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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 28 Documents
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Search results for , issue "Vol 8 No 2 (2019)" : 28 Documents clear
Dramatic Structure in Teuku Umar Theater Show in Meulaboh City, West Aceh Regency Radhiah, Aisyatur; Jazuli, Muhammad; Wadyio, Wadyio
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31285

Abstract

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.
Form of Performance and Creativity of the Sisingaan Art in Wanareja Group in Subang Regency, West Java Witriani, Rani; Sumaryanto. F, Totok; Malarsih, Malarsih
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31390

Abstract

Sisingaan Art is an art which is still developing in Subang Regency, West Java. Sisingaan Art of the Wanareja group is one of the groups from Subang Regency which has developed Sisingaan art with Demon creativity (demonstration) since 1987. This study aims to analyze the form of performance and creativity of the Sisingaan art in the Wanareja group in Subang Regency, West Java. The method used in this study is qualitative method with an interdisciplinary approach. Data collection techniques used are observation, interview, and document study. The data are validated by using the triangulation technique and interactive data analysis technique. Based on the results of the research, in the form of performance and creativity of Sisingaan art, there found a Demon style (demonstration) carried out at the end of the procession. Demon style (demonstration) is in the form of attractions, namely Demon of gugunungan, kakapalan, renengan punggu and kidung. Therefore, the Sisingaan art of the Wanareja group is very attractive to audiences from any class of society. The implication of the Sisingaan art of the Wanareja group is to maintain and develop Sisingaan art in the Wanareja group through forms of performance and creativity. For the society, it functions for entertainment and preserving Sisingaan art.
Kamase-Mase Value In The Pa’bitte Passapu Dance Performance of Kajang Ethnic Group of Bulukumba Regency, South Sulawesi Astuti, Andi Arie; Hartono, Hartono; Cahyono, Agus
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31391

Abstract

The Pa’bitte Passapu dance is one of the artistic heritages of the Kajangethnic group which is not well known yet by other people. The Kajangethnic group is anethnic group which is obedient to the content of pasang or a message called tallasa kamase-mase or simple life. Based on this background, the researcher focuses the research on the performance process and the kamase-mase value on the Passapu Pa’bitte dance performance. This study aims to analyze and describe the performance process and the kamase-mase value on the Passapu Pa’bitte dance. The method used in this study is qualitative with an interdisciplinary approach. Data collection techniques used are observation, interview, and document study. The validity technique used is triangulation, and the data analysis is done by reducing data, presenting data and drawing conclusions to obtain research data. The results of the study performance that the kamase-mase value in the Pa'bittePassapu dance performance still follows the rules in pasang (message), namely tallasa kamase-mase (simple life) contained in the clothing of dancers and musicians, the property of dancers and musicians, and the performance process the dance itself. The implication of this Pa’bitte Passapu Dance research for the Kajangethnic group is to preserve the Pa’bitte Passapu dance as an entertainment dance that still holds the rules that apply to the Kajang ethnic group.
The Function of Timorese Gong Music in The Tfua Ton Ritual Ceremony in Napan Kefamenanu Village Renaldus Afoan Elu, Agustinus; Utomo, Udi; Sunarto, Sunarto
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31426

