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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 506 Documents
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Steve Handoyo’s Creativity in the Arrangement of Orchestral Campursari Music Manik, Astri Marita; Sunarto, Sunarto; Triyanto, Triyanto
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.23810

Abstract

This thesis aims to analyze the creative process of an arranger named Steve Handoyo in Semarang. The researcher used interdisciplinary approach with qualitative method and interpretative case study. The supporting data were collected from observation, interview, and documentation. Triangulation were used to maintain the validity of the data. The analysis of the data was in the sequence of data reductin, presentation, and verification. The findings shows that Steve Handoyo’s creativity are projected in three elements of Barret’s theory of creation, which are; (1) Conceptual Elements (impuls, feelings, ideas). This element is realized from Handoyo’s experience in campursari and orchestra. He also uses his feelings and imagination as the source of creativity.(2) Operational Elements(media, materials, technique). The used media are computer, midi, VSD plug in, violin, drum, cuk, and keyboard. The musical materials came form his experience learning Campursari and Orchestra, while the technicalities developed from the combination of musical instruments, including violing, drum, and keyboard with the sampling of “viona house”. (3) Synthesis Elements (persepsi bentuk visual). From his experiences, Steve Handoyo imagines to apprehend the work he is going to make. Based on findings and discussion, Steve Handoyo does not include all the elements of orchestral instruments into his work, the authors hope for Steve Handoyo's later work with orchestral music can be adjusted to the rules of orchestration that includes all elements of the Orchestral instrument so it does not sound just an orchestra feel.
Kokkang Art Studio : Structure and Function of Passing Down Potentials of Caricature Through Generation Beniarso, Mundin; Triyanto, Triyanto; Utomo, Udi
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24236

Abstract

Caricature is a picture which is distorted to send a satirical or funny message. It is portrayed in a printed media with a function of becoming a social control or a sword of opinion. This research has several objectives. First, it discusses the structure and function of KOKKANG art studio. Second, it reviews the learning of intergenerational caricature of KOKKANG art studio in Kaliwungu, Kendal. This research used descriptive qualitative design assisted with the approach from the theory of modern sociology. The supporting data were collected from observation, interview, and documentation. Triangulation of sources and data were used to validate the findings. Then, the data were analysed under the steps of data reduction, presentation, and conclusion (verification). There are some points from the findings of the research. First, the functional structure of KOKKANG art studio is interrelated to other structure. Some function in each position of the organization has worked as their job description. Thus, it impacts the inheritance of drawing caricature which is done by the education section of the organization. Second, the non-formal learning pattern done by the studio is friendly and familiar, thereby it produces the cadres of cartoonists which can maintain their existence. Based on the findings, there are some suggestions to be proposed. First, KOKKANG studio should actively promote and regenerate to keep the existence of it in the future. Second, the teenagers in Kaliwungu should actively participate in the part of the community by joining or following the agenda. Third, local government should be involved in supporting the studio whether morally or materially to continue its existence.
The Study of Performance Art “Kethuk Roso” by Fenny Rochbeind Pristiati, Tutut; Sunarto, Sunarto; Wadiyo, Wadiyo
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24240

Abstract

Performance art”Kethuk Roso” is a form of spontaneity of body action as a media of expression that presents the stretching of the spirituality of the artist to knock the sense of audience to interpret the morality. This study aims to describe the visual form and characteristics of performance “Kethuk Roso” by Fenny Rochbeind. This research used qualitative method with interdisciplinary approach. The source of the data used primary and secondary data through observation, interview, and documentary techniques. The validaty data technique used source of triangulation and the analysis technique data is done with performance art theory by RoseLee Goldberg. The result shows that performance art of “Kethuk Roso” is a multidisciplinary in the form of non-profit art genre that primarily focuses on the body as a media expression that directly conveys a dialogical message between the performer and the audience in the form of action communication. The researcher expects that through appreciation of performance art “Kethuk Roso” is important to be known by the public especially for art educators to understand, appreciate, and apply the contemporary art form which gives new color and meaning in art and to support the development of basic competence in art education. The research findings that Kethuk Roso performance art is able to knock everybody's sense of responding to cases of physical violence. Performance art Kethuk Roso proves its manifestation as a contemporary art shows the actual and factual events which gives new colors and meaning.
Gandalia Art of Banyumas : a Socio-cultural Change Febrianto, Aji Sofian; Sunarto, Sunarto; Utomo, Udi
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24372

