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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Jurnal Sendratasik Jurnal Imajinasi JOGED Harmonia: Journal of Research and Education Indonesian Journal of Conservation Imajinasi Rekayasa: Jurnal Penerapan Teknologi dan Pembelajaran Dinamika Catharsis Al Ishlah Jurnal Pendidikan Gondang: Jurnal Seni dan Budaya Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Jurnal Sitakara Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni EDUKATIF : JURNAL ILMU PENDIDIKAN Jurnal Seni Tari Ideas: Jurnal Pendidikan, Sosial dan Budaya DIKSI: Jurnal Kajian Pendidikan dan Sosial Indonesian Community Journal Jurnal SMART (Studi Masyarakat, Religi, dan Tradisi) Journal of Artificial Intelligence and Digital Business 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 Edumaspul: Jurnal Pendidikan
Malarsih Malarsih
Universitas Negeri Semarang
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Chemistry Computer Science & IT Economics, Econometrics & Finance Education Electrical & Electronics Engineering Engineering Environmental Science Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Mathematics Physics Public Health 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.
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.
The Existence of Wayang Orang Art Studio in Tembbelang Gunung Village, Lebakbarang District, Pekalongan Regency in Facing the Development of the Age Lelyana Lely Aryani; Hartono Hartono; 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.v12i1.70899

Abstract

The existence of the WAYANG Orang Art Studio is infuenced by people who tend to like things that are done continuously and for generations, so that eventually it becomes a habit that is still often carried out by the people of Tembbelang Village, Pekalongan Regency namely that the traditions or habits that are held in the village are still strong. Tembbelang in this modern era is to maintain the existence of the Wayang Orang art studio. The purpose of this study is to reveal the reasons for the Wayang Orang Art Studio to exist. This study uses a qualitative method that is a description of the object of research directly. Data collection techniques namely, observation, interviews, literature study, and documentation. The results of this study are to reveal the reasons for the continued existence of the Wayang Orang Art Studio today. The reasons in question are first, because of the holding of Wayang Orang art training amidst the influence of globalization. The training is believed to be a cornerstone for the continued existence of the studio, an awareness that the impact of existence is as a means of expression and channeling the hobbies of the supporterners of the arts themselves. Second, the have one common goals, which is to preserve the art of Wayang Orang in Tembbelang. Not only to preserve but to become a vessel for the survival of the Wayang Orang art. Nevertheless, this is a strong reason behind the existence of Wayang Orang art.
Semiotika Roland Barthes: Gerak tari pada pertunjukan Bedug Kerok di kampung seni Yudha Asri Fajri, Samsul; Malarsih, Malarsih; Hartono, Hartono
Imaji: Jurnal Seni dan Pendidikan Seni Vol 21, No 2 (2023): IMAJI OCTOBER
Publisher : FBSB UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/imaji.v21i2.59442

Abstract

Tujuan dari penelitian ini yaitu untuk menganalisis dan mengkategorikan tanda-tanda dalam pertunjukan gendang kerok dengan menggunakan teori semiotika Roland Barthes. Pertunjukan bedug kerok merupakan salah satu seni pertunjukan yang banyak dinikmati khususnya oleh warga Kampung Seni Yudha Asri, Desa Mander, Kecamatan Bandung, Kabupaten Serang, Banten. M. Jufri Noor, pendiri sanggar seni, pertama kali mencetuskan gagasan Kampung Seni Yudha Asri karena apresiasinya terhadap karya seni. Kampung Seni Yudha Asri kini menjadi destinasi wisata seni yang cukup terkenal. Metode penelitian kualitatif deskriptif yang digunakan dalam model penelitian ini didasarkan pada teori-teori dari semiotika. Teknik pengumpulan data meliputi observasi, wawancara, dokumentasi, dan studi kepustakaan. Hasil penelitian ini dapat dimaknai sebagai simbol dan makna gerak yang terdapat pada gerak tari gendang kerok dengan menghadirkan gerak dasar dalam bentuk pertunjukan gendang kerok. Teori Roland Barthes memasukkan sinyal dan penanda seperti makna denotasi, konotasi, dan mitos. Hasil dari analisis semiotika tersebut antara lain gerak narilik, sepakan, dengdek, ngedeg kuda-kuda, kelid tonjok, golempang, gegejedan, culcel, dan kewer.Kata kunci: semiotika Roland Barthes, gerak tari, Bedug Kerok  Semiotics of Roland Barthes: Kerok Bedug dance movements in Yudha Asri art villageAbstractThe purpose of this study is to analyze and categorize the signs in the drum kerok performance using Roland Barthes' semiotic theory. The drum kerok performance is one of the performing arts that is enjoyed, especially by the locals of Yudha Asri Art Village, Mander Village, Bandung District, Serang Regency, Banten. M. Jufri Noor, the founder of an art studio, first came up with the idea for Yudha Asri Art Village out of his appreciation for artistic works. Yudha Asri Art Village is now a well-known art tourism destination. The descriptive qualitative research methods used in this model for study are based on theories from semiotic. Data gathering techniques include observation, interviews, documentation, and library research. The results of this study can be interpreted as symbols and meanings of motion that are present in the movements of the drum kerok dance by presenting the basic movements in the form of a drum kerok performance. The theories of Roland Barthes include signals and markers such as the meanings of denotation, connotation, and myth. The results of the semiotic analysis include narilik motion, kicking, dengdek, ngedeg stance, kelid tonjok, golempang, gegejedan, culcel, and kewer.Keywords: Roland Barthes semiotics, dance movement, Bedug Kerok
The Tryout of Dance Teaching Media in Public School in The Context of Appreciation and Creation Learning Malarsih, Malarsih
Harmonia: Journal of Arts Research and Education Vol 16, No 1 (2016): June 2016
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.v16i1.4561

