Catharsis
Catharsis: Journal of Arts Education provides an international forum for research in the field of the art and creative education. It is the primary source for the dissemination of independently refereed articles about the visual arts, performances (music, dance, drama/theater/play), creative process, crafts, design, and art history, in all aspects, phases and types of education contexts and learning situations (formal and informal).
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<![CDATA[Production Form and Process Jambe Kusuma Kendal Batik in The Context of Women Empowerment of Ex-Tkw in Kendal District ]]>
<![CDATA[ Catharsis Special Edition 2022 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v11i3.58232
<![CDATA[Batik is actually an activity that cannot be separated from people's lives in every region in Indonesia, as well as the lives of the people of Kendal Regency who always coexist with batik activities. It is estimated that batik came to Kendal Regency by a batik entrepreneur from Pekalongan in the 19th century. The reappearance of batik in Kendal Regency was marked by the emergence of a group of batik entrepreneurs, one of which was called the Jambe Kusuma Batik Studio. The members of this studio are women, especially batik artisans whose backgrounds have worked abroad as female workers (TKW). Low wages and limited job opportunities force women to work away from their families. This condition makes a number of parties concerned so that many regional and private service agencies are looking for solutions in order to empower ex-TKW so that they can maximize their potential with various activities, one of which is through batik activities. The problem studied is the influence of the socio-economic environment of the Jambearum Village community on the aesthetic expression of batik works. The research location was located at the Jambe Kusuma Batik Studio in Jambearum Village, Patebon District, Kendal Regency with the research target being ex-Women Workers (TKW) in Kendal Regency in the batik production process. The Jambe Kusuma batik motif is dominated by endemic flora motifs found in Kendal Regency and marine fauna. The integrity of the turtle and godhong mbako motifs can be found in the turtle decoration which is harmonized with godhong mbako. The color integrity in image one lies in the background color which is dominated by blue to gray. The protrusion of the motif is found in the shape of the turtle which uses a decorative approach but can be identified by the structure of the subject so that it looks realistic. Jambe Kusuma Batik is the result of creativity that continues to experience development. Women's empowerment can be pursued through improving the quality of education, skills and economic conditions. The goal of overall empowerment can ideally increase gender development which creates a balance.]]>
<![CDATA[Jacko Hendrik Ayub Bullan's Sasando Akustik Elektrik as a Cultural Dissemination ]]>
<![CDATA[ Catharsis Special Edition 2022 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v11i3.65105
<![CDATA[This research focuses on the Sasando Acoustic Electric instrument developed by Jacob as a cultural transfer strategy. The aim of this research is to demonstrate that Sasando is a part of the cultural heritage of the Rote Island community, and Jacob, as an artist, plays an important role in the development of the instrument. Sasando Acoustic Electric was created as an effort to preserve culture while maintaining its traditional characteristics, yet also able to adapt to the changing times. This musical instrument has become popular and is used for various purposes, including performances, beginners, and courses. Therefore, the researcher chose to investigate Jacob's Sasando Acoustic Electric instrument as one strategy for cultural transfer.The research method used a qualitative approach, using a case study design that analyzed the phenomena that occurred. Qualitative research is considered appropriate for exploring art phenomena. Data analysis in this study went through three stages, namely data collection, data reduction, and data presentation, using the Interactive Model for Qualitative Research by Miles and Huberman. To maintain data credibility, data triangulation and theory were employed. Data was collected through observation, interviews, and document study.The results of this study show that Jacob's Sasando Acoustic Electric is an innovation that successfully transfers traditional culture into a modern form. As an artist, Jacob was able to maintain the traditional characteristics of Sasando while also adapting to the changing times by adding acoustic and electric elements to the instrument. The results of this study can also contribute to the development of traditional culture and art in Indonesia.]]>
<![CDATA[Implementation of The Merdeka Curriculum in The Dance Learning of Smp Negeri 4 Demak ]]>
<![CDATA[ Catharsis Special Edition 2022 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v11i3.65423
