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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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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.
Orkes Puisi Sampak Gusuran : the Creativity of Processing and Symbolic Meanings in Action of Art for the Art Consumer Community Amaliani, Mina; Wadiyo, Wadiyo; Rohidi, Tjetjep Rohendi
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.22865

Abstract

This research raises the problem about an art group located in Pati Central Java named Orkes Puisi Sampak Gusuran. The group has created the art of musical poetry. The purpose of this study was to obtain a picture of the form of creativity and symbolic meaning of the work of the Orkes Puisi Sampak Gusuran for the society of art consumer. This research used qualitative method and used an interdisciplinary approach to find out the symbolic meaning, using symbolic interaction theory. The data collection techniques used are interviews, observation, and document studies. The results of this study indicate that; 1)there are poetry reading techniques must be maintained in order to maintain the meaning of the deepest meaning of a poetry to be away from melodic readings such as language in a songs, although the music as a companion is still presented as a builder of nuance 2)the syllable of poetry can be widened or narrow to adjust to music without reducing the essence of his poetry. From the mixing of instruments, musical genres and mixed arrangements, a new musical arrangement is created that is sometimes undetectable in its genre. This is where the originality the work of Orkes Puisi Sampak Gusuran, where the arrangement sounded flowing, following the atmosphere of poetry, strengthen it into music that is different from others but still strong as a music or as a poetry. Meanwhile the symbolic meaning that can be concluded is: 1)works of poetry Orkes Puisi Sampak Gusuran symbolize life that occurred in society and also a relation to God 2)the use of traditional instruments is a relationship with the ancestors who remain woven in the present.
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.
Cultural Communication of Didong Jalu in Takengon, Central Aceh Regency Afriadi, Putra; Florentinus, Totok Sumaryanto; 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.v7i1.23282

Abstract

Didong Jalu is a traditional art from Aceh Tengah (central aceh) that performs 2 (two) Didong group in one performance. Didong Jalu is an art that combines vocal and motion art with a small pillow as the property. Didong Jalu is also used as a medium of communication among societies from different ethnics. The problems of the research are (1) How is the Didong Jalu performance of Kampung Toweren societies, Takengon Central aceh Regency if it is reviewed from Entomusicology?, (2) How is Didong Jalu performance used as a medium of cultural communication by Kampung Toweren societies, Takengon, Central aceh Regency?. The research method is qualitative with interdicipline approach. The research design is case study, this research is only applicable for where the research was held. The research location is Kampung Toweren Takengon, Central aceh Regency. The research focused on Didong Jalu performance with performance concept and communication concept. The source of data was primary data involving artists, literature documents, and public figure, while the secondary data involves books, and references from previous research.the data collection techniques are observation, interview, and study document. The technique of data validity used data triangulation. Data analysis techniques consist of reduction, data presentation, data verification. The results of the research was that Didong Jalu performance observed used 2 (two) concepts, they are concept presented by Sal Murgiyanto, involving (a) beginning parts, (b) core parts, (c) final parts; (d) rhythm, (e) melody. Didong Jalu performance as a cultural communication can be seen clearly from the elements which influence communication system presented by Alo Liliweri, such as, Didong Jalu as a communicator, communicant, message, media, effect, athmosphere, and disturbance.
A Multicultural Study of Suma Budaya Marawis Music Band in Pekalongan Mujadid, Ahmad Zahry; 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.v7i2.23292

Abstract

The entity of the adoption process produced a concept of multiculturalism in the form of marawis music presented by Suma Budaya group. This study aims to analyze the musical elements of the group Suma Budaya marawis Pekalongan City and multicultural characteristics in the context of urban Pekalongan. The research method is qualitative with interdisciplinary approach. The supporting data were collected from observation, interview, and documentation. Then, these data were validated using triangulation technique. The analysis of the data included four steps, including data collection, data reduction, data presentation, and conclusion. The results showed that the musical elements presented by the Suma Culture marawis group brought Arabic, Javanese and Chinese concepts in the show, among others realized through (a) the addition of musical instrument that is Javanese gamelan that have elements of pentatonic tones of Java with the pelog nem is 1 (ji), 2 (ro), 3 (lu), 5 (mo), 6 (nem), and when the tone of nog in gamelan make a diatonic tone it will sound 3 (mi), 4 (fa), 5 (sol), 7 (si), 1 (do); (b) Chinese elements can be seen from the Chinese pentatonic tones found in Ghuzeng musical instruments: 1 (do), 2 (re), 3 (mi), 5 (so), 6 (la); (c) Arabic elements in this case can be seen from rampak marawis itself, including with the musical instrument marawis, bass jidor, and darbuka.
The Characteristics of Traditional Music Form in Palembang in Melati Karangan Song Kautzar, Awang; 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.v7i1.23432

Abstract

The purpose of this article is to discuss specifically about how the form of Malay traditional music is. It is to give insight and information about the characteristic of Malay traditional music form in Palembang. This research used qualitaive method with musicological approach. The technique of data collection are observation, interview, and documentation. The technique of data validity used triangulation. The results of the research is that there were some repetition in the main melody or vocal melody, question and response phrases, and characteristic of lyrics and the meaning of Malay traditional song in Palembang. One of traditional song in Palembang is Melati Karangan, this song is a symbol or an identity of Palembang that always respects a woman or older people. The musical performance in Melati Karangan song is usually presented in wedding traditional ceremony. The tribute to women, parents and guests in Palembang representing courtesy in the marriage process, is part of Malay cultural identity in Palembang.

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