cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
-
Contact Email
jst@mail.unnes.ac.id
Phone
-
Journal Mail Official
jst@mail.unnes.ac.id
Editorial Address
Sekaran, Kec. Gn. Pati, Kota Semarang, Jawa Tengah 50229
Location
Kota semarang,
Jawa tengah
INDONESIA
Jurnal Seni Tari
Published by Universitas Negeri Semarang
ISSN : -     EISSN : 25032585     DOI : https://doi.org/10.15294/jst
Core Subject : Art,
Arts
Research, comprises scholarly reports that enhance knowledge regarding dance in general, performing art, and dance education. This may include articles that report results of quantitative or qualitative research studies.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 30 Documents
 1   2   3 
Instilling the Value of Cooperation in Dance Arts Learning for Deaf Students at SLB Negeri 1 Demak Safitri, Yunita
Jurnal Seni Tari Vol. 13 No. 2 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

Dance learning at SLB Negeri 1 Demak for deaf students uses learning materials determined by the teacher according to the student’s abilities. The dancers, children with special needs (ABK) or hearing impairments, are very different from normal children in general, such as in adjusting the tempo and the intensity of energy in dancing. Cooperation in dance learning is necessary to create a unified and beautiful dance. This research aims to analyze the cultivation of collaboration in dance learning for deaf students at SLB Negeri 1 Demak. This research used qualitative methods with data collection techniques, namely interviews, observation, and documentation. It used source triangulation and technical triangulation to validate data. In addition, data analysis includes data collection, data reduction, data presentation, and conclusions. The results show that dance learning for deaf students at SLB Negeri 1 Demak is conducted in three stages. The first stage is pre-learning activities by students and teachers through prayer and attendance. The second stage is core activities carried out by delivering learning materials using teaching materials and learning methods that support learning. The third stage is closing activities with questions and answers from students and teachers regarding the material and prayer. The cultivation of cooperation in dance learning was shown in the attitudes of students and teachers in collaboration, caring, and sharing.  
The Prajuritan Dance Preservation of the Wahyu Kridha Budaya Association in Sumogawe Village, Getasan Sub-District, Semarang Regency Septiani, Elza; Paranti, Lesa
Jurnal Seni Tari Vol. 13 No. 1 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

Prajuritan Dance of Wahyu Kridha Budaya Society is still active for three generations. The first generation is Mr. Noto Kayitno, the second generation is Mr. Srikoyo, and the third generation is Mr. Sumadi. Objectives, 1) to study the preservation of Prajuritan dance using aspects of protection, development, and utilization. 2) to describe the supporting and inhibiting factors of Prajuritan dance preservation of the Wahyu Kridha Budaya Association. The research used qualitative methods of emic and etic approaches. The research location is in Sumogawe Village, Getasan Sub-District. Data collection techniques include observation, interviews, and documentation. Data validity is in the form of source triangulation, technique triangulation, and time triangulation. The results showed, that 1) Preservation is carried out using three aspects in the form of protection from the village government, hamlet heads, associations, and the community. Development in terms of quality with the development of a variety of horse war movements, tidier makeup, and renewal of costumes, property, and musical instruments. Utilization is in the form of Prajuritan dance performances as entertainment and unification of the Magersari Hamlet community. 2) Supporting factors for the preservation of Prajuritan dance in the form of a sense of enthusiasm of members, financial assistance from the village government, and enthusiasm of the community in appreciation. The inhibiting factors are a vacuum during COVID-19, limited funds, and no social media to disseminate Prajuritan dance.  
The Influence of Digital Media Usage on Students' Creativity Skills in Creative Dance Arts Through Extracurricular Arts Kartika Sari, Pratiwi; Nurmiranda, Andivita
Jurnal Seni Tari Vol. 13 No. 1 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

This research is motivated by the limitations in the dance learning process during the COVID-19 pandemic, extracurricular activities became inactive and constrained the practice of dance in cultural arts and crafts learning itself. The purpose of this study is to determine the effect of using digital media on the creativity of student creation dance at SDN Sudimara 7. The use of digital media in this study is in the form of TikTok. The research method used is a quantitative experimental one-group pretest-posttest design with data analysis techniques using an independent T-test. Sampling itself is done by purposive sampling. The subjects in this study amounted to 24 students with criteria, namely 6th-grade students of SDN Sudimara 7 who participated in dance extracurricular activities, had smartphones, and used the TikTok application. The results of data analysis found that the average score of digital media pretests in the experimental class was 63.54 with an average score of digital media posttests in the experimental class of 75.42. Meanwhile, the pretest average score obtained by the creative dance creativity variable was 65.21 with a posttest average score of 80.83. The results of the t-test calculation obtained a score of 3.787 greater than the table, namely 2.064 with a significant level of 0.000 <0.05, which means that the results of this study are that there is a difference between before and after treatment. Thus, it can be concluded that there is an influence in the use of digital media on students' creativity abilities through extracurricular dance.   
Preserving Bun Ya Ho Dance: A Bun Ya Ho Dance Procession Analysis in the Apitan Tradition in Kudus Rafi Alfaris, Muh; Supriyanto, Agung
Jurnal Seni Tari Vol. 13 No. 1 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