<![CDATA[The curriculum in Indonesia has undergone changes and improvements, it is the Merdeka curriculum. The Merdeka Curriculum focuses on freedom and creative thinking. In the Merdeka Curriculum on the material learning the Arts of Dance, students are not only formed to be intelligent. The purpose of this research is to analyze the implementation of the Merdeka curriculum in dance learning for SMP Negeri 4 students Demak. The Data collection techniques used observation techniques, interviews, and documentation. Technique the validity of the data used the credibility test, transferability test, dependability test, and confirmability test. This type of research is descriptive qualitative research. The result of the research showed that implementation of the Merdeka Curriculum in Dance Learning for Students of SMP Negeri 4 Demak are the implementation of Merdeka curriculum based on the phases the achievements, it’s namely in phase D. The learning steps can be started from the initial activities, core activities, and activities closing. In learning the art of dance students are invited to take advantage of the state of the school environment as dance motion exploration material, with the hope that students can get to know the environment better, and it can influence others to create art.]]>
<![CDATA[The Role of Female Pembarong and Humanistic Values in the Barongan Samin Edan Performance in Semarang ]]>
<![CDATA[ Catharsis Special Edition 2022 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v11i3.65347
<![CDATA[Barongan dancers (Pembarong) are selected based on the level of the individual's movement technique ability and their popularity as pembarong (Slamet, 2003, p. 27). Pembarong is generally performed by men considering the size of the mask and the character that must be performed, which depicts tigers with strong, ferocious, savage, agile, and mighty characters. Therefore, it has a small chance to be performed by women. However, there is something different about the Samin Edan Semarang barongan performance, which shows female pembarong. The performance is packaged in such a way so that it raises various questions about the role of female pembarong based on gender requirements. Accordingly, the researchers are interested in examining these problems related to humanistic values in the Samin Edan Semarang barongan performance. This research used an interdisciplinary approach. Two data collection steps were used in this study, namely the field and the literature data collection. The field data was conducted through observation, interviews, and document studies. Data analysis techniques in this study used interactive data analysis, according to Miles and Huberman to analyze the position and role of female pembarong in the Samin Edan Group Barongan performance in Semarang and the humanistic values reflected in it. The study's results show the role of women and humanistic values in the Samin Edan Barongan performance. In conclusion, the open opportunities for women in the creative process in the Samin Edan Barongan performance show that there are no restrictions on social territory structurally, nor are there any attempts to differentiate the roles of men and women through different dance types, forms, material, or structure. Humanistic values are reflected in the creative process of Barongan Samin Edan. The implication gives space for free expression to all dancers to be the key to the creative process of Barongan Samin Edan. It is because the dance manifests the choreographer's hopes always to offer a liberating artistic experience. It is important to reposition the creative process that forms an individual's humanist character and the idea that education through art is actually the basis for the formation of a humanist character.]]>
<![CDATA[Keroncong Performance Adaptation Strategies in the Context of Creative Industries (Case Study of the Congwayndut Group) ]]>
<![CDATA[ Catharsis Special Edition 2022 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v11i3.65679
<![CDATA[Keroncong performances in Indonesia are now increasingly difficult to find both in rural and urban areas. The demands that arise due to the demands of the performing arts industry make keroncong also have to adapt to follow the direction of the creative industry to survive, including the Congwayndut group as performers of the performing arts creative industry. This study aims to analyze the adaptation strategy of the Congwayndut group's keroncong performance in dealing with the performing arts creative industry. The type of research used is descriptive qualitative using data collection techniques of observation, interviews, and documentation. Data analysis methods used are data collection, data presentation, data reduction, and data verification. The results showed that the form of the Congwayndut group's keroncong performance adapted from theatrical performances and made a breakthrough by renewing the keroncong performance combined with wayang art. The adaptation strategy used by the Congwayndut group to survive is by shifting to digital platforms (shifting to digital), building relationships in creative containers (creative hub), and rediscovering potential and opportunities (reinventing the trend). This is intended so that in the future the keroncong performance can be well received by the community. In addition, the creative industry practices contained in the adaptation strategy used will be able to improve the welfare of the Congwayndut group's artists.]]>
