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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 1,219 Documents
 99   100   101   102   103 
Visual Metaphor of Javanese Cartoon: The Interpretation of Cultural Socio-Politic in Goenawan Pranyoto’s Comic Cartoon Mbeling “Ande Ande Lumut” (1951-2014) Thalhah, Abdullah Ibnu
Harmonia: Journal of Arts Research and Education Vol 16, No 1 (2016): June 2016
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.v16i1.6767

Abstract

A comic cartoon is a communication media that is widely enjoyed and accepted by people. As a literary and journalistic work, the comic cartoon also captures the surrounding cultural situation. The modern and traditional cultural sign, fact and imagination, realist pattern and cartoon or caricature are used in a combination that seems contra versed (it is called double code discourse in postmodernism discourse), to show metaphor pattern relationship. The metaphor is applied through the transformation and play of the signs in the past and the future. They were spread, combined, and also transformed as a tool to show the creator’s expression. In this research, it was found that there was a very close relationship between the use of metaphoric signs and Indonesia’s social-politic situation in 1983. On one hand, Metaphor in comic cartoon Mbeling was a tool created to insinuate and criticize the corrupt and feudal Orde Baru authoritarian. It insinuated the violence involving the government officers in every aspect of the people’s life. On the other side, the comic cartoon also becomes the representation of contemporary Javanese culture that was open to other culture and acculturation.
KESADARAN ESTETIS MENURUT HANS-GEORG GADAMER (1990-2002)
Harmonia: Journal of Arts Research and Education Vol 11, No 2 (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.v11i2.2212

Abstract

Hans-Georg Gadamer (1900-2002) adalah seorang filsuf dalam bidang hermeneutika yang sangat terkenal. Menjelang pensiunnya tahun 1960, kariernya menanjak dengan diterbitkan bukunya, Wahrheit und Method atau Truth and Method. Dalam bukunya Gadamer memberikan pemahaman pada tingkatan ontologis bukan metodologis. Di sini Gadamer ingin mencapai kebenaran tidak lewat metode melainkan dengan dialektika. Alasannya, dengan dialektika mengandaikan suatu kebebasan dalam mengajukan berbagai pertanyaan dibanding dalam proses metodis. Berangkat dari hal tersebut Gadamer merambah ke persoalan estetik (seni). Gadamer mengatakan bahwa dalam estetis ditemukan kebenaran, tetapi bukan kebenaran melalui metodis (penalaran) melainkan kebenaran yang menurut faktanya “berlainan dengan kebenaran metodis”. Gadamer juga mencetuskan tentang konsep “permainan”. Hans-Georg Gadamer (1990-2002) is a famous philosopher in Hermeneutics. During his retirement in 1960, his career escalated by the publishing of his book, Wahrheit und Method or Truth and Method. In his book, Gadamer gives an ontological and not a methodological understanding. In this case, Gadamer wanted to achieve the truth, not through method but by dialectics. The reason is that the dialectics enables people to imagine freedom in proposing various questions rather than those in methodical process. Starting from these things, Gadamer explored more on aesthetic subjects (arts). Gadamer said that in aesthetics, he found truth, but not the truth through methodical process (reasoning) but the truth based on its facts, “different from its methodical truth.” Gadamer also proposed a concept of “games.”
SENI PEMBEBASAN : ESTETIKA SEBAGAI MEDIA PENYADARAN
Harmonia: Journal of Arts Research and Education Vol 9, No 1 (2009)
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.v9i1.663

Abstract

Aesthetic is not only presents beauty that give pleasure without any interest of thesense, but also gives an recognition for people in terms of developing social,economic, politic, and culture phenomenon. Aesthetic which gives beauty has essenceof recognition social and culture phenomenon changes system and culture, changesvalue system in society. Reality life is imagination, fantasy, and absurd dreams,whereas the truth and kindness of beauty only occur in ideas which create beauty of lifemanagement and the value of culture system itself. Art as a media of freedom is aneffective alternative as a means of massage delivery about situation of social life thatgrow attempts of policies of decision maker and global capitalism who create system ofculture value in society for capitalist interest.Kata Kunci : estetika, penyadaran, seni, pembebasan
PENDIDIKAN SENI TARI PADA ANAK USIA DINI DI TAMAN KANAK-KANAK TADIKA PURI CABANG ERLANGGA SEMARANG SEBAGAI PROSES ALIH BUDAYA
Harmonia: Journal of Arts Research and Education Vol 5, No 1 (2004)
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.v5i1.826

