13 Establishment of Learners’ Character Through Learning Traditional Dance in Senior High School Etik Riyaningsih, Maryono, Harini Art Education Study Programme of Post Graduate, Universitas Sebelas Maret, Indonesia Received: December 13, 2017. Revised: April 23, 2018. Accepted: June 10, 2018 Abstract This research was conducted to describe the character establishment of learners through learning dance in terms of the learning process, exercises and elements of traditional dance. This research was conducted to find and explain the process of learning traditional dance in the development of learners’ character establishment. This research data is in the form of information, documents and learning process collected through interview, literature study and observation. Meanwhile, triangulation method is done to test the validity of data from those various sources. The result shows that learning the traditional dance of Bajul Mahambara can enrich the experience of learn- ers and on the other hand train the intellect and sense by understanding the characters of local wisdom contained in traditional dance. Learning traditional dance can give a positive influence in establishing the character of learners which are (1) religiosity; (2) honesty; (3) responsibility and cooperation; (4) tolerance; (5) discipline; (6) creativity. Keywords: Character Establishment; Culture; Traditional Dance; Learning Activities How to Cite: Riyaningsih, E., Maryono, & Harini. (2018). Establishment of Learners’ Character Through Learning Traditional Dance in Senior High School. Harmonia: Journal of Arts Research And Education, 18(1), 13-27. doi:http://dx.doi. org/10.15294/harmonia.v18i1.12575 Harmonia: Journal of Arts Research and Education 18 (1) (2018), 13-27 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.12575 creativity drivers, sight generators, regular workers, storytellers, actors, emancipators, evaluators (Asmani, 2011). Dance is one of the cultural results of the art in the form of body movement that describes and convey certain characters. In other words, dance is one form of com- munication media in society in the form of symbols. Dance as a work of art from a par- ticular community or community which is influenced by the background of society such as culture, education, wisdom and the characters contained in a community / residence. By incorporating the character and local wisdom is expected to encourage in shaping the intelligence and character of learners. Jazuli (2016) states that the bene- INTRODUCTION Character is a very important aspect in shaping a superior person. Character education at the institutional level leads to the establishment of a school culture which are the characters underlying beha- vior, traditions, daily habits, and symbols practiced by all members of school and community. The school that is an educa- tional institution plays an important role in developing the character of learners through cultural approaches in school. Character-based education has several roles which are as educators, instructors, mentors, trainers, advisers, reformers, mo- dels and paragons, personal researchers, Corresponding author: Jl. Ir. Sutami No.36A, Jebres, Kota Surakarta, Jawa Tengah 57126 E-mail: etikriyaningsih24@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 13-2714 fits of dance education for students are to cultivate the taste and provide a psychical ground both theoretically and practically to be able to express feelings through the art media. Research on character-based educa- tion has been widely practiced. One rele- vant study is a study by Winarsih (2004) on the development of character-based education through the classical dance of Yogyakarta in SMK 1 Kasihan, Bantul. The results show that dance learning with ethnographic study approach by under- standing the students ‘thinking structure about character education based on the ethnic-educational study, comprehensive picture of the concept of cultural resistance and its effect on students’ activities, lear- ners social, learners culture. Rosala (2016) argued that dance education based on lo- cal wisdom could be used as an alternative learning in schools in building the charac- ter of the nation, among others are: Produ- cing generations that are competent and dignified; Reflecting cultural values; Par- ticipating in shaping the character of the nation; Contributing to the creation of na- tional identity; Participating in preserving the nation’s culture. The nature of learning is the interac- tion of learners with the learning environ- ment to change behavior and habits. Ac- cording to Djamarah (2011) learning is an inseparable part of all activities in studying in formal education institutions, indivi- dual learning activities to gain a change of behavior and new habits as a whole, as a result of individual experience himself/ herself in interacting with the environment involving cognitive, psychomotor and af- fective. Behavior change is one of the out- comes of the learning process. Jazuli (2016) states that learning is a process of interac- tion between learners and learning resour- ces on a condition that is deliberately cre- ated in order to change behavior. Changes in the behavior that is meant concerning changes that occur consciously, conti- nuously, functionally, positive, active and not temporary, have a purpose, the change covers all aspects of behavior. While San- jaya (2013) mentions that learning requires a strategy that includes considerations re- lating to the objectives to be achieved, con- siderations related to materials or learning materials, considerations from the point of view of learners. Learning involves the cognitive, af- fective and psychomotor aspects of the learner. Rohmad (2016) explains that cog- nitive aspects are related to the activities of the mind including the ability to think, understand, remember, apply, analyze, evaluate and create. The psychomotor aspect relates to the orientation of a skill or the ability to respond or act upon lear- ning experience (cognitively and affective- ly). While affective aspects related to the manner and behavior including character, habits, feelings, intentions, emotions and characters. The results of the learning pro- cess affectively appear in the habits and behaviors of learners. The character is a special characteris- tic possessed by an object or individual “(Asmani, 2011). While Philips explains that the character is a collection of gover- nance of character that leads to a system, which underlies the thoughts, attitudes, and behaviors displayed (Muslich, 2011). Thomas Lictona explains that character is the nature of a person in responding to a moral situation, manifested in real action through good, honest, responsible, res- pectful and other good behavior (Muslich, 2011). While Muslich explains character education is the process to shape the cha- racter of learners that involves aspects of knowledge (cognitive), feelings, and ac- tions. Education or character formation will not work effectively without these three aspects, and their implementation is systematic and sustainable. Based on those opinions is concluded that character is cha- racter, attitudes, behaviors that attached or appear on someone who distinguishes it from others. Character education is very impor- tant to be included in the learning pro- cess, one of them through the education of dance. Character education in each Etik Riyaningsih, Maryono, Harini, Establishment of Learners’ Character Through Learning 15 subject aims to provide moral upbringing, dignity and attitude (Muslich, 2011). Ac- cording to Damayanti (2014) each subject focuses on the main characters that match the characteristics of the relevant subjects, for example in the arts and culture sub- jects integrating traditional dance lessons with the character of religiosity, honesty, intelligence, integrity, concern, democra- cy, respect for diversity, respect for others’ works, curiosity and discipline. In art les- sons in particular also have character. In fact, indirectly art can develop basic skills such as physical, percy, piker, emotion, in- ventiveness, aesthetics, and also can deve- lop child talent (Pekerti, 2007). Dance education is a strategic entry point for applying the development of cha- racter establishment of learners through experiences that result in students’ in- volvement in appreciating the artwork, revealing the philosophical character, re- ligiosity, passion and message embodied in a work of art. Jazuli (2016) explains that appreciating, performing and creating an art dance in it there is a link between the concept of form, creativity, taste, intention and work. Performing arts including dance les- sons performed in schools are basically not to make children as artists or professional dancers, but to encourage the develop- ment of creativity, expression, skill and art appreciation, especially traditional dance. Dance as performing art requires deep ob- servation rather than entertainment. Per- formances as a spectacle art can be divi- ded into show and performing art, dance as show accentuated the physical form of motion and simple composition, luxurio- us costumes, and beautiful dancers. Whi- le performing art prioritizes the artistic character in the sense of prioritizing the weight of the character of the art than the goal, namely the quality, the mature con- cept and not merely pleasing the audience. The main performing arts of dance art require some supporting elements in its implementation. Jazuli (2014) explains that performing arts are a spectacle of art which way of appearance is supported by the necessary equipment, valid for a certain period of time. To perform which means to carry out or execute an action or process and there are people who both show and watch. The art of dance perfor- mances includes three types, namely tradi- tional dance, creations and modern. Some of the elements that exist in the art of dan- ce are themes, gestures, expressions, and floor patterns (Maryono, 2015). The theme in the dance is the story- line that can lead a person to understand the essence of dance. The theme can be based on an event or story, which is furt- her translated into a storyline as a draft of a dance. In other words, the theme in dance has an important meaning depicted through its characters and is supported by an expert cast (dancer) in a dance perfor- mance. Maryono (2015) mentions the ty- pes of themes that generally develop in life such as themes of heroism, loyalty, unity, togetherness, mutual cooperation, harmo- ny, and happiness. One example is a royal story that is usually themed romance and heroism. Traditional dance in Indonesia is usually based on Ramayana stories, Ma- habharata, Babat, myth, legend, and histo- ry. Gestures are a means to describe intentions and feelings through non-ver- bal communication. According to Jazuli (2016), the motion is viewed from strength (power use) or motion impulse that inclu- des intensity, accent or pressure, and qua- lity. Intensity is the power or force used in motion. Accent or pressure is the point of a movement that occurs due to the use of power that varies in the motion, meaning that some movements that use little there are also many of use. Motion quality can be distinguished as light or heavy, loose or limited, fast stomping, direct or indirectly toward the end of the movement phrase. There is an expression factor in all motions, because it is done in order to express the taste, the desire and the mind (Widyastu- tieningrum, 2014). The motion of expressi- on and expression of motion concerns the psychological factors that are an anatomi- cal body. Harmonia: Journal of Arts Research and Education 18 (1) (2018): 13-2716 Polatan or expression is the expres- sion of something from a human person such as a raging act to describe anger, hug- ging to portray a person in love. Expres- sion as an expression using analog as a comparator as well as to explain terms in dance. Wahyudiyanto (2009) argues that expression is the creative process of artists in realizing the idea of an imaginary est- hetic form that is coupled with a complex sense of insane into the form of body art and companion media filled with human characters presented in every motion that forms segments motion. The segments of the motion are forwarded to the motion phrases arranged in a structured compo- sition taking into account the dramatic design. The rhythmic motion composition that feels in this dramatic structure, it is what is called the expression that appears in dance. This means that dance is actually revealing the thematic ideas in the form of motion that can be perceived by the con- templator or dancer while in the process of dance. The floor pattern is the lines made and passed by the dancers on stage. The lines can be either straight lines or cur- ved lines which can then be developed into various line shapes on stage, such as zigzag, diagonal, circle, curve (Jazuli, 2016). The floor pattern is the line where a dancer walks across the floor. These li- nes are imaginary lines that can only be captured with taste sensitivity. Its form is an illusion or shadow that appears to fuse complementary with the direction of body movement. According to Maryono (2015) the floor pattern is one of the ele- ments that contribute significantly to the visual actualization, the floor pattern is a line formed of the dancers’ gestures that cross the floor or the show is an imaginary line that can be captured with taste sensi- tivity. The floor pattern is required both in single or