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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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Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri Zakiyati, Nur Muaffah; Cahyono, Agus; Syakir, Syakir
Catharsis Vol 9 No 1 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i1.39033

Abstract

The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.
The Aesthetic Usage Response of Baju Kurung in Palembang City Government Tourism Office in Emphasizing Regional Identity Chaniago, Efriyeni; Rohendi Rohidi, Tjetjep; Triyanto, Triyanto
Catharsis Vol 9 No 1 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i1.39732

Abstract

BajuKurung is a traditional dress of the Malay community in several countries namely Malaysia, Indonesia, Brunei Darussalam, and southern Thailand. The traditional clothes worn by Palembang women including in the form of bajukurung. In the development era of bajukurung replaced by modern clothes. The modification of bajukurung is now made according to the tastes of customers with a variety of shapes and accessories. This study aims to analyze the aesthetic response to the rules of wearing Palembang's traditional clothing in service in the form of patterns, motifs, textures, and colors of clothes worn by employees. Through this interdisciplinary approach by using qualitative method. The data is presented in the descriptive form. The object of study was the employee's bajukurung in Palembang Government Tourism office. The research data sources are primary and secondary data. The data collection techniques are conducted by observation, interview, and document study. The analysis procedure is conducted by data reduction, data presentation, and data verification. The analysis was conducted with the aesthetic formalism theory, the validity of the data by triangulation of data sources. The results showed that the aesthetic response of the employees was expressed through patterns, motifs, colors, and textures of the bajukurung material that were modified with the addition of beads, sequins, and ribbons. The aesthetic response of the user to the style modification of the kurung displays the beauty of clothes but does not eliminate the original form. Modifications to the clothes do not interferethe activities of the employees while working.
A Revitalization of Tandhakan Wedok Dance in Jatiguwi Village, Sumberpucung District, Malang Regency Prima, Empiri Tahya; Cahyono, Agus; Jazuli, Muhammad
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.39850

Abstract

Tandhakan Wedok Dance grows and develops in the Jatiguwi Village environment. This dance has already existed since 1930 and it does not know who its creator. However, the Tandhakan Wedok Dance was inactive in 1932-1990. Around 1990 the Tandhakan Wedok Dance was just remade by Mbah Madyo and Mbah Chatam. The purpose of this study is to describe, analyze, and interpret narratively about a revitalization of Tandhakan Wedok Dance by using an anthropological dance approach. This study is focused on the Tandhakan Wedok Dance, including the revitalization of the Tandhakan Wedok Dance with the research location of Jatiguwi Village, Sumberpucung District, Malang Regency. The techniques used for the data collection in this study are observation, interviews, and documentation. The results of the research are as follows: the stages of the revitalization process which consists of reformulating new views, communication, organization, adaptation, cultural transformation, and routines. The Tandhakan Wedok Dance presentation consists of movement, music accompaniment, make-up and clothing, and floor patterns. The Tandhakan Wedhok Dance movements are divided into elements of motion which are divided into four, consisting of elements of the head, hands, body, and feet. The motion motives consist of 25 motives of motion. The motion phases are divided into 20 phrases. Sentences of motion/ types of movements of the Tandhakan Wedok Dance namely stationary motion, various motor movements, and various connecting motion. Paragraphs or motion groups have three groups, namely gawang forward, core, gawang backward. 15 musical instruments used in the Tandhakan Wedok Dance. The makeup used is beautiful makeup and for fashion, namely cundhuk penthul, sunggar, jasmine flower, suweng, necklace, long cloth for dodotan, belt, sampur/ shawl, and jarik. There are nine floor patterns of the Tandhakan Wedhok dance.
The Pantun Pitutur Song: A Study of Educational Values in The Music Show of The Marawis Suma Budhaya Group Sulaksono, Projo; Sumaryanto Florentinus, Totok; Wadiyo, Wadiyo
Catharsis Vol 9 No 1 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i1.39959

