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Harmonia: Journal of Research and Education
Published by Universitas Negeri Semarang
ISSN : 25412426     EISSN : -     DOI : 10.15294
Core Subject : Education, Art,
Arts Education
Harmonia: Journal of Arts Research and Education is published by Departement of Drama, Dance, and Music, Faculty of Language and Arts, Universitas Negeri Semarang in cooperation with Asosiasi Profesi Pendidik Sendratasik Indonesia (AP2SENI)/The Association of Profession for Indonesian Sendratasik Educators, two times a years. The journal has focus: Research, comprises scholarly reports that enhance knowledge regarding art in general, performing art, and art 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 27 Documents
 1   2   3 
Search results for , issue "Vol 11, No 1 (2011)" : 27 Documents clear
KOLABORASI ANTARA JARAN KEPANG DENGAN CAMPURSARI: SUATU BENTUK PERUBAHAN KESENIAN TRADISIONAL Wiyoso, Joko
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.1497

Abstract

Tujuan penelitian ini adalah untuk mediskripsikan bentuk dan materi pertunjukan kesenian Kuda Kepang Turanggasari. Metode penelitian yang digunakan adalah kualitatif deskriptif. Hasil penelitian menunjukkan bahwa sebagai daya tarik dari sisi pertunjukan, menjadi tari dan musik. Selain materi pertunjukan, perubahan juga terjadi pada unsur-unsur pendukung pertunjukan yang meliputi peraga, tata rias, tata busana, musik, tata suara dan tempat pentas. Perubahan yang terjadi adalah penonton yang semula pasif sekarang menjadi penonton aktif. Artinya, mereka memiliki kontribusi dalam pertunjukan.   Collaboration between Jaran Kepang (Plated Horse Play) and Campursari: an Inovation of Traditional Art Abstract The purpose of this study was to describe  the form and material art performance of a group of dancers, Kuda Kepang Tutanggasari at Tambahsari Village, Limbangan district, Regency of Kendal. The research method used was qualitative descriptive. The results showed that to make the performance attractive, the dancers bring campursari in Jaran Kepang performance. The change is discernible in performer or its audience. In view of the performer, the performance topics changed, from the former dance to the latter dance and music. Besides, the change also appears in the supporting properties of  the performance including visual aids, make-up, costume, music, sound effects and stage. The change in the audience was that the audience no longer became passive but participating spectators. It means that they has given some contributions to the performance. Keywords: jaran kepang, campursari, bentuk perubahan, kesenian tradisional
KACAPI SULING INSTRUMENTALIA SEBAGAI SALAH SATU KESENIAN KHAS SUNDA Dwi Arini, Sri Hermawati; Supriadi, Didin
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.1498

Abstract

Penelitian ini untuk mendeskripsikan jenis-jenis kacapi sebagai kesenian khas Sunda. Penelitian ini menggunakan pendekatan kualitatif deskripsif. Hasil penelitian menunjukkan bahwa ada macam-macam kacapi Sunda, yakni Kacapi Perahu, Kacapi Siter dan Kacapi Ritmik. Masing-masing kacapi memiliki fungsi seni, tergantung tempat dan waktu dimainkannya. Ada juga kacapi yang berfungsi sebagai hiburan. Kebanyakan kecapi dimainkan bersamaan yakni yang berfungsi sebagai melodi dan iringan. Yang termasuk kecapi ini adalah Kacapi Calempungan dan Wanda Anyar. Jenis kacapi lainnya adalah Kacapi Suling. Wanda Anyar merupakan perkembangan kecapi. Ini dapat dilihat dari pengemangan teknik dan komposisi.   Instrumental Bamboo Kacapi as One of Unique Art of Sundanese   Abstract This study was to describe the various kacapi as unique Sundanese arts. This study used a descriptive qualitative approach. The results showed that there are various kacapi Sunda, ie Boat Kacapi, Zither Kacapi and Rhythmic Kacapi. Each kacapi has the function of art, depending on the place and time played. There is also kacapi that performs as entertainment. Most kacapi that are played simultaneously ferform as melody and accompaniment. Which include these kacapi are kacapi Calempungan and Wanda Anyar. Other type is fl ute Kacapi . It is development of the kacapi.This can be seen from the development of techniques and composition. Keywords: kacapi suling, wanda anyar, fungsi pertunjukan kacapi, kesenian khas
MAKNA SIMBOLIS LAKON KANGSA ADU JAGO DALAM PERTUNJUKAN WAYANG KULIT PURWA -, Randiyo
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.1499

