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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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Cultural Meaning and Values of the Beriuk Tinjal Dance at the Rengganis Art Studio Balqis, Lale Alia; Malarsih, Malarsih; Sinaga, Syahrul Syah
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 26, No 2 (2024): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v26i2.4957

Abstract

The Beriuk Tinjal dance is a traditional performing art from Lombok, West Nusa Tenggara, preserved through the Rengganis Art Studio. This study aims to explore the philosophical meanings and cultural values embedded in the Beriuk Tinjal dance and to assess the strategic role of the art studio in sustaining this heritage amidst globalization. Using a qualitative approach with methods including observation, interviews, and literature review, this research uncovers that the dance embodies the Sasak community's core values, such as unity, harmony, and respect for ancestors. Each dance movement holds symbolic meaning, reflecting the cycles of human life, environmental stewardship, and spiritual devotion. Moreover, the Rengganis Art Studio acts as a guardian of tradition by integrating moral education and cultural identity into its training programs for younger generations. This study highlights the dance's dual role as an aesthetic and educational medium, providing insights into the interplay between art and cultural sustainability. The findings underscore the importance of community-based initiatives in preserving traditional arts while adapting to modern challenges. These results contribute to broader discussions on cultural preservation and the revitalization of intangible heritage in contemporary society
ANALISIS MAKNA TOPENG SEBAGAI PROPERTI TARI PADA PERTUNJUKAN BEDUG KEROK Fajri, Samsul; Malarsih, Malarsih; Hartono, Hartono
Joged Vol 23, No 2 (2024): OKTOBER 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v23i2.14164

Abstract

RINGKASANInstrumen atau objek pelengkap yang disebut properti inilah yang memberi makna yang dalam pada sebuah pertunjukan tari. Untuk mengetahui dan menganalisis makna topeng yang digunakan sebagai penyangga tari dalam pertunjukan Bedug Kerok di Kampung Seni Yudha Asri, Desa Mander, Kecamatan Bandung, dan Kabupaten Serang Banten merupakan tujuan dari penelitian ini. Pendekatan semiotik berdasarkan teori Roland Barthes digunakan untuk mendefinisikan sinyal dan makna dalam metode penelitian kualitatif deskriptif. Di sanggar seni Yudha, pengumpulan data dilakukan dengan berbagai metode, antara lain observasi, wawancara, dokumentasi, dan studi kepustakaan. Analisis makna dalam penelitian ini didasarkan pada pendekatan semiotika Roland Barthes yang membedakan antara makna denotasi, konotasi, dan mitos. Hasil dari penelitian ini berupa gambaran menyeluruh tentang topeng reformasi, salah satu properti tari yang digunakan dalam pertunjukan Bedug Kerok, dan maknanya. ABSTRACTA complementary instrument or object called property is what gives a dance performance its deep meaning. Finding out and analyzing the significance of a masks utilized as a dance prop in the Bedug Kerok show in the Yudha Asri Art Village, Mander Village, Bandung District, and Serang Banten Regency was the goal of the research. A semiotic approach based on Roland Barthes' theory is utilized to define signals and meanings in the descriptive qualitative research method. In the Yudha art studio, data were gathered using a variety of methods, including observation, interviews, documentation, and library research. The analysis of meaning in this study is based on Roland Barthes' semiotic approach, which distinguishes between denotation, connotation, and myth meanings. The outcome of this investigation takes the shape of a thorough description of the reform mask, a dance property that is used in the Bedug Kerok performance, and its significance. 
Simbolisme dan Makna dalam Syair 'Atas Pisang' pada Tari Dolalak: Pendekatan Semiotika Barthes Maria Magdalena Cita Hapsari; Adhitya Darmantho; Malarsih Malarsih; Syahrul Syah Sinaga
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 4 (2024): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v1i4.174

Abstract

Among the many verses used in the Dolalak Dance, the verse "Atas Pisang" holds a unique position. This verse is often recited at the end of the performance, signifying a solemn and message-laden conclusion. This study aims to examine the symbolism and meaning within the ‘Atas Pisang’ verse in the Dolalak Dance. This research is a qualitative interpretive study employing Roland Barthes' semiotic approach regarding denotation and connotation meanings. The findings indicate that the ‘Atas Pisang’ verse in the Dolalak Dance, through its symbolism and metaphors, conveys various relevant and wise life advice. The balance between visible outcomes and underlying essence, hope and recovery from difficulties, the importance of actions in pursuing desires, appreciation of the past and experiences, and wisdom in family relationships are the main messages conveyed. The ‘Atas Pisang’ verse teaches that a balanced life, filled with hope, active pursuits, appreciation of the past, and wisdom in family relationships are keys to achieving a harmonious and meaningful life.
Embodied pedagogy and ecological ethics: Internalising environmental values through the Pakarena Anida dance in South Sulawesi Pramana, Andi Dwi Resqi; Astuti, Tri Marhaeni Pudji; Malarsih, Malarsih; Sinaga, Syahrul Syah
Journal of Environment and Sustainability Education Vol. 3 No. 3 (2025)
Publisher : Education and Development Research

