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
 87   88   89   90   91 
Seni Pertunjukan Arak-arakan dalam Upacara Tradisional Dugdheran di Kota Semarang (Arak-arakan Performing Art of Dugdheran Tradisional Ceremony in Semarang City)
Harmonia: Journal of Arts Research and Education Vol 7, No 3 (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.v7i3.741

Abstract

Warga masyarakat Semarang, sebagai satuan masyarakat yang hidup di daerah pesisirutara pulau Jawa, juga memiliki peristiwa yang dipandang khusus dan memiliki artipenting. Salah satu peristiwa penting bagi kehidupan warga masyarakat Semarang yaituketika menyambut datangnya bulan suci Ramadhan, warga masyarakat Semarang selalumenantikan upacara tradisional dugdheran. Tradisi dugdheran dilaksanakan setahun sekalimenjelang bulan Ramadhan dan berlangsung hingga sekarang. Fenomena ini menarikuntuk dikaji dari perspektif sosial budaya. Artikel ini merupakan hasil penelitian yangbertujuan mengungkap makna simbolik arak-arakan dalam upacara ritual dugdheran dikota Semarang. Berdasarkan analisis data yang telah dilakukan diperoleh hasil, maknasimbolik bentuk pertunjukan Arak-arakan sebagai upaya dakwah bagi pemuka agamaIslam, edukatif bagi orang tua, rekreatif bagi anak, dan promosi wisata bagi kepentinganbirokrat dan masyarakat.Kata Kunci: Arak-arakan, dhugdheran, bentuk pertunjukan, makna simbolik
The Essence of Siganjua Lalai Values in Dance Movements of Minangkabau Women
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.
Holistic Academic Supervision Model for Cultural Art Teachers of Vocational High Schools Ambarwangi, Sri; Rachman, Maman
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.v15i1.3756

Abstract

This study is aiming at (1) describing and analyzing the current implementation of academic supervision (factual model),  (2) generating and analyzing academic supervision model as needed (hypothetical model), and (3) identifying and analyzing the effectiveness of a holistic model of academic supervision (the final model). The method employed in this research was the Research and Development (RD) method, which was divided into three phases: a preliminary study, stage of development and evaluation stages. The data sources were the school superintendents, teachers, as well as students. Further, the data were collected by conducting interviews, questionnaires, and observations. Results showed that the current implementation of academic supervision was considered less effective. The academic supervision which is considered as appropriate for cultural art teachers is a holistic academic supervision. It involves school superintendents and cultural art teachers who are supervised, starting from the planning stage up to the follow-up stage, so that, a good relationship between them will be established. It is concluded in this study that a holistic academic supervision model is effective to enhance the professional competence of cultural art teachers.
MAKNA SIMBOLIS LAKON KANGSA ADU JAGO DALAM PERTUNJUKAN WAYANG KULIT PURWA
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.v11i1.1499

Abstract

Lakon Kangsa Adu Jago merupakan salah satu lakon carangan yang bermutu yang mengandung nilai dan bermakna simbolis. Adu Jago mewakili suatu tindakan simbolis karakter generasi tua melawan generasi muda. Disebabkan oleh simbolis yang kurang adil, bijaksana, terjadilah keteledoran penguasa Mandura yaitu Basudewa. Di balik peristiwa adu jago sebenarnya Kangsa ingin merebut kekuasaan dari tangan Basudewa. Yang dapat dipetik dari lakon ini adalah munculnya tokoh Pandawa, simbol kesatria pembela keadilan, penuh pengabdian yang berhasil membantu menyelasaikan kewajibannya. Melalui lakon Kangsa Adu Jago, semangat persatuan, keadilan, kebenaran menjadi lebih kuat, terbentuklah kesatuan nasib antara keluarga Yadawa dengan Barata. Simbol karakter tokoh dalam lakon memunculkan nilai herois dan pendidikan untuk dijadikan contoh teladan dalam hidup manusia.   Symbolic Meaning of Kangsa Adu Jago (Cock Fighting) Play in Purwa Shadow Leather Puppet Show   Abstract Kangsa Cock Fighting Play is a qualifi ed carangan play containing certain symbolic meaning. Adu Jago (Cock Fighting) represents a symbolic action of old generation character against young generation one. Behind the cock fi ghting, Kangsa actually desired to seize power out of Basudewa’s hand. This play especially reveals certain values through the fi gure of Pandawa, a knightly character who strove for justice and with his great dedication succeeded in carrying out his duties. The values conveyed by this Kangsa Cock Fighting play are hopefully expected to be able to build up a stronger spirit of unity, justice, and truth by especially learning from the destiny unity between Yadawa and Barata families. The symbolic characters in the play accordingly reveal heroic and educative qualities as examples for human’s lives. Keywords: adu jago, lakon, wayang kulit purwa, kangsa
BIAS GENDER KOREOGRAFER WANITA DALAM KARYA TARI
Harmonia: Journal of Arts Research and Education Vol 10, No 2 (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.v10i2.60