Abstract

Lakon Kangsa Adu Jago merupakan salah satu lakon carangan yang bermutu yang mengandung nilai dan bermakna simbolis. Adu Jago mewakili suatu tindakan simbolis karakter generasi tua melawan generasi muda. Disebabkan oleh simbolis yang kurang adil, bijaksana, terjadilah keteledoran penguasa Mandura yaitu Basudewa. Di balik peristiwa adu jago sebenarnya Kangsa ingin merebut kekuasaan dari tangan Basudewa. Yang dapat dipetik dari lakon ini adalah munculnya tokoh Pandawa, simbol kesatria pembela keadilan, penuh pengabdian yang berhasil membantu menyelasaikan kewajibannya. Melalui lakon Kangsa Adu Jago, semangat persatuan, keadilan, kebenaran menjadi lebih kuat, terbentuklah kesatuan nasib antara keluarga Yadawa dengan Barata. Simbol karakter tokoh dalam lakon memunculkan nilai herois dan pendidikan untuk dijadikan contoh teladan dalam hidup manusia.   Symbolic Meaning of Kangsa Adu Jago (Cock Fighting) Play in Purwa Shadow Leather Puppet Show   Abstract Kangsa Cock Fighting Play is a qualifi ed carangan play containing certain symbolic meaning. Adu Jago (Cock Fighting) represents a symbolic action of old generation character against young generation one. Behind the cock fi ghting, Kangsa actually desired to seize power out of Basudewa’s hand. This play especially reveals certain values through the fi gure of Pandawa, a knightly character who strove for justice and with his great dedication succeeded in carrying out his duties. The values conveyed by this Kangsa Cock Fighting play are hopefully expected to be able to build up a stronger spirit of unity, justice, and truth by especially learning from the destiny unity between Yadawa and Barata families. The symbolic characters in the play accordingly reveal heroic and educative qualities as examples for human’s lives. Keywords: adu jago, lakon, wayang kulit purwa, kangsa
METODE PEMBELAJARAN PENCANTRIKAN TERBIMBING DENGAN PEMANFAATAN AUDIO VISUAL Rahayuningtyas, Wida; SDP, Endang Woro; Wardhani, Tjitjik Sri
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.1500

Abstract

Berdasarkan data evaluasi terhadap kemampuan mahasiswa dalam pemahaman dan keterampilan gerak tari gaya Malangan masih sangat rendah. Metode penelitian menggunakan pendekatan penelitian tindakan kelas dengan dua siklus. Subjek penelitian adalah mahasiswa prodi Seni Tari semester 4 Universitas Negeri Malang. Hasil penelitian menunjukkan bahwa dengan pencantrikan terbimbing yang menggunakan media pembelajaran audio visual sebagai metode pembelajaran dapat meningkatkan minat belajar dan meningkatkan pula prestasi hasil belajar mahasiswa pada mata kuliah Repertoar I. Media audio visual tersebut berisi ragam-ragam gerak dari materi tariannya.   Audio-Visual Learning Method od Guided Apprenticeship   Abstract Based on an evaluative data conducted, it showed that students’ ability in understanding and mastering Malay dancing style is still inadequate. The research method used Action Research in two cycles. The subject of research was the fourth semester students of Dancing program at Malang State University. The result showed that the audio-visual learning method of guided apprenticeship could increase the students’ learning interest as well as improve their achievement in Repertoar I course. The audio-visual media contains various dancing styles and movements. Keywords: metode pembelajaran, pencantrikan terbimbing, audio visual
MELATIH TUBUH: SEBUAH METODE BARU OLAH TUBUH DALAM TARI Setiyastuti, Budi
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.2069

