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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 22 Documents
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Search results for , issue "Vol 19, No 1 (2019): June 2019" : 22 Documents clear
The Essence of Siganjua Lalai Values in Dance Movements of Minangkabau Women Astuti, Fuji
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
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.v19i1.23622

Abstract

Customary and cultural values are an important part which may be found not only in daily routines, but also reflected in all actions, particularly in art. Women’s smooth characteristic in Minangkabau tradition is called siganjua lalai. This research needs to be conducted since some choreographers make princess dance using masculine movements. This research aims at studying and finding the basic concept of women’s dance movements according to the concept of siganjua lalai. This research employs qualitative and experimental methods with social approach of Minangkabau culture. Analyzed using interpretive qualitative techniques, the data are in the form of siganjua lalai dance movement concept, including the design of 1) space, 2) time and 3) energy. The experiment was conducted with students of Sendratasik Study Program, Faculty of Languages and Arts, Padang State University. Based on the research results, the basic patterns of siganjua lalai cover attitudes, leg and arm movements. The philosophy also considers the space, time, and energy. Therefore, the pattern design refers to the philosophy of siganjua lalai. The dance may be expressed in accordance with Minangkabau women’s characteristics in reflecting their cultural identity.
Silat as the Source and Identity of the Minangkabau Ethnic Dance Asriati, Afifah; Kosasih, Ahmad; Desfiarni, Desfiarni
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
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.v19i1.16106

Abstract

This article is intended to get the concept of Minangkabau dance movement in the context of ethnic philosophical values. Today, ninik-mamak, cadiak pandai, and alim ulama in West Sumatra develop ideas about Minangkabau philosophy in all aspects of life. How this idea is reflected in dance movements? To answer this question, a qualitative method is used by taking six samples of popular Minangkabau traditional dance. The data were collected using Focus Group Discussion, observation, and interviews to confirm previous findings. Through the triangulation technique, it is expected to obtain credible data and be analyzed using the models of Miles and Haberman. The results of this study indicate that the basic movements of Minangkabau dance are silat movements. The martial arts movement is the basis of movement used by many traditional dances in Minangkabau. Every district has its unique cultural values and identities and these values are manifested in dance created by dance activists.
The Meanings and The Myths Behind The JKT48 Kiii Team “Jangan Kasih K3ndor” Show at The Seskoal Indoor Basketball Building Arista, Amanda Dwi
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
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.v19i1.18769

Abstract

The purpose of this study is to find out the meaning of the show seen from within the actors, namely the clothing used on the show “Jangan Kasih K3ndor.” The research method used was a qualitative method using Roland Barthes’ Semiotics theory. Data collection techniques used in this study were primary and secondary data; the data then processed and sorted into research-related data. The results showed that the meaning of the show “Jangan Kasih K3ndor” was that there is a message behind every hard work that can realize any dreams so that it became an extraordinary show and appreciated by people. This research also showed there were a lot of meanings, when the show took place, seen from the inside and outside of the actors. The significance of fashion in this performance was very influential and influenced the success of the concert held.
Western Song Singing Model to Improve Junior High School Students’ Singing Ability in Indonesia Wadiyo, Wadiyo; Utomo, Udi; Haryono, Slamet
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
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.v19i1.23490

Abstract

Singing activities are general activities that seem very easy. It could be said that anyone can sing. However, to be able to sing well and correctly seems to need to be learned. For Junior High Schools in Indonesia, singing activities are included in the teaching material of cultural arts sub music material. This study aims to “analyze how singing activities are taught in classes on learning Art and sub music material”. The approach of this research is interdisciplinary which involves music disciplines and music learning. The research method applied is interpretive qualitative. The research location is Semarang, by involving Semarang Junior High School Students and Teachers as the subject of research. Data collection techniques used in this research is observation, interviews, and documentation studies. The data validity technique is using data source triangulation. Data analysis techniques used in this research are interactive flow. The results showed that teachers taught singing, both in classes Vll, Vlll, and Vlll. Singing activity for class Vll focused on basic singing techniques. The eighth grade is focused on singing, whose vocals or singing techniques are more applied to singing local songs and Nusantara songs. Meanwhile, singing activity in class VIII is more focused on improvising any song. This study concludes that teachers always emphasize the use of western song singing models as a basic technique, regardless of the type of song used in the learning process.
Acting, Movements, and the Three Important Components Configuration in Marginalizing Randai as an Entertainment Show Indrayuda, Indrayuda
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
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.v19i1.19185

Abstract

The purpose of this research is to reveal how marginalized Randai as a performing art in the life of Minangkabau’s people and their social culture in West Sumatra. This research is based on qualitative methodology with a descriptive method; this research is focused on the marginalization of Randai as the consequences of its lack of acting techniques, movement, and configuration. This research involved traditional artists, dance and Randai artists, indigenous elites, and the people managing the show. Data collection using live monitoring on the Randai performance and doing many interviews related to Randai as an art performance in Minangkabau’s people’s life. Besides that, the data also collected from documentary and literature studies. Data analysis was done using the ethnography method. The results showed that, in reality, the weakness of the Randai show is located on the acting, movement, and its configuration. The weakness of those three key elements is marginalizing the existence of Randai as an art show in social culture life. The lack of acting, movement, and configuration in the performance does not match the current demand of the people.
Characteristics of Bedayan Retna Dumilah Dance Motions Created by S. Ngaliman Condropangrawit Herlinah, Herlinah
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
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.v19i1.23624

