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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

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Analisis Bentuk Penyajian Tari Bedhaya Retnatama di Kraton Surakarta Hadiningrat Dewi Purnama Sari; Malarsih Malarsih; Muhammad Jazuli
SENDRATASIK UNP Vol 12, No 2 (2023)
Publisher : FBS Padang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i2.123178

Abstract

Bedhaya Retnatama dance is one of the classical dances from the Surakarta Hadiningrat Palace. This dance was created by GKR Koes Moertiyah Wandansari during the inauguration of the Surakarta Hadiningrat Kraton Museum. The results of the study show that the form of performance in this dance is almost the same as other Bedhaya dance performances. The difference is that the dance movements are composed more "soblakan" which indicates the firmness conveyed in the theme of this dance. This assertiveness is strengthened by the use of the gandewa property in this dance performance. The firm impression conveyed is packaged elegantly in the presentation of the bedhaya dance which has the characteristics of mbayu mili (smooth). As the reinforcement of the narrative of this dance, cakepan is used which tells about the persistence of contemporary Javanese women. The main objective of this study is to determine the form of the performance of the Bedhaya Retnatama Dance as a whole through the clothing, accompaniment, and properties used. The research in this article uses a qualitative descriptive method with data collection techniques using observation, interviews, and documentation.
Perfomance of the Gegesik Style Cirebon Mask Kalana Dance in the Context of Coastal Culture as a Source of Local Wisdom Triana Pramadanti; Malarsih Malarsih; Hartono Hartono
Gondang: Jurnal Seni dan Budaya Vol 7, No 1 (2023): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i1.44950

Abstract

Gegesik-style Klana mask dance is one of the styles that have survived to the present day. The importance of maintaining and preserving the Gegesik-style Klana mask dance, which is comprised of dance elements presented in the form of a dance perfomance, is understood by a few people who have studied its dance elements. By comprehending the elements contained therein, the Gegesik style of the masked Klana dance will maintain its authenticity without altering a single aspect of the Gegesik style masked Klana dance's standard. Gegesik-style Klana mask dance has excellent appeal for ceremonial events, welcoming guests, and filling in events organized by government and non-government organizations. This study used qualitative research and an ethnochoreological methodology as a scalpel to investigate the textual components of dance. The Gegesik style Klana mask dance has eight text components: movement, dancers, make-up, clothing, floor patterns, music, property, and place of performance. Collecting data was done with observation, interviews, and document analysis. After conducting research, the researcher discovered that the form of perfomance of the Gegesik-style masked Klana dance consists of eight interrelated components that cannot be changed without altering its authenticity. Consequently, the Gegesik-style Cirebon masked Klana dance contains elements that cannot be easily altered, as well as meanings and values implicit in every movement, music, costume, and another component. Keywords: Gegesik Style Klana Mask Dance, Dance Perfomance, Ethnochoreology.
Rekonstruksi Pertunjukan dan Nilai Pendidikan Karakter pada Proses Pembelajaran Tari Persembahan Sedulang Setudung di MTs Thesya Ramyta Rizki; Malarsih Malarsih; Eko Sugiarto
EDUKATIF : JURNAL ILMU PENDIDIKAN Vol 5, No 2 (2023): April
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/edukatif.v5i2.5228

Abstract

Tari Persembahan Sedulang Setudung merupakan tari penyambutan yang disajikan bagi tamu-tamu yang datang ke Banyuasin, sebagai tanda penghormatan. Tujuan penelitian ini untuk menganalisis rekonstruksi pertunjukan dan untuk menganalisis nilai pendidikan karakter yang diterapkan pada proses pembelajaran tari persembahan Sedulang Setudung di MTs Al-Ikhsan Betung. Metode penelitian ini yaitu deskriptif kualitatif. Teknik pengumpulan data yang digunakan dalam penelitian ini terdiri atas metode observasi, teknik wawancara, teknik studi dokumen. Hasil penelitian ini yaitu tari Persembahan Sedulang Setudung yang mengalami rekonstruksi pada iringan musik, penari, bentuk pertunjukan, dan propertinya. Adapun nilai pendidikan karakter yang diterapkan pada proses pembelajaran tari persembahan Sedulang Setudung di MTs Al-Ikhsan Betung  meliputi nilai religius, nilai budaya, nilai mencintai dan menghargai sejarah dan kesenian lokal, nilai mandiri, karakter tanggung jawab, percaya diri, solidaritas, berani dan saling mengingatkan. Berdasarkan hasil penelitian tersebut, disimpulkan bahwa tari persembahan sedulang setudung sangat cocok menjadi materi pada pembelajaran di sekolah, karena dapat membentuk nilai pendidikan karakter bagi peserta didik.
Performing Sere Bissu Maggiri as Character Education Content for the Bone Community Siti Rahmadani Nur Bakhtiar; Malarsih Malarsih; Eko Sugiarto
Edumaspul: Jurnal Pendidikan Vol 7 No 1 (2023): Edumaspul: Jurnal Pendidikan
Publisher : Universitas Muhammadiyah Enrekang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33487/edumaspul.v7i1.6421

