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Evaluasi Kinerja Pengabdian Seni Tari Di Sanggar Tari Senaputra Malang Pada Masa Pandemi Covid-19 hidajat, robby; DP., E. W. Suprihatin; Jamnongsarn, Surasak; Hasyimy, Muhammad 'Afaf
Varia Humanika Vol 4 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/vh.v4i1.67052

Penelitian mengkaji tentang pencapaian hasil pengabdian kepada masyarakat di Sanggar Tari Senaputra Malang (SSTSM) menggunakan media online dimasa pandemi covid-19. Model pembelajaran online dirancang melalui program aplikasi web yang dapat diakses siswa secara sikronus atau asinkronus. Pengabdian ini direncang sebagai alternatif pembelajaran efektif pada masa pandemi covid-19. Model pembelajaran online diterapkan di SSTSM bertujuan agar kegiatan belajar mengajar seni tari tetap dapat berlangsung. Hasil pembelajaran online (daring) pengabdian kepada masyarakat yang dilakukan oleh tim pengabdian kepada masyarakat dari Universitas Negeri Malang. Menggunakan aplikasi disebut ‘pembelajaran tari virtual’ Hasil pembelajaran secara online yang dilakukan oleh instruktur pembelajaran tari secara online. Ketika instruktur mempresentasikan gerakan melalui video dapat diperbuat pada waktu yang tidak selalu sinkronus, namun mampu dipelajari pada waktu tertentu (asinkron). Setelah dilakukan evaluasi secara tatap muka, para instruktur tersebut merasa kecewa. Bahwa pembelajaran secara online selama ini ternyata tidak seperti yang diharapkan. Hasil evaluasi menunjukan, (1) penguasaan hafalan gerak (irama) hanya mencapai 50%, dan (2) kemampuan teknik menari (wiraga) hanya 30%, dan penghayatan (wirasa) hanya 20%. Artinya pembelajaran seni tari melalui online tidak mampu mencapai target hasil belajar.

SEJARAH ARSITEKTUR ISLAM TERHADAP ARSITEKTUR HINDU PADA BANGUNAN MASJID MENARA KUDUS Nuril Maulidya Ruhilla; Bayu Gilang Ramadhan; Muhammad Arif Alallah; Jamnongsarn, Surasak
Mozaik : Journal of Art and Architecture Vol. 1 No. 2 (2023): September 2023
Publisher : Universitas Islam Zainul Hasan Genggong

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55210/svzz3006

Sejarah mengenalkan kita terhadab budaya lokal yang mendunia dan kokoh hingga saat in, sehingga menjadi objek yang menarik untuk di teliti, penulis sangat tertarik dengan masjid menara mudus yang telah berdiri kokoh pada sekitar abad 15 dan 16 M. Didirikannya Masjid Menara Kudus menjadi icon penyebaran agama islam dikota kudus karena dibutuhkannya masjid pada awal penyebaran agama Islam di Kota Kudus. Keunikan perpaduan budaya yang tersebar membuat penulis tertarik untuk membahas perpaduan budaya Islam dan Hindu dalam Masjid Menara Kudus. Tujuan dari penulisan ini adalah untuk mengetahui bagaimana sejarah berdirinya Masjid Menara Kudus dari segi struktur arsitektur yang terkemas pasa masjidmenara kudus.

DARI RITUAL KE SENI PERTUNJUKAN PADA KECAK RAMAYANA DI ULUWATU BALI Hidajat, Robby; Hasyimy, Muhammad 'Afaf; Yanuartuti, Setyo; Jamnongsarn, Surasak
JADECS (Journal of Art, Design, Art Education & Cultural Studies) Vol 8, No 1 (2023)
Publisher : Jurusan Seni dan Desain, Fakultas Sastra, Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um037v8i12023p68-77