group dance. In group dance and colossal dance, the floor pattern becomes very important in order to move among the dancer’s group looks neatly and well, and gives a solid theatrical impression. The floor pattern basically consists of two types: symmetrical or balanced and asym- metric. The symmetrical and asymmetrical floor pattern is influenced by the number of dancers. Floor pattern will be strong-es- tablished or have weakness also not apart from the design formed. Motion design is divided into three kinds, namely 1) bottom design, 2) middle design, 3) top level. The basic colors in the performing arts have a symbolic meaning that can lead to the understanding of the characters. The colors are black, white, red, yellow and green. White is a color that has a sacred, loyal and accentuated impression asso- ciated with the life of nirvana, for the roles of priests, gods, and commanders. The red color gives the impression of bold, aggres- sive, and dynamic that many destined figu- res of arrogant kings, giants, young duke or knights, princesses with a dynamic spi- rit. Yellow color that has the impression of glamour, luxury, majesty, glory and wis- dom. For turmeric yellow is a depiction of the magical atmosphere and the right cho- ice for the clothing of the characters invol- ved. The golden yellow color for the role of king, god and priest. The color green has the impression of fresh, young, grow and live. The color of the green dress in dance performances is widely used for the role of princesses, Gambyong dance, Golek dan- ce, and children dance. Based on the description, traditio- nal dance learning is supposedly able to meet the social needs of the communi- ty and education that can strengthen the character of learners as future generations by bringing the dignity and local wisdom through cultural preservation. In this stu- dy, researchers are interested in discussing the learning of traditional dance with its relation in the establishment of the charac- ter of learners. This study aims to descri- be the establishment of learners’ character through the learning of traditional dance “Bajul Mahambara” in terms of the lear- ning process, exercises and elements of traditional dance. Etik Riyaningsih, Maryono, Harini, Establishment of Learners’ Character Through Learning 17 compile each component of its analysis, and conducts continuously in the process of data collection (Sutopo, 2006). RESULTS AND DISCUSSION SMA N 1 Sragen has applied Curri- culum 2013 (K13) as the national curricu- lum. Therefore, the objectives of the school are formulated based on the national edu- cational objectives that is to build and de- velop the character and civilized society where learners are expected to be educated by faith and piety to God Almighty, noble, healthy, knowledgeable, capable, creative, independent and become citizens A demo- cratic and responsible country. To realize the goals of national edu- cation in general and the purpose of the school especially where the character and local wisdom is needed, the school deve- lops the traditional dance learning of Ba- jul Mahambara as a result of local culture. Bajul Mahambara traditional dance is ex- pected to cultivate character and local wis- dom in the establishment of the learners’ character. Fajarini (2014) states that local wisdom will effectively function as a wea- pon -not just a heritage- that equip people in responding and answering to the flow of ages. Digging and preserving the various elements of local wisdom, traditions and local institutions, including useful norms and customs, can function effectively in character education, while conducting stu- dies and enrichment with new wisdom. Learning Traditional Dance at SMA N 1 Sragen Dance in the subject of art and cul- ture in SMA N 1 Sragen which is one of the materials presented to the students. Each subject is developed based on school curriculum guidance. The process of lear- ning to teach dance is done through two main steps: planning and learning acti- vities. One of the materials in dance that is important to teach is traditional dance. Traditional dance is also known as the Nu- santara dance. Learning traditional dance in SMA N 1 Sragen is designed to bring the METHOD This research is qualitative research. Creswell mentions that qualitative rese- arch is a holistic approach that encom- passes discovery and description as a de- velopment model that occurs in a natural state that allows researchers to develop the detail of self-engagement in a real conditi- on. One feature of the qualitative research is the social phenomenon investigated from the point of view of the actual doer which is very useful for the purpose of describing, explaining, and interpreting the collected data. A case study approach is used in this study. In this case study the researchers explored in depth a program, events, acti- vities, processes of a person or more. Case studies are either single case or cases tied to the time and place, Creswell (2003). This research is aimed to under- stand the learning of traditional dance of Bajul Mahambara as a dance model in SMA Negeri 1 Sragen located in Central Java, Indonesia and how this learning is believed to support the character estab- lishment of learners in SMA N 1 Sragen. The sampling technique used in this re- search is purposive sampling. Data were collected through observation, interview and literature study. Sources of data in this study obtained from informants, docu- ments and learning process of traditional dance. Informants in this study are prin- cipal, deputy head of curriculum, dance teacher, students and parents of learners. The document is in the form of documents on the learning of dance including recor- ding/ note. The triangulation method was used to validate the collected data. This research uses data analysis of Inter- woven model, wherein analyzing data, it relates to the relation flowing from three main components that are data reduction, data presentation, and conclusion withd- rawal with verification, and data collection process in the field. The analysis process with the three components of the analysis happens when the activity occurs interwo- ven in the form of a flow of activity flow Harmonia: Journal of Arts Research and Education 18 (1) (2018): 13-2718 characters and local wisdom in the charac- ter establishment of learners. To be able to shape the character of learners, traditional dance instructors are required to prepare syllabus and Learning Program Plan (RPP) in accordance with traditional dance lear- ning objectives. Learning activities should prepare RPP and syllabus as a guide in conducting learning activities. With RPP guidelines, it will deliver the objectives of the lear- ning that we deliver to the learners will be achieved “(interview