dilaksanakan menggunakan ceramah, tanya jawab, demonstrasi, latihan, dan drill. Hasil kegiatan pengabdian kepada masyarakat dapat dikemukakan, dapat dipahaminya pembelajaran pendidikan seni budaya tari oleh para guru menggunakan pendekatan apresiasi dan kreasi. Langkah pembelajaran apresiasi melalui empat tahapan utama, yakni pengenalan awal atau deskripsi, pemahaman, interpretasi atau penghayatan, dan evaluasi atau penilaian. Langkah kreativitas telah dipahami sebagai pengembangan apresiasi dalam bentuk karya tari. Prosesnya berangkat dari adanya ide, memunculkan konsep, penuangan ide dan konsep dalam bentuk gerak, meramu gerak dalam bentuk tarian utuh, dan terwujudnya produk karya tari baru.
Koreografi Tari Gambyong Jangkung Kuning Di Surakarta Nastiti, Laras Shantika; Malarsih, Malarsih
Jurnal Seni Tari Vol 10 No 1 (2021): Vol 10 No 1 (2021)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v10i1.46167

Abstract

Tari Gambyong Jangkung Kuning berasal dari Surakarta, merupakan susunan karya tari baru yang ikut andil dalam memperkaya jenis tari dengan genre Gambyong, disusun oleh Irwan Dhamasto pada tahun 2016. Bercerita mengenai figur seorang Timun Mas yang memulai masa akhil baligh dengan berbagai ancaman dari Buta Ijo yang ingin memperistri Timun Mas. Proses penyusunan karya tari tidak terlepas dari bentuk koreografinya. Oleh karena itu, permasalahan yang dikaji mengenai bagaimana elemen dan proses koreografi Tari Gambyong Jangkung Kuning di Surakarta. Tujuan dari penelitian ini untuk mengetahui, mendeskripsikan dan menganalisis bentuk serta proses koreografi Tari Gambyong Jangkung Kuning di Surakarta. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan pendekatan koreografis. Teknik pengumpulan data berupa observasi, wawancara dan dokumentasi. Hasil penelitian mengenai koreografi Tari Gambyong Jangkung Kuning mencakup elemen dan proses koreografi. Elemen koreografi terdiri dari gerak, tema, desain musik, desain kostum, tata rias, tata pentas, dan tata lampu. Proses koreografi diperoleh melalui tahap: 1) penemuan ide; 2) eksplorasi; 3) improvisasi; 4) komposisi. Saran dari penelitian ini bagi koreografer, diharapkan dapat mempertahankan eksistensi serta karakteristik dalam gerak Tari Gambyong Jangkung Kuning. Kata kunci: Koreografi, Proses Koreografi, Gambyong Jangkung Kuning
Warak Dugder Dance: Feminism and the Existence of Women as Strengthening the Existence of the Performing Arts Mawasti, Frihastyayu Bintyar; Malarsih, Malarsih; Hartono, Hartno
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.41109

Abstract

The Warak Dugder dance is a new creation dance inspired by the dugderan tradition in welcoming the month of Ramadan in Semarang City. The purpose of this research is to analyze feminism and the role of women in the performing arts of Warak Dugder Dance, Semarang City. This research uses qualitative research methods with an anthropological approach. The data analysis used to analyze the feminism of the Warak Dugder Dance consists of three lines, namely: data reduction, data presentation, and conclusion drawing. The data collection techniques using observation, interview, and documentation techniques. The results show that the Warak Dugder Dance illustrates the excitement of the atmosphere of the dugderan ritual ceremony in the Semarang city by adapting the characteristics and culture of the multicultural people of Semarang City. Feminism in the Warak Dugder Dance is a feminism of a radical-cultural field, which means that a woman does not need to be like a man, women still have strength that focus on tenderness, and women are the owners of their own bodies. The movement of female dancers rejecting male dancers in the Warak Dugder Dance illustrates the power of women to protect themselves and their honor. The Warak Dugder dance is often performed only displays female dancers, it proofs that female dancers have a role in strengthening the existence of the Warak Dugder Dance. The benefit of this research is to provide information related to the concept of feminism and the contribution of female dancers in the Warak Dugder Dance, the motivator for the community's enthusiasm to continue to preserve the regional arts of Semarang City, especially the Warak Dugder Dance, and to confirm that female dancers play a role in the existence of the Warak Dugder Dance.
The Non-Aesthetic Aspect of Mangkunagaran-Style Dance: Study From The Perspective of Social Context Malarsih, Malarsih; Utina, Usrek Tani; Bisri, Moh Hasan
Harmonia: Journal of Arts Research and Education Vol 20, No 2 (2020): December 2020
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.v20i2.23410

