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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
 71   72   73   74   75 
Braindance Activities Based on Minang Dance Basic Movements in Children Ages 5-6 Years Old Yetti, Elindra; Syarah, Erie Siti
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
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.v21i2.32046

Abstract

Braindance activities based on Minang dance basic movements are moving activities carried out by children aged 5-6 years at an early childhood education institution in Bukittinggi City since 2019 when the trial results of the development of braindance based on the Minang dance basic movements were implemented at the Early Childhood Institutions.  This study aims to (1) examine the uniqueness of the braindance movement based on the Minang dance basic movements, (2) examine the growth and development of children that appear after participating in the braindance activities, (3) examine the situation and condition of the child in the Minang braindance activities. This study used qualitative methods with data collection techniques through observation, interviews, and documentation. Data analysis was carried out with the stages of condensation, data presentation, and drawing conclusion. Data validation was carried out using triangulation of techniques, sources, and time. The study was conducted on fifteen students aged 5-6 years at an early childhood education institution in Bukittinggi. The results showed that: (1) Braindance based on Minang dance basic movements is an activity that combines gymnastic movements with the basic movements of Minang dance, as well as Minang music accompaniment; (2) Children’s motor skills become better, children can coordinate movement, brain, and feelings, and children’s creativity becomes more developed; (3) Minang braindance activities are fun for children.
A Review of The Sundanese Scale Theory Sasaki, Mariko; Masunah, Juju
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
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.v21i2.32995

Abstract

This article aims to discuss Kusumadinata’s scale theory in Sundanese music which has been taught in educational institutions in West Java, Indonesia. According to Kusumadinata’s scale theory, sorog and pelog are scales derived from salendro scale in gamelan salendro performance. In my previous research, I investigated three genres of Sundanese performing arts which have existed since the Hindu era, namely goong renteng, pantun, and tarawangsa. The results indicate that the pelog scale has independently existed since the Hindu era. Then, I analyzed the phenomenon that occurs in the gamelan salendro performance, i.e., its melody (rebab and vocals) conventionally modulate into scale ‘like sorog’, occasionally into scale ‘like pelog’, whereas the instruments of gamelan are in the salendro scale. However, the analysis on the sorog in the previous research was not enough, so that in this paper, I will focus on the sorog. To find out the relationship between melody (vocal and rebab) and gamelan instruments, I examined the actual performances of gamelan salendro and wayang golek purwa. It became clear that the salendro scale derives four types of sorog. The findings of this study indicate that sorog has existed since the 19th century by this phenomenon, and the scale now called sorog is a scale derived from salendro. 
Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists Casta, Casta; Rohendi Rohidi, Tjetjep; Triyanto, Triyanto; Karim, Abdul
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
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.v21i2.30348

Abstract

This study aims to find the repertoire of aesthetic taste as a creative act and its relation to symbolic power in the arena of Indonesian cultural production of glass painting. The study used a qualitative approach with a phenomenological design. Data collection used in-depth interviews, participant observation, individual life’s history, and document examination. Data analysis used interpretive phenomenological analysis. The study finds five aesthetic taste repertoires that include: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative visualization of calligraphy pictographs of petarekatan  with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung ornaments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. The five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. The production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. The production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power.
The Image of Woman in the Sintren and Kuda Kepang Arts: Gender Reality and Aesthetic Exploration Lestari, Wahyu; Iryanti, Veronica Eny; Barus, Syukur Samuel
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
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.v21i2.29927

Abstract

The image of women that is actualized through the construction of gender roles, positions, and adaptation processes in artistic expression through Sintren and Kuda Kepang performances is very different. In this regard, the research aims to: (1) explain the forms of art performances of Sintren and Kuda Kepang; and (2) explain the image of women in the art performances of Sintren and Kuda Kepang in the context of gender reality and aesthetic exploration. The research was conducted on the art of Sintren Ujung Gede in Pemalang Regency and Kuda Kepang Turonggoseto in Semarang Regency. The research data were collected using the techniques of (1) observation, (2) interviews, and (3) document studies. The validity of the research data was carried out using the confirmability technique. The study used an interactive model analysis procedure, which was carried out with the stages of data collection, data reduction, data classification, and drawing conclusions. The results show that: (1) Sintren and Kuda Kepang arts are forms of traditional folk-art performances in which there is a scene of trance. This art is usually performed on stage or open arena by involving women as players; (2) The presence of women in the Sintren performances is a requirement that traditionally must be fulfilled until now. On the other hand, in the Kuda Kepang performances, the presence of women is a new phenomenon that provides opportunities and freedom for women to express themselves through dance. In the Sintren performance, the position of women becomes the center, subject, and object during the performance process. As a result, changes in the function of arts often result in the exploitation of Sintren dancers. On the other hand, in the Kuda Kepang art, the involvement of women with all their adaptations provides a new space for resistance to the existing gender stereotypes.
Changes in Form and Style in Randai Performance at The Minangkabau Diaspora in Malaysia Indrayuda, Indrayuda; Samsuddin, Mohd Effindi
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
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.v21i2.32043