Abstract

Dance learning through appreciation and creation approach is considered important in public school. This study is aiming at realizing dance media to be used as a tool to educate students as formulated in the school curriculum. Specific target to be accomplished in this study is the realization of dance learning media as one of appreciation and creation educational tool in public school. Further, this study employed developmental research method. The tryout of the product was done to measure the effectivity and creativity of students while the media is implemented in dance learning. The product’s trial result showed that the use of dance learning media that was designed specifically for appreciation and creation approach has succesfully driven the students to be more active and creative. Teacher assistant was less needed by students whenever they have problems related to the dance learning.How to Cite: Malarsih. (2016). The Tryout of Dance Teaching Media in Public School in The Context of Appreciation and Creation Learning. Harmonia: Journal of Arts Research And Education, 16(1), 95-102. doi:http://dx.doi.org/10.15294/harmonia.v16i1.4561
Creativity Education Model through Dance Creation for Students of Junior High School Malarsih, M.; Herlinah, H.
Harmonia: Journal of Arts Research and Education Vol 14, No 2 (2014): December 2014
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.v14i2.3296

Abstract

This study aims to realize dance as a real product of a dance education process. The product is packaged in a form of audio-visual as well as a scientific publication. As the benefit from this study, the product can be used by school and specifically by dance teacher as a guidance in conducting dance lesson at school. The study on the model of creativity education through the creation is being understood as a form of developmental research. As a developmental research, the research plan is initiated by analyzing the teaching material related to dance lesson, and relate it to the creativity education which has to be accomplished through dance lesson, specifically for Junior High School students. The study will be continued with theoretical/ conceptual analysis and observation which is related to creativity education through the dance creation. In the end of this study, model of creativity education through dance creation is produced, particularly for students of Junior High School level. Results of the study show that, in doing creativity activity through dance creation, the value of the dance as an art is not become the primary aim. Moreover, the main aim of this process is towards the creativity process itself. While producing and creating the dance, two major educational points are derived, which are: the creativity and product value in a form of dance. Based on background of the idea, through this pilot project, the creativity of creating dance for public schools students, especially Junior High School, is possible to be done and used as a dance creativity learning model in Junior High School. Two suggestions are formulated in this study: (1) it is suggested for dance teachers in public schools, in this context is Junior High School teachers, to set their teaching and learning process into the creativity education as it is implied in curriculum. (2) In order to achieve the creativity education itself, the dance creation as one of art subject which is given to schools, should become the main priority in its learning implementation as an instrument to build students character to be more creative in thinking.
Co-Authors Adhitya Darmantho Agus Cahyono Agus Cahyono Agus Cahyono Agus Cahyono Agustiina, Inna Amanatillah, Dwi Nisa' Andi Tenri Juli Astari Anik Purwati Anita Widyati Arief Arfriandi Astari, Andi Tenri Juli Ayu Mustika Sari Ayu Wulandari Azkia Ismiati Balqis, Lale Alia Deasylina Da Ary Deasylina da Ary Dewi Purnama Sari 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 Harefa, Mega Suryawan Harist Harjanti Wijaya Mulia Catur Tunggal Hartono & Wahyu Lestari Hartono Hartono Hartono Hartono Hartono Hartono Hartono Hartono Hartono, Hartno Hartono, Hartono Ika Merdekawati, Ika Khakimah, Putri Lelyana Lely Aryani Maria Magdalena Cita Hapsari Mawasti, Frihastyayu Bintyar Moh Hasan Bisri Muhammad Fazli Taib Bin Saearani Muhammad Jazuli Muhammad Jazuli Muhammad Mukhlas Najah, Alfiyatun Nanda Resma Yulianti Naomi Diah Budi Setyaningrum Nastiti, Laras Shantika Nurjana, Chory Martha Nurul Dwi Rahayuningtyas Nury astuti, Fitri aji Pramadanti, Triana Pramana, Andi Dwi Resqi Rahina Nugrahani Rinda Lorensa Kombong Rohidi, Tjetjep Rohendi Salsabillah, Devalia Wahid Samsul Fajri Siti Rahmadani Nur Bakhtiar Slamet Haryono Solly Aryza Sony Zulfikasari Sucipto Hadi Purnomo Sumaryanto, Totok Sumaryanto. F, Totok Sunarto Sunarto Suparti Suparti Syahrul Syah Sinaga Thesya Ramyta Rizki Treny Hera Tri Marhaeni Pudji Astuti Triana Pramadanti Udi Utomo Usrek Tani Utina Wadiyo Wadiyo Wahyu Lestari Wati, Rosdiana Widarwati Widarwati Widarwati, Widarwati Widodo Brotosejati Widodo Widodo Widodo Widodo Wisnugraha, Azhardi Witriani, Rani Zulfa Dwi Febriani