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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
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ANALISIS BUKU TEKS MATA PELAJARAN SENI BUDAYA PADA KURIKULUM TINGKAT SATUAN PENDIDIKAN DI KOTA SEMARANG Aesijah, Siti
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.v9i1.677

Abstract

The interesting study is about appropriateness among content in textbook art material in SMPas source in KTSP curriculum, with teachers, students, and school condition. This researchuses qualitative approach. Data collection techniques are observation, interview, anddocumentation. Analyzing data done by using descriptive-qualitative analysis. Techniques ofchecking relevance data use cross-recheck validity. Based on the research result, writtentextbook, which distributed in schools have fulfilled material scope appropriate withcompetence expected in the curriculum, but the utilization was not in maximum. There arefew textbooks that using utilization guidance organized by “Yudhistira” publisher but theexplanation of content is less systematically. “Erlangga” publisher have explained materialsystematically but it is not enough to simulate students’ thought, however “Tiga Serangkai”publisher have presented music material completely but it is presented not interestingly. Eachpublisher has their own superiority but they also have drawback. Therefore, teachers canexploit the superiority of each publisher but cover their drawbacks with the other books.Kata Kunci : analisis, buku teks , seni budaya, KTSP
PEMANFAATAN TARI BARONGSAI UNTUK PARISIWATA Cahyono, Agus; Putro, Bintang Hanggoro
Harmonia: Journal of Arts Research and Education Vol 10, No 1 (2010)
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.v10i1.52

Abstract

The problem studied is the form of performance and Barongsai choreography elements that are applied to help offering dan increasing the selling point of cultural tourism in Semarang. The objective of the study is to describe the form of performance and choreography elements of Barongsai as cultural tourism so that it can help the selling point of cultural tourism in Semarang. The result of the study, in general, is expected to be of beneficial as a theoretical and practical input to the related parties. In particular, the result of the study can provide empirical input for the artists, art observers, policy makers related to the cultural tourism. The method of the study uses qualitative approach. The study site was in Semarang. The data was collected by using controlled observation technique, deep interview, and documentary research. The data acquired is analyzed qualitatively by using interactive cycle model through reduction, presentation and verification process. The validation of the data and the analisys was done through trianggulation among research team. The result shows some findings. First, the form of Barongsai performance as cultural tourism is solid coreoragphy. Second, the coreography of Barongsai dance contain attractive elements and environmentally sound. Kata kunci: Tari Barongsai, pariwisata, koreografi padat, attractive, berwawasan lingkungan
PEMBELAJARAN BERBASIS ANAK DALAM PENGEMBANGAN BIDANG SENI (RUPA) DI PAUD BATIK DAN PAUD SABITUL AZMI SIDOARJO Khotimah, Nurul
Harmonia: Journal of Arts Research and Education Vol 12, No 2 (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.v12i2.2522

Abstract

Pembelajarannya berbasis anak adalah pembelajaran yang diterapkan di sekolah berdasarkan kebutuhan anak, berorientasi pada perkembangan anak, bermain sambil belajar, pengajaran berpusat pada anak, PAKEM (Pembelajaran aktif, kreatif, efektif dan menyenangkan). Penelitian ini  menggunakan pendekatan  kualitatif, studi komparatif yaitu studi perbandingan  diusahakan untuk menemukan persamaan dan  perbedaan  kualitas pembelajaran pengembangan bidang seni (rupa) di PAUD Batik dan PAUD Sabitul Azmi Sidoarjo. Hasil penelitian menunjukkan bahwa pembelajaran di PAUD Batik dan PAUD Sabitul Azmi Sidoarjo berbasis anak, pembelajaran  mengacu pada kurikulum Diknas dan kurikulum Depag yang terintregasi pada menu pembelajaran generik dengan metode BCCT dalam pengembangan bidang seni (rupa) melalui menggambar sederhana, mewarnai sederhana, dan menciptakan sesuatu dengan berbagai media dengan pendekatan ekspresi anak. Kegiatannya dilakukan mulai dari perencanaan, pelaksanaan dan menghasilkan karya anak. Kelebihan pembelajaran berbasis Anak di antaranya: mengutamakan kebebasan anak, sesuai ekspresi anak, dan menghasilkan karya sesuai keinginan anak, serta meningkatkan aktivitas anak. Child-based learning is applied at pre-kindergartens based on children’s needs; it is child development-oriented and children-centered, which enables them to play and learn so that it is often referred to one motto PAKEM (an Indonesia abbreviation, which means being active, creative, affective, and fun learning). This research used qualitative approach, comparative study to find out similarity and difference of learning quality in the two pre-kindergartens. The findings show that the learning in the two pre-kindergartens refer to National Education Curriculum and Department of Religion Curriculum integrated in generic learning menu with BCCT method in art development through simple drawing, coloring, and creating a craft with various media for children’s expression. The activity began with planning, implementation, and children’s products. The advantages of this learning method are that this method prioritizes children freedom, enables them to show their expression and increases their creativity.
Spiritualitas dan Seni Islam menurut Sayyed Hossein Nasr (Spirituality and Islamic Art according to Sayyed Hossein Nasr) AZ, Siti Binti
Harmonia: Journal of Arts Research and Education Vol 6, No 3 (2005)
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.v6i3.809