Abstract

This article reveals the changes in form and style of the Randai performance performed by the Minangkabau’s diaspora in Malaysia. The novelty of this research is the study of changes in forms and styles in Randai carried out by the Malaysian Minangkabau diaspora. The disconnection of socio-cultural communication and the long distance between Minangkabau and Peninsular Malaysia impacts the shift in forms and styles of Randai in the Minangkabau diaspora. This research was conducted qualitatively by designing research works such as pre-field studies, by collecting preliminary data based on a diffusion approach. In the field stage, the informants were selected by snowball sampling. The interview and observation instruments were designed based on the performance structure and performance procedures. Researchers conducted data analysis using the techniques recommended by Spradley, namely: (1) domain analysis, (2) taxonomic analysis, (3) componential analysis, and (4) discovering cultural themes. The study results revealed that the forms and styles were caused by mixing cultures between the diaspora and the Malaysian Malays. These changes were done so that the local community could accept Randai. In addition, Randai can be easily learned and cultivated by the Malay Malays and easily expressed by the Malaysian community and the Minangkabau diaspora as the perpetrators of Randai. These changes occur through a process of adaptation and acculturation. The implication of this research is the emergence of a new Randai model, namely Randai, which refers to local culture, both from the aspect of the story, Silat style, and music, as an identity and tradition for the Malaysian Minangkabau diaspora for the future.
Musical Facts and Sustainability of Trunthung Music in Eco-cultural Studies Sinaga, Fajry Sub'haan Syah; Sinaga, Syahrul Syah
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
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.v21i2.31528

Abstract

This study aims to review the sustainability of Trunthung Music that shapes an ecosystem within the context of eco-culture. The study belongs to the nature of qualitative research with an interdisciplinary approach and several ecological concepts that reflect the culture of the peasant community over the slope of Merbabu Mountain in Magelang. The study itself is conducted in Warangan Hamlet and Gejayan Hamlet, the Regency of Magelang. The data are gathered through observation, documentation, and in-depth interviews with the informants related to the Trunthung Music. Then, the source triangulation technique is implemented through the test of trustworthiness by inspecting the data on the development of Trunthung Music toward the artists in Warangan Hamlet and the members of Lima Gunung Community. The data that have been attained from various sources are described, categorized, and eventually analyzed so that the ecosystem of Trunthung Music that has been on the progress can be identified. The results of the study show that Trunthung Music has been a performance that combines sonoric, kinesthetic, and visual dimensions, including their association with the natural condition and the peasant life over the Slope of Merbabu. The dialectics of Trunthung Music and the components of its ecosystem are in interaction with one another, resulting in the sustainability of the music until the present days. Then, the components of such ecosystem are the local agents who create the Trunthung Music and their interaction with the art community, be it with the Lima Gunung Community in the context of the Regency of Magelang and with the artists living outside the Regency of Magelang. In addition, the presence of Trunthung Music is associated with the traditional rites in the Warangan Hamlet, such as Nyadran Kali and Tapak Jaran Sembrani. All of these activities have good correlations among music, environment, and culture within the context of eco-culture. 
Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts Dana, I Wayan; Artini, Ni Kadek Juni
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
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.v21i2.31890

Abstract

The Baris Memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. It is danced by 7-15 male dancers. This dance is performed in Ngaben (cremation) ceremony called Pitra Yadnya, using the Baleganjur gamelan accompaniment. The objective of this study is  to analyze the form of existence of the Baris Memedi dance in implementing the Pitra Yadnya ceremony. Another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. The additional objective is to find the uniqueness of the dance that it needs preservation. The method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. Based on observation, Baris Memedi dance has four stages in its presentation form. The preservation strategy is the active role of supporting the community, the role of Jatiluwih Village apparatus, Jatiluwih artists’ participation, and the government’s support. The most important aspect of Baris Memedi it is inseparable from its community. The proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through Ajeg Bali. 
The Effect of Music Listening and Progressive Muscle Relaxation on The Stress Level of Novice Music Teachers during Coronavirus Disease 2019 (Covid-19) in Malaysia Peyee, Yong; Wing, Cheong Ku; Hwa, Poon Chiew
Harmonia: Journal of Arts Research and Education Vol 21, No 1 (2021): June 2021
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.v21i1.29679

