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Catharsis
Published by Universitas Negeri Semarang
ISSN : 25024531     EISSN : 25024531     DOI : -
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Education Environmental Science
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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Articles 30 Documents
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Search results for , issue "Vol 7 No 1 (2018)" : 30 Documents clear
Javanese Women’s Reprenstation in Adaninggar – Kelaswara Dance Prihatini, Luciana Intan; Iswidayati, Sri; Hartono, Hartono
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.20044

Abstract

Adaninggarelaswara dance is a classical dance which got influence of Chinese ethnic. The dancers’ movements called gesture meaningful with normative value of Javanese woman as well as still relevant in Javanese woman lives today. The research aims to describe Adaninggar-Kelaswara dance performance, identify women’s representation in Adaninggar-Kelaswara dance movement and also to communicate the pragmatic message to women through Adaninggar-Kelaswara dance movement. The method of this study used qualitative method and interpretative semiotics approach. The source of data used primary and secunder data through the techniques of data were observation, interview, and documentary. The technique of authorized data was the use of source triangulation and the techniques of analyzing data using Barthes cultural semiotic. The conclusion of the dance movement in cultural semiotics indicate that Adaninggar-Kelaswara dance movement relating to the way of live and Javanese woman’s personality values. This finding is hoped to become the referential for the further research on Adaninggar-Kelaswara dance with other methods in order to explore the cultural values of Java, especially concerning to women representation.
The Artistic Response of Bustaman Village Society to Dance Performance in Tengok Bustaman Tradition Adi Prasetyo, Alfian Eko Widodo; Cahyono, Agus; Jazuli, Muhammad
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.20528

Abstract

Tengok Bustaman Tradition is a kind of art tradition in Bustaman village held once a year with various show performances, one of them is dance. The tradition of Tengok Bustaman is pioneered by Hysteria community where the aim is to address the city's issues with art as one of its approaches to build an artistic response in Bustaman society. Hysteria is a community that engages in city-sensitive research and with art as its approach. The formulation of the problem in this research is to explain the form of dance performances in Tengok Bustaman tradition, the function of dance performance in Tengok Bustaman tradition and artistic response in Bustaman village. This study uses a qualitative method. This research is studied through interdisciplinary approach named Performance Studies and Sociology of Art. The data collection techniques used are observation, interviews, document studies, and recording techniques. The validation technique uses source triangulation. The data analysis procedures include data reduction, data presentation, and conclusions. The results show that the form of performances in Tengok Bustaman tradition is a dance performance. Dance performance in Bustaman village includes several processes such as pre-performance, performance and after performance. The function of dance performance in Bustaman Village is as the cause of educational media, entertainment media, and communication media and as a commercial media. The existence of dance performance in Tengok Bustaman tradition produces several artistic responses, among others are visual response, auditive response and environmental response. The dance performance in Tengok Bustaman tradition is able to provide changes and development of the village for the better future.
The Influence of Socio-Cultural Changes to the Form of Randai Kuantan Art in Kuantan Singingi Riau Sari, Desti Kumala; Wadiyo, Wadiyo
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.21885

Abstract

Randai Kuantan is a performing art consisting of art elements, such as, theater, dance, and music from social phenomenon and combination of traditional art of Kuantan Singingi society. Art is a cultural expression of a society that has various functions in accordance with the interests and the condition of the societies. The purpose of this research is to analyze the influence of social change on the form of performance in Randai Kuantan. The science used is Sociology for explaining the factors which influence social change in a society. The method used was interpretative qualitative, and data collection technique was by observation, interview, and document study with primary and secondary data sources. Technique of data validity was by sources triangulation, and the technique of data analysis was by data reduction, presentation, and verification data. The resarch was located in Kuantan Singingi Riau. The social changes are influenced by 2 (two) factors, outside and inside factors and then relates to the role of education, religion, economy, tribes, and social environment of Kuantan Singingi societies. Those factors change the form of Randai Kuantan art including time of performance, members, the location of performance, make up, and costumes. The application of traditional art media are attempts being made to foster awareness of the values and norms that exist in society. In the process of application aspects of the values found in the art of Randai Kuantan is expected to be established and raises awareness for consumer demand. As for the arts as a form of cultural expression community have diverse functions fit the interests and circumstances of society. But basically there are also elements which govern the system of values which formed the society rules, norms, conventions that act as guidelines to achieve the goal. So the arts directly has affected the values and norms that are structurally brings social change on the form of artistry Randai Kuantan. Based on the existing social values were associated in an attempt the formation of individual character in a social environment.
Forms of Show Kuda Lumping Ronggo Budoyo in The Village of Lematang Jaya, Lahat, South Sumatera Anggraini, Erna; Cahyono, Agus
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.21886