with Siswantini, January 2017). In addition, the syllabus de- veloped into the indicator is accustomed to the material that will be provided by the educator in the material that will be given “(Interview with Teguh Pramono, January 2017). RPP is developed based on a syllabus that generally consists of learning objecti- ves, basic competencies, indicators, lear- ning materials, learning methods, instruc- tional media, material resources, learning scenarios and characterization. Table 1 summarizes the basic competencies, ma- terials, methods and models of traditional dance lessons for class X and XI in SMA N 1 Sragen. Table 1. Traditional Dance Learning in SMA N 1 Sragen Learning As- pect Description Core Compen- tence dan Basic Competence KI 1 and 2, and also KD 3 and 4 Concept, technique, Traditional dance motion Material Basic movement of tradi- tional dance (Bajul Ma- hambara dance) Method, Me- dia, Learning Model Presenting, discussing, drilling, discussing, giving a task, question and an- swer, video of traditional dance Bajul Mahambara, discovery learning dan project-based learning. Table 1 shows the aspects of learning that are concerned such as media, met- hods, and learning models used. These competencies are KI-1 and KI-2 in the lear- ning objectives as stated in the curriculum, in the form of competencies consisting of (1) spiritual attitude competence, (2) so- cial attitude competence, (3) knowledge competence, and (4) skill competence. The formulation of the competence of spi- ritual attitudes, “comprehending and prac- ticing the religious teachings which are embraced”; competence of social attitudes, “comprehending and practicing honest, discipline, responsible, caring (mutual as- sistance, cooperative, tolerant, peaceful), courteous, responsive and proactive be- havior and showing attitude as part of the solution to problems in interacting effecti- vely with the social and natural environ- ment as well as in putting themselves as a reflection of the nation in the association of the world”, achieved through indirect teaching, namely paragon, habituation, and school culture, taking into account not only the characteristics of subjects but also the needs and conditions of learners. Me- anwhile, the growth and development of attitude competence is done throughout the learning process, and is used as the ba- sis for teachers in growing and developing the character of the students further. Dance Learning Material Tradition estab- lishing Character The material in dance learning inclu- des knowledge and skills given to learners on activities undertaken in order to achie- ve the goal of creative dance learning. Les- son material presented to learners is asso- ciated with cognitive structure in the form of facts, concepts, events, experiences with meaningful learning and memorization. Learning means a process of studying with new information and learning to memori- ze a process of receiving and mastering the materials provided by the educator. The subject matter of the skill / psychomotor through the movement of dance, with expressiveness with the mo- vement, space, time, dance structure is form and style, dance activity with creati- ve through creative processing (thinking, logic), taste (emotion, aesthetic), intention Etik Riyaningsih, Maryono, Harini, Establishment of Learners’ Character Through Learning 19 (determination and ethics), work proces- sing (kinesthetic, physical fitness, dance demonstration), dance activities with ap- preciation can be achieved if learners are able to become doers of aesthetic quality and choreography (Jazuli, 2016). In the art of dance, the motion is the greatest supporting element of its role in the dance. With the motion can occur the change of place, the change of position of the object, the body of the dancer or part of the body. All motion involves space and time. In space something moves in a certain distance, and the distance within a certain time is determined by the speed of moti- on. In dance all the motion requires power from the dancer itself, Djelantik (2001). The basic elements of dance are motion, spa- ce and time, Astini (2007). Motion can be interpreted as gestures, eye movements, hands and footwork. Space involves body space such as agem motion and its compo- sition, called internal space, while external space includes the stage and floor of the venue. Time is related to the duration of the movement, the short length of the dan- ce and the musical rhythm. From the desc- ription above, can be concluded that the art of dance is the expression of the charac- ters of beauty and the whole through the motion of the whole body, space and time in accordance with the rhythm, symbols, characters, themes and goals of the dance. The material is the dance movement of Ba- jul Mahambara tradition. Bajul Mahambara Dance is a type of traditional dance with the fighting theme. It seems visible in footwork, body, hands and heads which are handsome and firm (Figure 1). Figure 1. Tari Bajul Mahambara Trailers from the dance are: «I ..... Bajul Mahambara ..... Even though I am manifested as an animal, but my sacrifice and my loyalty exceed human nature for the sake of the state, for the sake of the nation, and for the sake of my motherland I stand as a fortress of my country, not a piece of land I give to anyone. Rawe rawe rantas malang malang putung... I ...... Bajul Mahambara ...... Bajul Mahambara dance was created on 22-27 February 2012 by art team of Sragen regency (led by Mr. Jonet) under the su- pervision of the Cultural Tourism Office of Youth and Sports of Sragen Regency with the activities of Traditional Dance Arts Training Area located at Sangiran Tourism Object of Sragen Regency in collaboration with Culture and Tourism Office of Cent- ral Java Province. With training activities create a new art form that can be used as identity and icon of Sragen regency. Learning material of dance tradition in Bajul Mahambara dance is basic motion consisting of head movement, body, hands, and feet. Bajul Mahambara dance with ba- sic motion of head movement among ot- hers motion gedeg/ pacak gulu, nyledet, toleh kanan, toleh kiri, angguk, nggeliyer, nggam- bul, body movement such as hoyog, engky- ek, polatan, oklak, entrag, hand gestures such as ngithing, ukel, ngrayung, tawing, mboyo mangap, ngrayung, seblak sampur, ngepel, bapang, kambeng, tumpang tali, sembah, se- lut, tepak bahu, foot movement diantarnya silo, jengkeng, jinjit, gedrug, jengkeng, debeg gejug, lumaksana, enjeran, ngrodha, mendhak, srisig. Bajul Mahambara dance movement has typical elements in dance, the element of space related to the level setting. Time element associated with the tempo and energy associated with the power of moti- on dance pressure of Bajul Mahambara, so that learners