Kasus transformasi seni pertunjukan di Bali, pada saat ini tidak lagi menarik bagi seniman. Karena karya-karya mereka setelah munculnya jenis kegebyaran. Karya tari Bali lebih mengacu pada penampilan yang bersifat metropolis, modis, dan glamor. Hal ini merupakan kasus, yang hadirnya tidak disadari banyak peneliti. Karena banyak yang menaruh perhatian pada tampilan yang mampu membuat penonton menjadi terangkat prestisenya menjadi warga dunia, contohnya adalah penampilan hiburan tari pada makan malam G20 pada bulan November 2022. Karya tari yang masih tampak sebagai hasil transformasi dari ritual ke seni pertunjukan adalah kecak Ramayana. Penelusuran kasus transformasi ini menggunakan pendekatan deskriptif kualitatif, dengan fokus pada wawancara mendalam, dan observasi secara langsung pada pertunjukan di Pura Uluwatu, selain dari pada itu membuat dokumentasi untuk memberikan penguatan dari data-data yang lain. Analisis data menggunakan teori Victor Turner; Rite de Passage, dan didasarkan pada tekstual dan kontestual. Hasil penelitian menunjukan bahwa transformasi ritual ke seni pertunjukan Kecak Ramayana sebagai simbol kekuatan dan kekokohan dari capaian pengalaman pengalaman sosial komunitas Sekaa Karang Boma di Uluwatu sebagai bentuk kekuatan kebersamaan yang mencapai pada kekokohan sosial.

Ladrang Siyem: The Royal Anthem of Thailand, in Javanese Gamelan Version Jamnongsarn, Surasak; Detkrut, Phunchita; Wangsaptawee, Yotin
Resital: Jurnal Seni Pertunjukan Vol 24, No 3 (2023): December 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v24i3.11067

Ladrang Siyem: The Royal Anthem of Thailand, in Javanese Gamelan Version. During 19th century, Thailand modernized by associating itself with the "West" or Westernization; consequently, musical concepts from the West were implemented. Sansoen Phra Barami, also known as the Thailand Royal Anthem, is a musical composition composed to pay tribute to the King of Thailand. Therefore, the Western musical style was utilized in the composition. The Thai people should examine Java's prosperity in the areas of transportation, postal and telegraph, railways, military, and irrigation, in addition to European colonial policies and governance styles toward Asian nations. Through the Netherlands, the relationship between Thailand and Java was revealed during the three visits of Thai King Chulalongkorn in 1870, 1896, and 1901, as well as King Prajadhipok in 1929. An item that was performed in homage to His Majesty King Prajadhipok, King Rama VII of Thailand, who arrived at Surakarta palace in 1929 accompanied by the Queen, is Ladrang Siyem, which is the Javanese rendition of the Thai Royal Anthem. This item is mentioned in an archive titled Serat Saking Gotek or Wedhapradangga. The Javanese musicians at the Surakarta Palace adapted the gamelan piece known as "Sansoen Phra Barami" to become known as "Ladrang Siyem." An unmistakable illustration of the manner in which crypto-colonialism is projected through music is provided by the occurrence. In other words, the text takes into consideration political movements that occurred in Southeast Asia during the time of the colonial era.

Cultural Adaptation: The Resilience of Musicians Based on Artistic Creativity in Preserving Traditional Keroncong Music Suryati, Suryati; Jamnongsarn, Surasak; Sanjaya, RM Singgih; Widodo, Tri Wahyu; Rokhani, Umilia
Jurnal Ilmiah Peuradeun Vol. 13 No. 1 (2025): Jurnal Ilmiah Peuradeun
Publisher : SCAD Independent

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26811/peuradeun.v13i1.1868

Resilience based on artistic creativity by musicians has had positive implications for preserving Keroncong’s music. However, this context needs to be addressed in scientific discussions. In addition to complementing previous studies, this study focused on explaining the characteristics of resilience based on artistic creativity carried out by musicians in preserving Keroncong music. This study showed three significant findings. First, resilience based on artistic creativity carried out by musicians by composing made Keroncong music more inclusive and could be enjoyed by all groups. Second, resilience based on artistic creativity carried out by musicians by performing informal stage acts made Keroncong music an attractive genre. Third, resilience based on artistic creativity carried out by musicians by covering popular songs made the Keroncong genre became adaptive music. This study also recommends the importance of future studies that explain the resilience process of musicians in preserving Keroncong music by intensively interviewing musicians who consistently perform Keroncong songs.