Abstract

This study examines how the construction of gender roles in the world of dance artists, particularly female choreographer. The purpose of this study is to understand and explain: (1) the construction of gender roles that took place in the work of dance by female choreographer, and (2) gender bias that occurred in the work of dance by female choreographer. Qualitative method is employed in the study which is located in Semarang city. The subjects consisted of the female dance stylist (choreographer), dancers, musicians, and audiences. Data collection techniques used included interviews, questionnaires, observation, and documentation. Data analysis was done by developing case description, conducted through data reduction, categorization, and interpretation (verification/drawing conclusions). The result showed that the construction of gender roles in the process of dance works choreographed by woman happened in family and community setting. Objective reality that includes a variety of views, attitudes, behaviors, and meaning giving to the differentiation of the roles of men and women based on culture (nurture) contained in family environment plays a prominent position in role construction process among female dancer and choreographers. As for male dancers, the process of role construction went on within the setting of family and social environment of society. Gender bias that occurred in the construction of gender roles in this study is indicated by the existing presence of gender stereotype views among dancers, choreographers, audience, and dance lovers community. Kata kunci: kunstruksi, bias gender, proses karya tari
The Jaipongan Drumming Strokes in Lagu Gedé in Sundanese Gamelan Saepudin, Asep; Yulaeliah, Ela
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.v21i1.28206

Abstract

This paper aims to describe the Jaipongan drumming strokes in Lagu Gedé. Lagu Gedé is a type of song in Sundanese Karawitan that has a large embat (rhythm). This song includes a dish of drums vocals accompanied by gamelan pelog-salendro with characteristics that have tone, barrel, surupan, embat, gending, slow tempo, embat opat wilet, and bound by the standard rules. Observations were made by appreciating Jaipongan’s performances in Bandung and Karawang. Besides, the author conducts interviews with several primary informants who are directly involved in the arrangement of Jaipongan. Gedé’s point here is to look at it with a smooth, soft, slow serving. The Kiliningan genre has a specific punch motif name for Gede’s song.  The name of this variation is called tepak melem. Melem has a delicious or gentle meaning. Tepak melem to accompany Sekar Gending songs in Kiliningan genre. The phenomenon that happens that Lagu Gede is served in Kiliningan dish and used to attend Jaipongan dance. When Jaipongan’s work uses Gedé’s song, it generates innovations. Gedé’s song is no longer presented with a glued drum but with a tepak diteunggeul. Diteunggeul contains the meaning of being hit hard, powerful, dynamic, and fast. This research concluded that jaipongan drumming strokes in Lagu Gedé is realized that drummers and dancers must explore many spaces because it has the freedom to work. After all, they present it in an embat opat wilet (big rhythm). This affects the widening of the number of beats, the position of kenongan, pancer, and gongan. Artists have the freedom to do creativity in working on Gede’s songs.  The space of artists in their work can ultimately foster new creativity that impacts the growth and development of Sundanese karawitan.
Estetika Ketidaksadaran: Konsep Seni menurut Psikoanalisis Sigmund Freud (1856-1939) (Aesthetics of Unconsciousness: Art Concept according Sigmund Freud Psychoanalysis)
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.v6i3.811

Abstract

Psikoanalisis Sigmund Freud mendasarkan pemikirannya pada ketidaksadaran sebagaianalisis ilmiah. Ketidaksadaran dalam perilaku digambatkan sebagai kesalahan-kesalahanperilaku, keseleo lidah, kelupaan, imajinasi, fantasi dan mimpi yang disebabkankarena dorongan psikis tidak sadat yang disebut sebagai libido. Libido, dalampsikoanalisis merupakan energi psikis yang mendasari segala perilaku manusia sejakkeberadaan manusia di dunia. Libido sebagai energi yang paling dalam pada individubersifat naluriah, instinktif dan primitif yang mendorong makhluk hidup untuk bertahanhidup, memiliki hasrat seksual dan naluri kematian. Libido (id), mendorongmanusia untuk melakukan segala sesuatu yang berprinsip pada kesenangan, namundorongan ini dibatasi oleh ego yang berprinsip pada realitas sehingga perilaku yangdimunculkan adalah super ego. Dorongan yang terpendam karena represi menekanpsikis sehingga muncul perilaku tidak sadar sebagai manifestasinya. Ketidaksadaran,oleh seniman Surealisme bermanfaat sebagai ide untuk menciptakan karya seni yangimajinatif dan fantastik. Seni Surealisme merupakan bentuk estetika ketidaksadarandalam kesadaran manusia yang menggambarkan mimpi-mimpi sebagai produk fantasidari dorongan energi psikis yang direpresi. Surealisme adalah otomatisme murni dariperilaku yang terlepas dari kontrol kesadaran dan masuk dalam permainan pikiran.Kata kunci: Psikoanalisis, Seni, Surealisme, Esatetika
SENI ORNAMEN DALAM KONTEKS BUDAYA MELAYU RIAU
Harmonia: Journal of Arts Research and Education Vol 8, No 3 (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.v8i3.778

