Malarsih Malarsih, Malarsih
Department of Dance Education, Semarang State University Sekaran Campus Gunungpati, Semarang 50229, Indonesia

Published : 9 Documents
Articles

Found 9 Documents
Search

The Tryout of Dance Teaching Media in Public School in The Context of Appreciation and Creation Learning

Harmonia: Journal of Arts Research and Education Vol 16, No 1 (2016): (Nationally Accredited, June 2016)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Original Source | Check in Google Scholar

Abstract

Dance learning through appreciation and creation approach is considered important in public school. This study is aiming at realizing dance media to be used as a tool to educate students as formulated in the school curriculum. Specific target to be accomplished in this study is the realization of dance learning media as one of appreciation and creation educational tool in public school. Further, this study employed developmental research method. The tryout of the product was done to measure the effectivity and creativity of students while the media is implemented in dance learning. The product’s trial result showed that the use of dance learning media that was designed specifically for appreciation and creation approach has succesfully driven the students to be more active and creative. Teacher assistant was less needed by students whenever they have problems related to the dance learning.How to Cite: Malarsih. (2016). The Tryout of Dance Teaching Media in Public School in The Context of Appreciation and Creation Learning. Harmonia: Journal of Arts Research And Education, 16(1), 95-102. doi:http://dx.doi.org/10.15294/harmonia.v16i1.4561

PERAN MASYARAKAT TERHADAP KESENIAN TAYUB DI DESA BEDINGIN KECAMATAN TODANAN KABUPATEN BLORA

Jurnal Seni Tari Vol 5 No 2 (2016): Vol. 5 No 2 (2016)
Publisher : Jurnal Seni Tari

Show Abstract | Original Source | Check in Google Scholar | Full PDF (422.248 KB)

Abstract

Tayub merupakan kesenian rakyat yang masih digemari oleh masyarakat di Desa Bedingin Kecamatan Todanan Kabupaten Blora. Penelitian ini bertujuan untuk mendeskripsikan bentuk pertunjukan Tayub dan peran masyarakat terhadap kesenian Tayub. Metode penelitian menggunakan metode kualitatif yang menghasilkan data wawancara, observasi dan dokumentasi. Hasil penelitian ini menunjukan bahwa bentuk pertunjukan Tayub terdiri dari pemain, iringan, tata rias, busana dan tempat pentas. Peran masyarakat dalam pertunjukan Tayub sebagai penonton yang menyaksikan pertunjukan Tayub, pengibing sebagai penari laki-laki yang menari bersama joged, tamu undangan sebagai penikmat Tayub, dan pedagang yang menggelar pusat jajanan menyerupai pasar Tiban di arena pertunjukan. Tujuan diselenggarakan pertunjukan Tayub untuk menghibur masyarakat Desa Bedingin serta melestarikan kesenian yang berkembang di masyarakat.      

PELESTARIAN KESENIAN BABALU DI SANGGAR PUTRA BUDAYA DESA PROYONANGGAN KABUPATEN BATANG

Jurnal Seni Tari Vol 6 No 2 (2017): Vol 6 No 2 (2017)
Publisher : Jurnal Seni Tari

Show Abstract | Original Source | Check in Google Scholar | Full PDF (345.038 KB)

Abstract

ABSTRAK Kesenian Babalu merupakan kesenian yang digunakan sebagai alat untuk siasat perang dalam melawan penjajah pada jaman dahulu. Kesenian Babalu berasal dari Kabupaten Batang yang dilestarikan di Sanggar Putra Budaya Desa Proyonanggan Kabupaten Batang. Usaha pelestarian Kesenian Babalu dilakukan dengan usaha perlindungan, pemanfaatan dan pengembangan. Pelestarian Kesenian Babalu berjalan dan berkembang di masyarakat Kabupaten Batang yang didukung dengan adanya Sanggar Putra Budaya dan Pemerintah Kabupaten Batang. Penelitian ini bertujuan untuk mendiskripsikan bentuk pertunjukan Kesenian Babalu, mendiskripsikan upaya pelestarian Kesenian Babalu di Sanggar Putra Budaya Desa Proyonanggan Kabupaten Batang. Penelitian ini menggunakan metode kualitatif. Teknik pengumpulan data menggunakan observasi, dokumentasi, dan wawancara. Teknik keabsahan data diperiksa dengan metode triangulasi sumber. Teknik analisis data menggunakan reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian pada bentuk pertunjukan Kesenian Babalu terdiri dari tiga tahapan, yakni awal, inti, dan akhir. Persiapan awal dalam pertunjukan Kesenian Babalu ditandai dengan bunyi peluit oleh penari Kesenian Babalu lalu penari memasuki panggung dengan ragam gerak kaki doublestep. Inti pertunjukan Kesenian Babalu ditandai dengan ragam gerak diantaranya yaitu ragam gerak langkah tepuk dan ragam gerak silat. Penutup dalam pertunjukan Kesenian Babalu ditandai dengan ragam gerak jalan ditempat lalu para penari keluar panggung. Bentuk Kesenian Babalu dimunculkan melalui elemen dasar tari dan elemen pendukung tari. Elemen dasar tari terdiri dari gerak, ruang, dan waktu. Elemen pendukung tari terdiri dari musik, tata busana, tata rias, tempat pentas, waktu pelaksanaan, tata suara, properti dan penonton. Upaya pelestarian Kesenian Babalu dilakukan melalui tiga tahap yaitu perlindungan, pemanfaatan, dan pengembangan. Upaya perlindungan kesenian Babalu dilakukan melalui pelatihan tari di Sanggar Putra Budaya, Upaya pemanfaatan dilakukan melalui pementasan-pementasan Kesenian Babalu dan upaya perkembangan dilakukan melalui perkembangan gerak, iringan dan tatabusana dalam kesenian Babalu.  Saran bagi 1) Sanggar Putra Budaya agar terus mengembangkan bentuk Kesenian Babalu menjadi lebih baik lagi, 2) Pengelola Sanggar agar terus mengadakan pementasan-pementasan kesenian Babalu 3) Penari Kesenian Babalu agar lebih baik dalam mengekspresikan gerak dalam Kesenian Babalu, 4) Masyarakat di Desa Proyonanggan dan masyarakat di Kabupaten Batang agar ikut serta dalam melestarikan Kesenian Babalu.

