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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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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.
Conserving Artistic Expression and Cultural Education through the Gending Sriwijaya Dance Naomi Diah Budi Setyaningrum; Hartono Hartono; Malarsih Malarsih; Widodo Brotosejati
AL-ISHLAH: Jurnal Pendidikan Vol 17, No 4 (2025): DECEMBER 2025
Publisher : STAI Hubbulwathan Duri

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35445/alishlah.v17i4.7927

Abstract

The Gending Sriwijaya dance, a classical performance from South Sumatra, holds deep cultural, historical, and educational significance. However, its presence in formal education remains limited, raising concerns about cultural sustainability and the weakening of traditional identity among younger generations. This study investigates how Gending Sriwijaya can be integrated into educational contexts to promote cultural conservation, artistic expression, and character development. This qualitative study employed a combined approach of library research and limited field-based inquiry, including semi-structured interviews and participant observation. Data were sourced from academic literature, cultural policy documents, and direct engagement with dance educators and practitioners at Universitas PGRI Palembang. Thematic analysis and data reduction techniques were used to interpret both documentary and empirical findings. The findings reveal that Gending Sriwijaya serves as a powerful medium for transmitting cultural values such as spirituality, hospitality, ecological awareness, and discipline. The dance’s symbolic movements and properties convey rich semiotic meanings that can support progressive learning goals. Its inclusion in university curricula fosters bodily coordination, creativity, cultural pride, and social cooperation among students. Integrating Gending Sriwijaya into educational programs not only preserves regional heritage but also aligns with progressive education principles that emphasize experiential and culturally relevant pedagogy. This study recommends structured curriculum development, teacher training, and institutional collaboration to ensure the dance’s sustainability and educational impact.
Conservative Ideology in Community-Based Arts Education: An Ethnographic Study of Dance Learning Treny Hera; Agus Cahyono; Malarsih Malarsih; Eko Sugiarto; Muhammad Fazli Taib Bin Saearani
AL-ISHLAH: Jurnal Pendidikan Vol 17, No 4 (2025): DECEMBER 2025
Publisher : STAI Hubbulwathan Duri

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35445/alishlah.v17i4.8323

Abstract

Community-based arts education plays a vital role in cultural preservation, yet it is often shaped by ideological forces. This ethnographic study explores how conservative ideology manifests within the traditional dance education practices of Sanggar Dinda Bestari in South Sumatra, Indonesia, and its implications for pedagogy, cultural identity, and intergenerational transmission. Using a qualitative ethnographic approach, data were collected over three months through participant observation, in-depth interviews with dance instructors, students, and studio managers, and documentation of teaching practices. Thematic analysis was conducted following Braun and Clarke’s framework, with critical discourse analysis used to examine power dynamics and ideological reproduction in dance pedagogy. Findings reveal that conservative ideology is embedded in dance learning through hierarchical teacher-student relationships, sacred framing of traditional repertoires, norms of modesty, and obedience in instruction. While these practices preserve cultural authenticity, they also restrict creative expression and dialogue, particularly among younger learners. Tensions arise between tradition and modernity, as seen in efforts to adapt dance instruction for social media or engage youth participation. Sanggar Dinda Bestari serves as both a site of cultural reproduction and ideological negotiation. While conservative values support continuity and discipline, they may also limit innovation. A hybrid pedagogical model that balances tradition with participatory and adaptive strategies is proposed. This study contributes to broader discourses on how ideology shapes non-formal arts education and offers insights into navigating cultural preservation in the context of globalization and generational change.
Penguatan Kompetensi Guru Dalam Pemanfaatan Teknologi Informasi dan Komunikasi (TIK) Untuk Branding dan Promosi Sekolah Sony Zulfikasari; Malarsih Malarsih; Arief Arfriandi; Muhammad Mukhlas
I-Com: Indonesian Community Journal Vol 5 No 1 (2025): I-Com: Indonesian Community Journal (Maret 2025)
Publisher : Fakultas Sains Dan Teknologi, Universitas Raden Rahmat Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70609/icom.v5i1.6723