Abstract

The purpose of this study is to describe the characteristics of Bedayan Retna Dumilah dance motions created by S. Ngaliman Condropangrawit. This research uses descriptive qualitative method. The research subjects are three figures who are familiar with the Bedayan Retna Dumilah dance. Data collection techniques used the method of observation, in-depth interviews, and documentation study. Data analysis techniques were conducted through the stages of data reduction, data description, and conclusion drawing. Data validation was conducted through the triangulation of sources. The results show that the Bedayan Retna Dumilah dance is a Surakarta style traditional dance that combines the feeling of classical dance motions of the Surakarta Kasunanan Palace with the sense of motion of Kemlayan village artists. The main idea of the Bedayan Retna Dumilah dance was inspired by Bedaya Bedhah Madiun. The Bedayan Retna Dumilah dance range of motions was taken from the Srimpi Sangupati, the Srimpi Gondokusuma, and the Srimpi Anglirmendung dances range of motions. The characteristics of the range of motions found in the Bedayan Retna Dumilah dance are: 1) Sekaran Lara Retna Dumilah which is a development of the sekaran laras sawit; 2) the standing style sekaran lenggut which is a development of the lenggut on sembahan trapsila and sembahan jengkeng. The two characteristics of the range of motion are not found in the other dances.
Malang Mask Puppet in Era of Globalization: Social and Cultural Impact Wibowo, Arining
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
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.v19i1.16101

Abstract

This article discusses socio and cultural impact as an effect of the commercialization of Malang mask puppet in the era of globalization. Padepokan Seni Asmoro Bangun located at Kedungmonggo Hamlet Malang Regency modifies the art of Malang mask puppet in order to turn the function of traditional art from ritual to the commodity. This research method is qualitative by using observation, interviews, and documentary studies for data collection. The result shows that modification creates three impacts, social and cultural impacts, also the occurrence of new senses in terms of Malang mask puppet includes creativity, prosperity, education, aesthetic, conservation, and identity sense. 
The Arts Learning Model of BPK2 (Creative Work Practice Learning) Activities Handayaningrum, Warih; Tutuko, Djoko; Suwahyono, Agus
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
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.v19i1.23626

Abstract

The study program of Drama, Dance and Music Arts (Sendratasik) of FBS Unesa often gets visits from various schools in the city of Surabaya and surrounding areas for specific purposes, one of which is SMA Negeri 6. SMAN 6 Surabaya is one of the schools that organizes Creative Work Practice Learning (BPK2) at Sendratasik FBS Unesa. So that the implementation of BPK2 activities runs optimally, an appropriate learning model is needed. The purpose of this study is to describe the art learning model in BPK2 activities at SMA Negeri 6 Surabaya in Sendratasik FBS Unesa. The Qualitative approach was used in this study, the subjects are 306 students of SMA Negeri 6 Surabaya, 20 lecturers, and 20 students of FBS Unesa. The object of research, art learning models in Creative Work Practices Learning Activities (BPK2). Location in Sendratasik FBS Unesa. Data collection techniques: observation, interviews, documentation Data analysis is done during data collection, interactive with flexible techniques. Research results: Learning art with BPK2 activities use a humanistic approach that is optimizing the potential and interest of students in art. Art learning material includes appreciation and creation. Project-based models and apretensive models are used to produce works until they are performed. Staging learning outcomes as projects that must be completed by students are carried out well until BPK2 activities become meaningful learning because the benefits continue to be felt when returning to school. This research is important to encourage freedom of learning, so that art education according to its function gives rise to student creativity.
The Geculan Bocah Dance Performance As A Creative Space for Children Paranti, Lesa; Putri, Rimasari Pramesti; Pebrianti, Sestri Indah
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
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.v19i1.23617

Abstract

This study aims to analyze the creativity of children (dancers) in the Geculan Bocah dance performance and how the performance becomes a space to arouse creativity. The case study in this research was the phenomenon of the Geculan Bocah dance performance in Sanggar Tanuwiyoyo Semarang Regency. The method used is a qualitative research method through a phenomenological approach. Data collection was done by using the method of observation, interviews, and documentation. The data analysis test used the Miles and Hubberman model through data reduction, data presentation, and drawing conclusions. Data validity used triangulation of sources, techniques, and methods. The results showed that Geculan Bocah dance performance consisted of 3 parts, namely the beginning, middle (core) and final (ending). Each part of the performance requires the creative role of the child as a dancer. Children’s creative roles include individual creativity, collaborative creativity, and communal creativity. Individual creativity attempts every child to show good performance. Collaborative creativity can be seen in the cohesiveness and togetherness during the show. The communal creativity arises because it is influenced by the audience and the atmosphere of the performance. The Geculan Bocah dance performance is a creative product, a creative space/ process, and a driver for the development of children’s creativity.
Madurese Soap Opera: An Industry and Madurese Culture Migration of Situbondo People Hidayatullah, Panakajaya
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
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.v19i1.14951

Abstract

The purpose of this study is to describe a variety of research problems, including the industrialization of Madurese soap opera and the Madurese cultural migration of the Situbondo community. The results showed that Madurese soap opera is a product of cultural industrialization that is produced based on the logic of mass cultures. Such as standardization, commodification, and massification. Standardization is seen from the use of local artists, Madurese dangdut music, as well as local narratives built through local phenomena in Situbondo. Cultural commodification can be seen from the changing motive of drama arts (Al Badar) to VCD films (Madurese soap opera). As a commodity, Madurese soap opera has an economic motivation that is demonstrated in terms of massification; it is produced in 10,000 pieces and distributed to the local market within East Java. Madurese soap opera is a phenomenon of the disruption of global industrial technology captured by local communities, acting as a comparison to the national soap opera industry. The contestation can be seen through both abilities in using global technology, namely television. Local television has a big role in promoting local content such as Madurese soap opera. Madurese soap opera on local television eventually became a medium that could bring people closer to their Madurese cultural identity.

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