Bun Ya Ho dance is a colossal dance brought by KH Abdul Jalil Tamyiz around the 1950s from Bumiayu, Brebes Regency. He responded to the condition of the Megawon community. At that time, many hobbies were contrary to religious law. The revitalization of Bun Ya Ho dance is based on the need for a typical Megawon art form to be performed on religious holidays, one of which is the Apitan tradition. The following note will explore more deeply the meaning and cultural values of the Bun Ya Ho dance procession in the Apitan (alms of earth) tradition in Megawon, Kudus Regency, the dynamics and challenges faced by dancers in the Bun Ya Ho dance procession, and the role of the younger generation of Megawon in preserving Bun Ya Ho dance. The research method carried out by researchers is literature. Results of this study explain that first, the meaning of Bun Ya Ho dance movements, namely: tayub (drunkenness) movement, war movement, and standing movement on a jug. Then, the cultural values in Bun Ya Ho dance are social value, aesthetic value, and educational value. Second, the dynamics of Bun Ya Ho dance, namely the dynamics of the Bun Ya Ho dance performers, the dynamics of the number of Bun Ya Ho dance personnel, and the dynamics of Bun Ya Ho Dance costumes. Third, the role of Megawon's young generation in preserving Bun Ya Ho Dance, namely paying attention and studying Bun Ya Ho dance, disseminating Bun Ya Ho dance information through social media, and participating in Apitan events actively.                                                                       
Charisma Production Dance Studio Management Aisyah Novitasari
Jurnal Seni Tari Vol. 13 No. 2 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

The purpose of this writing is to understand the management of the Charisma Production Studio as a studio that only operates and focuses on the entertainment/business sector. The research method used is a descriptive qualitative research method. In this research, the main data source is qualitative research, and collection techniques using observation, interviews, and documentation. Data analysis by data reduction, data presentation, and conclusion.  The results of this research are the background of the Charisma Production Studio. This studio was established in 2003, was founded and chaired by Mr. Haris, is located in Surabaya, and has high popularity. The management function at the Charisma Studio is to regulate the running of all aspects of the Charisma Studio's organizational lines and marketing methods at the Charisma Production Studio. Conclusion The marketing system of the Charisma Studio, which is a studio following the business sector, keeps up with the times, maintains quality and quantity, is selective in choosing dancers, and does not escape the already highly-experienced Charisma Studio, these aspects create its branding. Charisma Studio, because this is what makes Charisma Studio considered a good and quality studio among studios in general
The Inheritance Pattern of Geculan Bocah Dance in Tanon Hamlet, Ngrawan Village, Getasan Sub-District, Semarang Regency Anindya Syafa'at Nur Isnaeni; Wiyoso, Joko
Jurnal Seni Tari Vol. 13 No. 1 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

The people of Tanon Hamlet have developed folk arts, one of which is the Geculan Bocah Dance. Geculan Bocah dance is a manifestation of a children's game. This dance is developed and maintained through a process of inheritance.  Inheritance pattern is an activity that has the purpose of maintaining and developing an art object from time to time to keep it alive in the development of the times. The purpose of the study is to describe the inheritance pattern and performance form of the Geculan Bocah dance in Tanon Hamlet. The method used in the research is a descriptive qualitative method, using sociology and ethnocoreology approaches. Data collection used observation, interview, and documentation techniques. Data analysis was conducted using data collection techniques, data reduction, data presentation, and conclusion. The data validity test used triangulation techniques. The results show that the inheritance pattern of Geculan Bocah dance in Tanon Hamlet adheres to three inheritance pattern systems namely "vertical transmission", "diagonal transmission" and "horizontal transmission". The presentation form of the Geculan Bocah dance has three presentation sequences, consisting of the beginning, middle, and end. There are two-floor patterns, namely straight lines and curved lines. The accompaniment used is bonang barung, demung, saron, kendang, bende, gong, and jedor with witty vocals. The makeup used is witty character makeup and uses warok ponorogo costumes consisting of headbands, vests, pants, jarik, and lilit belts.
Learning Curriculum for Dance at Sayu Wiwit Art Studio in Banyuwangi Candra Anggraini, Estu; Yanuartuti, Setyo
Jurnal Seni Tari Vol. 13 No. 1 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