Abstract

Pendidikan seni tari pada anak usia dini adalah salah satu sarana pendiidkan untuk mengembangkan kepribadian anak yang positif dalam mencapai kedewasaan.  Dalam proses mencapai kedewasaan, anak juga mengalami proses pengalihan kebudayaan sebagai model-model pengetahuan, nilai-nilai dan kepercayaan. Proses pengalihan kebudayaan yang meliputi proses sosialisasi, enkulturasi dan internalisasi, dikenalkan pada anak sejak anak usia dini melalui proses pembelajaran seni tari, anak mampu ebrsosialisasi dengan guru, lingkungan, sekolah, teman sebaya; anak mampu membentuk pola-pola yangt etap dan mantap melalui proses meniru yang dilakukan secara terus menerus; anak mampu mengembangkan ebrbagai macam perasaan, hasrat, nafsu, serta emosi dalam kepribadiannya yang ditunjukkan dengan ekspresi gerak. DI samping itu, anak juga dapat mengenal seni budaya, adat istiadat, norma-norma, tata peraturan yang berlaku di lingkungan masyarakatnya.   Kata Kunci : pendidikan seni tari, proses alih budaya, sosialisasi, inkulturasi, internalisasi.  
Banyumas People's Characteristics Symbolically Reflected on Calung Banyumasan Performance Suharto, S.
Harmonia: Journal of Arts Research and Education Vol 18, No 1 (2018): June 2018
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.v18i1.11570

Abstract

This research aims at examining how Banyumas people's characteristics are symbolically expressed in Calung Banyumasan performance. This qualitative research employs a hermeneutic approach to examine any symbolic meanings in calung performance. The data are collected by literary study, document study, observation and interview, which are then analyzed using content analysis and interactive analysis of Miles and Huberman. The research results show that some song lyrics identify Banyumas people’s images and characteristics such as equality and honesty (cablaka) just like the ngoko level language they use. The performance consists of opening, Lenggeran, Badhudan, and Baladewan acts in the process of illustrating the character of Banyumas people who love jokes and crowd. Some aspects arising in performance reflect Banyumas people as an egalitarian, straightforward, like-to-gather, and syncretic society.
The Popularity of Waranggana Tayub Malang through Body Exploitation Hidajat, Robby
Harmonia: Journal of Arts Research and Education Vol 14, No 2 (2014): December 2014
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.v14i2.3288

Abstract

Tayub is a ronggeng type of dance performance. It is widely performed in Javanese regions.Originally, Tayub functioned as a fertility ritual; then it developed as entertainment. The growth of Tayub in Malang in the 1950s was intended for identity and the main dancer called tandak was changed to Waranggana. As a result, there was a transformation in the form of the dancer’s body: (1) exploring body-initiating identity, (2) manipulating the body through magical effect, and (3) body consumptive economization and love ruse. The qualitative method was used with an art phenomenological model in this study. The data were collected using interview and observation methods and was analyzed interpretatively. The result of the research was that female body interpretation is politicized to survive creatively, in order to maintain popularity and to support the lifestyle of the artist.
ASPEK HISTORIS WIRAWANITA DALAM BUDAYA JAWA (The Historical Aspect of Women's Bravery in Javanese Culture)
Harmonia: Journal of Arts Research and Education Vol 2, No 2 (2001)
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.v2i2.848

Abstract

Seiring perjalanan waktu , sejarah peradaban manusia mencatat berbagaiperisiwa penting dalam hidup manusia. Pada budaya Jawa pria dan wanitamengalami siklus dalam memimpin masyarakat. Wanita bukan lagidipandang sebagai lambang kesuburan. Wira wanita menunjukkan buktisejarah bahwa kepemimpinan wanita pernah terjadi di lingkungan budayaJawa. Berbagai prasasti yang tertinggal, arca dalam candi-candi, legende,karya sastra dan babat merupakan peningalan yang berharga agarmendapatkan makna baru dalam peradaban sekarang.Kata Kunci: Sejarah, Wirawanita, Budaya Jawa, Makna Baru
NILAI- NILAI BUDAYA DALAM KESENIAN TUTOR PMtoH Nilai-nilai Budttya dalam Kesenian Tutur PMtoh (Cultural Values in Art of PM toH)
Harmonia: Journal of Arts Research and Education Vol 8, No 2 (2007)
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.v8i2.794