Abstract

Seni bukan untuk seni sendiri. Tidak ada istilah I'art pour I'art. Karya seni, bagi Nasrharus digali dan mengekspresikan dimensi-dimensi spiritual, merefleksikan prinsipprinsiptauhid, sehingga ia mampu mengingatkan dan menuntun manusia untukkembali kepada Tuhan. Inilah ciri khas pemikiran Nasr yang perennial. Seni Islam,juga berdasarkan hikmah, yakni pengetahuan yang diilhami oleh nilai-nilai spiritual.Seni Islam mewujudkan realitas-realitas yang ada dalam 'Pembendaharaan Ghaib'(khazain alghaib) lewat bantuan ilmu pengetahuan tentang dunia batin (hikmah). SeniIslam adalah buah dari spiritualitas Islam, merupakan hasil dari pengejawantahankeesaan pada bidang keragaman. la merefleksikan kandungan Prinsip Keesaan Ilahi,kebergantungan seluruh keanekaragaman kepada Yang Esa, kesementaraan duniadan kualitas-kualitas positif dari eksistensi kosmos. Sumber seni Islam harus dicari didalam realitas-realitas batin (haqaiq) Al-Qur'an yang merupakan realitas-realitas dasarkosmos dan realitas spkitual substansi nabawi yang mengalirkan 'barakahmuhammadiyah' (Al-Barakah Al-Muhammadiyah). Aspek-aspek batin dan barakahNabi inilah yang merupakan sumber seni Islam, yang tanpa keduanya tidak akanmuncul seni Islam.Kata kunci: Islam, Spiritualitas, Seni, Estetika
Political Practice and Its Implication on Folk Art Marginalization (Case Study of Wayang Orang/ Human Puppet Ngesti Pandhowo) Lanjari, Restu
Harmonia: Journal of Arts Research and Education Vol 16, No 2 (2016): December 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.v16i2.8126

Abstract

The government, political practice, both reflected in the government, politics, policies and the attitude of the public figure, influences the existence of folk art that is overshadowed by changes as the results of modernization and industrialization. The aim of this research is to find out the marginalization of folk art because of political practice. This research was done using a qualitative approach while the subject of this research was Ngesti Pandhawa Human Puppet Group. The result of this research showed that folk art could be marginalized because of the influence of the changes in economic and politic that was formulated inside the modernization waves and technology development that offered new values. The attention of the government on the existence of folk art was still being questioned because of politic budget. The budget for art was extremely small compared to the budget for sport. The existence of folk art depended on the favor and interest of the local leaders, especially political interest.
SIMBOL BARONG DALAM KEHIDUPAN SOSIAL­RELIGIUS UMAT HINDU DI BALI (The Barng Simbol in Sosial­Religius Life of Hindunist in Bali) Astini, Siluh Made
Harmonia: Journal of Arts Research and Education Vol 4, No 2 (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.v4i2.713

