cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Suharto
Contact Email
suharto@mail.unnes.ac.id
Phone
+628122853530
Journal Mail Official
suharto@mail.unnes.ac.id
Editorial Address
Gedung B2 Lt.1 Kampus Sekarang Gunungpati Semarang 50229
Location
Kota semarang,
Jawa tengah
INDONESIA
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
 111   112   113   114   115 
METODE DAN TEKNIK PENGAJARAN TARI (Method and Technique of Dance Learning)
Harmonia: Journal of Arts Research and Education Vol 3, No 2 (2002)
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.v3i2.689

Abstract

Tiada metode yang paling baik dan paling unggul, melainkan hanya orang mampu menggunakan metode secara tepat. Suatu metode pengajaran sangat erat kaitamya dengan faktor-faktor lain dalam proses belajar- mengajar, terutama tujuan yang hendak  dicapainya. Penggunaan metode juga sering melibatkan teknik-teknik tertentu. Oleh karena itu, pemanfaatan terhadap metode dan teknik pengajaran seni tari sangat bergantung kepada ketepatan memilih dan kemampuan untuk menggunakannya. Penggunaan metode maupun teknik pengajaran tari harus tetap mengacu kepada kepentingan pendidikan seni secara menyeluruh, yaitu sebagai wahana untuk menumbuhkan dan mengembangkan daya kreatif. ekspresif, imajinatif, keterampilan dan apresiatif agar siswa memiliki nilai dan sikap yang mampu untuk membangun dirinya sendiri serta menjunjung tinggi nilai-nilai budi pekerti luhur budaya bangsa. Kata Kunci: Metode dan teknik pengajaran
Malang Mask Puppet in Era of Globalization: Social and Cultural Impact
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. 
Aesthetic Value of Wahyu Manggolo’s Kethoprak Performance Presenting Mahesa Jenar Series Alap-Alap Jentik Manis -, Pujiati
Harmonia: Journal of Arts Research and Education Vol 15, No 1 (2015): June 2015
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.v15i1.3726

Abstract

The purposes of this research are (1) to find out the aesthetic value of Wahyu Manggolo’s kethoprak performances presenting Mahesa Jenar series Alap-alap Jentik Manis in the village of Tanjungsari, Jakenan in Pati Regency and (2) to depict the kethoprak performance there. This study uses a qualitative method depicting the aesthetic elements and the forming elements of the value in Wahyu Manggolo’s kethoprak. The techniques of data collection are an interview, an observation, and a documentation. The results showed that there are five elements as parts of an aesthetic value in the performance. Those elements are shape, story, character, content, and characteristic, while seven elements to form the value are unity, complexity, intensity, stimulation or determinant, consequents as a means of recording emotional levels, moods, and characters.
KOLABORASI ANTARA JARAN KEPANG DENGAN CAMPURSARI: SUATU BENTUK PERUBAHAN KESENIAN TRADISIONAL
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.v11i1.1497

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
Bangkitnya Kembali Kesenian Tradisional Rakyat sebagai Warisan Budaya Nenek Moyang di Bukit Menoreh Bhumi Sabhara Budhara (The Re-animation of the Traditional Folk Arts as the Ancestors Cultural Heritage at Bukit Menoreh Bhumi Sambhara Budhara)
Harmonia: Journal of Arts Research and Education Vol 7, No 2 (2006)
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.v7i2.754

Abstract

Seni Tradisional Rakyat atau Traditional Folk Arts akhir-akhir ini tidak lagipopuler di kalangan anak-anak muda. Penghambat utama adalah kemajuantehnologi media yang berupa radio, tv, video, vcd dan sebagainya. Sebagianbesar anak muda Indonesia baik di desa dan terutama di perkotaan cenderungmendengarkan/menonton program yang berbau kebarat-baratan atau musikirama dangdut yang lebih dinamis dan variatif. Namun kaum muda di daerahperbukitan Menoreh di Bhumi Sambhara Budhara tidak tergoyahkan olehkemajuan zaman maupun kemajuan tehnologi media. Mereka tetap mencintaiKesenian Tradisional Rakyat Warisan Budaya Nenek Moyangnya. Merekaterus berusaha melestarikannya, bahkan terus berkreasi danmempertahankannya tanpa mempedulikan krisis ekonomi yangberkepanjangan dan melanda pedesaan saat ini.Kata kunci: Kesenian Tradisional Rakyat, Warisan, Nenek Moyang
PERAN LOKAL GENIUS DALAM KESENIAN LOKAL (The Role of Local Genius in The Local Art)
Harmonia: Journal of Arts Research and Education Vol 1, No 2 (2000)
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.v1i2.842