Abstract

Tubuh untuk keperluan tari adalah tubuh berdaya dan berjiwa yang diaktulisasikan lewat ekspresi. Tubuh tari memiliki makna. Tubuh yang aktif, terlatih, terampil, dan cerdas. Melatih Tubuh merupakan metode latihan untuk mencapai kepenarian,   yang dikembangkan merujuk  berbagai sumber olah tubuh  seperti  tari tradisi Jawa Surakarta,  yoga, t’ai chi, aerobik dan body languange.  Dalam susunannya, terdiri dari pernapasan dan peregangan, kelenturan, kekuatan, keseimbangan, penguatan otot perut, koordinasi, kelincahan, vibrasi, dan pendinginan.  Penataan pentas Melatih Tubuh menggunakan pendekatan natural, dekorasi panggung secara terbatas menggunakan backdrop hitam sebagai batas belakang panggung, tata artistik lebih ditekankan kepada penguatan cahaya untuk memperjelas visualisasi penari di atas panggung, irama musikal  sebagai pendukung digunakan  rekaman album Music for Yoga produksi Domo Records. The body for this dancing is the powerful and spirited one actualized through physical expression. Dancing body has meaning. It is also an active, trained, dexterous, and smart one. The dancing body is responsive and highly coordinative showing intellectual, emotional, and spiritual abilities. Body rehearsal is a method to achieve one’s dancing skill and developed referring to various sources of body movement such as Surakarta Javanese dance, yoga, t’ai chi, aerobics, and body language. Among the steps include breathing and stretching; keeping elasticity, strength, balance, coordination, dexterity, vibration; stomach muscles strengthening; and cooling down. The staging of Body Rehearsal uses a natural approach, and a minimal stage decoration with black backdrop as the upstage border. The artistic setting is more focused on stronger lighting to illuminate dancers’ visualization on the stage. The sound effects as accompaniment use Music for Yoga album produced by Domo Records.
APRESIASI SEBAGAI SALAH SATU PENDEKATAN DALAM PEMBELAJARAN SENI TARI DI SMP Ispahani, Valentina Susi
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.2070

Abstract

Penelitian ini bertujuan untuk mengetahui dan mendeskripsikan pembelajaran seni tari dengan menggunakan pendekatan apresiasi.  Manfaat yang diharapkan dalam penelitian ini adalah bahan masukan kepada guru seni budaya untuk meningkatkan hasil belajar siswa  melalui pendekatan apresiasi dan siswa dapat meningkatkan keterampilan dalam mempraktekkan dan memahami seni tari khususnya tari.  Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan studi kasus di SMP Negeri 33 Semarang. Pengambilan data dilakukan dengan cara observasi, wawancara dan dokumentasi. Data yang terkumpul dianalisa dengan cara mendeskripsikan dan menyimpulkan. Hasil penelitian menunjukkan bahwa motivasi siswa dalam mempelajari tari tinggi, suasana pembelajaran yang menyenangkan, guru mampu menggunakan pendekatan, metode serta teknik pembelajaran yang tepat, media pembelajaran yang cukup memadai. This research is aimed to fi nd out and describe dance learning by means of appreciation approach. The expected advantages of this approach serve as inputs for dance teachers to enhance students’ learning through appreciation approach and students could likewise improve their skill in practicing and understanding dancing. This research used qualitative method by means of case study held at Public Secondary High School 33 Semarang. Data sampling was done by observation, interview, and documentation. The collected data was analyzed by means of description and conclusion. The result showed that the students’ motivation in learning dancing was high, and the learning class was enjoyable. Accordingly, teachers could make use of a more appropriate learning approach, method, and technique by this appreciation approach.
PENGARUH TARI JAWA PADA TARI BALADEWAN BANYUMASAN -, Indriyanto
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.2071