Abstract

This study aims to analyze the educational values of that is implemented through the process of interaction in the musical play of the "Pantun Pitutur" song in the Suma Budhaya group performance. This study used a qualitative method with an interdisciplinary approach to sociology and education. The data were collected by using observation, interview, and document study techniques. The data analysis procedures used data reduction, data presentation, and data verification. The validity of the data used were triangulation, data sources, and theory. The results showed that in the musical play "Pantun Pitutur" there was a process of social interaction among fellow musicians, musicians with the Suma Budhaya group, and the Suma Budhaya group with the community. Social interaction occurs through communication and social contact symbolically by using language, signs, and body language. Social contact in this performance is primary and positive. The social interaction process that was impledmented contains several educational values to the community. The educational values include; 1). Religious Value; 2). Cooperation Value; 3). Pluralist Value; and 4). Responsibility Value. The results of this study can be used as a reference regarding the study of educational values.
Creativity of Cengklungan Artists in Podho Rukun Temanggung Community Puspita, Nisa Rahma; Utomo, Udi; Florentinus, Totok Sumaryanto
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Cengklungan art is a native traditional art of Temanggung Regency which has several additional electrical components. This study aims to provide an overview of the creativity of Paguyuban Podho Rukun artists and the factors that influence their creativity. The study was conducted by using qualitative analysis research methods with the research location in Temanggung Regency. The instruments and data collection techniques used observation, interviews and document study. The data validity technique used data triangulation technique. Meanwhile, the data analysis and processing techniques were carried out by collecting, reducing, clarifying and verifying data. The creativity of the Cengklungan artist in Podho Rukun is the addition of several components to the curved instrument namely cables, spulls, tunning pegs, boards, and guitar strings. In addition, the Cengklungan artist also produced several songs with a pentatonic nuance. The work process of cengklungan artists has also been discussed from several 4P factors including person, process, press, and product.
Warak Dugder Dance: Feminism and the Existence of Women as Strengthening the Existence of the Performing Arts Mawasti, Frihastyayu Bintyar; Malarsih, Malarsih; Hartono, Hartno
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.41109

Abstract

The Warak Dugder dance is a new creation dance inspired by the dugderan tradition in welcoming the month of Ramadan in Semarang City. The purpose of this research is to analyze feminism and the role of women in the performing arts of Warak Dugder Dance, Semarang City. This research uses qualitative research methods with an anthropological approach. The data analysis used to analyze the feminism of the Warak Dugder Dance consists of three lines, namely: data reduction, data presentation, and conclusion drawing. The data collection techniques using observation, interview, and documentation techniques. The results show that the Warak Dugder Dance illustrates the excitement of the atmosphere of the dugderan ritual ceremony in the Semarang city by adapting the characteristics and culture of the multicultural people of Semarang City. Feminism in the Warak Dugder Dance is a feminism of a radical-cultural field, which means that a woman does not need to be like a man, women still have strength that focus on tenderness, and women are the owners of their own bodies. The movement of female dancers rejecting male dancers in the Warak Dugder Dance illustrates the power of women to protect themselves and their honor. The Warak Dugder dance is often performed only displays female dancers, it proofs that female dancers have a role in strengthening the existence of the Warak Dugder Dance. The benefit of this research is to provide information related to the concept of feminism and the contribution of female dancers in the Warak Dugder Dance, the motivator for the community's enthusiasm to continue to preserve the regional arts of Semarang City, especially the Warak Dugder Dance, and to confirm that female dancers play a role in the existence of the Warak Dugder Dance.
Educational Value of Tri Hita Karana's in Garap Gending Sidhakarya Mask Dance putra, I wayan agus suardiana; Widodo, Widodo; Wadiyo, Wadiyo
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.42620

Abstract

This study aims to analyze the educational value of Tri Hita Karana (harmonization of humans with humans, harmonization of humans with nature, and harmonization of humans with God) which represents the musical composition of the Sidhakarya Mask dance at the odalan ceremony in Pura Agung Giri Natha Semarang. This study used qualitative analytic method with interdisciplinary approach of ilmusosiology and education. The data was obtained by using observation, interview, and document study techniques. The data analysis technique used intrinsic and extrinsic analysis techniques, and the data were analyzed with the stages of data reduction, data classification, and data display. The validity of the data used the credibility test (internal validity), transferability (external validity), dependability (reliability), and confirmability (objectivity). The results of this study indicate that the garap material represents the educational value on the harmonization of humans with God which was produced from the gending notes of the Sidhakarya Mask Dance; 1) the educational value of harmonization of humans with nature was represented when the penabuh of the Seni Puspa Giri Studio are able to control the five senses and there is happiness in the penabuh, and the form of the yadya offering is in the form of its performance when the odalan ceremony shows a sense of devotion and the harmonious relationship between humans with God; 2) the educational value on the harmonization of humans with nature was represented when the penabuh of the Seni Puspa Giri Studio played the notes in the Gong Kebyar gamelan, there are vibrations of sound that are the same as sounds produced by nature (the sound of space, water, land, and Earth) which are suitable and create harmony; 3) the educational value of harmonization between humans with humans was represented when the penabuh of Ugal hinted hard and soft of the gending sound, the Kendang performer told another Kendang performer when he forgot with the playing motive of Kendang, when the Kendang performer told the Kajar perfromer that the way of playing was wrong, so the penabuh played together the gending of Sidhakarya Mask dance which proved that the value of human with harmonization. The results of this study can be used as a reference regarding the educational value of Tri Hita Karana which was represented in the garap of gending. Kata Kunci: garap, gending tari Topeng Sidhakarya, nilai pendidikan Tri Hita Karana, upacara odalan.
Shape and Meaning of Banyumasan Batik Motif: A Study in The Context of Finding Cultural Identity Esa Yulianto, Robin; Triyanto, Triyanto; Rokhmat, Nur
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.43112

