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PUSAT RISET DAN INOVASI NASIONAL UNIVERSITAS SAINS DAN TEKNOLOGI KOMPUTER Alamat: Jl. Majapahit No.304, Palebon, Kec. Pedurungan, Kota Semarang, Jawa Tengah 50199
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Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM)
Published by Pusat Riset dan Inovasi Nasional
ISSN : 28290283     EISSN : 28290186     DOI : 10.55606
Core Subject : Art,
Arts
Sub Rumpun ILMU SENI PERTUNJUKAN 1 Senitari 2 Seni Teater 3 Seni Pedalangan 4 Seni Musik 5 Seni Karawitan 6 Seni Pertunjukkan Lainnya yang Belum Disebut Sub Rumpun ILMU KESENIAN 1 Penciptaan Seni 2 Etnomusikologi 3 Antropologi Tari 4 Seni Rupa Murni (seni lukis) 5 Seni Patung 6 Seni Grafis 7 Seni Intermedia 8 Bidang Ilmu Kesenian Lain Yang Belum Tercantum Sub Rumpun ILMU SENI KRIYA 1 Kriya Patung 2 Kriya Kayu 3 Kriya Kulit 4 Kriya Keramik 5 Kriya Tekstil 6 Kriya Logam (dan Logam Mulia/Perhiasan) 7 Bidang Seni Kriya Lain Yang Belum Tercantum
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 193 Documents
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Pendekatan Kolaboratif: Peran Guru Seni Tari dalam Meningkatkan Pembelajaran Seni Musik di SMK Asta Mitra Purwodadi Irsyad Aldi Setyoaji; Nafik Salafiyah
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8023

Abstract

This research aims to analyze the adaptive role of a dance teacher in teaching the subject of music art at SMK Asta Mitra Purwodadi, as well as identifying the patterns of collaborative approaches and the implementation of the Deep Learning strategy in the learning process. This phenomenon attracts researchers due to the case of a teacher teaching cross-disciplinary subjects, although still within the domain of the arts. This study employs a qualitative method using observation, semi-structured interviews, and documentation techniques. The main subject of this research is Bu Evi, a dance teacher who also serves as the music art instructor. The research results indicate that the non-specialist teacher (with a dance background) successfully overcomes limitations in teaching music by performing a role transformation into a facilitator focusing on expression, rhythm, and performance. The implementation of Deep Learning is realized effectively through a kinesthetic approach, where abstract music concepts (such as tempo and dynamics) are translated through body movement exploration, which is proven to increase student enthusiasm and understanding. Furthermore, the teacher implements a strategic collaborative pattern with the music extracurricular teacher, where responsibilities are divided between aspects of expression/movement and the deepening of theory/vocal technique, ensuring talented students still receive adequate technical development. Assessment focuses on performative aspects (expression, tempo, teamwork, and self-confidence). This research concludes that the teacher's professionalism and pedagogical creativity are the main keys to bridging competency gaps, while simultaneously ensuring the achievement of the goals of the Merdeka Curriculum in shaping student character and 21st-century skills.
Visual Storytelling and Design Analysis of “Sengoku BASARA” as a History-Based Game for the Implementation of Interest to the History Jasmine Nuraliva Hanata; Yanuar Rahman; Patra Aditia
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8107

Abstract

Historical video games are one of the entertainment screen media genres that represent actual historical events influencing the players to learn interactively. Moreover, in an era where technology is increasingly advanced the presence of pop culture that is included in history-based games leads people to get interested more in things that were initially boring to follow. “Sengoku BASARA” (戦国BASARA) is a successful action game featuring a main character based on Japanese feudal warlords wrapped in fictional and dramatic form published by CAPCOM which is very popular in Japan. Yet, Indonesia hasn’t developed a game based on the history of their ancient kingdom with good qualities to bring their interest to learning. The research methodology in this study using a qualitative approach includes content analysis using the 5 W 1 H technique to explore how the historical events and characters in the game are visualized and how it brings or gives the player an understanding of the history. This study aims to delve into two main points: 1. Understanding how “Sengoku BASARA” adapts the elements of their history, 2. The potential of this game as an educational tool is to introduce the historical characters as well as their story events. In conclusion, “Sengoku BASARA” does not have perfect accuracy in visualizing the original history yet it can be the first step to learning more about history interestingly and entertainingly.
Makna Sosial dan Fungsi Musik Tagonggong pada Tradisi Tulude Masyarakat Sangihe Feby Thalia Muliku; La Ode Karlan; Trubus Semiaji; Mimy Astuty Pulukadang; Rahmawati Ohi
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8135