Abstract

Mastery of ICT is essential for schools to enhance branding and public image in the digital era. Beyond its role in education, ICT aids in managing information, communication, and digital promotion through websites and social media. However, challenges like limited ICT skills and resources require comprehensive training, facility improvements, and strong management support. This community service initiative aimed to equip teachers with ICT skills for school branding through needs analysis, program development, implementation, evaluation, and mentoring. Results showed a significant improvement in participants' understanding, with scores rising from an average of 2.31 to 3.65 on a 4-point scale—an increase of 1.34 points. This demonstrates the effectiveness of the initiative in enhancing ICT competency for school branding, ultimately strengthening schools’ competitiveness and reputation.
DIALEKTIKA TEATER KONDOBULENG MAKASSA DALAM KONTEKS PENDIDIKAN ANTAR GENERASI Salsabillah, Devalia Wahid; Malarsih, Malarsih; Sugiarto, Eko
JURNAL IMAJINASI Vol 9, No 2 (2025): Juli-Desember
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/i.v9i2.77113

Abstract

This study aims to understand the role of Kondobuleng Theater in Makassar as a medium for intergenerational education through the dialectic of past and present values. This study is motivated by the ever-evolving changes in presentation forms and meanings, necessitating an in-depth analysis of the function of traditional theater in strengthening cultural identity amidst the currents of modernization. The study uses a qualitative approach with a phenomenological design and an interdisciplinary study of cultural sociology, obtained through participatory observation, in-depth interviews, and documentation. The results show that Kondobuleng Theater functions not only as entertainment, but also as a space for dialogue between the old and new generations. The older generation emphasizes historical, spiritual, and sacred values, while the younger generation articulates them critically, contextually, and participatoryly. This dialectic gives rise to new forms of performance that remain rooted in tradition, while also relevant to the needs of modern society. The novelty of this research lies in mapping the role of Kondobuleng Theater as a means of cross-age education with a dialectical framework that demonstrates cultural continuity and negotiation, thus having implications for traditional art preservation strategies based on presentation innovation, strengthening cultural literacy, and empowering local arts communities.
Upaya Pelestarian Tari Bedhaya Tunggal Jiwa Demak Nurjana, Chory Martha; Malarsih, Malarsih
RIGGS: Journal of Artificial Intelligence and Digital Business Vol. 4 No. 4 (2026): November - January
Publisher : Prodi Bisnis Digital Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/riggs.v4i4.5419

Abstract

Tari Bedhaya Tunggal Jiwa merupakan salah satu tari tradisi yang memiliki nilai historis, religius, dan simbolik yang kuat dalam rangkaian upacara Grebeg Besar di Kabupaten Demak. Keberadaan tari ini tidak hanya berfungsi sebagai seni pertunjukan, tetapi juga sebagai media ritual dan sarana penyampaian nilai-nilai sosial serta spiritual masyarakat. Seiring dengan dinamika sosial dan budaya, diperlukan upaya pelestarian yang komprehensif agar Tari Bedhaya Tunggal Jiwa tetap lestari dan relevan. Penelitian ini bertujuan untuk mengkaji pelestarian Tari Bedhaya Tunggal Jiwa melalui tiga aspek utama, yaitu perlindungan, pengembangan, dan pemanfaatan. Metode penelitian yang digunakan adalah pendekatan kualitatif dengan teknik pengumpulan data berupa observasi, wawancara, dan studi dokumentasi. Hasil penelitian menunjukkan bahwa perlindungan dilakukan melalui penjagaan pakem tari, pewarisan nilai simbolik, serta pendokumentasian. Pengembangan diwujudkan melalui pembinaan dan regenerasi penari serta penyesuaian teknis penyajian tanpa menghilangkan nilai dasar tari. Sementara itu, pemanfaatan Tari Bedhaya Tunggal Jiwa tampak pada fungsinya sebagai sarana upacara Grebeg Besar, media pendidikan budaya, serta penguat identitas masyarakat Demak. Dengan demikian, pelestarian Tari Bedhaya Tunggal Jiwa merupakan proses berkelanjutan yang bersifat dinamis dan terpadu, sehingga tari ini tidak hanya bertahan sebagai warisan budaya, tetapi juga tetap hidup dan bermakna dalam kehidupan masyarakat. harus dalam teks miring yang sepenuhnya dibenarkan, di bagian atas makalah dengan satu kolom seperti di sini, di bawah informasi penulis.
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