Abstract

Tfua Ton is a ritual ceremony carried out by the community in Napan Village to ask for rain and soil fertility to Uis Neno (God) and Uis Pah (deceased ancestors). In the ritual there is a Timorese Gong instrument that has an important role in it. The gong consists of Tonu mese, Ote and Kbola and one drum (Ke'e). The purpose of this study is to analyze the function of the Timorese Gong Music in the Tfua Ton Ritual Ceremony. The method used in this study is qualitative interpretive with phenomenological approach. Data collection techniques with observation, interview and document study techniques. Check the validity of the data by using data triangulation, researcher’s triangulation, triangulation of theories, methods and techniques. For data analysis, the researchers used the theory of music function from Allan P. Merriam with stages of data reduction, data presentation, and conclusion (verification). The results of the study are Timorese Gong in the Tfua Ton ritual have an important role in it and have become a part of traditional rituals. Timorese Gong In the Tfua Ton ritual has several functions, including functioning as aesthetic appreciation, as entertainment, as an emotional expression, as communication and education, integrating society, as an endorsement of social institutions and religious rituals. Timorese Gong can function to show the existence, character and identity of the Dawan people in Napan Village. The results of this study can provide understanding and increase knowledge to the people of Napan Village and the younger generation to better understand Timorese Gong music in the Tfua Ton ritual, besides it is expected that the Napan Village community will continue to preserve and maintain Timorese Gong music as one of the traditional music of the society.
The Study of Presentational and Discursive Symbol of Gawi Dance in Tenda Village, Ende Regency Tina Mati, Reneldis; Jazuli, Muhammad; Utomo, Udi
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31427

Abstract

Gawi dance is a popular traditional dance in Ende Regency that has existed since the days of the Melehur and was inherited from generation to generation. Gawi dance is used in every traditional ceremony as an expression of gratitude and others as entertainment. The uniqueness of this dance lies in its shape resembling a snake circle (spiral), the rhythmic sound of the dancer's feet, and supported by musical accompaniment in the form of poetry from a solis without using text, properties such as machetes, tufted sticks tied to a horse's tail. The purpose of this study was to analyze the presentational and discursive symbols of the Gawi dance in the village of Tenda Regency in Ende. Qualitative research methods Interpretive with an interdisciplinary approach. Data collection techniques were observation, interview and document study. The data validity technique used source triangulation techniques. The data analysis technique used the theory of Susan K.Langer symbols with the stages of interactive model analysis. The results of the study suggested that Gawi dance has dance elements, namely motion, space and time, and supporting elements, namely accompaniment, clothing, makeup and property. The presentational symbol of Gawi dance could be seen in motion, space, accompaniment, clothing, makeup and property. The discursive symbol of Gawi dance was in the form of meanings such as religious meaning, unity, gender equality. The make-up of the Gawi dance means: valor and courage, beauty and neatness. The fashion of the Gawi dance has meaning: one's position, authority and pride. The implication of this research is that people can find out about the arts in the local area and increase the art treasury in Ende Regency.
Creativity of Likurai Dance Coreography at Green Dance Studio, Kupang City Metan, Yosefina; Hartono, Hartono; Wadiyo, Wadiyo
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31428

Abstract

Likurai dance is a traditional dance, a type of war dance that is typical of the Belu area, East Nusa Tenggara. The dance is a dance to greet the heroes who come home from the battlefield. Likurai dances are usually performed by several male dancers using swords and female dancers using Tihar or small drums as their dance attributes and are often showed in various events such as welcoming honored guests and traditional ceremonies. Research objective is to analyze the creativity of Likurai dance choreography. The method is interpretative qualitative research method, interdisciplinary approach. Data collection techniques are observations, interviews, and document studies. The validity technique of the data used is source triangulation. The data analysis technique uses the choreography concept according to Hadi Sumandiyo and Muhammad Jazuli. The results of research on creativity in choreography found new ideas in the form of motion, exploration, improvisation, composition. The implications of this research are as an educational media and the local subject of art learning.
Guritan in Besemah, Pagaralam City: from Sacred to Profane Luzi, Ahmad Surya; Sunarto, Sunarto; Wadiyo, Wadiyo
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31566