Abstract

Salah satu kesenian Aceh dalam bentuk tutur (cerita) adalah PMToH yang hidup danberkembang dalam masyarakat. Kesenian tersebut dalam penyajiannya didukung olehsatu penyaji saja dengan membawa pesan yang berbeda, pola penyajian yang dinamis darikesenian ini dapat melalui simbol-simbol tertentu yang memformulasikan perasaan danfungsi bahasa sebagai media komunikasi simbolik dan berbentuk puisi. Kesenian PMToHlahir sekitar tahun 1800, kesenian ini disebut dengan kesenian PMToH karena menurutpara pendengar dan pengemarnya hidung dari bapak Adnan itu mirip klakson PMToH.Kesenian itu terus digemari oleh masyarakat Aceh, hal ini terbukti dengan semakinbanyaknya permintaan tayangan kesenian tersebut di TVRI yang penayangannya sudah lebihdari dua tahun lalu. Kesenian tersebut dari hari ke hari terus mendapat tempat di hatirakyat, kesenian tersebut mengandung nilai-nilai budaya yang tinggi dan sangatberpengaruh bagi masyarakat penikmatnya. PMToH merupakan seni tutur yangpenampilannya menggunakan atribut-atribut yang mendukung cerita. Atribut tersebutberupa benda-benda yang ada dalam kehidupan seperti; gayung air, panci, sendok, wig,baju, topi, palu, dan beberapa peralatan lain yang biasanya telah disesuaikan dengancerita.Kata kunci: kesenian, teather, dinamis, penyaji, puisi, tutur, simbolik
SENDRATARI LANGENDRIYAN ABIMANYU GUSUR (Langendriyan dance drama the death of Abimanyu)
Harmonia: Journal of Arts Research and Education Vol 4, No 1 (2003)
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.v4i1.701

Abstract

Sendratari Langendriyan Abimanyu Gugur merupakan komposisi tari garapan  baru. Tokoh Abimanyu dalam pewayangan Jawa merupakan tokoh Senopati  Pandawa yang gugur di tengah perang Bharatayuda karena dikeroyok oleh  prajurit Kurawa yang dipimpin Jayadrata. Dalam Sendratari Langendriyan pada  malam Seminar Internasional Indiginasi llmu dan Seni di STSI Surakarta  merupakan kolaborasi antara Padneswara Jakarta pimpinan Retno Maruti dan sen/man STSI Surakarta. dengan garap Bedayan. Corak garapan baru terdapat da/am bentuk sajian tari, seniman penyaji, ide gagasan yang ingin dituangkan dan  karawitan iringan tannya. Sendratari yang lebih banyak dikenal da/am bentuk  Sendratari Ramayana digarap mengambil lakon versi Mahabharata. Sajian tari  yang berupa gerak digarap dengan dialog yang menggunakan tetembangan.  Bentuk sajian Bedaya yang biasanya untuk kepentingan keraton yang lebih bersifat  magis dan simbolis digunakan untuk menggarap lakon dalam wayang.Sendratari Langendriyan Abimanyu Gugur digarap dengan garap Bedayan, ini  berarti jumlah penari setiap kelompok sembilan orang dan ditarikan pada saat  tertentu, tata rias dan tata busana semua penari relatif seragam, tata has wajah  tidak mencerminkan ekspresi karakter tokoh tertentu, gerak tarinya relatif sama,  perbedaan gerak pada perubahan simbol karakter yang dibawakan, dialog dengan  menggunakan tetembangan/vokal, karawitan iringan tari disusun sesuai dengan  suasana lakon. Kesan yang diperoleh adalah mistis dan simbolis.Kata kunci: Bedaya, Sendratari Langendriyan, garap baru.
Acting, Movements, and the Three Important Components Configuration in Marginalizing Randai as an Entertainment Show
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.

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