can perform Bajul Mahamba- ra dance. Methods, Media, Dance Learning Model for Shaping the Character of Learners. Learning method is a way to per- form or present, describe, give examples, and provide training content of the lesson Harmonia: Journal of Arts Research and Education 18 (1) (2018): 13-2720 to learners to achieve learning objectives, Agib (2014). The learning method for dan- ce learning is standard for dance learning process because with the learning met- hod, the educators will be easier to convey material related to techniques in dance. Learning methods used in dance learning include lecture method, demonstration, question and answer, appearance, discus- sion, and practice with friends. “Lecture method” is a method in the form of explanation of concepts, principles and facts, learners will establish discipline and responsible character. “Demonstra- tion method”, is a method undertaken to demonstrate to learners. This method in the dance learning of Bajul Mahambara is very dominant because the learning is equipped with practice, learners practice that is exemplified by educators, how the process of movement of the dance, lear- ners participate actively in experimenting with the learning process, so that it will lead to establish discipline character and responsible in the exercise. “Question and answer method”, the right method for dance learning, learners more focus- ed on educators with direct question and answer. “The method of appearance”, the method is in the form of implementation of practice appearance with the guidance of educators. In the dance lesson, to give sufficient explanation to the learners who practice dance by doing guidance, also be- come remedial learners. “Discussion met- hod”, in learning dance method of discus- sion used the interaction between learners with learners, while educators will analy- ze, solve problems, explore, debate topics and issues, guide learners in appreciating the opinions of others. “Method of training with friends”, this method is used to help learners who are less able to learn dance, then a friend can act as a coach, a mentor. The media used in traditional dan- ce lessons is the Bajul Mahambara dance video. The making of the video has been done by recording the dance accompani- ment of Bajul Mahambara which takes time, energy, thoughts in combining the dance moves into a video dance of Bajul Mahambara. In the process of making the video, it requires the character responsi- bility, discipline, creative, tolerance. With the character established in making video dance Bajul Mahambara, the learners un- derstand that the process of making a dan- ce video is difficult and requires responsi- bility and discipline. The selection of appropriate learning model is adapted to the characteristics of learning, research object using Curriculum 2013, developed learning model that can encourage and motivate learners in deve- loping ideas and creativity, so that learning is more interactive, fun, and inspirational, that encourage learners to participate acti- vely in the discussion as well as activities that can improve self-confidence. Accor- ding to Widodo, Kristiani, and Mulyana (2016), things can be considered in deter- mining the learning model to be used as follows: (1) the suitability of the learning model with the characteristics of the sub- ject, (2) the suitability of KD-KI 2 charac- teristics that can develop the competence of attitudes, and the appropriateness of learning materials with the demands of KD-KI 3 and / or KD-KI 4 to develop kno- wledge and skills competencies; (3) the suitability of learning models with specific learning objectives in developing potential and competence, for example to develop social interaction, or processing informa- tion, (4) the use of learning model with scientific approach. Learning model that is relevant to the characteristics of traditional dance art of Bajul Mahambara is the model of Discove- ry Learning (DL) and Project Based Lear- ning (PjBL). The learning model of Disco- very Learning emphasizes the finding of previously unknown concept or principle (Kemdikbud, 2014). Problems faced by students are some kind of problem engin- eered by educators. Stimulation Stage, the learners observe Bajul Mahambara dance videos aired by educators to cultivate the character of responsibility in doing the task. Meanwhile, the problem statement of learners is in the form of Bajul Maham- bara dance video show about the concept, Etik Riyaningsih, Maryono, Harini, Establishment of Learners’ Character Through Learning 21 a technique so as to build the character of cooperation and responsibility. Data collection identifies the concept of Bajul Mahambara dance where the lear- ners are creative in digging information. At the stage of “data processing”, learners create a schedule of practice with mutu- al cooperation and responsibility. In the “verification” stage, the learners conduct discussion. This task cultivates a sense of creativity, responsibility, cooperation, dis- cipline, and honesty. The “generalization” stage, the learners present Bajul Mahamba- ra dance in order to build cooperation, ho- nesty, responsibility, and creativity. Pro- ject Based Learning (PjBL) learning model is a learning model that uses the project as the core of learning. The stage of “design a plan for the project”, is to form students in groups to make pattern of floor and dance level of Bajul Mahambara dance with responsibi- lity, cooperation, creativity, and the prog- ress of project learners practicing the pat- tern of dance floor Bajul Mahambara with monitoring the student responsibility, dis- cipline, cooperation, tolerance. The stage of “asses the outcome”, learners present the characterization Bajul Mahambara dance with discipline, responsible, cooperation, tolerance. The stage “evaluate the expe- rience”, learners receive an evaluation of Bajul Mahambara dance brought with res- ponsibility and discipline. With the lear- ning model, learners have established the character of discipline, honesty, responsi- bility, creativity, tolerance so that learners can perform Bajul Mahambara dance. Character Education through Traditional Dance Learning The experience of traditional dance learning aims to further encourage imp- licit character establishment. In addition to learning the movement of Bajul Ma- hambara dance and the floor pattern by practicing it, learners also learn traditional dance in Indonesia including the story be- hind the dance, the variety of motion and the meaning. Learners also automatically learn about the characters and local wis- dom contained in the traditional dance art when learners try to understand the histo- ry and meaning of every move because of the traditional dance produced by the so- ciety especially in Baju