Abstract

This study aims at analyzing the non-aesthetic aspect of Mangkunagaran-style dance from the perspective of its social context. The method employed in the study is interpretative-descriptive qualitative. The approach used social culture to analyze the perspectives. The research was conducted in Pura Mangkunagaran, with the focus of research lies on the non-aesthetic aspect of Mangkunagaran-style dance taken from the perspective of its social context. Techniques for collecting data was an observation, interview, and documentation study. The data validity mainly used data triangulation. Results show that from the perspective of social context, the Mangkunagaran-style dance is divided into four major social functions, i.e., the social order for integration, the function of expression, the function of entertainment, and the function of Psychiatric, Aesthetic, and Economic. These for main social functions are taken part in the existence of Mangkunagaran-style dance in Pura Mangkunagaran and wider communities.
The Process of Inheritace Ayu Mask Dance in Tanon Backwoods Purwati, Anik; Malarsih, Malarsih; Cahyono, Agus
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.30311

Abstract

This study aims to analyze the process of inheritance in Hamlet Tanon, especially the Mask Dance Ayu as a result of culture. This study uses the approach of cultural sociology. The data collection is done in three ways: observation, interview and documentation. The validity of the data using triangulation techniques and reviews of informants, with interactive data analysis. The results of the research that Inheritance Mask Dance Ayu in the Hamlet Tanon using nyantrik with imitation technique, where children make the observation that the input process the recorded memories cognitively, this observation phase brtujuan children can undergo a preliminary understanding of the concept of motion. Lumaksono come to the show arena, Sembahan ( Atur Sugeng), Atur Pambagyo, Minang (Silat), Pemuda Tanon , Olah Rogo And Lumaksono Muncur Beksan; and internalization directly in training and is intended for children pementasan.tahap can directly practice all memorized and dance with the correct technique; as well as the evaluation process is usually done by the parents of dancers nyantrik Mask Dance Ayu by providing intelligent feedback on their performances. The position of children who Nyantrik dancers behind the core, so that the apprentice dancer can make direct observation. Cultural Inheritance Process It needs an understanding and cooperation between the personal, the environment.
Dialectics Dance Ritual in Wanara Parisuka in Talunkacang Kreo Cave Semarang Central Java Ekowati, Yunik; Sunarto, Sunarto; Malarsih, Malarsih
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.30922

Abstract

Wanara Parisuk dance is one of the traditional arts are contained in a series of ritual offerings Rewanda and entertainment in Kreo cave Semarang. Derived from the word “ Wanara” which means monkey, “Parisuka” means having fun. Dance Wanara Parisuka used as a ritual and entertainment interests. Objective to study the dialectic Dance Wanara Parisuka (study: ritual and entertainment). The method used in this study is a qualitative ethnographic approach. Data collection techniques are observation, observation, interviews, document study.Mechanical validity of data used triangulation techniques and data analysis techniques that follow an interactive model analysis phase.Dance research results Wanara Parisuka there are two kinds of functions: as a ritual and as entertainment. The findings are important as ritual offerings in Rewanda Dance Ritual Wanara Parisuka presented at the peak of the ritual. Overall findings as entertainment is to entertain and attract public interest, dancers invite the audience to dance together, to entertain the audience. In the dialectic Dance Wanara Parisuka there are three stages namely; thesis (function according to each), antithesis (rejection, both have different roles and can not be mixed), the synthesis of (mutual influence, and biting for togetherness and strategic importance attract the interest of visitors).
The Puppet Thimplong: Assessment Form Performance and Values of Local Wisdom for Nganjuk Citizen Dyah Indriyani, Putri; Triyanto, Triyanto; Malarsih, Malarsih
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.30934