Abstract

Di Bali ada beberapa kesenian yang meanrik untuk diamati, lebih ­lbih p[ada seni pertunjukanya. Barong adalah salah satu seni pertunjukan yang sangat digemari oleh masyarakat Bali sendiri, turis­turis domestik, maupun turis­turis mancanegara yang datang ke Pulau Dewata.  Barong yang dipertunjukkan di tempat profan yang fungsinya hanya untuk menghibur para tamu merupakan barong yang tidak sakral. Barong yang disakralkan adalah barong yang dianggap sebagai pelindung masyarakat karena barong sendiri dianggap mempunyai kekuatan gaib yang terletak pada mata dan anggotanya. sakral tidaknya beberapa barong di Bali, tergantung dari proses pembuatannya. Di samping itu umumnya barong­barong yang telah disakralkan tempatnya selalu berada di tempat suci umat Hindu. Barong­barong yang ada di Bali banyak sekali bentuk dan jenisnya, diantaranya barong macan, barong bangkal, baron landung, danlain sebagainya.Kata Kunci :  Simbol Barong, Jenis­jenis Barong, dan Proses  Pembuatannya
SENI PEMBEBASAN : ESTETIKA SEBAGAI MEDIA PENYADARAN Zaenuri, Ahmad; Lestari, Wahyu
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
MAKNA SIMBOLIS KOMPOSISI BEDAYA LEMAH PUTIH (BEDAYA LEMAH PUTIH COMPOSITION SYMBOLIC MEANING) Bisri, Moh. Hasan
Harmonia: Journal of Arts Research and Education Vol 6, No 2 (2005)
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.v6i2.832

Abstract

Keberadaan tari Bedaya di lingkungan kraton memiliki beberapa fungsi penting   yang terkait dengan upacara kebesaran raja, upacara penobatan raja, dan upacara resmi kerajaan. Tari Bedaya menjadi simbol-simbol status bagi raja dan  merupakan pelengkap jabatan raja, dengan demikian wajar bila tari Bedaya mendapat dukungan sepenuhnya dari raja. Bedaya adalah suatu bentuk tari kelompok, yang dilakukan oleh sembilan penari putri dengan tatarias dan busana yang sama. Masing-masing penari membawakan peran dan nama yang berbeda, yaitu: Batak, Gulu, Dhadha, Endhel Weton, Endhel Ajeg, Apit Meneng, Apit Wingking, Apit Ngajeng, dan Boncit. Tari Bedaya mempunyai konvensi tertentu, dalam hal isi maupun wujud tarinya, yang meliputi susunan tari, pola gerak, pola ruang, pola lantai, iringan, dan tatarias busana. Di sisi lain tari Bedaya mengalami perkembangan hingga keluar kraton, dan juga tentunya konvensi-konvensi pada    tari Bedoyo mengalami perubahan pula antara Bedaya di luar kraton dengan Bedaya kraton. Hingga banyak bermunculan karya-karya baru tari Bedaya bahkan lepas dengan konvensi Bedaya Kraton.   Kata Kunci: Simbol, Bedaya, Lemah Putih, Semiotik
DIMENSI RAME: GEJALA, BENTUK, DAN CIRI Mulyana, Aton Rustandi; Haryono, Timbul; Simatupang, G.R. Lono Lastoro
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.
Tari Ratoh Bantai (Ratoh Bantai Dance) Syai, Ahmad
Harmonia: Journal of Arts Research and Education Vol 8, No 1 (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.v8i1.801

Abstract

Tari Ratoh Bantai ditampilkan dengan desain lantai berbanjar dari awaltarian hingga akhir, tari Ratoh Bantai berasal dari Aceh Selatan, denganmenggunakan bantal kecil sebagai properti, tarian ini mengutamakankeserempakan gerak dalam menepuk-nepuk bantal kecil hinggamenimbulkan efek suara yang lebih menarik. Ragam tari tradisional Acehini sangat unik, sampai saat ini kurang diekspose menjadi suatu bentuktulisan yang dapat dijadikan sebagai rujukan untuk dapat diinformasikanke pada khalayak ramai guna pengenalan lebih lanjut kesenian tradisionalAceh di tingkat Nusantara. Kesenian tradisi memiliki nilai dan maknayang sangat khusus bagi masyarakat Aceh pada umumnya. Ratoh Bantaimerupakan salah satu seni tari tradisional Aceh, sebagai salah satu senipertunjukan dan sebagai media ungkap nilai-nilai religius, saranakomunikasi, sarana kesinambungan kebudayaan, dan pembelajaranbudaya.Kata kunci: ekspos, rujukan, tradisional, religius, komunikasi.

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