Jazz Guitar Reharmonization in Malay Asli Music: A Case Study on Harmonic Adaptation in Pedagogy Mazlan, Chamil Arkhasa Nikko; Abdullah, Mohd Hassan; Imam Koning, Sajastanah; Hidayatullah, Riyan; Jamnongsarn, Surasak; Awang Hassim, Dayang Siti Hazar
Resital: Jurnal Seni Pertunjukan Vol 25, No 3 (2024): Desember 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i3.14907

Jazz reharmonization techniques are a well-established area of focus in Western music. However, their application to non-Western genres, such as Malay Asli music, is, at best, an unexplored area of music. This disconnect is rooted in the absence of a theoretical model, one which exists within a broader Eurocentric approach to music pedagogy that privileges Western harmony. Jazz reharmonization of Malay Asli presents challenges in cross-cultural reinterpretation and hybrid learning. This study aims to develop and evaluate a guidebook on jazz guitar reharmonization techniques to be applied in Malay Asli music. It treats the guide’s pedagogical efficacy in a cross-idiomatic context while maintaining the genre’s stylistic integrity—A qualitative case study with five jazz guitarists following a structured method book. Data consisted of assessments of performance before and after instruction, participant reflections, and semi-structured interviews. Using ISO 9241-11 measurements—efficiency, effectiveness, and satisfaction—observational analysis and participant feedback were used to measure usability. Participants exhibited improved fluency and flexibility in processing Malay Asli melodies in jazz. They recommend the guide’s poetic and flexible approach as a tool for mastering complex harmonic ideas while keeping the central idea in Malay Asli music intact. The classification of jazz harmony in stages allowed for gradual integration into their normal structural perception, which complemented their understanding of both practices. Analysis implemented through usability testing found overall acceptance of the direct scope of instructions, ordering of steps needed, and appropriate application. The study's results demonstrated how jazz reharmonization can be potent in enhancing creativity versatility within the framework of Malay Asli music and closing its traditional monopoly barriers to cross-cultural engagement through creativity. This study addresses the larger conversation of inclusive music pedagogy by connecting jazz harmony and Malay Asli aesthetics. Further engagement in hybrid music learning could involve interactive tutorials or similar digital tools explored through future research.

Aesthetic Transformations of Ogoh-Ogoh: From Conventional Giant Figures to Hybrid Myth–Popular Culture Characters Suardana, I Wayan; Laba, I Nyoman; Jamnongsarn, Surasak
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 15 No. 3 (2025): Identity in Contemporary Bali
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i03.p05

Thousands of Ogoh-Ogoh (towering giant effigies) are paraded across Bali to welcome the arrival of the Saka New Year (Nyepi Day), which falls every March or April. This article examines the evolving aesthetics of these processions, tracing their shift from ritualistic giant figures meant to repel the destructive power of bhuta kala to contemporary hybrid mythic–popular forms that incorporate global pop-cultural icons and local socio-political characters. Employing qualitative methods such as visual ethnography, observation, and semiotic analysis, this study explores Ogoh-Ogoh production across Bali, where creative experimentation is especially vibrant. The findings reveal a significant aesthetic transformation driven by environmental regulations, competitive youth creativity, and the changing visual preferences of younger generations. Material innovations, including the use of LED lighting, have further intensified a performative orientation emphasizing spectacle and technical sophistication. Despite these shifts, ritual continuity endures, demonstrating that ogoh-ogoh remains a living, adaptive tradition in contemporary Balinese society.

Aesthetic Transformations of Ogoh-Ogoh: From Conventional Giant Figures to Hybrid Myth–Popular Culture Characters Suardana, I Wayan; Laba, I Nyoman; Jamnongsarn, Surasak
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 15 No. 3 (2025): Identity in Contemporary Bali
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2025.v15.i03.p05

Thousands of Ogoh-Ogoh (towering giant effigies) are paraded across Bali to welcome the arrival of the Saka New Year (Nyepi Day), which falls every March or April. This article examines the evolving aesthetics of these processions, tracing their shift from ritualistic giant figures meant to repel the destructive power of bhuta kala to contemporary hybrid mythic–popular forms that incorporate global pop-cultural icons and local socio-political characters. Employing qualitative methods such as visual ethnography, observation, and semiotic analysis, this study explores Ogoh-Ogoh production across Bali, where creative experimentation is especially vibrant. The findings reveal a significant aesthetic transformation driven by environmental regulations, competitive youth creativity, and the changing visual preferences of younger generations. Material innovations, including the use of LED lighting, have further intensified a performative orientation emphasizing spectacle and technical sophistication. Despite these shifts, ritual continuity endures, demonstrating that ogoh-ogoh remains a living, adaptive tradition in contemporary Balinese society.

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