Abstract

Thimplong puppet is an art from Nganjuk District, Pace especially. This puppet is a type of wood puppet with a story was raised the Panji stories. The purpose of this study is to analyze forms of performance and load values ​​of local wisdom in the art of Wayang Thimplong. The method used is a qualitative approach. Data collection techniques by using observation, interview and documentation. While the data analysis techniques with data triangulation technique. In addition, there are also technical validity of the data comprising data reduction, data presentation, and data verification / conclusion. The results showed that the shape of the show on the Wayang Thimplong contained the following elements: a story or player was played, shape or form of puppets, the music, the venue, the sound, and the audience in the performing arts Wayang Thimplong. In addition, the load Thimplong Puppet show the great value that local content is a religious value, the value of compliance, educational value, as well as ethical values ​​therein. Implications of this art can be used as teaching materials are local so it can be as a trigger to the public appreciation especially Wayang puppet Thimplong.
Form of Performance and Creativity of the Sisingaan Art in Wanareja Group in Subang Regency, West Java Witriani, Rani; Sumaryanto. F, Totok; 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.v8i2.31390

Abstract

Sisingaan Art is an art which is still developing in Subang Regency, West Java. Sisingaan Art of the Wanareja group is one of the groups from Subang Regency which has developed Sisingaan art with Demon creativity (demonstration) since 1987. This study aims to analyze the form of performance and creativity of the Sisingaan art in the Wanareja group in Subang Regency, West Java. The method used in this study is qualitative method with an interdisciplinary approach. Data collection techniques used are observation, interview, and document study. The data are validated by using the triangulation technique and interactive data analysis technique. Based on the results of the research, in the form of performance and creativity of Sisingaan art, there found a Demon style (demonstration) carried out at the end of the procession. Demon style (demonstration) is in the form of attractions, namely Demon of gugunungan, kakapalan, renengan punggu and kidung. Therefore, the Sisingaan art of the Wanareja group is very attractive to audiences from any class of society. The implication of the Sisingaan art of the Wanareja group is to maintain and develop Sisingaan art in the Wanareja group through forms of performance and creativity. For the society, it functions for entertainment and preserving Sisingaan art.
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.
Co-Authors Adhitya Darmantho Agus Cahyono Agus Cahyono Agus Cahyono Agustiina, Inna Amanatillah, Dwi Nisa' Andi Tenri Juli Astari Anik Purwati Anita Widyati Ayu Mustika Sari Ayu Wulandari Azkia Ismiati Balqis, Lale Alia Deasylina Da Ary Deasylina da Ary Dewi Purnama Sari Dwi Nisa' Amanatillah Dyah Ayu K, Rakanita Dyah Indriyani, Putri Eko Sugiarto Ekowati, Yunik Endang Ratih E.W. Endarini, Adilah Eny Kusumastuti Fajri, Samsul Frizia Nuary Novalia, Frizia Nuary Novalia H. Herlinah Halimah Agustina Harist Harjanti Wijaya Mulia Catur Tunggal Hartono & Wahyu Lestari Hartono Hartono Hartono Hartono Hartono Hartono Hartono Hartono Hartono Hartono Hartono, Hartno Hartono, Hartono Ika Merdekawati, Ika Lelyana Lely Aryani Maria Magdalena Cita Hapsari Mawasti, Frihastyayu Bintyar Mega Suryawan Harefa Moh Hasan Bisri Muhammad Jazuli Muhammad Jazuli Najah, Alfiyatun Nanda Resma Yulianti Nastiti, Laras Shantika Nurul Dwi Rahayuningtyas Pramana, Andi Dwi Resqi Putri Khakimah Rahina Nugrahani Rinda Lorensa Kombong Rohidi, Tjetjep Rohendi Samsul Fajri Siti Rahmadani Nur Bakhtiar Slamet Haryono Solly Aryza Sumaryanto, Totok Sumaryanto. F, Totok Sunarto Sunarto Syahrul Syah Sinaga Thesya Ramyta Rizki Tri Marhaeni Pudji Astuti Triana Pramadanti Triana Pramadanti Udi Utomo Usrek Tani Utina Wadiyo Wadiyo Wahyu Lestari Wati, Rosdiana Widarwati, Widarwati Widodo Widodo Wisnugraha, Azhardi Witriani, Rani Zulfa Dwi Febriani