Mahambara dance. Bajul Mahambara dance is cho- sen because it is a product of civilizati- on in the form of cultural expression and art, the characters and local wisdom is implicitly represented in these dances. Religious The learning of traditional dance in- fluences the establishment of learners’ cha- racter that is religious, Amriullah (2013), says that religious is a behavioral attitude that obedient in implementing the religious teachings it embraces. Traditional dance in Indonesia implicitly contains the religious characters brought by the creator. Traditio- nal dance is one form of folklore delivered through motion symbols. Some movements are meant to illustrate human obedience to God can be found in traditional dance. Folklore or traditional dance depicts the stories of nature, heroism, exemplary that has certain characteristics throughout the territory of Indonesia. Folklore or saga is usually created based on the existence of divinity. Students who present traditional dance must be asked to understand the real meaning of the whole dance and turn the story to give the dish a true dance, so that they are able to convey a message from the story of dance or theme. Humans in modern society often separate religious characters or their be- liefs from the characters in science, or the unbalanced nature of the two, are more concerned with either combining them. This view makes individuals who are not whole, as individuals who are disintegra- ted, this is the problem of the life of mo- dern society. This is reinforced by Dewey’s opinion quoted Ghulam Haider Aasi as “The problem of restoring integration and cooperative between man’s beliefs about the world in which he lives and his be- liefs about the values and conditions that should direct his conduct is the deepest problem of modern life ( Ghulam, 1985). Harmonia: Journal of Arts Research and Education 18 (1) (2018): 13-2722 In the learning of Bajul Mahambara dance art, religious character is instilled in several ways. the first is the planting of religious character through the learning process. The second way is done through the training process. While the third way is done by inculcating the elements of Ba- jul Mahambara dance. The characteristic diversity of dance art that is grown in the belief of learners as a gift of God Almighty that the human work there will be no in- tervention of God. In addition to this as a form of practice to the art of dance learners can find the theme of the dance is the the- me of animals, nature, as the basic idea of God’s greatness that of the theme that can be a manifestation of God’s grace. The se- ries of work processes, learners in groups can show the results of the modification of the floor pattern of Bajul Mahambara dan- ce. In the educational process explains that the effort is a gift from God that should be grateful. The experience of learning to work in dance fosters learners to give thanks for God’s gifts. At the time of lear- ning educators always greeting before and after learning. Exercise is a way that learners do in the process of creating dance creations. Exercise activities always begin by pray- ing together. This activity is the cultivation of character to learners to always remem- ber to God when beginning and ending in practice. The activity will become a habit of learners that reflect the religious charac- ter. In the elements of dance elements, reli- gious characters are found in various dan- ces, namely the basic motion of dance, for example the variety of motion of the lord begins with the standing position with the slanting upward right foot poses, the fore- sight. The process of jengkeng, after jeng- keng both hands (palms) put together (ny- embah), head shook to the right and to the left according to the count. The motion also teaches that humans are smaller creatures larger than the Great One, thus teaching also that humans must humble themselves (jengkeng) first, by asking for protection from Allah SWT. With a low level (jeng- keng) it is the actualization of the religious character contained in the range of motion. Spirituality or religion is not just a me- taphysical understanding of reality or a series of dogmatic and ethical attitudes; it is also a physical exercise. A religious phenomenologist who recognizes this is Leeuw (1963), who studies such pheno- mena that appear as dances and religions simultaneously. LaMothe (2004), who builds on Van Der Leeuw, argues that dance should be included in religious stu- dies. This seems to be a relevant perspec- tive in understanding the religious life of dancers who participate in this research project and dancing in Christian settings, for whom dance is an important part of their spiritual practice. It has also been investigated by Schuff (2012) regarding dancing to personal and spiritual growth. Honesty In traditional dance learning, honesty appears in imitative activity when learners observe and simulate dance observed as a reference and consciously understand that the movements are the creations of others. Next they have to explore their own ideas to create their own floor pattern. Learners should understand how to appreciate the work of others, develop, explore and mo- dify independently in creating their own creations. Because the dancing itself has actually taught the character of honesty di- rectly to the community because dancing is a skill that can be seen directly in a show. Educators teach that in imitating the dance of local traditions (archipelago) ac- cording to the accompaniment and work of dance to work in accordance with its ability. The honesty done by the learner can create a description of dance with theme and synopsis with honest attitude, make description according to reality and submit the result of report accompanied with the observation of dance presentati- on. The art of dance teaches to always be honest because dancing is a skill that can be seen directly that learners can perform dance moves. Can or can not do, it must be said honestly. The character of honesty can also be Etik Riyaningsih, Maryono, Harini, Establishment of Learners’ Character Through Learning 23 seen in elements or elements of Bajul Ma- hambara dance which can be seen on the dance property. Learners use the red, yel- low, green, white properties are the colors in the white property symbolize the cha- racter of honesty or sanctity. The element of facial expression/ polatan means the expression in showing honesty in dancing. The facial expression in the play is a form of honesty from within the dancer being shown to the audience. Based on the planting of positive characters by educators then the art of dance lessons to contribute to the forma- tion of the character of the learners is the character of honesty. This is also in line with the