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All Journal Paedagoria : Jurnal Kajian, Penelitian dan Pengembangan Kependidikan Edumaspul: Jurnal Pendidikan
Rimasari Pramesti Putri
Semarang State University
Education Other

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Implementation of the Play-Based Learning Method in Dance Arts Learning to Enhance Early Childhood Creativity at As-Solehah Kindergarten, Bawen Novia Ayu Aulia; Rimasari Pramesti Putri
Edumaspul: Jurnal Pendidikan Vol 9 No 2 (2025): Edumaspul: Jurnal Pendidikan
Publisher : Universitas Muhammadiyah Enrekang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33487/edumaspul.v9i2.8995

Abstract

This study aims to describe the implementation of the play-based learning method in dance education as a strategy to enhance early childhood creativity at TK As-Solehah Bawen. Creativity is an essential aspect of child development that can be nurtured through expressive, arts-based activities. This research employed a descriptive qualitative approach, with data collected through observation, interviews, and documentation. The research subjects included a dance teacher, the school principal, and early childhood students. The findings reveal that play-based learning was implemented through activities that integrate play, imagination, and movement exploration, such as role-playing, improvisational dance, and thematic movement. The teacher acted as a facilitator who provided movement stimuli and allowed space for the children to express themselves freely. This method was proven to increase student engagement, self-confidence, and originality in movement. Furthermore, a joyful and contextual learning environment helped strengthen the growth of children's creativity. The analysis of this study draws on Vygotsky’s sociocultural development theory, particularly the concepts of the zone of proximal development, scaffolding, and imaginative play, which emphasize the role of social interaction and play in supporting children's cognitive and creative development. This study recommends strengthening teachers’ capacity to design systematic and sustainable play-based dance education in early childhood learning settings
Motor Aesthetics: Redefining Dance Movements for Cerebral Palsy Students in Extracurricular Learning at YPAC Semarang Desty Herdiana; Rimasari Pramesti Putri
Paedagoria : Jurnal Kajian, Penelitian dan Pengembangan Kependidikan Vol 17, No 3 (2026): July
Publisher : Universitas Muhammadiyah Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31764/paedagoria.v17i3.39956

Abstract

Dance education for students with Cerebral Palsy (CP) in specialized educational institutions largely adheres to a rehabilitation paradigm that positions movement as a medium of physical therapy, causing the aesthetic potential inherent in each student's neuromotor characteristics to be often overlooked. This study aims to analyze the learning process of extracurricular dance at YPAC Semarang in producing the concept of motor aesthetics, a condition in which the typical motor characteristics of CP students are not considered as technical deviations but are redefined as meaningful artistic expressions in inclusive arts education. A qualitative approach with a single case study design is used. The data was collected through in-depth interviews with two dance instructors, Rus Hayati and Sri Jarwani, which were conducted on April 9 and 16, 2026, along with participatory observation of the Peacock Dance and Golek Dance sessions held every Thursday at 08.00 WIB. Data analysis using the interactive model Miles, Huberman, and Saldana, includes data reduction, data display, and conclusion drawing that are carried out simultaneously during the research process. Three main findings were identified. First, instructors apply adaptive instructional differentiation by grounding the choreography to each student's actual body capacity, integrating motor characteristics as artistic elements rather than correcting them as technical errors. Second, the integration of music therapy serves as a rhythm-based pedagogical scaffolding that supports motor synchronization while increasing students' affective involvement in dance learning. Third, the learning orientation directed at public performances builds students' artistic identity, making wirasa in Javanese dance a driver of motor development that is more effective than repetitive physical exercises. These findings confirm that motor aesthetics is a pedagogical model that repositions the body of CP students as artistic subjects whose movement experiences have original aesthetic value. In the phenomenological perspective of Maurice Merleau-Ponty, the body is understood as a living body that builds meaning through the experience of movement, so that the redefinition of dance movements in inclusive learning no longer rests on normative physical standards but on the experience of movement that is directly inhabited by each student. This study recommends the development of an inclusive dance curriculum based on motor aesthetics that respects the diversity of the body and movement modalities as an integral part of the practice of art education in Indonesia.
Co-Authors Desty Herdiana Novia Ayu Aulia