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All Journal AKTUAL Panggung Acintya Greget International Journal of Economics, Business and Accounting Research (IJEBAR) Enrichment : Journal of Management
Mamik Suharti, Mamik
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Arts Humanities Economics, Econometrics & Finance Education Other

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 1 
Tari Ritual dan Kekuatan Adikodrati Suharti, Mamik
PANGGUNG Vol 23, No 4 (2013): Membaca Tradisi Kreatif, Menelisik Ruang Transendental
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v23i4.154

Abstract

ABSTRACT Ritual dance performing arts is closely related to its social, entertainment, aesthetic, even com- munity rites in its presentation. The ritual function is fully covered by irrational things which means believes in supernatural forces, spirits, and the goddess that affect the life. Its belief is reflected in ritual dance performances of Tayub, Sintren, Bedaya Ketawang, Sang Hyang, and Seblang in Banyuwangi. Keywords: ritual dance, supernatural    ABSTRAK Seni Pertunjukan tari ritual sangat berkaitan erat dengan sosial, hiburan, estetik, bah- kan upacara-upacara masyarakat dalam pertunjukannya. Fungsi ritual sangat dipenuhi oleh hal-hal tidak rasional yang berarti kepercayaan pada kekuatan supranatural, roh-roh, dan dewa-dewa yang mempengaruhi kehidupannya.  Kepercayaannya direfleksikan de- ngan pertunjukan tari ritual Tayub, Sintren, Bedaya Ketawang, Sang Hyang, dan Seblang di Banyuwangi. Kata kunci: tari ritual, supranatural 
MOTIVATION MODEL DISTORTION OF RAMAYANA BALLET PERFORMERS Suharti, Mamik; Sari, Cahyani Tunggal; Sulihanto, Sulihanto
International Journal of Economics, Business and Accounting Research (IJEBAR) Vol 4, No 02 (2020): IJEBAR, VOL. 04 ISSUE 02, JUNE 2020
Publisher : LPPM ITB AAS INDONESIA (d.h STIE AAS Surakarta)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29040/ijebar.v4i02.963

Abstract

This study reviews the conventional setting of Herzberg Two-Factors Theory and compare with research findings in the Ramayana Ballet show. This research is was done by observation and interview process. This study is a qualitative research that combines historical methods and economics research background. The hygiene factors consist of salary, company policy, good interpersonal relationship and quality of supervision, job security, working condition, and work life balance. The motivation factors consist of personal status, challenging, promotion, responsibility, and growth. This study shows that almost all art groups of Ramayana ballet have high hygiene factor and low motivation. but this findings still led to the high engagement of the artists towards Ramayana ballet show and it was proven by the existence of the art group and the Ramayana ballet show. Implementation of Two Factor Theory Herzberg in the arts group shows different with the factors that have been formed by Herzberg. The artists’ engagement from the art group Ramayana Ballet shows different characteristics.
Pengaruh Keterampilan Kerja, Keselamatan Kerja Dan Kesehatan Kerja Terhadap Kinerja Pegawai Bagian Teknik Di PT. PLN Unit Pelaksana Pelayanan Pelanggan Tegal Setiawan, Setiawan; Sari, Cahyani Tunggal; Suharti, Mamik
AKTUAL Vol 8, No 2 (2023): December
Publisher : STIE AUB Surakarta

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

Abstract

Kinerja adalah hasil atau tingkat keberhasilan seseorang secara keseluruhan selama periode tertentu. Banyak faktor dapat mempengaruhi kinerja pegawai seperti keterampilan kerja, keselamatan kerja dan kesehatan kerja. Objek penelitian ini adalah di PT. PLN (Persero) ULP Tegal. Berdasarkan data, rata-rata realisasi atas target pekerjaan yang harus diselesaikan hanya tercapai 69,55%. Hal ini mengindikasikan bahwa pegawai bagian teknik kinerjanya rendah. Tujuan penelitian ini adalah menganalisis dan menguji secara empiris pengaruh keterampilan kerja, keselamatan kerja dan kesehatan kerja terhadap kinerja pegawai.Populasi penelitian ini adalah pegawai bagian teknik PT. PLN UP3 Tegal, Jl. Pemuda No. 9, Tegal yang berjumlah 390 orang. Sampel yang diambil 80 pegawai. Data penelitian ini diperoleh dengan membagikan kuesioner. Data diolah dengan menggunakan analisis regresi berganda, uji hipotesis (uji t dan uji F) dan koefisien determinasi (R2).Hasil penelitian menunjukkan bahwa : 1) Hasil uji ketrampilan kerja (uji – t sebesar 3,971 sig. 0,000 < 0,05). 2) Hasil uji keselamatan kerja (uji – t sebesar 2,860 sig.0,005 < 0,05). 3) Hasil uji kesehatan kerja (uji – t sebesar 3,433 sig.0,001 < 0,05) yang artinya ketrampilan kerja, keselamatan kerja, dan kesehatan kerja berpengaruh terhadap kinerja pegawai. 4). Hasil uji – F diperoleh nilai F sebesar 83,321 sig.0,000 < 0,05 artinya ketrampilan kerja, keselamatan kerja, dan kesehatan kerja secara simultan berpengaruh terhadap kinerja pegawai. Kesimpulan penelitian ini adalah ketrampilan kerja, keselamatan kerja, dan kesehatan kerja berpengaruh secara parsial maupun simpultan terhadap kinerja pegawai. Saran yang harus dilakukan oleh pegawai bagian teknik PT. PLN UP3 Tegal, yaitu 1). Ketrampilan kerja pegawai sebaiknya lebih ditingkatkan dengan memberikan pelatihan secara kontinyu, 2). Keselamatan kerja para pegawai sebaiknya lebih ditingkatkan dengan menciptakan suasana yang nyaman, 3). Kesehatan kerja para pegawai sebaiknya lebih ditingkatkan dengan selalu diadakan pemeriksaan kesehatan pegawai secara periodik.
BENTUK DAN FUNGSI JARANAN BUTO CAMPURSARI LANGGENG BUANA DESA TEGALARUM BANYUWANGI Hidayah, Nikmatul; Suharti, Mamik
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i2.5546