Abstract

Tulisan ini untuk mengungkapkan seni ornamen dalam konteks budaya masyarakatMelayu Riau. Berkaitan dengan itu maka pelacakannya dilakukan dengan mengetahuibagaimana fungsi dan makna seni ornamen dengan kontekstual masyarakat Melayu Riau.Bahwa seni ornamen Melayu Riau merupakan suatu hasil budaya yang diwariskan dari tradisileluhurnya yang telah mengalami proses perjalanan yang panjang sehingga pada akhirnyamembentuk identitas budaya. Pengaruh luar serta kedinamikaan yang ada pada masyarakatMelayu Riau telah membawa seni ornamen Melayu Riau sebagai bagian dari historis perilakuyang pernah diwariskan oleh pendahulunya. Kreativitas dalam penciptaan seni ornamen tidakterlepas dari pola perilaku masyarakat Melayu Riau. Sebagai hasil budaya tradisi seni ornamenMelayu Riau menjadi identitas budaya (cultural identity) dari local genius atau kearifan lokalbagi masyarakat penciptanya.Seni ornamen dalam konteks budaya Melayu Riau ternyata memiliki fungsi sertamakna bagi masyarakat Melayu Riau. Keanekaragaman bentuk memunculkan motif-motifseperti jenis tumbuh-tumbuhan, hewan, geometris, nama alam benda maupun gabungan motif.Seni ornamen Melayu Riau yang merupakan pengalaman dan pelajaran yang didapat dari alamdan didukung oleh kreatifitas masyarakat sehingga melahirkan seni ornamen yangmengandung muatan estetis dan etis yang sarat akan nilai-nilai tradisi yang berlaku dalambudaya Melayu Riau.Kata Kunci : seni ornamen, budaya dan Melayu Riau.
SEKILAS TENTANG TARI KLASIK  GAYA SURAKARTA (Introduction to the Style of Surakarta Dance)
Harmonia: Journal of Arts Research and Education Vol 4, No 3 (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.v4i3.732

Abstract

Tari klasik gaya Surakarta memiliki karakter yang khas, tari klasik semula meniru gerak alam semesta dan pertanda seperti mbanyu mili (sesuai dengan letak arah mengalirnya), posisi   gerak   tari   seperti   tanjak   ndoran   tinangi,   angranakung, singkal,   mager   timun.   Pada   susunan   kembangan   sekaran)   tari   terdapat   nama ngranggeh lung,   merak  kesimpir,  gajah  ngoling,   menthokan, mucang   kanginan, banteng   nggambul.   ombak   banyu,   ngalap   sari.   Berbagai   gerak   alam   di   stilir menjadi ragam gerak tari yang dilakukan oleh tubuh. Dasar gerak tari klasik gaya Surakarta   berpegang   pada   dua   aspek   yaitu   adeg   dan   solah.   Untuk   mencapai tingkat gerak yang berkualitas (estetik) diperlukan suatu metode latihan tari yang efektif, di dalam istilah tari gaya Surakarta disebut Rantaya yang meliputi pola dasar adeg, pola dasar lumaksana, susunan kembangan atau sekaran. Filosofi tari klasik   gaya   Surakarta   adalan   menggunakan   konsep   Dewa   Raja   Jejer,   sedang mitosnya adalah kiblat papat lima pancer.Kata Kunci: Klasik, Ragam gerak, Filosofi, Mitologi
The Non-Aesthetic Aspect of Mangkunagaran-Style Dance: Study From The Perspective of Social Context
Harmonia: Journal of Arts Research and Education Vol 20, No 2 (2020): December 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.v20i2.23410

Abstract

This study aims at analyzing the non-aesthetic aspect of Mangkunagaran-style dance from the perspective of its social context. The method employed in the study is interpretative-descriptive qualitative. The approach used social culture to analyze the perspectives. The research was conducted in Pura Mangkunagaran, with the focus of research lies on the non-aesthetic aspect of Mangkunagaran-style dance taken from the perspective of its social context. Techniques for collecting data was an observation, interview, and documentation study. The data validity mainly used data triangulation. Results show that from the perspective of social context, the Mangkunagaran-style dance is divided into four major social functions, i.e., the social order for integration, the function of expression, the function of entertainment, and the function of Psychiatric, Aesthetic, and Economic. These for main social functions are taken part in the existence of Mangkunagaran-style dance in Pura Mangkunagaran and wider communities.

Page 89 of 122 | Total Record : 1219

 87   88   89   90   91 

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): (Nationally Accredited, December 2016) Vol 16, No 2 (2016): 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): June 2015 Vol 15, No 1 (2015): (EBSCO, DOAJ & DOI Indexed, 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): (DOI & DOAJ Indexed, June 2014) Vol 14, No 1 (2014): 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