The curriculum is a guideline for implementing learning in the world of education, both formal and non-formal education. Non-formal education has an important role as a complement to formal education. It’s for supporting, strengthening, and developing the learning process, especially in empowering the skills practice of children or students at the institution. An example of non-formal education is a training institution which in the arts field can be called an art studio. Moreover, Banyuwangi is known for its diverse cultures and preservation of traditional arts, one of which is through optimizing art studios, which in this research analyzes the Sayu Wiwit art studio. This research aims to describe and analyze more deeply the planning and implementation of the dance learning curriculum at the Sayu Wiwit art studio. The methods used in collecting data are observation, interviews, and documentation. Analyze the data by reducing, presenting the data, and drawing conclusions. The results of the research show that the dance learning curriculum at the Sayu Wiwit art studio is complex, from the planning to implementation stages. At the planning stage, there are objectives, curriculum content, learning activities, learning resources, and learning evaluation. As for the implementation stage, it is also complete, starting from various types of learning methods, arranging training schedules, management, various studio activity programs, and communication with student parents, to complete facilities and infrastructure owned by the Sayu Wiwit Banyuwangi art studio
The Pros and Cons of Lengger Lanang in Banyumas Society Mohamad Zaki Mubarok; Ayu Restu Putri; Rinaningsih; Tania Selasi Amara Azizah; Laila Khoirunnisa; Puspitasari, Elis
Jurnal Seni Tari Vol. 13 No. 1 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

This research examines the pros and cons and the existence of Lengger Lanang dance in Banyumas society today. Lengger Lanang is a traditional dance in which male dancers dress as women, which has its roots in the Dutch colonial period. Using descriptive-analytical qualitative method with snowball sampling technique, this research conducted interviews with dance studio owners and lengger house managers. The results showed that there are pro and contra views towards Lengger Lanang in the community. The pros see it as a cultural heritage that should be preserved, while the cons are concerned about the moral and religious aspects. This controversy impacts the existence of Lengger Lanang, with a decline in preservation and training efforts. To address the controversy, strategies such as providing understanding to young dancers and efforts to embrace dancers experiencing gender identity change are proposed. This research reveals the complexity of gender and sexuality issues in the context of traditional arts, as well as the tension between cultural preservation and changing social values. Despite the challenges, there are still efforts to preserve and adapt these dances to remain relevant in contemporary society.
Preservation of the Klana Udeng Mask Dance at the Mulya Bhakti Studio in Indramayu Johan, Yuremia
Jurnal Seni Tari Vol. 13 No. 1 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

The Klana Udeng Mask Dance is a dance created by the development of the Babangan mask in Indramayu. This dance is one of the materials taught by Sanggar Mulya Bhakti led by Wangi Indriya for beginner dancers, both teenagers and children. This research will examine conservation with three main questions, namely who is preserving, what is being preserved, and how conservation is carried out. To answer this problem, Raymond Williams' Sociology-Culture theory is used which consists of three main components, namely institutions, content, and effect. Institutions (cultural institutions) ask who is involved in preserving the culture. Content (cultural content) asks what is produced and what values ​​are expected, then effect (cultural norms) asks how preservation efforts are carried out. The research method used is a qualitative descriptive-analytical method, namely research whose aim is to describe and analyze the object being studied as it is, as well as provide systematic, factual, and accurate reasons regarding the facts of the object being studied so that it can be analyzed according to the circumstances. Cultural institutions are the Mulya Bhakti studio, the community, and the government. Cultural content produces tangible and intangible values, and cultural norms produce a cultural identity that is characteristic of the Klana Udeng Dance and other mask performances.
The Creative Process of Creating The Badik Dance Film Ningsih, Lora
Jurnal Seni Tari Vol. 13 No. 1 (2024)
Publisher : Universitas Negeri Semarang

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

Abstract

This research discusses the creative process of creating a film work of Badik dance. It aims to describe the creative process of creating the Badik dance film created by the creator. The data presented is qualitative descriptive data about the creative process of creating Badik dance films, using data collection techniques such as observation, interviews, and documentation. The data sources in this research are primary data sources, namely Badik artists, and secondary data sources in the form of documentation of the creative process of creating works. To find out the creative process of creating the Badik dance film, the researcher carried out an analysis using Jacqueline Smith's choreography creation theory with 5 stages, namely Construction I, Construction II, Construction III, Construction IV, and Construction V. To find out the analysis of cinematographic creation, the researcher used the theory of cinematographic creation by Gerzon R. Ayawaila with 3 stages, namely, Pre-Production, Production, and Post-Production. Researchers calibrated the standards for creating choreography with cinematography and it was found that the creative process for creating Badik dance films went through 3 stages, namely Pre-Production which included Construction I and Construction II, Production which included Construction III, and Post-Production which included Construction IV and Construction V. 

Page 1 of 3 | Total Record : 30

 1   2   3 

Filter by Year

2024 2025


Reset
Filter By Issues
All Issue Vol. 14 No. 1 (2025) Vol. 13 No. 2 (2024) Vol. 13 No. 1 (2024)