Abstract

Guritan is a traditional art of the Besemah community, Pagaralam City which is inherited from one generation to another. Whereas in the guritan there was a change occur which initially as sacred art turns to profane. This thing was what interests the author to discuss the art of guritan. This study aimed at investigating the form of changes in the art of guritan from sacred to profane. The method in this study uses descriptive qualitative with an interdisciplinary approach, while the data collection techniques used observation, interviews, and document studies. The data validity technique uses source triangulation. The data analysis techniques have used the theory from Schoun (2003) with the elaboration of concepts and other supporting data that fits the problem. The results of this study were to provide knowledge and become reference about the initial forms and changes in the art of guritan in Besemah, Pagaralam city. Hopefully, this research can be useful for the public and readers who want to know about the art of guritan in Besemah, Pagaralam City. Because in the text or poetry that is performed in traditional events the marriages contain values, life guidelines, and philosophy that can be applied in the social life of the community with the aim of doing good among fellow humans.
Internalization of Character Values of Cѐpѐtan Dance Performance at Manunggal Putra Budaya Group in Karanggayam District Kebumen Regency Hapsari, Wahyu Ratri; Lestari, Wahyu; Sunarto, Sunarto
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31241

Abstract

Cèpètan dance as one of arts of Karanggayam society is full of values in its performance. The values here means part of character values. Character values are indirectly able to internalize the actors that learn the Cèpètan dance. There is something interesting in this group, i.e. the dancers are children. It is hoped that the values behind this dance can build the children’s character. The research aimed at knowing the form of performance and internalization character values that reflect in Cèpètan dance. To analyze the internalization, the writer uses Koentjaraningrat’s theory (1990) about inheriting. The approach used in this research is qualitative with phenomenology design. The data collecting techniques are observation, interview, and literature observation. The data validity used triangulation technique, they are source triangulation, and method triangulation. The data was analyzed through reduction, presentation, and verification. From the results show that the character values of Cèpètan dance performance reflects the values of creativity, discipline, and responsibility.
Revitalization Strategy of Laweut Dance Through Art Education in Indonesian Institute of Art and Culture, Aceh Agustiina, Inna; Jazuli, Muhammad; Malarsih, Malarsih
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31780

Abstract

The existence of Laweut Dance is currently threatened to be extinct, even though Laweut Dance has many values ​​that are very beneficial for the community. This study examines the strategy of revitalizing Laweut Dance conducted by the Indonesian Institute of Art and Culture (ISBI). The method used in this study is qualitative. Data collection techniques are using observation, interview, and document study. The data validity technique uses triangulation and interactive data analysis technique. The results of this study are three strategies of Laweut Dance revitalization carried out by ISBI, namely, reconstruction, reformation, and refunctionalization. Reconstruction involves learning activities of Laweut Dance, which is made into Laweut Dance as learning material. Reformation included renewing the place, time, costumes and movements in the Laweut Dance performance, the renewal is carried out in accordance with the times and needs. Refunctionalization includes the renewal of the Laweut Dance function, which used to be Laweut Dance as an entertainment with the theme about the spirit of warfare, then a theme renewal, with the theme about the spirit of education. The implication of this study is that Laweut Dance can be used as a media and learning resource both formal and informal.
The Meanings of Symbols of Priyambada Mustakaweni Dance merdekawati, Ika; Malarsih, Malarsih; Sunarto, Sunarto
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31790

Abstract

This Research Aimed At Expressing The Meaning Of Symbols Of Priyambada Mustakaweni Dance. It Is Used Qualitative Method. The Data Collecting Techniques Were Through Observation, In Depth Interview, And Documentation. The Data Validation Used Data Triangulation Technique And Informan Review. The Data Was Analyzed Through The Process Of Reduction, Presentation, And Data Verification. The Results Of The Research Are That The Performance Form Of Priyambada Mustakaweni Dance Consist Of Title, Theme, Number Of Dancers, Movements, Place, Accompaniment, Makeup And Costume, Property, And Lighting. The Meaning Of Priyambada Mustakaweni Dance Is Reflected Through The Movements Perang Tantang-Tantangan, Perang Keris And Perang Gendhewa. (1) Perang Tantang-Tantangan Has A Meaning Of A Brave Female Soldier And Ready To Fight For The Country, (2) Perang Keris, Has An Implied Meaning That A Soldier Ha A Strategy And Power To Defend His Country, (3)Perang Gendhewa Implies That A Soldier Should Be Trained And Is Always Alert From Enemy’s Attack. Kata kunci : Tari Priyambada Mustakaweni, Bentuk, Makna Simbol.

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