Abstract

Abstrak Pertunjukan Sere Bissu Maggiri merupakan pertunjukan tari tradisional berasal dari suku Bugis Bone yang teletak di Sulawesi Selatan. Pelaku kesenian dari pertunjukkan tersebut adalah Bissu merupakan laki-laki berpenampilan wanita dari Komunitas Bissu Bone. Tujuan penelitian ini mendeskipsikan nilai-nilai pendidikan karakter masyarakat Bone terefleksi dalam pertunjukan Sere Bissu Maggiri. Menggunakan metode kualitatif dengan desain penelitian fenomenalogi. Hasil penelitian menunjukkan Pendidikan Karakter pada masyarakat Bone dalam Pertunjukan Sere Bissu Maggiri terdapat nilai-nilai karakter terdapat Tuhan, terhadap diri sendiri dan terhadap sesama dari tiga nilai tersebut menjadi acuan dan pedoman bersikap sebagai masyarakat Bone dengan Bone kota beradat. Menjunjung tinggi nilai moral bersikap dan menghargai kesenian leluhur mempertahankan dan terus dilestarikan. Kata Kunci: Pendidikan Karakter, Sere Bissu Maggiri, Bone AbstractThe Sere Bissu Maggiri performance is a traditional dance performance originating from the Bugis Bone tribe located in South Sulawesi. The performers of the show are Bissu, men dressed as women from the Bissu Bone Community. The purpose of this study is to describe the character education values of the people of Bone as reflected in the Sere Bissu Maggiri performance. Using qualitative methods with a phenomenological research design The results of the study show that character education in the Bone community in the Sere Bissu Maggiri performance contains character values that include God, oneself, and others, with the three values becoming a reference and guideline for behaving as a Bone community in a civilized city. Upholding moral values, behaving and appreciating ancestral arts, and maintaining and continuing to be preserved Keywords : Character Education, Sere Bissu Maggiri, Bone
The contribution of Sanggar Siradjuddin Gowa as a Developer of Traditional Dance Arts in the Context of Community-Based Arts Education Andi Tenri Juli Astari; Agus Cahyono; Malarsih Malarsih
Edumaspul: Jurnal Pendidikan Vol 7 No 2 (2023): Edumaspul: Jurnal Pendidikan
Publisher : Universitas Muhammadiyah Enrekang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33487/edumaspul.v7i2.6802

Abstract

Abstract This research is motivated by the activities of members of the siradjuddin studio in gowa district, who have made various contributions as developers of traditional dance arts in the context of community-based arts education. This research was carried out to support arts and culture education and the inheritance of cultural traditions in a district . This type of research uses an interdisciplinary approach consisting of the disciplines of Ethnochoreology and Arts Education using qualitative methods based on case studies. The results of the research show that the contribution of the Gowa Siradjuddin Studio as a developer of traditional dance arts in the context of community-based arts education consists of three, namely (1) the contribution of the Siradjuddin Gowa Studio as a manager of non-formal arts education (educational contribution), (2) the contribution of the Siradjuddin Gowa Studio as an arts developer. traditional dance (conservative contribution), (3) contribution of the Siradjuddin Gowa studio as a creative industry player. Keywords: Contribution , Traditional Art , Community Based Arts Education . ABSTRAK Penelitian ini dilatarbelakangi oleh kegiatan anggota Sanggar Siradjuddin Kabupaten Gowa yang telah memberikan berbagai kontribusinya sebagai pengembang seni tari tradisional dalam rangka pendidikan seni berbasis masyarakat. Penelitian ini dilakukan untuk mendukung pendidikan seni budaya dan pewarisan tradisi budaya di kabupaten Gowa. Jenis penelitian ini menggunakan pendekatan interdisiplin yang terdiri dari disiplin ilmu Etnokoreologi dan Pendidikan Seni dengan menggunakan metode kualitatif berdasarkan studi kasus. Hasil penelitian menunjukkan bahwa kontribusi Sanggar Siradjuddin Gowa sebagai pengembang seni tari tradisional dalam rangka pendidikan seni berbasis masyarakat terdiri dari tiga, yaitu (1) kontribusi Sanggar Siradjuddin Gowa sebagai pengelola pendidikan seni non formal (Kontribusi Edukatif), (2) kontribusi Sanggar Siradjuddin Gowa sebagai pengembang seni tari tradisional (kontribusi konservatif), (3) kontribusi sanggar Siradjuddin Gowa sebagai pelaku industri kreatif.Kata Kunci : Kontribusi, Seni Tari Tradisional, Pendidikan Seni Berbasis Masyarakat.
Form of Presentation of Pattudduq Sarawadang Dance in Majene Regency Nanda Resma Yulianti; Agus Cahyono; Malarsih Malarsih
Catharsis Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v12i1.73199

