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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 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 Edumaspul: Jurnal Pendidikan
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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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.
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

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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.
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.
The Role of the Mahalawu Studio in the Development of the Jalak Lawu Dance as a Cultural Identity of Magetan Regency Widarwati Widarwati; Malarsih Malarsih; Eko Sugiarto
Edumaspul: Jurnal Pendidikan Vol 8 No 2 (2024): Edumaspul: Jurnal Pendidikan
Publisher : Universitas Muhammadiyah Enrekang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33487/edumaspul.v8i2.8267

Abstract

The aim of this research is to discuss the role of Sanggar Mahalawu in the development of Jalak Lawu Dance in Magetan Regency. The Jalak Lawu dance is a typical Magetan Regency dance which was created by the Magetan Regency artist, Mrs. Hartini. The development of the Jalak Lawu Dance over time has made the Regency Government, especially the Department of Tourism and Culture and the artists of Sanggar Mahalawu, ask Mrs. Hartini for permission to develop the Jalak Lawu Dance. August 2022 Jalak Lawu Dance was designated as a Typical Dance of Magetan Regency at the same time as the performance building and the Magetan Arts Council (DESIMA) were established. The Jalak Lawu dance is an art that must be preserved as cultural heritage in Magetan Regency. Sanggar Mahalwu is the place where the Starling Lawu Dance began to be taught to the people of Magetan Regency. Efforts to develop the Jalak Lawu Dance continue to be made by Sanggar Mahalwu through learning in the Studio and in schools as well as performances at various important events in Magetan Regency and outside Magetan Regency. As an identity dance, of course the existence of the Jalak Lawu Dance must continue to be pursued both from the cultural and educational sectors.
Co-Authors Adhitya Darmantho Agus Cahyono Agus Cahyono Agus Cahyono Agustiina, Inna Amanatillah, Dwi Nisa' Andi Tenri Juli Astari Anik Purwati Anita Widyati 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 Jazuli Muhammad Jazuli Najah, Alfiyatun Nanda Resma Yulianti Nastiti, Laras Shantika Nurul Dwi Rahayuningtyas Pramadanti, Triana Pramana, Andi Dwi Resqi 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 Udi Utomo Usrek Tani Utina Wadiyo Wadiyo Wahyu Lestari Wati, Rosdiana Widarwati Widarwati Widarwati, Widarwati Widodo Widodo Wisnugraha, Azhardi Witriani, Rani Zulfa Dwi Febriani