<![CDATA[Market Ideology Behind the “Joged Bumbung” Bali ]]>
<![CDATA[ Catharsis Special Edition 2022 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v11i3.66045
<![CDATA[Joged Bumbung is an art form that combines dance and percussion when viewed from the context of the art. These two elements were combined and then developed by allowing the audience to participate in dancing while the Joged Bumbung performance was taking place. However, as time went on Joged Bumbung underwent changes. The purpose of this study is to analyze the changes related to the Joged Bumbung show to present a new ideology behind the show. This study uses an etnochoreological approach with qualitative research methods. The research was focused on one place, namely the Joged Bumbung Dana Sunari sekha who came from Tabanan. The results of this study indicate the presence of market ideology, in which the emphasis on exchange rates indirectly requires Joged Bumbung to increase its attractiveness so that consumer tastes are met. Thus the Joged Bumbung sekha developed their creativity, one of which was the Joged Bumbung sekha Dana Sunari who presented Joged Bumbung which gave the impression of porn action due to offers from consumers. Even though not all Balinese people or artists make it normal for the Joged Bumbung performance to change towards porn action. It is justified as a tool to earn money, with bodily capital and eliminating aesthetic and ethical values in the Joged Bumbung performance. The market ideology present behind the changes in the Joged Bumbung performance is due to several indicators, namely , the orientation of the market performance, the artistic concepts and principles believed by Sekha Dana Sunari, the strategy for adjusting the performance, and the support from the local community who support perpetuating market ideology in the Joged Bumbung ngebor performance .]]>
<![CDATA[Mina Tani Mask Dance: Javanese Cultural Character Education ]]>
<![CDATA[ Catharsis Special Edition 2022 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v11i3.65261
<![CDATA[The Mina Tani Mask Dance is one of the content at the Pandu Dance Studio, the Mina Tani Mask dance represents an identity or characteristic that comes from elements in Pati district. Mina Tani Mask Dance is a new Creation Dance which is of the mask dance type and describes the social, economic and cultural conditions of the community which is packaged into a form of dance, namely the Mina Tani Mask dance. This research aims to analyze the integration of Character Education in the learning process of the Mina Tani Mask Dance at the Pandu Dance Studio, Pati Regency, which includes the character and behavior of noble Javanese culture. The research uses qualitative method in a descriptive form and a research approach in the form of an interdisciplinary approach. The data sources are used in this research is 4P which means person, place, process, and paper. The data collection techniques use observation, interview, and documentation technique. The data is obtained by descriptive analysis. The results of the research show that the Education of Ethics in Mina Tani Mask Dance at the Pandu Dance Studio, Pati Regency gives attention and applies social ethics that is based on manners that have a role in society or socializing, namely on the basis of the noble moral teachings of Javanese culture.]]>
<![CDATA[Bedhaya Retnatama Dance In Kraton Surakarta Hadiningrat: A Study Of Form And Its Correlation To Javanese Women's Emancipation ]]>
<![CDATA[ Catharsis Special Edition 2022 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v11i3.70750
<![CDATA[Bedhaya Retnatama dance is one of the classical dances from the Surakarta Hadiningrat Palace which was created directly by one of the king's daughters, GKR Koes Moertiyah Wandansari during the inauguration of the Surakarta Hadiningrat Palace Museum. The purpose of conducting this research is to find out how the form of the performance of the Bedhaya Retnatama Dance and its correlation to the value of Javanese women's emancipation, which is seen as a whole through several main elements and dance supporters. This study uses qualitative methods which are described descriptively in accordance with field conditions using data collection techniques in the form of observation, interview, and documentation methods. The results of the study show that the form of the performance of the Bedhaya Retnatama Dance includes classical dance in the style of the Kraton Surakarta Hadiningrat which has a meaning regarding women's emancipation. Bedhaya Retnatama dance has three major parts, namely: the beginning; the middle / content; and the final part, as well as the middle/content part which is still divided into three parts, namely: maju beksan; beksan; and mundur beksan. The Bedhaya Retnatama dance is danced by nine female dancers who have gone through a long selection and training within the internal scope of the Surakarta Hadiningrat Palace. The purpose of conducting this research is expected to be used as a medium for educating women, especially Javanese women, in behaving and making decisions in life.]]>