Abstract

Lokal genius yang sangat beragam dan dimiliki oleh suku-suku yang adadi setiap kawasan Nusantara merupakan tolok ukur peradaban diIndonesia. Lokal genius menjadi berarti jika dapat dipahami dan dihargaioleh orang-orang yang menggelutinya, sehingga menjadi suatukebanggaan masyarakat pendukung maupun pelestarinya. Jika LokalGenius masyarakat kuat, tak perlu ada yang dikhawatirkan akanmasuknya unsur budaya luar yang tidak sesuai dengan kepribadianbangsa Indonesia. Bahkan, lokal genius dari budaya luar dapatdimanfaatkan sebagai pengendali ataupun pemacu kualitas lokal geniusyang ada di Indonesia.Kata kunci : lokal genius, kebudayaan, kesenian, masyarakat
Strengthening National Identity Through The Learning of East Culture-Based Art Education
Harmonia: Journal of Arts Research and Education Vol 20, No 1 (2020): June 2020
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.v20i1.21711

Abstract

Eastern culture-based art education is an effort to strengthen and build national identity through the transfer of knowledge and the transfer of value in the values of diversity and cultural preservation. The purpose of this study is to provide a conceptual picture of strengthening national identity through learning art education based on eastern culture. The method used is qualitative research by examining science theoretically through literature study, documentation, video, and audio study approaches that are analyzed descriptively. The results showed that some of the eastern cultural arts which are full of messages, moral values, and philosophy of life as a foundation for strengthening and building national identity through art education based on eastern culture are the arts of go laba, Ja’i, and reba traditional rituals. The art is a tradition of the people of Ngada, Flores, NTT which is used as an accompanying event in traditional rituals such as the ritual of making a new traditional house, the ritual of making customary symbols (ngadhu-bhaga), and the ritual of pesat kampung (ka nua). While, the conceptualization picture of strengthening the national identity through learning art education based on eastern culture can be done by; First, the stages of classification by selecting various kinds of art genres (music, dance, theater, visual) Eastern culture, to find meaning and values embodied in local wisdom. Second, the identification stage by identifying the learning of arts-based on eastern culture in the form of text and context into the realm of affective, cognitive, psychomotor, and creative. Third, the implementation stage by applying the results of classifying and identifying eastern culture-based art learning to be applied to students so they can understand the values contained in local culture and have cultural intelligence.
The Inheritance of Malay Palace Dance in Malaysia and Yogyakarta Classical Dance in Indonesia Taib Bin Saearani, Muhammad Fazli; Cahyono, Agus
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.v16i1.6145

Abstract

The background of this study is the effort of solving the inheritance problem faced by Malaysia in the case of Malay Palace dance which is currently in decline. This study is done by using best practice from the The Development and Inheritance of Yogyakarta Classical Dance (TKGY) done by the Ngayogyakarta Hadiningrat Palace and some formal and non-formal institutions in Yogyakarta, Indonesia. TKGY is chosen as it is viewed to have positive life in classical Palace dance and involve various actors and clear strategies. For three years, the researcher has done the research by observing the inheritance context (TKGY) to identify preservation phenomena done in Yogyakarta. This research is using a qualitative approach. The data are collected by doing in-depth interviews with some leaders of the main studios in Yogyakarta and Malay Palace dance choreographers in Malaysia. The result of the research shows that there are some similarities and differences between Malay palace dance in Malaysia and Yogyakarta classical dance. Some strategies have been used to describe how the Malaysian government adopts inheritance strategies (TKGY) used by actors in the inheritance discourse (TKGY).How to Cite: Saearani, M. F. T. B Cahyono, A. (2016). The Inheritance of Malay Palace Dance in Malaysia and Yogyakarta Classical Dance in Indonesia . Harmonia: Journal of Arts Research And Education, 16(1), 75-86. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6145 
DIMENSI RAME: GEJALA, BENTUK, DAN CIRI
Harmonia: Journal of Arts Research and Education Vol 12, No 1 (2012)
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.v12i1.2218

Abstract

Umumnya rame dianggap sebagai hal wajar, biasa, dan lumrah. Namun di balik itu, rame adalah sebuah kebutuhan hidup. Rame justru sengaja dibentuk untuk mengisi ruang-ruang hidup yang kosong, sepi, atau nirmakna.  Kehadiran rame sendiri di(ter-) kondisikan, tidak pernah hadir tanpa sebab atau aksi. Sebaliknya, kehadirannya selalu ada di dalam hubungan peristiwa antara apa yang menjadi sebab dan apa akibatnya, atau apa aksinya dan apa reaksinya. Tulisan ini membahas  dimensi rame berdasarkan atas gejala, bentuk, dan ciri-cirinya. Secara gejala, rame berbeda dengan noise, di dalam upacara justru ini disengaja untuk mempertebal lapis simbolis, ritus, agama sekaligus sosialnya. Bentuknya selalu dapat dialami dengan indera, dapat dilihat, didengar, dihirup, dicecap, disentuh/diraba, atau dirasakan. In general rame is considered a commonplace thing. Yet, beyond all this, rame is a life necessity. Rame is indeed created to fill up vacant, lonely, or meaningless living spaces. Rame is always present by some causes or actions. In other words, it is present because of cause and effect relationship, or action and reaction process. This article discusses the dimension of rame based on phenomena, form, and its characteristics. Phenomenologically, rame is different from noise, because in ceremonies rame functions to solidify symbolic, ritual, religious, and social layers. The form could always be experienced by senses it is perceivable, smellable, tasteable, and touchable.
KECAKAPAN PERSEPSI DALAM PEMBELAJARAN KETERAMPILAN PSIKOMOTORIK KESEGARAN JASMANI DAN SENI GERAK
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.v9i1.674