Abstract

Gandalia is one example of musical arts which can endure changes and times. It is a typical Banyumas traditional music which was used to play a specific Gandalia song, an agricultural pest repellent song. Its instruments has similar forms to musical instruments called Angklung, which are made from bamboo. The instruments produce a unique rhythm. At first, Gandalia was used as a means to drive agricultural pests away, but in its development, it becomes a musical performance. This change is interesting to be studied from the socio-cultural point of view. The writer, therefore, studied the functional change of Gandalia musical instruments based on the socio-cultural change which occur in the society who supports it. In writing this article, the research method applied is qualitative method, a method of collecting data by applying some techniques such as interview, observation, and documentation, while the validity of the data is checked by using triangulation, member checking, and rich and thick description.Milesr that, the data are analyzed using qualitative analysis of Miles and Huberman that is an interactive model of data analysis including some stages such as the process of data collecting, data reduction, and data presentation and verification. The research result shows that Gandalia music which, at first, was a means of driving pests away, now becomes one of the performance arts. This change is influenced by the socio-culture of the society who supports Gandalia art. They are the people of Tambaknegara, Banyumas Regency. This socio-cultural change has created a more complex form of Gandalia art.
The Spatial Lay Out of Joglo Pencu House in the Socio Cultural Change the Settlement of Kauman Community in Kudus Andriansyah, Rico; Triyanto, Triyanto; Iswidayati, Sri
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.23492

Abstract

Socio cultural life of Kauman community in Kudus Kulon (western Kudus) has changed and influenced the spatial lay out of Kudus traditional house of traditional house, Joglo Pencu. The purpose of this research was to analyze the following problems: (1) how is the socio cultural change in the settlement of Kauman Community in Kudus? and (2) how is the spatial lay out of Kudus traditional house that has been influenced by socio cultural in the settlement of Kauman community in Kudus? Methodologically, this research used qualitative method and observed interdisciplinary. The research data was collected by the technique of observation, interview, and document study. The data validity was used source triangulation. Data analysis was done by reduction, presentation, and verification of data. The research results were; first, the society in Kauman community Kudus Kulon developed influencing the population composition, economic life change, and belief system change. Second, the socio cultural change influences the spatial lay out of Joglo Pencu house. It is suggested to the heir of Kudus traditional house owner to manage the spatial lay out and to maintain it wisely the heritage house. This research is beneficial to the heir of the house and the development of science.
Tarek Pukat Dance Aceh : the Form of Expression of Aceh Coastal Area Society Life Fitriani, Fitriani; Hartono, Hartono; Triyanto, Triyanto
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.23610

Abstract

Tarek pukat dance was created by Yuslizar in 1958. At the beginning, this dance is created to enliven the spirit of Aceh society in the Aceh youth congress that must be proud of Aceh’s land fertility. Tarek pukat dance is inherited through a learning process in Cut Nyak Dhien dance studio. This dance tells about how Aceh society life in the coastal area. Tarek pukat dance is usually performed by 5-9 female dancers, and 4 or 5 male dancers. Based on the information above, the purpose of this research was to observe the expression of Aceh coastal area society as a learning medium of Tarek Pukat dance. The method used in this research was qualitative. The research was located in Cut Nyak Dhien dance studio in Banda Aceh Anjong Mon Mata, in Banda Aceh Regency area. The data collection technique used was observation, interview, and document study. The data validity technique was source triangulation. The data analysis technique used was analysis descriptive. The results that Tarek Pukat dance through movements and properties, such as, peuget pukat, tarek pukat,kayoeh,ikat taloe,pasoe engkot lam raga, puwoe engkot as the expression of Aceh coastal area society. Based on the above matters, it can be said that Tarek Pukat dance builds a cooperative social character, optimistic, consistence, and loyality.
The Symbolic Meaning of Kuadai Dance Performance in the Society of Semende Lampung Saputri, Amelia Hani; Hartono, Hartono; Florentinus, Totok Sumaryanto
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.23613