Abstract

Kuda Lumping is a popular Javanese art, Kuda Lumping is also called Jaran Kepang or Jathilan. Kuda Lumping is a traditional Javanese dance showing a group of warriors riding on horses which the horses are made of buffalo leather that has been dried or made from plait work of bamboo which is then given a motif or ornament and designed like a horse. This study aims to analyze how and understand the form of art performances Kuda Lumping in Lematang Jaya Village, Merapi Timur, Lahat. Theoretically, the research uses interdisciplinary ethnocoreology approach, art sociology, art psychology, and aesthetics. The research methodology uses qualitative research by describing and interpreting the findings in the field. The study used case study design. Data collection techniques used interviews, observations and document studies. Data validity technique used is source triangulation while data analyst technique is done by reducing data, presenting data and drawing conclusion. The results showed that Ronggo Budoyo's lumping horse performance was divided into three phases first before the show consisting of preparation of motion and music practice, dancers dance, property and offerings / offerings. Both times the show opens with a small Pegon dance, followed by Blind dance, a teenage Pegon dance, Kucingan and ends with an adult Pegon dance. The last phase is after the show is the activity to restore the awareness of dancers by the handler and cleans up the dance music and dance equipment.
Form and Structure of Kentrung Art in Ngasem Village Batealit District Jepara Regency Harwanto, Dody Candra; Sunarto, Sunarto
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.21952

Abstract

Kentrung art is a folk theater art that tells a story in the form of prose and interspersed by pantun, an Indonesian unique form of prose. It is played by sung, and uses musical instrument called “Terbang” or Rebana. This research aims to analyze the shape and structure of Kentrung art in Ngasem Village District Batealit Jepara regency. The method used in this research is qualitative descriptive with interpretative case study research design. The research data was collected by observation technique, interview, and documentation study. It is also using triangulation techniques of sources and data to maintain its validity. Meanwhile, the data analysis technique is done through the process of reduction, presentation, and withdrawal of conclusion (verification). The results of this study indicate that, Kentrung musical form consists of two elements, namely elements of time and melody. The time element of Kentrung art employs Allegreto tempo which means fast or between the speed limit of 104-112 steps per minute; the meter uses 4/4, meaning there are four or four minutes of beats on each bar; and rhythmic patterns are divided into two types (senggakan and sautan) which generally use the value of half-tap, and on the big fly using the pattern of rhythm singkup. Most melodies use a half-tap note with the highest tone of G# 5 (la), and the lowest tone is F# 4 (sol). Meanwhile, the musical structure of Kentrung consists of two sentences or periods namely repeated A B.
Senggayung Music in Gerai Village, Ketapang Regency: The Study of The Form and Cultural Identity Harriska, Harriska; Florentinus, Totok Sumaryanto
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.22167

Abstract

Senggayung music classified as an idiophone musical instrument that is made of bamboo. Senggayung music only exist in Ketapang District, unique music that is not owned by other regions. This study aims to analyze the form of Senggayung music and identify the cultural identity of the Gerai Village community through Senggayung music. The approach used is an interdisciplinary approach involving ethnomusicology and anthropology disciplines. Technique of collecting data with observation, interview, and study of documentation. Data validity techniques use credibility with data triangulation techniques. Data analysis by means of data collection, data reduction, data presentation, and verification or withdrawal of conclusions. The results of this study show, When viewed from the organology, Senggayung belong to idiophone musical instruments made of bamboo. Senggayung is a music that reflects the cultural identity of the village community of Ketapang regency. Senggayung used in the process of community ceremony, before starting the elders read the Spells to raoh ancestors participate in the ceremony process. Senggayung taught to the young generation by the elders for Senggayung remain sustainable and not extinct. Some of the factors that make up the cultural identity are (1) belief, (2) language, (3) behavior pattern which is reflected in Senggayung is a cultural identity.
The Musical Creativity of Senggol Tromol Semarang in The Context of Social Change Apriadi, Sugeng; Wadiyo, Wadiyo
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.22997

