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[The Inheritance of Kompang to The Recent Generation of Malay Society in Riau ]]>
<![CDATA[Lestari, Yunia Murdi]]>;
<![CDATA[Florentinus, Totok Sumaryanto]]>;
<![CDATA[Utomo, Udi]]>
<![CDATA[ Catharsis Vol 8 No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v7i2.29402
<![CDATA[Kompang is a traditional music and the inheritance for Malay people. In the era of globalization, the necessity of artistic entertainment dynamically changes. Hence, the transfer of the arts through generation is an obligation to preserve the tradition. Therefore, this research aims to analyze the process of inheritance of Kompang to the recent generation of Malay society in Riau through formal and informal methods. Formal education is in relevance to schooling and skill training. Informal education has a correlation with enculturation and socialization. The factors of the inheritance of Kompang in the industrial area are the diversity of the demography and the influences of globalization. In regards to the process, the researcher employed interdisciplinary approaches under the fields of sociology to analyze the artistic activities of the society in general. The research works under the a case study design using observation, interview, and document study as the methods of gathering data. In order to analyze the data, the researcher used interactive data analysis through data reduction, presentation, and verification. The implication of this research is the expectation of growing the sensibility of Malay community in Riau to preserve the existence of Kompang as a traditional music.]]>
<![CDATA[Social Action in Tongkling Performing ART ]]>
<![CDATA[Winata, Dean Arda]]>;
<![CDATA[Utomo, Udi]]>;
<![CDATA[Sumaryanto Florentinus, Totok]]>
<![CDATA[ Catharsis Vol 8 No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v7i2.29699
<![CDATA[Tongkling is a traditional music from Glodogan village, Bawen District, Semarang Regency. Tongkling is always invited to take part in Merti Dusun and Kirab Budaya events in Semarang regency. The purpose of this research is to analyze the form of performance and social action in Tongkling art. The method used in this research was qualitative with sociological approach. The technique of data collection were observation, interview, and document study. The technique of data validity used triangulation technique and data analysis technique that follow interactive model analysis stages. The research results show that the form of Tongkling art presentation are divided into traditional and electric types. The traditional types is presented during carnival while electric types is presented on the stage. The social action of the society is also developing, the beginning was for patrolling, and nowadays, this art is for enliven Kirab Budaya and Merti Dusun evenst in Semarang Regency. The research implication of Tongkling Ortega for the society in Glodogan village is for social interaction and for preserving the existence of Tongkling in traditional events. Tongkling Ortega art increases the art treasury in Semarang Regency.]]>
<![CDATA[An Adaptation Strategy Lasmi in Maintaning Its Existence As Waranggana Tayub in Grobogan Regency ]]>
<![CDATA[Widihastuti, Santi]]>;
<![CDATA[Sunarto, Sunarto]]>;
<![CDATA[Udi Utomo, Udi Utomo]]>
<![CDATA[ Catharsis Vol 8 No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v7i2.30263
<![CDATA[Various attempts were made by an artist to maintain its existence, Lasmi waranggana tayub is an artist who did the adaptation strategy to maintain its existence in Grobogan. This study aimed to analyze the adaptation strategies that do Lasmi to maintain its existence as a waranggana tayub dikabupaten Grobogan. This research method is qualitative. The data collection techniques is using observation, interviews, document study. Mechanical validity of the data is using triangulation of data and resources, while the data analysis procedures with data reduction, data presentation, and draw conclusions. The results of the study, Lasmi started his career at age 11 years and able to maintain its existence until now at the age of 60 years. Existence Lasmi shown with active Lasmi in any activity tayub Arts in Grobogan. The efforts are being made by Lasmi that still exist to do the process of learning and cultural modification. The learning process is carried out Lasmi based on their awareness to improve themselves, to always keep abreast of the times. The learning