Abstract

Kudai dance as a medium of collective expression of Semendesociety is identical with the women strength as the source of life. In the aspect of its performance, It contains social interaction through the symbols that is expressed through the aesthetics of the female body.The purpose of the article is to explain the symbolic meaning of Kuadai dance performance expressed by Semende society in Lampung.This research used qualitative method with interdisciplinary approach. The data collection used the technique of observation, interview, and documentation. The data validity was based on the credibility criteria with triangulation technique. The data analysis used the procedure of dance research by Gertrude Prokosch Kurath that is focused on dance analysis especially on symbol and meaning in Kuadai dance. The results showed that Kuadaidance is a form of tradition reality imitation which exists among Semendesociety as an agrarian society that outs forward the tradition of tunggu tubang (the first daughter as a shelter and a manager of family’s treasure. The personality of tunggu tubang that is full of patience, consistence, and responsibility is manifested through the Kuadai dance movements.The plate as property is a symbol of a respect as well as a representation of a woman that should be treated gently, carefully, lovingly, and with sacred. The dominant floor pattern symbolizes the Semende society that always respects the customs’ regulation. The dance accompaniment with slow tempo symbolizes Semende society that is full of tranquility and togetherness.
Sogug Musical Instrument to Build Musical Intelligence (Rhythm Element) in Early Childhood Tirtaningsih, Munaisra Tri; Hartono, Hartono; Florentinus, Totok Sumaryanto
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24420

Abstract

Sogug musical instrument is a type of traditional musical instrument, including rhythmic musical instruments from the Kalipare village community, Malang Regency. The research aims to describe how Sogug musical instruments can be used to stimulate rhythm sensitivity and how to apply Sogug musical instruments to children. The method used in this study is a qualitative method with descriptive data exposure. The research subjects of the group are Muslimat NU TK A Kalipare Malang, with observation, interview, and document study data collection techniques. Data validation techniques used in this research is source triangulation and data analysis techniques with data reduction, presentation of data and conclusions. The results showed that the Sogug musical instrument was appropriately used and appropriately applied as an alternative to stimulate early childhood musical intelligence (rhythm). It is because of the instruments and ways to play Sogug musical instruments is in accordance with the early childhood stages of growth, needs, abilities and physical motor development.
Local Wisdom Values of Rumoh Aceh Maria Ulfahmi, Cut Gesti; Rohidi, Tjetjep Rohendi; Triyanto, Triyanto
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24742

Abstract

The purpose of this article is to reveal the local wisdom values of Rumoh Aceh architecture in Garot Cut village. Local wisdom means the wisdom to face something. Aceh’s local wisdom is a reflection of Aceh’s cultural tradition that is manifested in Aceh’s traditional architecture, in this case is Rumoh Aceh in Garot Cut village. The formulation of problems in this research is local wisdom values that is expressed through Rumoh Aceh. This research aims at analyzing the local wisdom values in Rumoh Aceh. The method used in this research is qualitative with ethnographical approach. Data collecting techniques are observation, interview, and document study with primary and secondary data sources. The technique of data validity is through source triangulation and data analysis technique through the stage of data reduction, data presentation, and verification. The research is situated in Garot Cut village. Indrajaya district Pidie regency. The research findings show that Rumoh Aceh has local wisdom values. Those values are in the components of building shape and the traditional ceremony of Rumoh Aceh, the values are religious, moral, social, traditional, and sensitive on nature. The knowledge, attitude, and local wisdom behavior Rumoh Aceh teach the society to adapt, to care with cultural inheritance, and to form the system of social familial system.
Gamelan Truntung Art in the Study of Structural Functionalism Indariyana, Raditya Wahyu; Wadiyo, Wadiyo; Utomo, Udi
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24743

Abstract

Gamelan Truntung is one of traditional arts in Magelang. This art derives from a mixture of Truntung with a set of gamelan instruments. Truntung is a musical instrument to accompany or facilitate Soreng dance which is also a traditional art in Magelang. The problem of the research is to answer how the structural functionalism of Gamelan Truntung Art is. The research is conducted to know, to analyze, and to describe the structural functionalism of gamelan Truntung art. Meanwhile, the research method applied is a qualitative method using monodisciplinary approach. The techniques used to collect the data needed in writing this article are obervation, interview, and document study. Then, the validity of the data collected is checked by applying data triangulation technique. The type of triangulation data used is the triangulation data of the resources which uses data analysis technique comprising of three steps, namely data reduction, data presentation, anda data verification. Gamelan Truntung art is considered as a system which has some parts that influence and are functional to each otherKesenian Truntung. The man in charge of the art studi or sanggar has run his function well, but in fact, there is a latent function which gives disadvantages to Gamelan Truntung art. The other part experience disfunction which hinders the development of Gamelan Truntung art. Gamelan Truntung can be maintained by giving attentions to the following, namely the artist creativity which must be elevated by having no dependency on Mr. Riyadi as the man in charge, and some hindering idealism which must be able to be set aside for the development and the progress of the art studio and its art.

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