statement of Costa (2016) in his research that the circle dance appears to facilitate the trust between people, based on qualities such as honesty and openness that penetrate the social world of the dan- ce circle. According to Kohlberg (Hurlock, 2002), the child’s morality is seen when he follows the rules and can take the hearts of others, and can maintain good relation- ships. Related to that, the moral character that can be observed from the learning of dance art Bajul Mahambara is the stimula- tion of the character of obedience and the character of a child’s honesty. Responsible and Cooperation Responsibility is a person’s attitude in performing tasks related to himself, the environment, society and beliefs. The cha- racter of responsibility is depicted in the dance elements of motion and the forma- tion/ floor pattern. This movement forms responsible characters. The motion in dan- ce is the expression of the soul of the dan- cer through the body motion. Learners are required to display every movement in the dance correctly based on wiraga (rules of motion), wirama (music or rhythm) and wi- rasa (characters). In that case, the floor pattern or the formation allows the learners experience to form the formation by moving the posi- tion of the dancers in the group. Learners can be shaped responsible characters in their respective parts because if one per- son made a mistake on his part can cause chaos group formation. As stated by Nur- harini (2003) that the learning of dance is able to cause the confidence of children in the form of the growing feeling of pride, have the character of brave, able to control emotions, cultivate sense of responsibility and self-reliance, easy to interact with ot- hers, have better achievement, develop his imagination and creativity. The character of responsibility was developed in the learning by educators in the attitude and behavior of learners to perform tasks both tasks for educators and tasks with friends of his group. At the end of each learning, the educator gives the tasks to do at home related to the dan- ce that has been learned to be memorized that is the traditional dance of Bajul Ma- hambara and the learners memorize the exploration of dance movement from the basic motion of dance. The character of res- ponsibility has been applied by educators with the intention of how learners have responsibility for their duties. The traditional dance of Bajul Ma- hambara or folklore tells a story which me- ans most traditional dances are performed in groups. The dance lessons are done in groups in performing project tasks to pre- sent a dance. Thus, learners are given the experience to work together in teams to discuss and display the dance. Each group of learners with diverse abilities help each other and support each other in learning, exploring, understanding, creating their own dance which is formed based on the elements of motion, rhythm, appreciation of characters and ultimately present a dan- ce creation. According to Vygotsky in his theory, he emphasizes the interaction bet- ween the “internal” and “external” aspects of learning and its emphasis on the social environment of learning Schunk (2012). The theory of Vygotsky, cognitive function derives from the social interaction of each individual in the concept of culture. Tolerance and Benefits Tolerance according to Nasir (2013) is the attitude and action that respects dif- Harmonia: Journal of Arts Research and Education 18 (1) (2018): 13-2724 ferent religious, tribe, ethnic, opinion, at- titude, and other people’s different from him. Bajul Mahambara traditional dance contains the character of tolerance as well as courtesy. This is evidenced by the exis- tence of traditional dance Bajul Mahamba- ra that serves to welcome guests. This me- ans that our society is an open society and respectful of guests. Bajul Mahambara traditional dance that has a characteristic in every movement that is a motion like a crocodile. The lear- ning of traditional dance Bajul Mahamba- ra gives a picture to the learners about the differences. Each tribe has its own way of expressing something through motion and rhythm though it conveys the same inten- tion. At this point, learners are implicitly encouraged to take lessons from each dan- ce and accidentally put personal tenden- cies towards a dance. Learners are trained to be objective in appreciating dance even though it is not included in his taste. The tolerance character is depicted in the formation element / floor pattern. Dancing with the correct formation shows the character of a dancer’s tie tolerance to other dancers in a team. Dancers should be able to match the taste of each other so as to convey the message of dance in its holis- tic. They must be able to read the situati- on to achieve conformity within the team. Tolerance is also seen when learners do exercises in dance and give mutual input for each member so there is no seniority or who feels smarter, in this case mutual tole- rance in performing dance movements are created. In addition to this attitude, tolerance is also seen when learners get an evalua- tion or input from friends, tolerance here built through mutual respect for friends. Learners in the work of dance groups meet different dissentions and frequently make mistakes. Therefore, learners appreciate the difference between the opinion of a group of friends. This is agreed by Rosala (2017) who states that the cultivation of moral character of tolerance in students through dance learning is mutual respect for the opinions of others by one way dia- logue through creative dance. Through learning the dance is also obtained knowledge of manners which are all unwritten rules that have been given by educators with the meaning that the ru- les are running in the class so as to cause a sense of courtesy. For example, in lear- ning to express an opinion by saying cour- teously and did not say harsh words to his friend during practice, the students were courteous by kissing the teacher’s hand before entering the class, greeting the fri- end when meeting his friend, the example of courtesy gained from learners when ob- serving video dance Bajul Mahambara as media at the beginning of the dance to give respect and activities that have aesthetic characteristics which do not leave the at- titude of politeness. In addition, tolerance can be cultivated by respecting the appe- arance of other groups and giving a good appreciation in a polite way. Courteous behavior can arise if students are involved in a relationship. According to Tomayahu (2014) polite behavior is a regulation of life that arises from the result of the associa- tion of a group of people in society and is regarded as the daily social guidance. Discipline Syarbini (2013) discipline is an act that shows