process is carried out Lasmi classified into two types, namely singing or vocal learning, and the learning process of recording. While modifications were made Lasmi culture is, by displaying a new presentation form Tayub Art performances, namely in the form of tapes. Lasmi is a waranggana tayub first recording, so that through Lasmi Music tayub in Grobogan developed rapidly and became more famous Lasmi name everywhere. The implications of this research for art education, especially formal art education as a source of locally-based arts learning. Suggestions for artists tayub, particularly in Grobogan in order to keep up with changing times, to continue to improve themselves through adaptability, as well as constantly improving the quality of the vocals.]]>
<![CDATA[The Process of Inheritace Ayu Mask Dance in Tanon Backwoods ]]>
<![CDATA[Purwati, Anik]]>;
<![CDATA[Malarsih, Malarsih]]>;
<![CDATA[Cahyono, Agus]]>
<![CDATA[ Catharsis Vol 8 No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v7i2.30311
<![CDATA[This study aims to analyze the process of inheritance in Hamlet Tanon, especially the Mask Dance Ayu as a result of culture. This study uses the approach of cultural sociology. The data collection is done in three ways: observation, interview and documentation. The validity of the data using triangulation techniques and reviews of informants, with interactive data analysis. The results of the research that Inheritance Mask Dance Ayu in the Hamlet Tanon using nyantrik with imitation technique, where children make the observation that the input process the recorded memories cognitively, this observation phase brtujuan children can undergo a preliminary understanding of the concept of motion. Lumaksono come to the show arena, Sembahan ( Atur Sugeng), Atur Pambagyo, Minang (Silat), Pemuda Tanon , Olah Rogo And Lumaksono Muncur Beksan; and internalization directly in training and is intended for children pementasan.tahap can directly practice all memorized and dance with the correct technique; as well as the evaluation process is usually done by the parents of dancers nyantrik Mask Dance Ayu by providing intelligent feedback on their performances. The position of children who Nyantrik dancers behind the core, so that the apprentice dancer can make direct observation. Cultural Inheritance Process It needs an understanding and cooperation between the personal, the environment.]]>
<![CDATA[The Dance Lessons in Batik SMPLB B Manunggal District Tegal Slawi ]]>
<![CDATA[Wardani, Anestia Widya]]>;
<![CDATA[Triyanto, Triyanto]]>;
<![CDATA[Hartono, Hartono]]>
<![CDATA[ Catharsis Vol 8 No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v7i2.30598
<![CDATA[School (SLB) Manunggal Slawi is one special school run by the foundation "Family Welfare Manunggal", located in Slawi Tegal providing education for children with disabilities one of them deaf (part B). one of the subjects taught is the art of dance with Dance Batik material. The purpose of this study is to analyze the learning process and the results of Batik dance SMPLB B Manunggal Slawi Tegal. This study used qualitative research methods. The collection of data through observation, interviews and documentation. The validity of the data using triangulation. Analysis of data using reduction, presentation and verification of data. The results showed that learning dance SMPLB Batik Manunggal Slawi Tegal B consists of preliminary activities, core activities and closing activity. Batik dance learning outcomes SMPLB B Manunggal Slawi Tegal learners master the competencies dance consisting of wiraga aspect, wirasa, wirama. Wiraga aspect views of learners are able to co-ordinate movement, form and demonstrate simple movements that are part of an appreciation and creative learners. Wirama visible aspect of learners' ability to coordinate movement of the body and mind to knock the appropriate use of hearing aids (hearing aids). Wirasa aspect views of learners have had the courage and have the confidence to demonstrate the ability of the students to express their dancing ability.]]>
<![CDATA[Dialectics Dance Ritual in Wanara Parisuka in Talunkacang Kreo Cave Semarang Central Java ]]>
<![CDATA[Ekowati, Yunik]]>;
<![CDATA[Sunarto, Sunarto]]>;
<![CDATA[Malarsih, Malarsih]]>
<![CDATA[ Catharsis Vol 8 No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v7i2.30922