Abstract

This study is motivated by the position of traditional music as a cultural element that not only functions aesthetically but also plays an important role in constructing social meaning, symbolism, and collective identity within a community. This article aims to examine the social meaning and function of Tagonggong music in the Tulude tradition of the Sangihe community in Londoun Village as a diaspora community. The research uses a qualitative method with a cultural ethnographic approach through participatory observation, unstructured interviews with traditional elders, Tagonggong players, and community leaders, as well as documentation. Data analysis was conducted descriptively and interpretatively using Alan P. Merriam's theoretical framework on the function of music. The results of the study show that Tagonggong music has a multidimensional function in the Tulude tradition, including symbolic communication, emotional expression, representation of cultural identity, reinforcement of social norms, and social integration and cohesion within the community.Tagonggong not only functions as an accompaniment to ceremonies, but also as a sacred musical instrument that connects the relationship between humans, ancestors, and God, while also marking the space and time of the ceremony. This finding confirms that Tagonggong is a living cultural archive that preserves the collective memory and ethnic identity of the Sangihe community in exile. Implicitly, this research enriches Indonesian ethnomusicology studies by positioning traditional music as an active social text in maintaining the cultural structure and solidarity of the communities that support it.
Ekspresi Spiritualitas dalam Musik Liturgi Gereja Pantekosta Happy Blessing Melody Sanggor; Mimy Astuty Pulukadang; Laode Karlan; Trubus Semiaji; Rahmawati Ohi
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8136

Abstract

This study was motivated by the role of liturgical music as the primary medium of spiritual expression in Pentecostal worship, which is characterised by expressiveness and participation. The purpose of this study was to analyse the presentation of liturgical music and examine how it shapes and represents the spiritual expression of the congregation in the worship services of the Indonesian Bethel Church (GBI) Light Corner in Gorontalo City. The research uses a qualitative approach with a descriptive-interpretative design. Data were obtained through participatory observation, in-depth interviews with worship leaders and congregants, and audio-visual documentation. Data analysis was conducted thematically with reference to musicology, liturgical theology, and cultural studies perspectives. The results of the study show that liturgical music at GBI Light Corner is presented in a structured yet flexible manner, combining contemporary music with conscious liturgical planning. Music serves as a medium for creating a sacred atmosphere, binding the structure of worship, and as the main means of expressing the spirituality of the congregation both personally and communally. These findings indicate that liturgical music not only reflects the spirituality of the congregation but also actively shapes the experience of faith in the context of the local Pentecostal Church. This research has implications for the development of contextual, theological, and reflective liturgical music practices in church life.
Praktik Identitas Panggung Sri Mules sebagai Strategi Cultural Branding dalam Pertunjukan Dangdut Pantura Hasbil Haqqy Arif; Moh. Muttaqin
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8150

Abstract

This study analyzes the stage identity practices of the dangdut music group Sri Mules as a  cultural branding strategy in Pantura dangdut performances. In contrast to common dangdut performance patterns that position the singer as the primary visual focus, Sri Mules adopts a performative approach that foregrounds accompanying musicians as the main visual actors through the use of unconventional costumes and collective stage actions. Employing a qualitative approach with a case study strategy, this research draws on visual documentation of performances circulated on social media during the group’s active phase (2020–2021), complemented by semi-structured interviews and reflective observations. Data were analyzed using the interactive model proposed by Miles and Huberman, informed by performance theory (Schechner) and the concept of cultural branding (Holt). The findings indicate that Sri Mules’ stage identity is constructed and reproduced through consistent visual deviation and collective performativity, functioning as a strategy of symbolic differentiation in the Pantura dangdut performance landscape. This study highlights the role of accompanying musicians as active agents in shaping the visual identity of dangdut performances.
Interpretasi dan Ekspresi Solis French Horn, Saxophone, Seruling, Trumpet pada Repertoar O Tano Batak Heppi Malau; Hafif HR; Nursyirwan Nursyirwan
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 1 (2025): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i1.8174

Abstract

Success in a musical performance cannot be separated from the ability of a presenter to bring works in accordance with the art and beauty of music made by a composer. Research with the title Interpretation and Expression of Solis French Horn, Saxophone, Flute, Trumpet in the O Tano Batak Performance in the aspect of sound color. In this study, the authors use the concept of interpretation in the concept of sound color, as well as in wind instruments. The second concept is a visual concept, namely expression. O Tano Batak's work has differences in each part. In compiling the design of the presentation of the music used, namely French Horn, Saxophone, Flute and Trumpet. The techniques for playing each instrument that must be prepared, both ambouchure and fingering techniques in interpreting the demands contained in the musical repertoire and presentation in the form of musical performances to the audience or audience. This writer aims to reveal what abilities should be carried out technically in playing French Horn, Saxophone, Flute, Trumpet in interpreting a musical repertoire with different musical styles and how to present this musical repertoire to the audience in a French Horn Solis performance, Saxophone, Flute, Trumpet accompanied by Combo Band.
Cucut: Estetika Pertunjukan Wayang Kulit Gaya Keraton Lakon Irawan Rabi Sajian Purbo Asmoro Dimas Winando Pradana Putra; Tatik Harpawati
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8251