Abstract

Pattudduq Sarawadang dance is one of the traditional dances originating from the Mandar area, Majene Regency, which still exists today. The purpose of this study was to analyze and describe the form of presentation of the pattudduq sarawadang dance in Majene Regency. This type of research is case study-based qualitative. The method used is a qualitative method with an ethnochoreological approach. Research data were collected by interview, observation, and document study techniques. Checking the validity of the data using triangulation. The research data were analyzed qualitatively through the stages of data collection, data reduction, data presentation, and data verification or drawing conclusions. The results showed that the form of the Pattudduq Sarawadang dance includes movement, dancers, fashion/makeup, floor patterns, music, property and venue. There are six kinds of motion in dance. The Pattudduq Sarawadang dance is performed by women with an even number of at least four people. The properties used are fans and scarves. The accompaniment in dance uses drums, gongs, and keke instruments as well as singing. The place for the Pattudduq Sarawadang dance performance is in an open arena. The findings in this study are that there is a transformation or change in shape that occurs in the range of motion, dancers, costumes used, music and props in the Pattudduq Sarawadang dance.
Strategi Kemasan Tari Lembu Tanon Berbasis Kearifan Lokal di Dusun Tanon Harist Harjanti Wijaya Mulia Catur Tunggal; Widodo Widodo; Malarsih Malarsih
Ideas: Jurnal Pendidikan, Sosial dan Budaya Vol 9 No 3 (2023): Ideas: Pendidikan, Sosial, dan Budaya (Agustus)
Publisher : Ideas Publishing

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32884/ideas.v9i3.1357

Abstract

The lembu tanon dance is a dance that represents the local wisdom values ​​of the people of Dusun Tanon. The purpose of this research is to analyze the value of the wisdom of the local community of Dusun Tanon which is represented in the lembu tanon dance performance. The method used is qualitative with an interdisciplinary approach. The results of the study show that the lembu tanon dance is a representation of the activities of the Tanon Hamlet community. This can be seen from the pattern of the lembu tanon dance performance, in the lembu tanon dance there are also local wisdom values ​​such as politeness, mutual cooperation and greeting. The implications of the research with the lembu tanon dance can be used as a dance that characterizes Dusun Tanon and used as a tour package.
Analisis Bentuk Lagu Nyanyian Penanian Dolo Berjudul “Allo Lendu’ Bulan Lendu’” Rinda Lorensa Kombong; Slamet Haryono; Malarsih Malarsih
Ideas: Jurnal Pendidikan, Sosial dan Budaya Vol 9 No 4 (2023): Ideas: Pendidikan, Sosial, dan Budaya (November)
Publisher : Ideas Publishing

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32884/ideas.v9i4.1533

Abstract

This research was conducted to analyze the structure of the song entitled "Allo Lendu' Bulan Lendu'" which is part of the Penanian dolo song in Gandangbatu Sillanan Toraja at death ceremonies which is starting to fade because of the new songs in Church services. Researchers used a qualitative research method with an ethnomusicological approach. Based on the results of data analysis, it was found that the song "Allo Lendu' Bulan Lendu'" has a similar melody to the Song of the Congregation No. 331 entitled “Day, Night, Season, Year”. The form is in the form of two parts of sentences A and B, so that the pattern is AB=A(a, ​​a') B(b,a'). The motif is relatively simple and full of repetition, as can be seen from each melody form which literally repeats the motif from the melody theme.
Analisis Bentuk Penyajian Tari Fanari Niowalu pada Acara Falöwa di Kecamatan Idanögawo Mega Suryawan Harefa; Malarsih Malarsih; Rahina Nugrahani
Ideas: Jurnal Pendidikan, Sosial dan Budaya Vol 10 No 1 (2024): Ideas: Pendidikan, Sosial, dan Budaya (Februari)
Publisher : Ideas Publishing

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32884/ideas.v10i1.1548

Abstract

The fanari niowalu dance is a traditional dance which is one of the sacred dances in wedding customs which is only danced by niowalu at the falöwa which symbolizes that Niowalu is ready to get married and welcomes the extended family of the marafule (groom), guests and the community who come was at the falöwa event. The purpose of writing this article is to analyze the form of presentation of the fanari niowalu dance using qualitative research methods with an ethnochoreological approach that describes existing problems. This dance is danced at weddings where the dance is started by the mothers of the bride and groom and then continued by the two girls and niowalu to dance together with traditional Nias musical instruments consisting of göndra, garamba, and faritia.
Contribution of the Ronggeng Warak Dance in Improving the Creative Economy Industry at Sanggar Sekar Kemuning, Pedurungan District, Semarang City Anita Widyati; Malarsih Malarsih; Hartono Hartono
Catharsis Vol. 13 No. 1 (2024): June 2024
Publisher : Universitas Negeri Semarang

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

Abstract

The Ronggeng Warak dance is a dance created at the Sekar Kemuning Studio which is located in Pedurungan District, Semarang City. The owner of Sanggar Sekar Kemuning is Mr Kasmiran. The Ronggeng Warak dance is a dance created by Mr. Kasmiran and Mr. Wijanarko. The choreographer of the Ronggeng Warak Dance was inspired by the Dugderan Ceremony which is held every year in Semarang City, usually at the Dugderan Ceremony there is a mascot, namely Warak.The Ronggeng Warak dance makes a major contribution to the development of the creative industry in Sanggar Sekar Kemuning, Pedurungan District, Semarang City. The creative economy plays a role in driving the economy, including creating income, creating new jobs and creating employment opportunities.
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