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INDONESIA
Jurnal Seni Tari
Published by Universitas Negeri Semarang
ISSN : 22526714     EISSN : 25032585     DOI : -
Core Subject : Art,
Arts
Arjuna Subject : -
Articles 10 Documents
 1 
Search results for , issue "Vol 12 No 1 (2023): Vol 12 No 1 (2023)" : 10 Documents clear
Development of Android-Based Interactive Multimedia for Learning Topeng Tunggal Betawi Dance for Students of Dance Education Study Program, Jakarta State University Irsyad Naufal Harits; Dwi Kusumawardani; Dinny Devi Triana
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.59841

Abstract

The research aims to develop learning materials for Topeng Tunggal dance in Betawi Dance course, using interactive multimedia to optimize students' knowledge and skills. This type of research is R&D (Research and Development), using the ADDIE development procedure. The research subjects were students of class 2021. Research data collected by observation, interviews analyzed qualitatively and questionnaires quantitatively. The results of the expert test stage obtained an average score from material experts of 3.53, meaning "Very Good", with improvements: 1) costume name, 2) instrument design, and 3) instrument name. Learning experts 3.706 means "Very Good", with improvements: 1) evaluation features, 2) error buttons, 3) mask design, and 4) writing techniques. Media expert 3.075 means "Very Good", with improvements: 1) completeness of explanatory text, 2) consistency of navigation, 3) image size, 4) consistency of visual style, and 5) completeness of original photos of various dance motifs. The trial phase was carried out on 12 students in a small group, the results were in the form of comments including: 1) the media is interesting, 2) varied, 3) suitable for independent learning, 4) useful to help understanding and skills, 5) the application is not boring, and 6) the application is uniquely different from the others. The conclusion of the research is that D-Moleap interactive multimedia is very feasible to use, because it has features that are very helpful in practical learning and has fulfilled the criteria as a good interactive multimedia.
The Characters’ Values of Barongan Turonggo Laras Arts in Kendal Regency Desnatia Munzilatul Qur'aniyah; Muhammad Jazuli; Wahyu Lestari
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.62032

Abstract

Barongan art is folk art that has been adhered to people's lives. Its presence is used as entertainment. Barongan art not only functions as entertainment but contains character values in the elements of the performance. The purpose of this research is to describe the form and character values of barongan turonggo laras art performance. The method used in the research is a qualitative method with phenomenological, ethical, and emic approaches. The data collection techniques used are observation, interviews, and documentation. The data validity technique used is the triangulation technique. The data were analyzed using the stages of data reduction, presentation, and conclusion. The results show that the barongan turonggo laras art developed in Galih Village, Gemuh District, Kendal Regency has eight characters’ values, namely: 1) Religious, 2) Honesty, 3) Tolerance, 4) Hard work, 5) Creativity, 6) Love for the country, 7) Responsibility, and 8) Cooperation. The cultivation of character values in barongan turonggo laras art can be analyzed through performance elements consisting of movement, dancers, dance music, makeup, fashion, time, place, stage, sound, lighting, properties, and audience. For example, it provides an understanding to members and the community about the values contained in the elements of the barongan turonggo laras art performance, such as the values contained in movements have a religious value shown in sembahan movements and the floor pattern elements contain the value of tolerance that occurs between fellow dancers.
Sufi Dance Performativity of Maulana Rumi Islamic Boarding School in Yogyakarta Heni Siswantari; Lovandri Dwanda Putra; Fatih Ridlwan Munier; Ucik Wulandari
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.62624

Abstract

Sufi dance is one of the dances that is considered the most Islamic and represents spiritual values. One of the Islamic boarding schools that is still developing Sufi dance is Maulana Rumi Islamic Boarding School, Yogyakarta. The method used is qualitative with a performance studies approach in Sufi dance. The collection techniques are observation, interviews, and documentation. Obtaining survey data uses a multidisciplinary approach; art-social science, and art-religion. While the data analysis technique uses the opinion of Milles & Huberman, namely data collection- data reduction- data presentation- conclusion. The results showed that the performance of Sufi dance at Maulana Rumi Islamic Boarding School are as follows: (1) Sufi dance performance is carried out routinely every selapanan night or once every 40 days at Maulana Rumi Islamic boarding school. Another event that is also regularly held is the Sufi dance performance in the study which is held at Basa Basi cafe in Yogyakarta every Wednesday from 20.00-22.00 WIB. Sufi dance performances are performed in between recitations of books both by Maulana Rumi and others, such as the book Ihya Ulumuddin by Imam Gozali, the book Nurudh Dholam by Syekh Muhammad Nawawi As-Syafi'ie, and the book Hidayatul Azkiya Ila Thariqil Auliya by Zeinuddin ibn Ali Al-Ma' Bari Al-Malibari. (2) There is a social interaction between dancers and study participants who are both present in the same space and time at the Maulana Rumi Islamic boarding school and the Basa Basi cafe, and (3) The Sufi dance performance events were manifested by an interrelationship between dancers and performers where the audience feels involved in spiritual events in the form of the Sufi dance.
Instilling Self-Confidence Character in Siminal Siminul Dance Learning at Merpati Blora Course and Training Institute Hartono Hartono; Putri Gisa Harum Rahayu
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.63137