Abstract

The outbreak of Coronavirus Disease 2019 (COVID-19) has contributed stress to many people around the world due to fear and anxiety. Other than health issues, it has threatened the overall economy and influenced a drastic change of lifestyle. The purpose of this quasi-experimental study was to examine the effect of music listening and progressive muscle relaxation (PMR) on the stress level of novice music teachers in Malaysia by using a mixed-method research design, combining quantitative and qualitative approaches. Based on the pre-test questionnaire, a sample of 30 participants was divided equally into high-moderate stress and low-stress groups based on Perceived Stress Scale-10 (PSS-10). The quantitative results revealed a significant decrease in stress scores among the majority of the novice music teachers from high-moderate stress groups and insignificant differences in low-stress groups. The intervention was found to be effective as a stress-reduction therapy and benefits more on participants with higher stress levels. Ten interviewees were selected from the 30 participants to examine their career-stress-related challenges. The qualitative findings were divided into professional and non-professional challenges, included online teaching and learning, time management, financial issues, physiological issues, and emotional issues.  
The art education construction of woven craft society in Kudus Regency
Harmonia: Journal of Arts Research and Education Vol 17, No 1 (2017): June 2017
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.v17i1.8837

Abstract

One example of society-based local art which is constantly enculturated is woven craft of Desa Jepang (Jepang Village) Kecamatan Mejobo in Kudus Regency. This paper aims at explaining the enculturation of woven craft grown in Jepang village Kudus Regency Central Java Province Indonesia as a form society-based art education. The approach employed in this study was qualitative with the cased study as the research design. Data were collected through observation, non-structural interview, as well as documentation study with interactive model analysis. Research results show that art education grows within the society as the result of enculturation process of woven craft art in Jepang Village that takes place in the forms of: (1) the transmission of the craft skill and (2) the transmission of socio-cultural values. The transmission process is done between the old and young generations both in informal and non-formal ways. The woven craft of Jepang Village as an art product that has been enculturated is unique in terms of its form, media, technique, idea, as well as the modification aspects.
PENGARUH BUSANA TERHADAP GERAKAN TARI OLEG TAMULILINGAN
Harmonia: Journal of Arts Research and Education Vol 13, No 1 (2013): June 2013
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.v13i1.2536

Abstract

Tari Oleg Tamulilingan merupakan  salah satu warisan nusantara yang muncul di pulau Bali pada tahun 1950-an. Tari ini eksis sampai sekarang karena balutan busananya yang menarik sehingga beberapa teba gerak dipengaruhi oleh balutan busana tersebut, yang memberikan kesan feminim dan maskulin. Kain yang menjulur ke belakang di sela-sela kaki kanan dan kaki kiri, rambut panjang yang berjuntai ke bawah, oncer yang bergelayut di pinggang sebelah kanan dan sebelah kiri, memberikan kesan lemah gemulainya gerakan tari.  Langkah kaki untuk bisa berjalan napak dengan tempo yang pelan dan berjalan jinjit dengan tempo yang cepat sangat dipengaruhi oleh disain kain yang menjulur ke belakang sepanjang 1 meter yang melewati di antara kaki kanan dan kaki kiri.Tari ini menggambarkan percintaan sepasang kumbang yang sedang mengisap sari atau bunga. Sepasang penari putra dan putri merealisasikan tari ini dengan balutan busana yang indah dan gerakan-gerakan yang menarik. Kedinamisan gerak dari sepasang penari  ini juga bisa dilihat dari tempo yang dimainkan seperti cepat, sedang, dan lambat. Tari ini selalu tampil di hotel-hotel atau di beberapa tempat pariwisata yang ada di Bali untuk menghibur wisatawan dan wisatawati yang berkunjung ke Bali. Oleg Tamulilingan dance is one of Indonesian archipelago heritages, which originated in Bali Island in the 1950-s. The dance has been existing up to this present. The dancers wear alluring costumes and the costumes influence the dancers’ dance movement, either feminine or masculine movement. The cloth extending backward between right and left feet, long hair elongating downward, oncer slinging round the right and left waists, giving its suave dance movement. The footsteps to walk on sole in a slow tempo and on tiptoe in a quick tempo is really influenced by cloth design extending backward of 1 meter long between the right and left feet. This dance portrays a love romance between a couple of bees, which were sucking nectars. A couple of male and female dancers communicate this dance by their appealing costumes and movement. The dynamic movement of the dancers could also be noticed from its tempo. This dance is always performed in hotels and several tourism sites in Bali to entertain visitors to Bali.

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