Abstract

Tradisi besar akan mempengaruhi tradisi kecil. Tari Jawa sebagai tradisi besar berpengaruh pada tari Baladewan Banyumasan sebagai tari tradisional kerakyatan dan sebagai tradisi kecil.   Pengaruh tari Jawa pada tari Baladewan dapat ditelaah melalui gerak tarinya.  Norma dasar menari pada tari Baladewan mempunyai kesamaan dengan norma dasar menari pada tari Jawa yaitu sikap kaki mendak, pupu mlumah, kaki malang, dada ndegég, perut ngempis dan pantat ditarik ke belakang.  Kategori tari Baladewan mirip dengan kategori tari Putera Gagah pada tari Jawa.  Pengaruh tari Jawa pada gerak tari Baladewan terdapat pada unsur-unsur gerak kepala, tangan, badan, dan kaki yang membentuk ragam-ragam gerak tari Baladewan. Unsur-unsur gerak tersebut mempunyai banyak kesamaan dengan unsur-unsur gerak pada tari Jawa. A big tradition will infl uence a small one. Javanese dance as the big tradition had some infl uence on Banyumas Baladewan dance as a traditional folk dance and the small tradition. The infl uence of Javanese dance on Baladewan dance could be identifi ed in its dance movement. The basic norms of dance in Baladewan dance have some affi nities with those of Javanese dance, namely kaki mendak (descending feet), pupu mlumah (lying thigh), kaki malang (crossed-legged), dada ndegeg (throwing out chest), perut ngempis (shriveling belly), and buttock pulled backward. The category of Baladewan dance resembles the one of Putera Gagah (sturdy son) dance in Javanese dance. The infl uence of Javanese dance on Baladewan dance movement is discernible in the movements of head, hands, body, and feet that shape the diverse moves of Baladewan dance. The moves have many affi nities to the ones in Javanese dance.
MODEL PEWARISAN KOMPETENSI DALANG Jazuli, M.
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.2072

Abstract

Penelitian ini bertujuan untuk mendeskripsikan model pembelajaran (pewarisan) kompetensi dalang. Untuk mengetahui model pembelajaran digunakan pendekatan pembelajaran tidak langsung dari Roger yaitu non-directive interview. Untuk mengetahui persyaratan dalang yang kompeten itu digunakan pendekatan strukturasionistik. Setting penelitian adalah jagat pedalangan, sedangkan lokasi penelitian bersifat situasional yakni bergantung dimana dan kapan siswa belajar mendalang. Hasil penelitian menemukan tiga model pembelajaran dalang. Pertama, model pembelajaran dalang di Sekolah dengan sistem dan aturan yang ketat, seperti  kurikulum, jadwal belajar, memiliki standar kompetensi dan standar kelulusan. Kedua, model pembelajaran dalang di Luar Sekolah, yaitu lembaga kursus. Ketiga,  model pembelajaran dalang di Luar Sekolah yang berbentuk Sanggar Seni. This study aims to describe the learning model (inheritance) of dalang competence. Efforts to overcome  the problems of  the study used qualitative research paradigms. To determine the learningmodel it was used an indirect approach of  Roger namely a non-directive interview. To fi nd out the requirements for competent dalang it was used structurasionistic approach. Setting of  the reseach is  world of puppetry, while research sites are situational, ie, depends where and when students learn a performer. The reseach founded three dalang learning models. First, the dalang learning model school system and the strict rules, such as a curriculum, a schedule of learning, competency standars and graduation standards.  Second, learning models are in out of school (non-formal school),for instance in the course  institution. Third, the dalang learning model in out of school (non-formal school) named  art studios.
SERAMPANG XII: TARI KREASI YANG MENTRADISI PADA MASYARAKAT MELAYU PESISIR SUMATERA TIMUR -, Nurwani
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.2073