Abstract

Banyumasan batik is one of the original cultural products from Banyumas Regency which has its own aesthetic shape and distinctive meaning as one of the identities of the Banyumas community. This study aims to analyze the aesthetic shape of Banyumasan batik, the meaning of Banyumasan batik by batik craftsmen, and to construct cultural identity through Banyumasan batik. The study was conducted by using qualitative methods with interdisciplinary socio-cultural studies and arts (fine arts), the data collection was conducted by observation, recording, interviews and documents. The analysis of art data used the theory of aesthetic shape, cultural symbols, and cultural identity. First, the aesthetic shape of Banyumasan batik motif has distinctive and varied ornaments. Second, the meaning of the craftsmen of batik produces iconic and symbolic meanings that reflect the community, natural and physical environment, and culture of Banyumas. Third, the aesthetic shape and the meaning of Banyumasan batik motif are interrelated and support to be used as the cultural identity of the Banyumas community. The results of this study can be used as a reference source for batik craftsmen in the creation of batik motif, as well as sources and media for learning art and culture formally and informally, namely in schools and in the community about Banyumasan batik.
An Acculturation in The Composition and Creative Process of Dengklung Music in Bandar Village, Batang Regency Wulandari, Eky Olivia; Utomo, Udi; Florentinus, Totok Sumaryanto
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.43386

Abstract

Dengklung Al Kafi art is one of the traditional performing arts which is a combination of two cultures, namely Javanese and Arabic or Islamic from Bandar village, Batang regency. The purpose of this study was to analyze and describe the acculturation and creative process of the Dengklung Al Kafi art in Bandar village, Batang Regency. The method used was qualitative with ethnomusicology and anthropology approaches. The data collection techniques used were observation, interviews, and document study. The data validity technique used was the source triangulation technique. The analysis process started from the data collection, data reduction and clarification, drawing conclusions and interpretation. The results showed that cultural acculturation was found in aspects of Dengklung art performances namely musical instruments, lyrics, dance and costume. In addition, creativity in Dengklung art can be seen by the creative process of notation change from pentatonic to diatonic, then added with aspects of dance and costume that combine Javanese and Arabic elements. The combination of culture which is manifested in the form of Dengklung art has been accepted and even appreciated by the surrounding community, it caused this art to stands until now.
Representation of Environmental Based Arts Education: A Case Study of Cultural Heritage Through The Balahak Performance in Siulak Mukai Kerinci Jambi Dilfa, Alrizka Hairi; Hartono, Hartono; Sumaryanto Florentinus, Totok
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.43387

Abstract

The aim of this study is to analyze the representation of environmental based arts education through cultural heritage through Balahak performance in Siulak Mukai, Kerinci - Jambi. The research method of this study uses qualitative data types and case study research design, for the data sources in this study uses primary and secondary data sources, for the data collection techniques in this study uses observation techniques, interviews, and document study. The data analysis technique in this study was analyzed by using interactive data analysis. The results of this study provide two evidences. First, Balahak is a performing art that is generally known as a bridal procession in Siulak Mukai. Balahak includes three processes, namely Bakumpu, Balahak, and Ba'uwu. Second, Balahak can be a means of cultural heritage to enculturate for participants (presenters) and socialize for the audience. It shows a reciprocal relationship between humans and the natural environment, the social environment and the environment in the balahak performance process, thus it makes balahak as a means to regenerate and introduce culture which is concluded as cultural heritage that represents environmental based arts education.

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