<![CDATA[Wanara Parisuk dance is one of the traditional arts are contained in a series of ritual offerings Rewanda and entertainment in Kreo cave Semarang. Derived from the word “ Wanara†which means monkey, “Parisuka†means having fun. Dance Wanara Parisuka used as a ritual and entertainment interests. Objective to study the dialectic Dance Wanara Parisuka (study: ritual and entertainment). The method used in this study is a qualitative ethnographic approach. Data collection techniques are observation, observation, interviews, document study.Mechanical validity of data used triangulation techniques and data analysis techniques that follow an interactive model analysis phase.Dance research results Wanara Parisuka there are two kinds of functions: as a ritual and as entertainment. The findings are important as ritual offerings in Rewanda Dance Ritual Wanara Parisuka presented at the peak of the ritual. Overall findings as entertainment is to entertain and attract public interest, dancers invite the audience to dance together, to entertain the audience. In the dialectic Dance Wanara Parisuka there are three stages namely; thesis (function according to each), antithesis (rejection, both have different roles and can not be mixed), the synthesis of (mutual influence, and biting for togetherness and strategic importance attract the interest of visitors).]]>
<![CDATA[The Puppet Thimplong: Assessment Form Performance and Values of Local Wisdom for Nganjuk Citizen ]]>
<![CDATA[Dyah Indriyani, Putri]]>;
<![CDATA[Triyanto, Triyanto]]>;
<![CDATA[Malarsih, Malarsih]]>
<![CDATA[ Catharsis Vol 8 No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v7i2.30934
<![CDATA[Thimplong puppet is an art from Nganjuk District, Pace especially. This puppet is a type of wood puppet with a story was raised the Panji stories. The purpose of this study is to analyze forms of performance and load values ​​of local wisdom in the art of Wayang Thimplong. The method used is a qualitative approach. Data collection techniques by using observation, interview and documentation. While the data analysis techniques with data triangulation technique. In addition, there are also technical validity of the data comprising data reduction, data presentation, and data verification / conclusion. The results showed that the shape of the show on the Wayang Thimplong contained the following elements: a story or player was played, shape or form of puppets, the music, the venue, the sound, and the audience in the performing arts Wayang Thimplong. In addition, the load Thimplong Puppet show the great value that local content is a religious value, the value of compliance, educational value, as well as ethical values ​​therein. Implications of this art can be used as teaching materials are local so it can be as a trigger to the public appreciation especially Wayang puppet Thimplong.]]>
<![CDATA[Timang Cenggok Song in Tanjungbalai City : Character Value Analysis and Music Composition ]]>
<![CDATA[Ningsih, Maya]]>;
<![CDATA[Triyanto, Triyanto]]>;
<![CDATA[Sumaryanto Florentinus, Totok]]>
<![CDATA[ Catharsis Vol 8 No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v8i1.30954
<![CDATA[Timang Cenggok song is a traditional song that is developed in Tanjungbalai City society, this song is usually sung when the mother is going to put the child to sleep. The lyrics in Timang Cenggok song that is sung by a mother for her child aims to give character education. This study aims to examine the character values ​​contained in the Timang Cenggok song and the musical aspects of the Timang Cenggok song. The location of the research is Tanjungbalai City, North Sumatra Province. Data collection techniques are observation, interview, and document study. The data validity technique uses source triangulation. The data analysis technique uses descriptive analysis. The results of this study are the Timang Cenggok song contains the character value that aims to build the child's personality into a religious person, has a good moral and be able to socialize in the community. Timang Cenggok song has musical aspects in the form of melodies with varying intervals, different rhythm patterns between one bar and the other bar, and the harmony that can be written based on chords using music theory. This research can broaden the perspective of the reader about Timang Cenggok song and provide information about the description of Timang Cenggok song which contains the character values and knowledge of the music composition of Timang Cenggok song.]]>
<![CDATA[ANIMATED FILMS AS CREATIVITY STIMULUS MEDIA TO DRAW ILLUSTRATIONS FOR CLASS III B STUDENTS OF SEMESTA BILINGUAL ELEMENTARY SCHOOL ]]>