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62672/joease.v3i3.122

Abstract

Global ecological crises demand sustainability education that integrates cultural and ecological values beyond formal and Western-oriented frameworks. Traditional performing arts offer holistic pedagogical resources through embodied, symbolic, and participatory practices, yet their potential remains underexplored in sustainability discourses. In Indonesia, the Pakarena Anida Dance of South Sulawesi exemplifies how ritual gestures, ornate costumes, and narrative symbolism function as cultural texts transmitting ecological ethics and community values. However, limited scholarship has examined how female dancers operate as custodians of both cultural heritage and environmental responsibility. This study employs a descriptive qualitative design, drawing on anthropology, semiotics, and cultural studies to analyse the symbolic representation of female dancers in South Sulawesi traditional performances. Multi-sited fieldwork was conducted in Makassar City, Wajo Regency, and Toraja Regency, involving 29 purposively selected informants—including cultural leaders, senior dancers, troupe members, and audiences. Data were collected through performance observation, semi-structured interviews, and documentation of manuscripts and visual records. Analysis followed Miles and Huberman’s interactive model, supported by thematic and interpretive strategies. Findings reveal three key insights. First, Pakarena Anida embodies conservation values through symbolic movements—such as bowing and circular formations—that signify humility and ecological balance. Second, the dance functions as informal education, with rehearsals and performances serving as “schools without walls” where intergenerational ecological and moral wisdom is transmitted. Third, costumes, music, and ritualised gestures operate as cultural codes that internalise local values, reinforcing identity, humility, and responsibility across generations.
REVIVING KETOPRAK: THE ROLE OF THE YOGYAKARTA YOUTH SINEPRAK COMMUNITY IN CULTURAL PRESERVATION Amanatillah, Dwi Nisa'; Jazuli, Muhammad; malarsih, Malarsih
Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan Vol 24 No 01 (2024): Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan
Publisher : LP2M UIN Sayyid Ali Rahmatullah Tulungagung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21274/dinamika.2024.24.01.35-52

Abstract

This research uses a case study approach to explore the role of the Sineprak community in preserving and developing the ketoprak performing arts in the modern era. The main focus of this research is on the intensive training process of actors and directors, which includes technical aspects and deepens the script and interprets the role. The COVID-19 pandemic forced Sineprak to switch to digital platforms, especially YouTube, which has attracted thousands of followers. However, after Bondan Nusantara's death, the frequency of performances decreased significantly. The community-based education process at Sineprak contains Javanese cultural values such as courtesy, etiquette and cooperation, which help shape the character of the younger generation. Innovations in the presentation of modern ketoprak, including combining elements of other performing arts and modern technology, have succeeded in attracting the interest of today's audiences. Documentation and publication via social media play an important role in expanding audience reach.
REVIVING KETOPRAK: THE ROLE OF THE YOGYAKARTA YOUTH SINEPRAK COMMUNITY IN CULTURAL PRESERVATION Amanatillah, Dwi Nisa'; Jazuli, Muhammad; malarsih, Malarsih
Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan Vol 24 No 01 (2024): Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan
Publisher : LP2M UIN Sayyid Ali Rahmatullah Tulungagung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21274/dinamika.2024.24.01.35-52

Abstract

This research uses a case study approach to explore the role of the Sineprak community in preserving and developing the ketoprak performing arts in the modern era. The main focus of this research is on the intensive training process of actors and directors, which includes technical aspects and deepens the script and interprets the role. The COVID-19 pandemic forced Sineprak to switch to digital platforms, especially YouTube, which has attracted thousands of followers. However, after Bondan Nusantara's death, the frequency of performances decreased significantly. The community-based education process at Sineprak contains Javanese cultural values such as courtesy, etiquette and cooperation, which help shape the character of the younger generation. Innovations in the presentation of modern ketoprak, including combining elements of other performing arts and modern technology, have succeeded in attracting the interest of today's audiences. Documentation and publication via social media play an important role in expanding audience reach.
Analisis Bentuk Penyajian Tari Fanari Niowalu pada Acara Falöwa di Kecamatan Idanögawo Harefa, Mega Suryawan; Malarsih, Malarsih; Nugrahani, Rahina
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.
Dance Training Methods at Bangkit Sekar Budaya Cilacap Art Studio Khakimah, Putri; Malarsih, Malarsih
Jurnal Seni Tari Vol. 13 No. 1 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