Abstract

Self-confidence for early childhood is still minimal, especially when it comes to interact with the surrounding environment. The lack of self-confidence indication appears in Siminal Siminul Dance learning at LKP Merpati Blora, which the children feeling shy and afraid to perform in public following by the lack of courage to express their opinions. The purpose of the study was to analyze the Instilling of self-confidence character in Siminal Siminul Dance learning at LKP Merpati Blora. The method used in the research was a qualitative method with a phenomenological approach. Data collection techniques using observation, interviews and documentation. Data validity techniques used triangulation of sources, methods and theories while data analysis uses data reduction, data presentation and conclusion drawing. The results showed success in instilling self-confidence through 4 indicators at LKP Merpati Blora in learning Siminal Siminul Dance, namely, believing in one's own abilities resulted the students experiencing changes from 6 students to 20 students. Independent in making decisions aimed at success with changes from 9 students to 20 students. Positive thinking resulted in changes from 6 students to 20 students and the courage to express opinions from 6 students to 16 students. The results of this study are expected to be literature to add insight for the readers regarding the benefits of dance learning to increase children's self-confidence.
The Textual and Contextual Study of Lengger Banyumasan Dance Performance in Sea Alms Ceremony in Sidanegara Village Zaharani Salsabila; Joko Wiyoso
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.64092

Abstract

The lengger Banyumasan performance at the sea alms ceremony in the village of Sidanegara is a folk art that is presented in a ritual culture of the community. These rituals affect textual and contextual values in the lengger dance performance. The purpose of this study was to determine the textual and contextual values in the lengger Banyumasan performance at the sea alms ceremony in the village of Sidanegara. Field data was processed using qualitative research methods and a phenomenological approach. Data collection techniques used are observation, interviews, and documentation. The data validity technique used is the triangulation technique. Data were analyzed using data reduction, presentation, and conclusion stages. The results show that the performance of the lengger Banyumasan dance at the sea alms ceremony has a performance pattern consisting of the lenggeran round which is included in the procession and tasyakuran evening and has a performance function consisting of individual functions that have spiritual values such as supplication, worship, and expression of gratitude to God Almighty, social functions consisting of entertainment and economic functions, as well as association or brotherhood functions. Suggestions from the researchers for artists to maintain cohesiveness to continue to develop and preserve the lengger Banyumasan art form.
Reconstruction of The Selodang Mayang Dance at Amantubillah Palace in Mempawah, West Kalimantan Province Deki Prasetya Ardiansyah; Slamet Slamet; Aris Setiawan
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.64415

Abstract

This article is the result of research that focuses on the main issue of how the process of reconstructing the Selodang Mayang dance at Amantubillah Palace takes place. The Selodang Mayang dance is a welcoming dance that developed within the Royal Palace of Amantubillah in Mempawah Regency, West Kalimantan Province. The aim of this research was to understand and explain each stage of the reconstruction process of the Selodang Mayang dance, which aimed to revive the Selodang Mayang dance. The forms of the reconstructed Selodang Mayang dance include 1) Movement, 2) Music, 3) Costumes and Makeup, 4) Props, and 5) Floor Patterns. This research employed a qualitative method with an interaction analysis approach. The results of this research revealed a series of movements of the Selodang Mayang dance that use basic graceful steps of lenggang, with arms waving left and right in accordance with the rhythm of the accompanying music. In these movements, there are absolute rules from the palace regarding the motifs of the Selodang Mayang dance, such as graceful steps, arms not lifted beyond 45 degrees, a smiling face, no spinning movements, not turning the back to guests, keeping the legs from spreading wide, and adapting the movements to the lyrics used in the accompanying Selodang Mayang dance. The research findings also include the process conducted by the Selodang Mayang dance reconstruction team in the effort to preserve classical dance art. The objective of this research was to understand, study, and preserve the cultural values existing in Mempawah Regency, so that the Selodang Mayang dance continues to exist and thrive within the palace and the local community.
The Choreography of Bedhaya Gandakusuma Dance with Mangkunegaran Style: The Study of Movement Patterns Sriyadi Sriyadi
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.65265