Abstract

Jaranan Buto Campursari is a folk dance found in the Tegalarum Village area, Sempu District, Banyuwangi Regency. Jaranan Buto Campursari has undergone several changes both in terms of name and presentation. This is due to the need for presentation so that it is not monotonous. Previously, the name Jaranan Buto did not use the name Campursari, but Setro Asnanwi added the name Campursari because the form of presentation included the presentation of other dances. As it developed, Jaran Buto Campursari changed its name to Jaranan Buto Campursari Langgeng Buana. This research aims to describe the form and function of Jaranan Buto Campursari which lives and develops in Tegalarum Village, Sempu District, Banyuwangi. Jaranan Buto Campursari is one of the folk dances in the Langgeng Buana art group which is danced in groups. The main problems in this research consist of 2 (two) first, what is the form of Jaranan Buto Campursari, the second is how Jaranan Buto Campursari functions. This research uses the theory of form and function. The theory of form comes from Y. Sumandyo Hadi and the theory of function uses theory from Soedarsono. This research is qualitative in nature through the stages of observation, interviews, documentation and literature study, as well as using data analysis. The results of this research show that the Jaranan Buto Campursari dish consists of 2 parts, namely pre-performance and performance. The author reveals the form and function of Jaranan Buto Campursari. Form includes the structure of the presentation and the elements of the performance. The Jaranan Buto Campursari performance has several functions that influence society. Among them as a means of ceremonies, as personal entertainment and as a spectacle for the local community. Apart from that, Jaranan Buto Campursari has an influence on the economy of the people of Tegalarum Village and its surroundings.
TARI JARAN GOYANG: SIMBOL PEMIKAT ASMARA Suharti, Mamik
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (485.391 KB) | DOI: 10.33153/acy.v6i2.199

Abstract

The genre of dance called Jaran Goyang is one of the tradition dance genres in Banyuwangi. Thisdance is composed by Suparman in 1960. Furthermore, Banyuwangi and more work of dances arecomposed by him. Jaran Goyang dance is a tradition dance with romantic theme. This movementrefers to tradition dance previously; it includes its music and ricikan. The name of this dance comesfrom love magical formula called Jaran Goyang (shaky horse). The choreography of dance is basedon the denied love by a female dancer. However, the female dancer is falling in love unexpectedly dueto love magical formula called Jaran Goyang. Jaran Goyang dance is divided into some Susana in itsperformance. It illustrates a love story between a male and a female which is full of problems inside.Keywords: Dance, Jaran Goyang, Symbol, Entice, Romantic love.
TARI JARAN GOYANG: SIMBOL PEMIKAT ASMARA Suharti, Mamik
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (647.881 KB) | DOI: 10.33153/acy.v7i2.2015

Abstract

A genre of dance Jaran Goyang is one of the traditional dance genres in Banyuwangi initiated by Suparman which is composed in 1960s. The treatment developing is executed by SumitroHadi, a very productive dance expert in Banyuwangi. The dance Jaran Goyang represents a form of traditionaldance with love theme. The vocabularies of dance movements, dance music as well as ricikanthat are used refer to the existing traditional dance. The dance name is taken from the name of a love spell called “jaran goyang”. Jaran Goyang choreography shows about love refusal of a woman but finally and suddenly she falls in love due to the supernatural power of the spell jaran goyang.Keywords: dance, rarely, symbol, attractive trick, amour.
Indonesian financial companies' preparedness for the covid-19 pandemic Tunggal Sari, Cahyani; Suharti, Mamik
Enrichment : Journal of Management Vol. 14 No. 2 (2024): June: Management Science And Field
Publisher : Institute of Computer Science (IOCS)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35335/enrichment.v14i2.1907