Training is a teaching and learning activity that has the aim of improving a person's understanding, skills, and expertise in a particular field. This research aims to analyze the training methods applied and the factors that influence dance practice at Sanggar Bangkit Sekar Budaya (BSB). Training methods are closely related to training activities,therefore they are very important to use. This research uses descriptive qualitative methods. The research was conducted at Sanggar Bangkit Sekar Budaya Cilacap. The data collection techniques used were observation, interviews, and documentation. The data analysis techniques used are data reduction, presenting data, and drawing conclusions. The data validity techniques used are source triangulation and methodology triangulation. The results of this research show that several dance training methods are applied as follows, the methods used to convey theory are lectures, questions, and answers, while the methods used to improve skills in training are demonstrations, questions and answers, and drills. , assignments, peer tutoring, and outdoor study. Factors that influence dance training in studios consist of supporting factors, namely the instructor's family, parents, environment, students' physiological factors, desires, determination, talent, students' self-confidence, etc. Inhibiting factors include students not being serious, time conflicts, student fatigue, lack of discipline, progress not following the vision and mission, and location of the art studio.
Penyajian Tari Topeng Klana Cirebon Gaya Gegesik dalam Konteks Budaya Pesisir sebagai Sumber Kearifan Lokal Pramadanti, Triana; Malarsih, Malarsih; Hartono, Hartono
Joged Vol 23, No 1 (2024): APRIL 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v23i1.12764

Abstract

RINGKASANTari topeng klana gaya Gegesik merupakan salah satu gaya yang masih dilestarikan hingga saat ini. Namun tidak sedikit masyarakat yang dapat memahami bagaimana pentingnya menjaga dan melestarikan tari topeng klana gaya Gegesik dengan mempelajari isi dari unsur-unsur tari yang terdapat di dalamnya yang tertuang dalam bentuk penyajian tari. Dengan memahami komponen-komponen yang ada di dalamnya, tari topeng klana gaya Gegesik akan tetap terjaga keasliannya tanpa mengubah satu hal apapun yang menjadi pakem tari topeng klana gaya Gegesik. Tari topeng klana gaya Gegesik memiliki daya tarik yang tinggi untuk ditampilkan dalam acara acara upacara, penyambutan tamu agung, maupun mengisi event-event baik yang diselenggarakan oleh pemerintah maupun di luar pemerintahan. Penelitian ini menggunakan penelitian kualitatif dengan menggunakan pendekatan etnokoreologi sebagai pisau bedah untuk mengkaji komponen teks pada tari. Terdapat 8 komponen teks dalam tari topeng klana gaya Gegesik yaitu gerak, penari, rias, busana, pola lantai, music, property, tempat pertunjukan. Pengumpulan data melalui observasi, wawancara, dan studi dokumen. Setelah penelitian, ditemukan bahwa bentuk penyajian tari topeng klana gaya Gegesik memiliki 8 komponen yang saling berkaitan dan tidak dapat mengubah keaslian di dalamnya, dengan demikian tari topeng klana Cirebon gaya Gegesik memiliki unsur-unsur yang tidak dapat diubah begitu saja dan memiliki makna dan nilai yang tersirat disetiap gerak, musik, kostum dan unsur-unsur lainnya.ABSTRACTGegesik-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.
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
Co-Authors Adhitya Darmantho Agus Cahyono Agus Cahyono Agus Cahyono Agus Cahyono Agustiina, Inna Amanatillah, Dwi Nisa' Andi Dwi Resqi Pramana Andi Tenri Juli Astari Anik Purwati Anita Widyati Arief Arfriandi Astari, Andi Tenri Juli Ayu Mustika Sari Ayu Wulandari Azkia Ismiati Balqis, Lale Alia Chory Martha Deasylina Da Ary Deasylina da Ary Devalia Wahid Salsabillah Dewi Purnama Sari Dyah Ayu K, Rakanita Dyah Indriyani, Putri Eko Sugiarto Ekowati, Yunik Endang Ratih E.W. Endarini, Adilah Eny Kusumastuti Fajri, Samsul 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 Pramadanti, Triana Pramana, Andi Dwi Resqi Rahina Nugrahani Rinda Lorensa Kombong Rohidi, Tjetjep Rohendi Romi Faisal Samsul Fajri Siti Rahmadani Nur Bakhtiar Slamet Haryono Sony Zulfikasari Sucipto Hadi Purnomo Sumaryanto, Totok Sumaryanto. F, Totok Sunarto Sunarto Suparti Suparti Syahrul Syah Sinaga 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 Wisnugraha, Azhardi Witriani, Rani Zulfa Dwi Febriani