Abstract

Movement patterns in Javanese dance works are formed from types of movement series constructed to become a unified whole. This series of movements is often called a motion motif, a motion range, or sekaran. A series of movements can be likened to a puzzle arranged in such a way as to form a unified whole. This article aims to describe the movement patterns of the Bedhaya Gandakusuma dance with Mangkunegaran style. This description is essential to know the construction of the movement pattern used. This research is a form of qualitative research with an ethnochoreological approach. Data collection techniques used are participant observation, interviews, and literature study. The results show that the construction of the Bedhaya Gandakusuma dance movement patterns consists of elements of gesture and movement that become the basic material in the arrangement of each series of movements. In the arrangement process, it is tied with a motif or a basic movement as a unifying thread. The basic movement is a series of ngenceng movements. It means that the series of ngenceng movements become the foundation in various variations of the series of movements used. The series of movements are connected by using transition movements (sendhi). The movement patterns construction of the Bedhaya Gandakusuma dance not only considers motifs, variations, and transitions but also considers repetition, climax, proportion, logical development, and unity. The purpose is to achieve wholeness to give vitality in conveying the meaning or essence being expressed.
Devanka Diaz’s Creative Process of the Pas Ma Responsabilité Dance Work Devanka Diaz Ayu Pitaloka; Soemaryatmi Soemaryatmi
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.66212

Abstract

This research reveals the creative process of creating Pas Ma Responsabilité dance work, starting from the discovery of ideas and concepts to the forms of presentation with a creative background in contemporary works. The research method used is qualitative with descriptive analysis using the practice-led approach where the practice of writing goes concurrently with data collection techniques through field studies and literature studies. This research produces a description of the creative process of creating the Pas Ma Responsabilité dance work which is revealed based on the existing theory and the processes that occur directly in the field. The creative process consists of preparation, in the form of data collection and an exploratory process with creative and divergent thinking; incubation, the process of settling and understanding data until appearing inspiration; illumination, the exploration stage of movement, expression, potential, technique, and character; verification, the stage when the idea or new creation must be tested against reality. This research can be used as a critical reference for discussing novelty in today's contemporary dance. The main framework in this paper used as a reference is the creative processes and the results of the field practice process.
Analysis of Topeng Jaya Perbangsa's Performance in Cirebon Regency Restu Lanjari; Lisa Andriana
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.68552

Abstract

Jaya Perbangsa mask dance performance is a creation taken from the Mahabhrata story, with a blend of two dances between jaipong and mask dance with contemporary touch, with new types of accompaniment in West Java. The researcher's aim is to analyze the performance form of Jaya Perbangsa mask dance. This research uses a qualitative method, with an ethnochoreology approach. Data collection techniques using observation, interviews and documentation. Analysis of the performance form of Jaya Perbangsa mask dance consists of, performance structure and performance elements of Jaya Perbangsa mask dance. The dancers do not have a mandatory number, and are performed by female dancers who are required to bring a dashing Gatotkaca character, strong power, and a wide volume of motion. The makeup used by dancers uses corrective makeup with the characteristic three-braid hair.
The Image of The Priangan Woman in The Wanodja Wirayudha Dance Rahayu Cahyaning Tyas; Ayo Sunaryo; Ria Sabaria
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.69152

Abstract

Behind the presentation of dance, it does not only reveal the aesthetics of movement but also reveals social aspects that describe a condition or event in society, one of which is the Wanodja Wirayudha dance, which has an image related to the image of the Priangan woman which is actualized in the form of movement, clothing, make-up, to dance property used. Wanodja Wirayudha dance is a creative dance created by the choreographer of a studio in West Bandung Regency which was inspired by the historical events of female heroes in the city of Bandung. This study aims to describe the image of the Priangan woman depicted in the Wanodja Wirayudha dance. The method used is a descriptive analysis method with a qualitative approach. The results of this study were obtained from interviews and documentation studies. The findings of this study indicate that the image of the Priangan woman that is revealed in the Wanodja Wirayudha dance is talking about a female figure who has courage, strong personality, toughness, and a patriotic spirit like the Priangan woman as a hero. This research will provide data and information that can be used in further research studies related to the image of women in the wanodja wirayudha dance.

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