Abstract

Senggol Tromol is a parody music group from Semarang, most of their songs are representation of phenomenon which is trending in society for a certain period of time. The phenomenon would only last for a certain period of time because of social change happens in the society. The purpose of this study is to analyze the creative process and the social change which happen to Senggol Tromol. This study used qualitative method with observation, interview, and documentation as the method of collecting data. The methods of data analysis were data collection, data presentation, data reduction, and data verification. The results of the study show that in the creative process, Senggol Tromol did not always create new works, but they also modified existing ones. The steps were searching for inspiration, gathering ideas, determining the target listener, determining the themes, creating song structure and arrangement. The social change happens in Senggol Tromol went along with the presence of digital music platform which replaced physical release era, used by them as the promotion media to sell their works digitally.
The Role of Kaloka Art Studio in Traditioning Slendang Pemalang Dance as The Region Identity in Pemalang District Wahyuni, Eko; Hartono, Hartono
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.23078

Abstract

Kaloka Art Studio is a place to learn art, especially dance. Kaloka Art Studio is a studio that traditioning Slendang Pemalang Dance which become the pride of Pemalang Regency society. The problem in this study are (1) how is the embodiment of Slendang Dance is a depiction of regional identity and (2) how is the role of Kaloka Art Studio in traditioning Slendang Dance as the regional identity. The objective of this study is to asses the embodiment of Slendang dance and analyze the role of Kaloka Art Studio in traditioning the Slendang Pemalang Dance. This study uses qualitative approachment. The data collection techniques including observation, interview and documentation. Data analysis are using data reduction, data serving and conclusion. The result of this research is the manifestation of Slendang Pemalang Dance as regional identity. The role of Kaloka Art Studio in traditioning Slendang dance has been done through training and dance performances. Training Studio as a model of non-formal learning. The conclusion of this research are (1)the embodiment of Slendang Pemalang Dance according tonthe dance element which is wiraga, wirama , wirasa and costume according to the characteristic of the Pemalang society; (2) the role of Kaloka Art Studio in traditioning the dance through socialization, training and performance of the dance.
The Art of Dabus Indragiri in Rantau Mapesai as a Medium to Build Character Wijaya, Dhimayu Ichtiara; Triyanto, Triyanto
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.23082

Abstract

The art of Dabus Indragiri is an art which shows the body’s resistance to sharp objects by performing dance and Berzanji music accompaniment. Rarely is the art of Dabus Indragiri performed in Rantau Mapesai nowadays. However, there is an awareness from artists to preserve this art because it has values to build character. Based on the above information, this research was to study the values of character which were contained in the art of Dabus Indragiri. The Method used was qualitative. The research was located in Rantau Mapesai, Indragiri Hulu Regency. The data were gathered by doing observation, interview, document study. The technique of data validity used sources trangulation. The technique of data analysis used descriptive analysis. The results stated that the character values in Dabus Indragiri are; (1) religious, (2) like to read, (3) responsible, (4) social care (5) creative, (6) having spirit of nationality, (7) love the homeland, (8) hard work, (9) independent (10) care of environment, (11) friendly or communicative. According to the results, we can conclude that the art of Dabus Indragiri can build character.
The Art of Nandung in Indragiri Hulu Regency, Riau: the Study of Performance Form and Value Suardi, Rofiandri; Utomo, Udi
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.23088

Abstract

Nandung is an spoken literature used as a lullaby, delivered with poems and chanted by humming. Nandung contains poems about religion, advice, character, and education.At present, Nandung grows as a kind of performing art. This research aims at analyzing the form of Nandung as a performing art and its values. The method used was qualitative. The location of the research was Rengat, Indragiri Hulu Regency, Riau Province. The technique of data retrieval were observation, interview, and document study. The technique of data validity used triangulation source. The technique of data analysis used descriptive analysis. The results of the research are that the form of Nandung performance begins from the preparation, then goes to the main performance. There are 7 (seven) elements in the form of Nandung spoken literature performance, they are, speaker, music accompaniment, stage, costume, audience, poem, and the language used. The values in the poems are, religious value, character value, and education value. This research can broaden the perspective of the readers about Nandung spoken literature and give information about description and knowledge about Nandung spoken literature which is seen from the aspects of the performance and the values in it.

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