<![CDATA[Murals as Community Education Media in Surabaya: Cultural Semiotic Studies ]]>
<![CDATA[Amalia Hartiningrum]]>;
<![CDATA[Djuli Djatiprambudi]]>
<![CDATA[ Catharsis Special Edition 2022 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v11i3.71547
<![CDATA[Visual signs that are displayed often appear in mural works in Surabaya as a means of communication and expression of the artist. The mural is significant with the reality of the time when the mural was made and the subsequent time span becomes important in seeing the significance of the mural on the image of Surabaya's public space. This study aims to examine murals as a medium of education through art in society, find out various public murals in Surabaya with consideration of the cultural semiotics of the surrounding community and describe the effects that arise related to education in the community through mural media with a cultural semiotic perspective. So it can be seen that the problems studied are qualitative in nature. The locations used during the research were limited to around South Surabaya, with the mural specifications intact. What is meant by intact is that the paint in the mural is still visible to the naked eye, the forms that make up the visual elements and the text still have clear legibility to the general public. This study shows The result of the research is that murals in Surabaya tend to display a narrative image style initiated by the government/institution with an educational message that appears in the visual signs, while the expressive image style is initiated by the mural artist/community, but the visual signs that appear are more critical and expressive. The mural structure has a fairly high legibility both in terms of visual and text. The existence of the mural is perceived as a spectator reaching individuals, but the understanding of each individual is the result of the relation between visual perception and the concept adopted. The process of community education can only reach individuals but cannot yet become a collective awareness that is able to move people to change their behaviour. The signs encountered are studied through the visual semiotic approach of Saussure and Yasraf with a socio-cultural approach in the people of Surabaya. The benefits of this research are to add to studies related to contemporary art and visual communication design, especially street art with a focus on murals, to identify mural forms in Surabaya, to become a reference material for similar research and to add the perspectives of other researchers regarding the study of cultural semiotics and to provide insights another for the learning process outside the formal environment, especially education in the community, through the mural media approach. Keywords: Mural, Cultural Semiotics, Public education.]]>
<![CDATA[Family Communication Conflict: A Mise-En-Scene Analysis In The Series 'Sajadah Panjang: Sujud Dalam Doa' ]]>
<![CDATA[Trias Widha Andari]]>
<![CDATA[ Catharsis Special Edition 2022 ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v11i3.71876
<![CDATA[This research discuss conflicts around family communication which are represented in Sajadah Panjang: Sujud dalam Doa series. The series, which is available on Vidio, tells the story of a couple, Andhika and Aida, and their children. The objective of this research is to analyze the representations of series’ conflicts meaning shown with the ‘mise-en scene’ elements using Roland Barthes semiotic’s theory. This research is using descriptive qualitative method. The result shows that family conflict scenes that is presented by using the ‘mise-en-scene’ elements are able to clarify the meaning that is explicitly stated and that is implied in certain scenes. Scenes of family conflict shown in Sajadah Panjang: Sujud dalam Doa looks more dramatic, especially by differentiation of room decoration, the lighting that marks time and atmosphere, space and angle that show facial expression and gesture, and wardrobe selection based on location and condition. Those four elements support the fifth element: the actors’ and actresses’ acting. The significance of this research is that it serves as a reference for how a filmmaker might improve meaning in conflict scenes by integrating mise-en-scene elements.]]>