orderly conduct and obeys the various rules and regulations. Lear- ning traditional dance art Bajul Maham- bara here reminds learners to discipline in time, effort and patience. Learners not only learn the theory but also practice dan- ce along with its elements because lear- ners are eventually asked to perform the dances they have learned. Discipline is also reflected in the rules of dance classes such as time management where learners need to prepare their own including cos- tumes and equipment. In the opinion of dance art educator Siswantini said that: “Learners in following the dance learning should have discipline which is discipline in following the lesson, discipline in their dance practice and if doing exercise in the practice room also have to use time well, because classroom with practice room was Etik Riyaningsih, Maryono, Harini, Establishment of Learners’ Character Through Learning 25 moved for not wasting learning time” (In- terview, January 2017). Motion and formation is a dance ele- ment that demands the discipline of the dancers who are the learners themselves. Variety of motion must be done in accor- dance with the accompaniment or rhythm (wirama). The accuracy of motion and ac- companiment means dancing with tem- po. Continuous training implicitly fosters the discipline of learners. This is in line with the results of research conducted by Kamtini (Fitrianti & Reza, 2013) that the learning of motion and a creative song is a singing activity while moving in accor- dance with the rhythm of music and songs by doing learning innovation to improve hard motoric, increase creativity, learn to socialize and cooperate, train discip- line, and train children’s concentration. Creative Muchlas (2012), says that creative is thinking and doing something to produce a new way or something. Bajul Hambara dance lessons encourage learners to prac- tice practically their creativity through practice, appreciation, exploration and creating dance work in groups. Improving the range of basic motions provides stu- dents with the experience to engage in a creative process in which the improvisati- on leads them to produce their own dance creations. Triana (2015) states that an ar- tist, in this case a choreographer, conve- ys his expression through a rhythmic and beautiful movement, both stylized and distorted as the ability to think creatively to explore the idea into a dance creation. Creativity according to Rhodes (1961), distinguished into the dimensions of the person, product process and press, while the creativity itself according to Supriadi is a person’s ability to produce something new, in the form of ideas and works that are relatively different from what has been there before. Similarly, creativity accor- ding to Munandar, is the ability to create new combinations based on data, infor- mation or elements that exist (Munandar, 1987). The creative process of the learner can also be done with a regular exercise. Through dance group exercises can create patterns of the dance floor, a creative at- titude which is always active to make the arrangement of motion is more optimal. Creative character through the process of exercise is in elements of dance elements of motion and accompaniment or music. Va- riations of floor patterns and dance move- ments are a reflection of creative attitudes in the range of free motion in the order of dance, the basic motion explored is a form of improvisation of creative movement of each dancer (Figure 2). Arrangement work of dance gives space to the dancers to think creatively in accordance with their own desires by still accompanied by mu- sic. Creative music is also shown by ac- companiment by improvising the dancer’s movements. The accompaniment here must be good at adjusting the rhythm of the dancers’ movement, this is to keep the wirasa of the dance that is danced and to strengthen the wiraga and wirasa in dance creations developed. Figure 2. Example of Floor pattern of Bajul Mahambara dance Creativity process conducted by learners in the group have their own cha- racteristics. This can be seen through the different ways each group. The process occurs among learners who influence each other’s behavior from the passive becomes more active. Regular exercise provides a continuous process for forming optimal motion and formation. Variety of motion and accompaniment or music produces an exploration space in the learners to perform Bajul Mahambara dance move- ments with the right tempo and rhythm, in addition to motion exploration with Harmonia: Journal of Arts Research and Education 18 (1) (2018): 13-2726 themes. Beetlestone (1998) sees creativi- ty and art as closely related through the thread of representation (self-expression of ideas and feelings, such as through ex- pressive art). He stressed that children should be able to take ownership of pro- cesses as well as products to be motivated. Thus, it is seen that every aspect of the character is closely related to the aspects of learning. More concretely the relation of the character form to the influencing as- pects of learning can be presented in Table 2. Table 2. Characters in Learning Traditional Dance Character Name Learning Aspect Religious Concept, material Honesty Method, material Responsibility dan Cooperation Media, method, mate- rial Tolerance Media,material Discipline Media, learning model,method, mate- rial Creative Media, learning model, material CONCLUSION Character building is very impor- tant in education because one of the goals of education is to provide care for lear- ners. The establishment of this character is achieved through the process of dance learning which includes messages of mea- ning in the dance, learning process, and the behavior or achievement of learning. The traditional dance lessons of Ba- jul Mahambara dance give the learners ex- perience to form the character positively as (1) to grow the religious character through dance practice, (2) to develop the character of honesty through the students’ apprecia- tion activities, (3) to encourage the sense of responsibility and cooperation by un- derstanding the elements dance like floor patterns, (4) acquire tolerant and corteous character trained through appreciation ac- tivities, (5) train the discipline of learners through demands and rules to learn tradi- tional dance, and (6) encourage creativity that occurs when learners try to under- stand the elements of dance and modify it. The learning of traditional dance of Bajul Mahambara is the right way to give learners experience about the characters and local wisdom so that they grow into a nationalist personality. REFERENCES Aasi, G. H. (1985). Dewey and Iqbal on Moral Self and Society: A Compara- tive Study of Their Thought. 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