Abstract

The aesthetics of Palace style puppet performances embody local wisdom and ancestral traditions that were later standardized into formal rules. Purbo Asmoro incorporates these elements of the Palace style into the shadow puppet performance of the play Irawan Rabi. The central problem addressed is: how is the aesthetic concept of cucut implemented in Purbo Asmoro's presentation of the Palace style shadow puppet play Irawan Rabi? This issue is analyzed using the aesthetic concepts proposed by Sunardi, supplemented by those of M.Ng. Najawirangka. The data collection methods included literature reviews and interviews; to ensure higher data accuracy, the play was also transcribed through the observation of audio visual recordings. The results of this study indicate that the implementation of the cucut aesthetic concept is evident in Purbo Asmoro's success in constructing scenes that evoke a humorous impression. This is observable in the ginem of the Dwarawati State audience scene; the ginem of the perang ampyak; the sabet of the perang gagal scene; the ginem of the Yasarata Hermitage scene; the sabet of the perang kembang scene; the ginem of the Kaputren Dwarawati State scene; the ginem of Dwarawati Palace scene; and the ginem of rabine Irawan scene.
Praktik Bermusik Musisi Kota Solo: Modalitas, Profesionalisme, dan Kualitas Karya dalam Dinamika Kerja Musik Nickelo Indira; Bondan Aji Manggala
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 1 (2025): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i1.8274

Abstract

Musical modality, professionalism, and work quality in everyday musical practice constitute the main analytical framework of this study. This research departs from the view that musical professions are often reduced to hobby-based activities, whereas in practice they involve work strategies, professional attitudes, and negotiation between artistic idealism and market demands. This study employs a qualitative approach through in-depth interviews with two musicians in the city of Solo, Aditya Ong and Indra Permana, who represent different backgrounds, professional roles, and musical orientations. The findings indicate that modality comprising experience, musical skills, and professional networks forms the foundation of musicians’ professionalism. Professionalism is reflected not only in technical competence, but also in work ethics, responsibility, and the ability to position oneself within various musical work contexts. Work quality is not understood normatively as good or bad, but as the outcome of how musicians manage their modality and professionalism in specific working situations. This study concludes that musical practice in Solo is shaped through continuous negotiation between artistic orientation, market demands, and the pursuit of livelihood stability. Musical modality, professionalism, and work quality are interconnected in forming musicians’ strategies to sustain their musical practices amid the dynamics of the local music industry.
Bentuk Penyajian Tari Mopotilro dalam Acara HUT PEREDAM di Kecamatan Bolaang Uki Kabupaten Bolaang Mongondow Selatan Nurhikmah Jum'a Laselo; Riana Diah Sitharesmi; La Ode Karlan; Nurlia Djafar; Trubus Semiaji
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8338

Abstract

Mopotilro Dance is a traditional dance originating from South Bolaang Mongondow Regency that functions as a welcoming dance for guests in customary ceremonies. Academically, this dance has not yet been examined in depth. Therefore, this article aims to investigate the Mopotilro Dance from the perspective of its performance structure, particularly as presented at the anniversary celebration of the Persatuan Relawan Muda Molibagu (PEREDAM) community. The research focuses on several aspects of the dance presentation, including: (1) movement, (2) number of dancers, (3) makeup and costume, (4) musical accompaniment, (5) floor patterns, (6) properties used, and (7) performance space. This study employs a qualitative research method with data collection techniques consisting of observation, interviews, and documentation, which are used to describe the data and draw conclusions. The results indicate that the presentation of the Mopotilro Dance at the PEREDAM anniversary event is not found in other occasions. This condition suggests that public understanding of the Mopotilro Dance as part of local cultural heritage remains limited. The lack of academic studies on the performance structure of the Mopotilro Dance is one of the factors contributing to its rare appearance in various events.
Bentuk Penyajian Balatindak dalam Prosesi Pakanggi Umat di Kecamatan Bangkurung Kabupaten Banggai Laut Wida H. Saisali; Nurlia Djafar; Riana Diah Sitharesmi
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 1 (2026): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i1.8372

Abstract

Balatindak is a traditional art that has existed since the time of the Banggai Kingdom. In its development, Balatindak presented in the regions, and each region has its own characteristics in its performance. In Banggai Laut Regency, Bangkurung District, Balatindak is performed upon the arrival of visiting distinguished guests, and on Eid al-Fitr. In Lantibung village, Balatindak is not only entertainment but also as part of the pakanggi umat ceremony carried out by the community. This study aims to describe the form of Balatindak presentation in the process of implementing pakanggi umat. This study uses a descriptive qualitative research method. In collecting data, researchers conducted interviews, and observations of the implementation of pakanggi umat, as well as documenting it in the form of photos and videos. The results of the study found that Balatindak was performed four during the pakanggi umat. The first was at the beginning of the procession performed by two men (talapu), then in the middle was presented by several male and female talapu. The costumes worn by male talakus are daily clothes consisting of long or short-sleeved shirts, black trousers, and white headbands. Meanwhile, female talapu wear long-sleeved shirts, sarongs, scarves, and white head coverings. The Balatindak is unique with movements dominated by rapid foot stomping, and both arms play props depicting machetes and shields. Balatindak is accompanied by batong music. The venue is the Bangkurung traditional house called Kusali. The Balatindak performed in this tradition classified as a ritual performing art.

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