Eksistensi Tari Ronggeng Bugis di Sanggar Pringgadhing

Jurnal Seni Tari Vol 7 No 1 (2018): Vol 7 No 1 (2018)
Publisher : Jurnal Seni Tari

Show Abstract | Original Source | Check in Google Scholar | Full PDF (592.988 KB)

Abstract

Tari Ronggeng Bugis temasuk tarian jenaka, yang lucu dan menghibur. Berbeda dengan tari Ronggeng lain, tari Ronggeng Bugis ditarikan oleh laki-laki, selain itu keberadaan tari Ronggeng Bugis sendiri sudah diakui oleh masyarakat Cirebon kota dan Cirebon barat. Masalah penelitian yaitu Bagaimana Eksistensi Tari Ronggeng Bugis di Sanggar Pringgadhing Plumbon Cirebon.  Maka tujuan penelitian ini adalah untuk dapat mengetahui, dan mendeskripsikan bagaimana eksistensi tari Ronggeng Bugis di Sanggar Pringgadhing Plumbon Cirebon.Teknik pengumpulan data melalui observasi mengenai tempat penelitian dan bentuk pertunjukan tari Ronggeng Bugis, kemudian wawancara dengan beberapa sumber yaitu ketua sanggar, dinas pariwisata dan budaya Kabupaten Cirebon, kepala sekolah, penari, pelatih, dan penonton. dan dokumentasi penelitian maupun dokumentasi peneliti. Hasil penelitian ini menunjukan bahwa tari Ronggeng Bugis di Sanggar Pringgadhing masih eksis dan dikenal oleh masyarakat Cirebon. dengan pembuktian adanya pementasan tari Ronggeng Bugis sampai tahun 2017 ini. Serta adanya kerjasama dengan instansi pemerintahan seperti dinas kebudayaan dan sekolah, dengan tujuan melestarikan kebudayaan Cirebon dan sebagai sarana pendidikan. Kata Kunci : eksistensi, tari ronggeng

PERKEMBANGAN KESENIAN JARAN JENGGO ASWO KALOKO JOYO GENERASI KE-6 SAMPAI GENERASI KE-7 DESA SOLOKURO KECAMATAN SOLOKURO KABUPATEN LAMONGAN

Indonesian Journal of Conservation Vol 7, No 1 (2018): IJC
Publisher : Indonesian Journal of Conservation

Show Abstract | Original Source | Check in Google Scholar

Abstract

Jaran Jenggo art is a circumcision dress art procession using a horse or jaran accompanied by jedor music. Jaran Jenggo art began to develop from the 6th generation to the 7th generation which has been implemented because of various aspects of modern thought, education and economics Making Jaran Jenggo Art Aswo Kaloko Joyo makes art form innovation so that it is not monotonous. It is this change that motivates. Jaran Jenggo Aswo Kaloko Joyo developed the form. The aim of the study was to find out the development. Jaran Jenggo Aswo Art Kaloko Joyo from the 6th generation to the 7th day. This study uses qualitative methods through the Sociology of Arts approach to encode the development of society towards artists in the creation of films. Jaran Jenggo to make it look more attractive. Social change, making Jaran Jenggo Art finally began to rise with innovative forms, accompaniment, costumes and make-up, even to the stage that consisted of the farewell stage which began in the 6th Generation to become a new form and developed until the 7th generation ofization. Jaran Jenggo Art Aswo Kaloko Joyo has found a country that is mature enough in the mood, with the development that creates Jaran Jenggo still has to improve the quality and quality of the art they have.

The Process of Inheritace Ayu Mask Dance in Tanon Backwoods

Catharsis Vol 8 No 1 (2019): August 2019
Publisher : Catharsis

Show Abstract | Original Source | Check in Google Scholar

Abstract

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.

Dialectics Dance Ritual in Wanara Parisuka in Talunkacang Kreo Cave Semarang Central Java

Catharsis Vol 8 No 1 (2019): August 2019
Publisher : Catharsis

Show Abstract | Original Source | Check in Google Scholar

Abstract

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).

The Puppet Thimplong: Assessment Form Performance and Values of Local Wisdom for Nganjuk Citizen

Catharsis Vol 8 No 1 (2019): August 2019
Publisher : Catharsis

Show Abstract | Original Source | Check in Google Scholar

Abstract

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.

Form of Performance and Creativity of the Sisingaan Art in Wanareja Group in Subang Regency, West Java

Catharsis Articles In Press 2019
Publisher : Catharsis

Show Abstract | Original Source | Check in Google Scholar

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.