<![CDATA[sari, Yofita]]>;
<![CDATA[Jazuli, Muhammad]]>;
<![CDATA[Syakir, Syakir]]>
<![CDATA[ Catharsis Vol 8 No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v8i1.31080
<![CDATA[The plethora of emerging technology or the rapid development of civilization will require for readiness of the human resources which are more creative in every aspect. Hence creative environmental conditions and the availability of opportunities to carry out various creative activities for children need to be utilized to develop their culture of creativity. This study aims to analyze the creativity of students as a result of utilizing animated films in drawing illustrations. This is a qualitative research with controlled observation. The research location is in the Semesta Bilingual Elementary School with the third grade students as the subjects. Data collection techniques used are observation, interview, documentation, and test which are validated by using data triangulation. Data analysis techniques are carried out qualitatively and quantitatively by using aesthetic and creativity theories. The results of the study show that based on aesthetic aspects on controlled observation 1, most of the students (50%) got the score 75-80 of fair category; while on the controlled observation 2, most of the students (43.75%) got a score range 81-85 of good category. Meanwhile, based on the creativity aspect of the 16 students of Class III B, five students (31.25%) choose the S-01 scene, two students (12.5%) chosse the S-02 scene, four students (25%) choose the S-03 scene, three students (18.75%) choose the S-04 scene, and two students (12.5%) choose the S-05 scene as a reference to draw the illustration of Finding Nemo. The creativity analysis shows that students start by taking the references from the scenes, developing ideas in creating the works by adding fish figures and other objects, as well as beautifying the background with gradation coloring technique. The final results obtained indicate an improvement in students’ creativity. Animated films can attract students' attention, optimize students' ability, and stimulate students' creativity in creating works. This study is expected to be able to develop the students’ potential to think and be creative in facing the rapid development of technology.]]>
<![CDATA[The Aesthetics of Padendang Dance at Mappadendang Traditional Ceremony of Bugis Society in Soppeng Regency ]]>
<![CDATA[yayu, yusrianti yayu]]>;
<![CDATA[Jazuli, M.]]>;
<![CDATA[Sumaryanto Florentinus, Totok]]>
<![CDATA[ Catharsis Vol 8 No 1 (2019) ]]>
Publisher : <![CDATA[Universitas Negeri Semarang ]]>
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DOI: 10.15294/catharsis.v8i1.31282
<![CDATA[Mappadendang traditional ceremony is a traditional ceremony that is held every year by Bugis society as an expression of gratitude for the abundance of the results of the crop. This traditional ceremony is usually combined with the Padendang dance, which is a traditional dance of the Bugis people, especially in Abbanuangnge Village, Soppeng Regency. It is derived from the word "Pa" which means the actor, "dendang" which means rhythm. Besides as a series of Mappadendang traditional ceremonies, this dance also functions as entertainment. The uniqueness of this dance lies in its attractive movements using properties called as rice pestle (stick). Besides that, it was supported by the sound of the collapsed pestle carried out by the mothers and accompanied by drum instruments. The purpose of this study is to analyze the aesthetics of Padendang dance at Mappadendang traditional ceremony of the Bugis society in Soppeng Regency. The method used in this study is a qualitative method. Data collection techniques are observation, interview and document study. The data validity technique uses triangulation techniques and data analysis techniques that follow the stages of interactive model analysis. The results of the Padendang dance research are three parts of the movement: the beginning of the movement, mappakaraja, the main part of the movement, Sere Padendang, the harvest and the final part mappatabe’ movement. The aesthetic findings of Padendang dance there are three aesthetic elements that exist in the Padendang dance, namely the shape / form of motion of the Padendang dance, the quality / content / message conveyed in the Padendang dance, and the performance / talent or skill possessed by the dancers.]]>