Abstract

Tari Serampang XII merupakan tari kreasi yang selalu hidup dalam masyarakat pendukungnyaterutama pada masyarakat Melayu Pesisir Sumatera Timur. Tari Serampang XIIdiciptakan oleh Sauti pada tahun 1938. Tari Serampang XII yang berkembang pesat padamasyarakat Melayu Pesisir Sumatera Timur berakar dari gerak-gerak tari ronggeng Melayu.Konsep tari Serampang XII yang mengisahkan percintaan sampai ke jenjang pernikahandisusun kedalam XII ragam. Nilai estetika yang terdapat dalam tarian ini disesuaikandengan nilai estetika masyarakat Melayu itu sendiri. Tari ini tidak hanya berfungsi sebagaihiburan dan sebagai persentasi estetis, tetapi juga berfungsi sebagai kesinambungan kebudayaan,sebagai sarana pensisikan dalam menyampaikan pesan-pesan moral, dan jugapernah berfungsi sebagai propaganda politik Serampang XII Dance is a creative dance that keeps lingering on the tradition of Coast MalayPeople in East Sumatra. Serampang XII dance was created by Sauti in 1938. The dance which grewrapidly in Coast Malay People, East Sumatra was rooted in Malay ronggeng dance. The concept ofSerampang XII dance, which tells about a love story from courtship to marriage, was composed intoXII varieties. The aesthetic value in this dance is adjusted to the aesthetic one of the Malay people.This dance does not only serve as a cultural sustainability but also as scaling means in conveyingmoral messages and political propaganda.
MELATIH TUBUH: SEBUAH METODE BARU OLAH TUBUH DALAM TARI Setiyastuti, Budi
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v11i1.2069

Abstract

Tubuh untuk keperluan tari adalah tubuh berdaya dan berjiwa yang diaktulisasikan lewat ekspresi. Tubuh tari memiliki makna. Tubuh yang aktif, terlatih, terampil, dan cerdas. Melatih Tubuh merupakan metode latihan untuk mencapai kepenarian,   yang dikembangkan merujuk  berbagai sumber olah tubuh  seperti  tari tradisi Jawa Surakarta,  yoga, t’ai chi, aerobik dan body languange.  Dalam susunannya, terdiri dari pernapasan dan peregangan, kelenturan, kekuatan, keseimbangan, penguatan otot perut, koordinasi, kelincahan, vibrasi, dan pendinginan.  Penataan pentas Melatih Tubuh menggunakan pendekatan natural, dekorasi panggung secara terbatas menggunakan backdrop hitam sebagai batas belakang panggung, tata artistik lebih ditekankan kepada penguatan cahaya untuk memperjelas visualisasi penari di atas panggung, irama musikal  sebagai pendukung digunakan  rekaman album Music for Yoga produksi Domo Records. The body for this dancing is the powerful and spirited one actualized through physical expression. Dancing body has meaning. It is also an active, trained, dexterous, and smart one. The dancing body is responsive and highly coordinative showing intellectual, emotional, and spiritual abilities. Body rehearsal is a method to achieve one’s dancing skill and developed referring to various sources of body movement such as Surakarta Javanese dance, yoga, t’ai chi, aerobics, and body language. Among the steps include breathing and stretching; keeping elasticity, strength, balance, coordination, dexterity, vibration; stomach muscles strengthening; and cooling down. The staging of Body Rehearsal uses a natural approach, and a minimal stage decoration with black backdrop as the upstage border. The artistic setting is more focused on stronger lighting to illuminate dancers’ visualization on the stage. The sound effects as accompaniment use Music for Yoga album produced by Domo Records.

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