Abstract

In order to better understand how debt is used to finance investments and assets in banks and financial institutions' operations prior to, during, and following the Covid-19 pandemic, this research will examine this relationship.All businesses that are registered with the BEI make up the research population. The study's sample consists of 57 financial organizations that are listed on the Indonesia Stock Exchange (IDX) and have complete financial data for the years 2019 through 2021. Purposive sampling was used as the sampling strategy in this study, and the requirements were a financial company's registration on IDX and possession of all 2019–2021 financial data. Using SPSS 26 software, Multiple Linear Regression was used for data analysis. Companies should look into other capital sources, such as utilizing retained earnings, building up depreciation, controlling inventories, controlling cash flow, and other options, in order to boost profitability. Information can be utilized as a decision-making tool for investors. Financial ratio variables and other predictor variables, including management team and majority share ownership, might be added for additional investigation.
TARI JARAN GOYANG: SIMBOL PEMIKAT ASMARA Suharti, Mamik
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v6i2.199

Abstract

The genre of dance called Jaran Goyang is one of the tradition dance genres in Banyuwangi. Thisdance is composed by Suparman in 1960. Furthermore, Banyuwangi and more work of dances arecomposed by him. Jaran Goyang dance is a tradition dance with romantic theme. This movementrefers to tradition dance previously; it includes its music and ricikan. The name of this dance comesfrom love magical formula called Jaran Goyang (shaky horse). The choreography of dance is basedon the denied love by a female dancer. However, the female dancer is falling in love unexpectedly dueto love magical formula called Jaran Goyang. Jaran Goyang dance is divided into some Susana in itsperformance. It illustrates a love story between a male and a female which is full of problems inside.Keywords: Dance, Jaran Goyang, Symbol, Entice, Romantic love.
TARI JARAN GOYANG: SIMBOL PEMIKAT ASMARA Suharti, Mamik
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i2.2015

Abstract

A genre of dance Jaran Goyang is one of the traditional dance genres in Banyuwangi initiated by Suparman which is composed in 1960s. The treatment developing is executed by SumitroHadi, a very productive dance expert in Banyuwangi. The dance Jaran Goyang represents a form of traditionaldance with love theme. The vocabularies of dance movements, dance music as well as ricikanthat are used refer to the existing traditional dance. The dance name is taken from the name of a love spell called “jaran goyang”. Jaran Goyang choreography shows about love refusal of a woman but finally and suddenly she falls in love due to the supernatural power of the spell jaran goyang.Keywords: dance, rarely, symbol, attractive trick, amour.
BENTUK DAN FUNGSI JARANAN BUTO CAMPURSARI LANGGENG BUANA DESA TEGALARUM BANYUWANGI Hidayah, Nikmatul; Suharti, Mamik
Greget: Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i2.5546

Abstract

Jaranan Buto Campursari is a folk dance found in the Tegalarum Village area, Sempu District, Banyuwangi Regency. Jaranan Buto Campursari has undergone several changes both in terms of name and presentation. This is due to the need for presentation so that it is not monotonous. Previously, the name Jaranan Buto did not use the name Campursari, but Setro Asnanwi added the name Campursari because the form of presentation included the presentation of other dances. As it developed, Jaran Buto Campursari changed its name to Jaranan Buto Campursari Langgeng Buana. This research aims to describe the form and function of Jaranan Buto Campursari which lives and develops in Tegalarum Village, Sempu District, Banyuwangi. Jaranan Buto Campursari is one of the folk dances in the Langgeng Buana art group which is danced in groups. The main problems in this research consist of 2 (two) first, what is the form of Jaranan Buto Campursari, the second is how Jaranan Buto Campursari functions. This research uses the theory of form and function. The theory of form comes from Y. Sumandyo Hadi and the theory of function uses theory from Soedarsono. This research is qualitative in nature through the stages of observation, interviews, documentation and literature study, as well as using data analysis. The results of this research show that the Jaranan Buto Campursari dish consists of 2 parts, namely pre-performance and performance. The author reveals the form and function of Jaranan Buto Campursari. Form includes the structure of the presentation and the elements of the performance. The Jaranan Buto Campursari performance has several functions that influence society. Among them as a means of ceremonies, as personal entertainment and as a spectacle for the local community. Apart from that, Jaranan Buto Campursari has an influence on the economy of the people of Tegalarum Village and its surroundings.
Co-Authors Cahyani Tunggal Sari Cahyani Tunggal Sari, Cahyani Tunggal Nikmatul Hidayah Setiawan Setiawan Sulihanto, Sulihanto Tunggal Sari, Cahyani