Abstract

Learning movement /psychomotor skill in art of movement and body health, both complexand simple one, need such good integration of students’ physical and physic function. To getthe maximum result, it needs perseverance, correctness, integrity, concentration andcoordination between perception and movement. In fact, students have perceptual and physicability. Efficiency in perceptual ability closely related to students’ development in cognitive,affectiv

Page 113 of 122 | Total Record : 1219

 111   112   113   114   115 

Filter by Year

2000 2024


Reset
Filter By Issues
All Issue Vol 24, No 1 (2024): June 2024 Vol 23, No 2 (2023): December 2023 Vol 23, No 1 (2023): June 2023 Vol 22, No 2 (2022): December 2022 Vol 22, No 1 (2022): June 2022 Vol 21, No 2 (2021): December 2021 Vol 21, No 1 (2021): June 2021 Vol 20, No 2 (2020): December 2020 Vol 20, No 1 (2020): June 2020 Vol 19, No 2 (2019): December 2019 Vol 19, No 1 (2019): June 2019 Vol 18, No 2 (2018): December 2018 Vol 18, No 1 (2018): June 2018 Vol 17, No 2 (2017): December 2017 Vol 17, No 1 (2017): June 2017 Vol 16, No 2 (2016): December 2016 Vol 16, No 2 (2016): (Nationally Accredited, December 2016) Vol 16, No 1 (2016): June 2016 Vol 16, No 1 (2016): (Nationally Accredited, June 2016) Vol 15, No 2 (2015): December 2015 Vol 15, No 2 (2015): (EBSCO, DOAJ & DOI Indexed, December 2015) Vol 15, No 1 (2015): (EBSCO, DOAJ & DOI Indexed, June 2015) Vol 15, No 1 (2015): June 2015 Vol 14, No 2 (2014): (EBSCO, DOAJ & DOI Indexed, December 2014) Vol 14, No 2 (2014): December 2014 Vol 14, No 1 (2014): June 2014 Vol 14, No 1 (2014): (DOI & DOAJ Indexed, June 2014) Vol 13, No 2 (2013): (DOI & DOAJ Indexed, December 2013) Vol 13, No 2 (2013): December 2013 Vol 13, No 1 (2013): June 2013 Vol 13, No 1 (2013): (DOI & DOAJ Indexed, June 2013) Vol 12, No 2 (2012) Vol 12, No 2 (2012) Vol 12, No 1 (2012) Vol 12, No 1 (2012) Vol 11, No 2 (2011) Vol 11, No 2 (2011) Vol 11, No 1 (2011) Vol 11, No 1 (2011) Vol 10, No 2 (2010) Vol 10, No 2 (2010) Vol 10, No 1 (2010) Vol 10, No 1 (2010) Vol 9, No 2 (2009) Vol 9, No 2 (2009) Vol 9, No 1 (2009) Vol 9, No 1 (2009) Vol 8, No 3 (2007) Vol 8, No 3 (2007) Vol 8, No 2 (2007) Vol 8, No 2 (2007) Vol 8, No 1 (2007) Vol 8, No 1 (2007) Vol 7, No 3 (2006) Vol 7, No 3 (2006) Vol 7, No 2 (2006) Vol 7, No 2 (2006) Vol 7, No 1 (2006) Vol 7, No 1 (2006) Vol 6, No 3 (2005) Vol 6, No 3 (2005) Vol 6, No 2 (2005) Vol 6, No 2 (2005) Vol 5, No 3 (2004) Vol 5, No 3 (2004) Vol 5, No 1 (2004) Vol 5, No 1 (2004) Vol 4, No 3 (2003) Vol 4, No 3 (2003) Vol 4, No 2 (2003) Vol 4, No 2 (2003) Vol 4, No 1 (2003) Vol 4, No 1 (2003) Vol 3, No 2 (2002) Vol 3, No 2 (2002) Vol 2, No 3 (2001) Vol 2, No 3 (2001) Vol 2, No 2 (2001) Vol 2, No 2 (2001) Vol 1, No 2 (2000) Vol 1, No 2 (2000) Vol 1, No 1 (2000) Vol 1, No 1 (2000) More Issue